Download "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub"

Please wait. We're preparing links for easy ad-free video watching and downloading.

Next video: Бимбо или тупая блондинка | Объяснение тропа

0:00

Начало

0:00

Представление гостя

0:00

Заставка

0:01

Краткая история начала

0:03

Про эстетику "безобразного" - (80-90е годы)

0:05

Что прекрасного запомнилось из времени 90х

0:07

Осознание что любовь к 90м это сильная сторона

0:08

Про академическое обучение фотографии

0:15

Какое было начальное направление

0:18

Какое отношение к Still life сейчас?

0:19

Как Ольга перешла от Still life к портретной съемке селебрети

0:22

Про журнальную фото карьеру с 2000 по 2015е (от Гущина)

0:24

Часто ли топовые селебрити требуют своего фотографа на съемки

0:26

Как Ольга находит общий язык с Селебрити

0:29

Есть ли попытка дружить с селебрити?

0:30

Про дружбу на съемке

0:31

Про работу с мужчинами и женщинами

0:32

Период звездной болезни и про то что нужно для отличной съемки

0:35

Конкуренция и был бы успех в Европе?

0:40

Про цели

0:41

Про конкуренцию

0:46

Что произойдет если все ориентиры в фотографии пропадут

0:48

Вопрос говно от Нодии: Идем ли мы к формированию фэшн рынка?

0:53

Персональные проекты

0:59

Про съемку с Димой Игатовым

Бимбо или тупая блондинка | Объяснение тропа

Бимбо или тупая блондинка | Объяснение тропа

Channel: Maniloun

Ольга Тупоногова-Волкова

Тупоногова

Волкова

Тупоногова-Волкова

Глянец

Журнальная съемка

селебрити

селебы

съемка селебрити

съемка селебов

съемка знаменитостей

индустрия моды

мода

счастливое детство

00:00:02

this is the isolation episode of the club fund again,

00:00:07

and today we have an incredible guest in addition to the three

00:00:09

usual characters,

00:00:13

we were very worried and sought

00:00:17

the attention of this person,

00:00:19

firstly because this woman is a

00:00:22

rare woman we appreciate very much, and

00:00:23

secondly, this is the most probably one

00:00:29

of the most versatile photographers in the

00:00:32

glossy world in Russia, she photographed all the

00:00:37

celebrities you probably know or do

00:00:39

n’t even know yet Olga stupidly Volkova a lot of things

00:00:50

hello guys

00:00:54

[music]

00:01:27

please tell me

00:01:29

very briefly how your

00:01:32

story began but not from quite there like

00:01:35

me I was born, yes, and this is a countercurrent, I

00:01:38

grew up for 6 years, then I began to grow, namely from the

00:01:41

point of view of more professional

00:01:43

conscious activities in the field of

00:01:44

photography, which was the first

00:01:49

turning point when you became like this, but

00:01:51

I’m still a photographer, honestly, I’m still probably

00:01:57

somehow they don’t really realize that I’m a

00:01:59

photographer, they

00:02:01

recently asked me, do you know about

00:02:05

impostor syndrome, what is it, at

00:02:09

first I didn’t know what it was, I googled it, and then

00:02:11

I realized that it’s just my disease,

00:02:14

it’s called when you completely deny

00:02:17

all your merits and explain it to you

00:02:21

some kind of luck, a

00:02:23

coincidence and a happy occasion, and I have

00:02:26

nothing to do with it in general, but I just

00:02:28

stood there pressing a button, this is absolutely

00:02:30

my option, so this is such an

00:02:32

awareness that I am a photographer and there I

00:02:35

have achieved something, this is not

00:02:37

absent at all, but I also often tell

00:02:41

that I myself have a severe case

00:02:42

because I have impostor syndrome with

00:02:45

outbreaks of star fever and this is like a

00:02:48

very serious case, that is, sometimes it

00:02:51

happens to me, but it’s more likely due to work

00:02:53

because it’s very demanding, I want

00:02:57

some kind of proper preparation for shooting so

00:02:59

that everyone is with burning

00:03:02

eyes with people like me, so that’s

00:03:05

the moment I remember the most vivid thing:

