Page 27 - Demo

MOST MAGAZINE - ISSUE 78 27MOSTMAGAZINEExclusive Interview Q: YOUR WORK BEAUTIFULLY BALANCES CLASSIC PHOTOGRAPHY TECHNIQUES WITH MODERN AESTHETICS. HOW WOULD YOU DESCRIBE YOUR SIGNATURE STYLE?A: The most important thing for me is that my pictures are timeless. Of course, they also tend to be slightly dark or melancholic. Q: YOU%u2019RE ENTIRELY SELFTAUGHT IN BOTH DIGITAL AND ANALOG PHOTOGRAPHY. WHAT WERE SOME OF THE BIGGEST CHALLENGES AND BREAKTHROUGHS IN YOUR LEARNING PROCESS?A: One of the biggest lessons I learned is that you can%u2019t create a perfect picture with perfect technology. I used to spend a lot of time experimenting with equipment, such as using artificial light outside the studio, working with various lenses and focal lengths, and spending hours editing in Photoshop. Eventually, I realized that technical perfection often leads to dullness. Limiting myself, for example, by using only one lens or relying on analog technology, has helped me enhance my creativity. Q: FASHION AND PORTRAIT PHOTOGRAPHY REQUIRE A DEEP UNDERSTANDING OF LIGHTING. WHAT%u2019S YOUR APPROACH TO LIGHTING, AND HOW DOES IT SHAPE THE MOOD OF YOUR IMAGES?A: When I shoot on location, I don%u2019t try to adapt the light to my way of working; instead, I adapt my approach to the available light. I experiment with different angles and perspectives, learning something new each time. It%u2019s a continuous process of learning by doing%u2014one that never ends. I always dive in and try not to overthink, which presents a creative challenge but also keeps me exploring new ideas. I don%u2019t want to fall into routine.In the studio, I typically start with just one light. If I%u2019m not satisfied with the aesthetics of the image, I may add one or two more lights. I also draw inspiration from photography from past centuries, studying how lighting was used when technology was more limited.