How did you get into photography? I developed my approach to light and filters, looking for something unusual. I came to the UK from Ukraine and had some interesting material with me as I experimented with light, started modulating different filters and glass. The way you compose light, filter it, build your picture, emphasise every detail. I proceed on different levels and in the end the colour gives a sense of magic.\u00a0<\/span><\/p>\n How much in the composition is natural and how much artificial? I find AI very interesting, I use it for retouching, to add 3D elements that emphasise the image. We shouldn’t be afraid of it, it will make so many things easier and faster but people need people.\u00a0<\/span><\/p>\n What is the creative process? How do you build moodboards? Thus, piece by piece, the moodboard is born, it takes days -sometimes weeks- to arrive at the completion of the picture.\u00a0<\/span><\/p>\n The composition requires the right choice of all the pieces, great importance is obviously given to styling, hair, make-up, which I take special care of. On set you can spend eight, ten hours, even more. It depends. <\/span><\/p>\n Among your works there is a digital garden with an aseptic, hybridised beauty in it. How do you see the relationship with technology? There is a strong suggestion in your photos, you have a unique style. Where did you draw your archetype, your primary inspiration from? Is the world of fashion galvanising for you?
\n<\/b>I started out as a musician and as such I was quite attached to theatre performances, to stage design. This gave a strong impetus to my stage propensity. I started out as a photographer to produce visual material on my own, but gradually photography caught my attention completely.\u00a0<\/span><\/p>\n![\"Vadym](\"https:\/\/artandglamour.it\/wp-content\/uploads\/Vadym-Yatsun-1.png\" "\\"Vadym-Yatsun-1\\"")
<\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/div>\n
\n<\/b>80, 90 per cent is natural on average, we add something in post production. I spend a lot of time on Photoshop, shaping the details, with a major focus on the hair. Nothing in the end is perfect, we are people who sink into details.\u00a0<\/span><\/p>\n
\n<\/b>It depends on the project, it starts with an idea which in turn springs from an inspiration. There, you start \u2018digging\u2019 in an assiduous work that involves many skills: lighting, stage designer, stylist, make-up artist, photographer… everything starts from the initial topic. Things pile up around it.\u00a0<\/span><\/p>\n<\/p>\n
\n<\/b>Together with our art director, Margot, we created this idea of a digital garden, which anyone could do today with the help of AI. But our creative process was to draw it in our minds, create it with a three-dimensional morphology, shoot the model, define the hair and styling and then start playing with the background, increasing the level of complexity. This work requires us to be ductile, to transform vision into creative matter.\u00a0<\/span><\/p>\n
\n<\/b>So many things, nature, colours, art seen around the world. Of course, when I go to the Tate gallery I am impressed. But often it is also the people, amazing people, seen on the street.\u00a0 Or the dozens of extraordinary things done by others that motivate you. The driving force for me are the complex challenges, the things that are difficult to realise. Of course the technical study, the experimentation, counts a lot.<\/p>\n
\n<\/b>The dress is an important part of the suggestion, but it always depends on contingent factors. A beautiful dress with defined style characteristics can also be a source of inspiration. I pay a lot of attention to young, emerging designers.\u00a0<\/span><\/p>\n