00:03:08

when I went to study at the Academy of

00:03:10

Photography and ended up with iris van sleeves,

00:03:13

well, he’s probably the person who

00:03:16

just put the idea in my head

00:03:19

that photography is such a huge

00:03:24

platform, huge a space where there is

00:03:28

enough space for everyone in general and it doesn’t matter what

00:03:31

you shoot, what interests you,

00:03:33

how

00:03:36

unusual or ordinary you are, you will photograph

00:03:39

children, dogs, nature, or like John Peter

00:03:43

will be a movie of people who are no longer alive, it doesn’t matter

00:03:45

photography, it is accessible to everyone,

00:03:47

it allows you to open up, you are in one

00:03:50

interview, she said an interesting phrase

00:03:52

that caught my attention, that you are proud

00:03:55

that you were hooked on the service, they say 90 at

00:03:59

that age when you could somehow

00:04:01

say that you already perceive beauty and you

00:04:04

said that you caught that aesthetic and

00:04:06

that’s why you now have that in the fall of 390

00:04:09

I’m writing to my allies about this stage and that

00:04:13

you caught the aesthetics but the Soviet Union of

00:04:15

all those times the stream of the nineties is but

00:04:18

the aesthetics that many consider the aesthetics

00:04:21

of the ugly from them when I talked about

00:04:23

this there we were talking about the beautiful and I

00:04:27

understood and you know all the problems and I was

00:04:30

just talking more about my childhood my

00:04:32

childhood must be the 90s, that is, I grabbed

00:04:38

what it was, very cozy and not an alarming childhood,

00:04:43

some kind of well, that is, some kind of when I

00:04:46

remember myself, it’s more like there 87 88 that is,

00:04:50

here I am little and I

00:04:53

probably took something from there and plus I’m a fan of Soviet

00:04:56

cinema, which influenced me very much,

00:04:58

and she inspires me as a teacher,

00:05:01

and this movie is radically

00:05:04

different, for example, from the cinema of the 90s, where

00:05:07

such good trash had just started

00:05:10

breaking, breaking, there remained good

00:05:13

until narrow sounds were heard, like something

00:05:15

such a school and at the same time they began to

00:05:19

destroy something like this and there was still

00:05:21

something left in it, then everyone has already demolished everything,

00:05:24

look, but you can exactly, we do

00:05:27

n’t know in detail, I’m really very

00:05:28

interested in what exactly you remembered what

00:05:32

trigger you remembered it from this the

00:05:34

88 of the seventh year,

00:05:36

what exactly was beautiful that you remember

00:05:38

because it would have changed a lot there before the

00:05:40

culture has changed, but roughly like 8

00:05:43

8 apartments, I remember up to 8 8 apartments and

00:05:46

in ninety-eight absolutely nothing

00:05:47

changed, well, that is,

00:05:49

you didn’t add any new furniture nothing,

00:05:52

but still there are some triggers

00:05:55

that caught you in this, I’m just

00:05:57

interested because there really is a

00:06:00

lot of aesthetics and you’re talking about it, this is the

00:06:02

only person I’ve

00:06:04

met so far who talks about the aesthetics of

00:06:06

that time as something incredible

00:06:08

beautiful just like that, more everyday and there was

00:06:10

something that was a trigger, well, first of all, I

00:06:15

spent a lot of time and my

00:06:18

grandmother lived on a middle Finnish side street

00:06:21

and I remember just some old Moscow,

00:06:26

I remember trips to the bookstore,

00:06:29

some postcards,

00:06:31

that smell I remember books with me, so you

00:06:34

know, a folding cup and you

00:06:36

pour soda from the bakery, you could

00:06:39

go and completely eat a loaf of bread,

00:06:42

that is, it’s some kind of just a

00:06:44

feeling of childhood

00:06:45

that was probably cool, I don’t know,

00:06:49

there were cool children’s books and there was this

00:06:52

thing called a filmstrip which

00:06:54

still evokes some feeling in me

00:06:56

and well, it doesn’t seem like it’s just

00:07:01

some kind of happy childhood, it has nothing

00:07:03

to do with it, but specifically with an apartment with furniture

00:07:07

and something to do with how you

00:07:10

spent your childhood, what impressed you that is, it turns out that

00:07:13

you managed to

00:07:16

absorb all that

00:07:18

lucky romanticism to Soviet images of

00:07:21

feelings and so on, and so on, and that is, at

00:07:24

some point you realized that

00:07:26

this is like your strength, one of

00:07:29

your strengths, that is, you can

00:07:31

take it and use it and in this way you

00:07:33

differ from people who, for example,

00:07:37

decided to forget all this or

00:07:39

use some other style there, well, you’re

00:07:42

absolutely right, I probably somehow absorbed it all, you

00:07:46

know, there were even such

00:07:49

cases that people wrote to me and said that

00:07:54

they they can’t look at my pictures

00:07:55

because they irritate them, because

00:07:58

from my pictures it’s clear that I had a

00:07:59

happy

00:08:00

childhood and in general I’m so successful, but here

00:08:03

it was started in

00:08:06

some small town, I have nothing to

00:08:08

live on and she’s not really for me they don’t

00:08:10

like me because I broadcast some kind

00:08:13

of happiness, many people don’t like me also

00:08:16

because he is an artist, he must suffer, but in a

00:08:20

good way he must be poor through

00:08:22

suffering, he has real something like this

00:08:26

happening, I don’t know, well, well, apparently, yes, I

00:08:32

am somehow I personify a

00:08:34

child who was very loved in childhood,

00:08:37

although I don’t know and I received a belt and

00:08:40

feel fine and I

00:08:42

think that it was deserved, apparently, I

00:08:46

propose to return a little to our

00:08:50

outline of a consistent story,

00:08:53

after all, and you were just discussing the

00:08:56

academies of photography and Gushchin studied there and

00:09:00

you studied as an ult and at the brigade, yes, you

00:09:04

taught there and I, by the way, also

00:09:06

taught there, in short, in general,

00:09:10

Busin constantly humiliates us by the fact that we,

00:09:13

Gusev and I, actually did

00:09:16

n’t study anywhere, that is, we are precisely the

00:09:18

academic part training, we

00:09:21

actually missed it,

00:09:22

we are super self-taught, and Gushchin is such a duh, and

00:09:25

there in London, back and forth, and I understand

00:09:28

that both Dima and you, he just captured it, let’s

00:09:34

say we don’t know, at least

00:09:37

by European to Western standards, the

00:09:38

correct training system that is,

00:09:41

you had a mentor, you talk a lot

00:09:44

about Iris and about other teachers

00:09:46

too, and I’m interested to know

00:09:48

how much academic fundamental

00:09:52

training influenced your development

00:09:55

as a photographer, not only creative but also

00:09:59

technical, because well, of

00:10:02

course, everyone is different, but mine I won’t

00:10:04

ask this general experience shows that girls

00:10:07

usually work but a little differently

00:10:10

Autumns are not super technical

00:10:13

when I listen to your interview you

00:10:14

work with the film you have there and

00:10:16

wanted you shoot very cool still

00:10:19

life a still life this is a very technical

00:10:21

photograph you know how to retouch that

00:10:25

is, you have a direct but supervise, so in short,

00:10:28

you are super versatile not only in

00:10:29

areas but also in your skills,

00:10:31

both technical and creative, and I’m

00:10:33

interested in whether it’s the influence of

00:10:36

academic training or whether you’re

00:10:38

like that on your own and within this framework, what

00:10:41

advice would you give to the guys? which I don’t know,

00:10:44

maybe they are watching us now and

00:10:45

they want to study, and because it seems to me

00:10:49

that, in principle,

00:10:50

academic education in Russia in

00:10:51

photography is a little discredited,

00:10:54

that is, there are too many simple schools,

00:10:56

each of us has 2 teachers there,

00:10:59

etc. but how did it affect you and

00:11:01

how important do you think this is? Well,

00:11:05

first of all, and I still think that we do

00:11:06

not have an academic education in terms of

00:11:09

photography,

00:11:11

maybe this is the only thing in geek camera rooms,

00:11:14

but it’s just that they train

00:11:16

operators there and there is a system there,

00:11:19

I found a piece of this system

00:11:22

because my technique, not technical theory of

00:11:25

photography, was taught to

00:11:27

sing by the wise man of who at that time was

00:11:30

in VGIK in the camera department and I buried myself

00:11:36

in these classes, i.e. I didn’t understand anything,

00:11:39

that is, I came out and understood that a photographer is

00:11:42

not for me, I can’t grasp this essence for

00:11:44

them, moreover, I’m not interested in

00:11:46

technical skills in terms of light,

00:11:52

probably a good one,

00:11:56

Andrei Rogozin gave me such a seed because he did

00:12:00

n’t even give birth to it when I did

00:12:02

I studied, but rather,

00:12:04

when I went to the Academy of Photography

00:12:06

to teach, he developed his own system

00:12:09

of how to show people how to work with light, and

00:12:14

I had it intuitively, but in order to

00:12:17

tell people I had to understand the

00:12:18

technology, how to explain it to them so that

00:12:21

certain

00:12:24

signs

00:12:25

and some logic would appear on a completely blank sheet of paper. what happens to the

00:12:27

light when we put it here when it’s

00:12:29

soft when it’s hard that’s when I

00:12:31

started to disassemble what I just

00:12:34

did on its own, so it

00:12:38

seems to me that I’m just as self-taught and to

00:12:41

me it’s more likely that it’s a complex of everything in general

00:12:45

and what I’ve learned I also learned

00:12:50

some of my abilities and probably still a

00:12:55

lawyer who didn’t tell something technically,

00:12:58

although he did tell it

00:13:00

technically, but rather

00:13:02

put your brains and yours in the right

00:13:05

position because you need to understand that

00:13:07

he has a completely different mentality,

00:13:09

he sees differently they think and

00:13:13

he had a very strong influence with this, that

00:13:16

is, if our old

00:13:19

Soviet photographers are like that, they will, as they

00:13:24

say, compose you into something

00:13:26

to yury, most likely all this opened all 1

00:13:29

cube of arrivals and what do you have and

00:13:30

looked at what you have

00:13:31

what will come of you probably probably

00:13:36

it’s something like this and now I would

00:13:38

advise everyone to have their own way to

00:13:41

just find something that inspires and

00:13:46

then there is a result, well, roughly

00:13:49

speaking, this is how you went to play

00:13:51

sports, you tried I don’t know kickboxing

00:13:54

just rocking aerobatics yoga saikal running

00:14:00

swimming, so I tried it, I realized

00:14:03

something, I’m bored there, it’s not hard there, I’m

00:14:06

just not a good person, but for example,

00:14:10

I like swimming, so I get the

00:14:13

same result, roughly speaking, no, there are some

00:14:16

physical activities, but I get pleasure from them;

00:14:19

get nicknames; that’s why

00:14:21

our photo is like this huge, for some

00:14:24

reason everyone thinks that right now it’s

00:14:27

a little wrong, everyone is trying to figure out how to

00:14:30

make money and how to become successful, but this is

00:14:33

already a dead end, you have to go in order to get

00:14:37

high, so you can

00:14:39

have fun where

00:14:43

I am now, the high is just a

00:14:46

little bit left, you cling to it because

00:14:49

this is already your profession, you can get

00:14:51

very tired and hate this whole thing

00:14:53

because you are a little bit tired

00:14:58

and you are always trying to be in

00:15:02

some format,

00:15:03

and when you just start learning you have

00:15:06

even more freedom

00:15:07

than then you become a hostage even to

00:15:11

your knowledge and I know so many skills,

00:15:14

well-known photographers who

00:15:16

are still in search of

00:15:19

experiments, but no one

00:15:21

needs it, they need what they did five years

00:15:23

ago, and the photographer himself is no longer interested, he

00:15:26

wants to develop, he wants to become

00:15:29

better today than yesterday and do something new

00:15:32

find something new and the industry around

00:15:36

it is developing a little slower than

00:15:39

all creative units than the photographer,

00:15:41

makeup artists, stylists, the client himself, roughly

00:15:46

speaking, is still on a different level,

00:15:49

something Jacopo Nolan, yes, can we

00:15:53

go back a little and we can

00:15:56

talk a little about what everything as far

00:15:58

as I understand again,

00:16:00

correct me if I’m wrong, you

00:16:03

started doing

00:16:05

still life object photography from the very beginning, and portraits

00:16:07

and fashion photography, I understand this, but initially,

00:16:11

when I was still studying, I was of course a portraitist,

00:16:13

that is, I took portraits, portraits, and

00:16:16

stillife, they didn’t bother me at all it worked out and I did

00:16:19

n’t feel anything for him, it’s just that when I

00:16:22

started shooting for Aventine magazines,

00:16:26

this niche is the key subject,

00:16:29

it was absolutely not occupied by anyone, that is, I don’t

00:16:32

know, there was a

00:16:33

lawyer who shot the subject for advertising

00:16:37

and it’s expensive, just for magazines it’s

00:16:41

just some interesting stories and

00:16:44

just some beauty section

00:16:46

got to the people who were filming

00:16:48

just sending,

00:16:50

that is, you are forced to talk about the buttons

00:16:51

as if faster, they just offered me to

00:16:54

film

00:16:55

11 life 2 and it turned out that I

00:16:59

could do it, I myself began to look for

00:17:03

someone to emulate I found a photographer who

00:17:06

shoots this for the rest of my life for a

00:17:08

French issue and for me from a guru in

00:17:10

Stella Fe

00:17:11

I started copying it you have a cafe at home I

00:17:15

always recommend it by the way in your

00:17:19

screensaver I saw a small picture there it looks

00:17:25

like a dilapidated camera in the sand

00:17:27

I think that this is Litman,

00:17:30

this is also a very good

00:17:31

Stella box, I’ll help, I just

00:17:35

remember Carson’s course for everyone, you’ll

00:17:38

cut it out,

00:17:40

no, maybe this is a bank, in my opinion, that is, the

00:17:46

stillife plan, it was a completely

00:17:49

independent development, too, when I

00:17:51

was studying, this topic was not very

00:17:54

interesting to me and technically I was not I was

00:17:56

ready for it now in the fall, you’ll think about yours with Anji,

00:18:02

first of all, I shoot him very

00:18:05

rarely, I’ve been trying for so long to

00:18:09

stop being considered a subject

00:18:11

photographer and still

00:18:13

they let me shoot people more and more, but unfortunately they

00:18:16

label you as those who shoot

00:18:19

fashion, we have a lot of those who shoot

00:18:22

portraits, too, a lot,

00:18:23

and stillife is one or two and miscalculated, and

00:18:26

accordingly, when the art director of

00:18:29

the magazine thinks about who to give this shoot to,

00:18:32

he thinks, well, stupidly Volkov’s leg

00:18:34

will shoot us an excellent accessory story with

00:18:37

objects, or as I call it

00:18:38

limbs, then arms, but it’s not that I

00:18:40

hate it, but someone else will take a portrait,

00:18:45

but I wanted to go to another category and I

00:18:49

purposefully tried to

00:18:52

refuse some stories at first, then

00:18:56

Stella Fairy, there were categories left that I

00:18:58

really love, this is jewelry,

00:18:59

even the fattest one

00:19:02

where there is where there is where there is where to roam,

00:19:05

and after what 2

00:19:09

when we had a crisis always 8 4

00:19:16

probably after 14 until there were fewer and fewer

00:19:20

of these jewelry shoots,

00:19:22

they just disappeared on their own and I had

00:19:28

fewer of them, that is, I forcibly

00:19:31

transferred myself I fought in another category for

00:19:33

the fact that I can shoot people, they only

00:19:39

stillife stillife I still probably

00:19:40

love it, but I

00:19:46

love it with a good team with a good idea, they

00:19:49

just won’t do it for money, for a

00:19:52

lot of money boom, well, can you now

00:19:55

tell me how you were able to

00:19:57

move on? from shooting from the mark, let’s say

00:20:00

still life of the photographer to shooting the

00:20:03

strength of the buff, it’s like it’s clear, that

00:20:06

is, the

00:20:07

shooting both sat down now I’ll tell you

00:20:09

how this happens, the mechanism, the thing is that

00:20:14

I probably understood how the

00:20:18

actress who comes to the shoot feels,

00:20:22

she wants to like herself, she needs to understand

00:20:25

that an actress separates herself from cinema and

00:20:29

photography

00:20:30

very much; a film actress can be

00:20:32

anything, but she can be older than her

00:20:35

age, but maybe with different

00:20:37

facial features, she can be without makeup with

00:20:40

different hair, whatever because

00:20:42

you are her role, she is filming, she wants to be

00:20:44

yourself and she wants to be cool and

00:20:48

accordingly when some

00:20:50

photographer took a good photo of you 1 1 2 1

00:20:53

then the third time you ask this

00:20:55

photographer you simply set your

00:20:57

conditions for this photographer to shoot me,

00:21:01

here it turns out to be a kind of vicious circle, there

00:21:03

is a pool of actresses and there are two photographers

00:21:09

who are taking them off, it’s

00:21:13

almost impossible to get there, you don’t need to

00:21:15

get that one chance and let’s just say

00:21:19

don’t crap yourself, it’s Danil heads and you

00:21:22

no no, I think that it’s better than anyone who

00:21:27

removes heads on caps, I generally

00:21:30

think yes, I generally think these are my two

00:21:32

favorite

00:21:33

photographers and accordingly, when you

00:21:37

get such a chance and you do it

00:21:41

well, then those are the same heroes for whom

00:21:45

communication with the photographer is important so that

00:21:48

it is comfortable, so that it is fast, so that the

00:21:51

light is complementary money disfigures

00:21:54

them and that’s when, if you

00:21:56

succeed, they remember you but it

00:21:59

was not easy way and let’s say there are

00:22:02

some personalities in our industry

00:22:04

who have influence on the heroes and can

00:22:09

advise you, I won’t reveal

00:22:12

the names, but this is a stylist and what kind of

00:22:15

people are they in this wing of the profession, yes, these are

00:22:19

all from the industry, stylists and makeup artists, and

00:22:22

so on, you can just for people

00:22:25

who don’t really understand how

00:22:27

glossy magazines work in principle, well, that is,

00:22:32

I understand that now

00:22:34

I’m repeating myself a little, I’m Kaguya,

00:22:36

let me quickly tell you, I’ll also tell us in

00:22:38

which magazine at some time I worked

00:22:40

in non-glossy ones and we’re just like

00:22:42

you she told me that in principle the

00:22:44

rider cheese and dax were jumping and due to the fact that, in

00:22:45

principle, the art director takes his team,

00:22:48

he first works in one magazine for some reason, there is

00:22:50

one in Russia or it was at

00:22:54

that time exactly 2000 2002 under 2015

00:22:58

exactly people jumped the magazine well,

00:23:00

but every two or three years

00:23:01

our teams didn’t stay

00:23:05

for long, they found out how it usually happens,

00:23:07

as far as I understand, in European

00:23:09

countries in America and so on where people

00:23:10

sit in their places and our

00:23:13

teams are always jumping, they undertake to be the

00:23:15

whole team, including the

00:23:17

photographer and it turns out that if you

00:23:20

work there in the direction of gloss, I found out

00:23:22

and you already have some good

00:23:25

contacts there, for example with the director or with

00:23:27

photo editors

00:23:29

with the editor-in-chief with someone, then this

00:23:33

person will most likely take over for you if you

00:23:35

have a contact

00:23:36

the next place and very often this is a chance it

00:23:39

turns out that you even have this with and you yourself did

00:23:41

n’t seem to do anything for this, that

00:23:43

is, you worked with these people you didn’t

00:23:45

like the threads they took them to another

00:23:46

digital magazine, then another magazine then in a

00:23:48

third magazine and so on it turns out

00:23:50

that you kind of weigh the cycle, this is

00:23:54

one of one of the ways how people, roughly

00:23:58

speaking, in this magazine

00:23:59

and the photographer, including travel and

00:24:01

work there, but still there is, for example,

00:24:04

if we now go deeper into

00:24:06

photographing

00:24:08

celebrities that I know about only from a

00:24:11

commercial point of view, and there are completely

00:24:12

different rules in the glossy world, well, that is, it

00:24:16

happens that celeb says,

00:24:18

for example, magazines I don’t know [ __ ] or there’s

00:24:23

Marie a clerk with anyone, that I

00:24:26

just want to shoot with this photographer for a

00:24:29

shoot and that’s it, and this often happens and a common

00:24:32

story among top gun Livs, yes, for me, you

00:24:38

said correctly that you get

00:24:40

used to working with someone, then this art

00:24:42

director or fashion director or style director

00:24:45

moves to another magazine and he

00:24:47

calls you and yes, it worked for me, but

00:24:50

it worked for me and in the opposite direction

00:24:52

because there is someone who, for example, communicates well with

00:24:55

you, smiles at you behind your back

00:25:00

and doesn’t love you behind your back and won’t let

00:25:04

me in, there are some magazines where they don’t let me in for

00:25:06

some reason, even though you people

00:25:09

haven’t even really worked with me

00:25:11

Nicky Label is doing my story rather, and the

00:25:16

magazines were calling me, but to a greater extent, what’s

00:25:19

happening now is that the hero is calling me,

00:25:23

that is, he insists that it’s

00:25:25

me who films,

00:25:28

for example, the incredible story with Natasha

00:25:31

Vodyanova, which I filmed once and

00:25:36

it was very quick shooting,

00:25:39

probably an hour and a half, she just walked up

00:25:42

to the laptop and said Olya, you

00:25:48

will now shoot all my covers, I

00:25:50

thought it was a

00:25:51

serious joke, but I was very pleased, but

00:25:54

six months later I was offered a big

00:25:56

big project for Marie Claire

00:25:58

with a cover with Natasha and she called me

00:26:01

that is, it really works

00:26:04

correctly, they say first you work

00:26:06

in your own name, then and the name works for you

00:26:09

because now some

00:26:14

actresses come to the shoot that they asked me for,

00:26:17

for example, I already shot this actress,

00:26:20

I had two such cases, they did

00:26:23

n’t even remember this, they asked me

00:26:26

only because their other friend

00:26:29

said that it was an awesome shoot and was filming the

00:26:31

stupid new Volkov and suddenly

00:26:33

everyone stupidly wanted Volkov’s leg

00:26:35

and didn’t even remember that they had already

00:26:37

filmed there with me many years ago, so

00:26:39

this is some kind of word of mouth,

00:26:41

she’s definitely there, well

00:26:44

I won’t hide it because it is, I don’t know whether it’s

00:26:46

good or bad, the main question is what do

00:26:49

you do for this on the set on your own,

00:26:53

like, well, that is, I understand that it’s

00:26:55

very difficult to explain, but

00:26:57

please try, it’s very interesting, that is,

00:27:03

how do you find a common language celebrity

00:27:05

who for the most part, in my

00:27:08

experience, are quite capricious people, not all of them, not

00:27:13

all of them, but not on top of that, they are all different, they are

00:27:16

all certainly secondly, some people have

00:27:19

whims that are really

00:27:22

justified by something, I understand why they are

00:27:25

asking for something like this from someone they break through

00:27:29

just by the way, it’s much less common and it’s more

00:27:31

often not such top stars, so they are

00:27:36

more capricious and show off

00:27:38

and you just kind of stand there and think what am

00:27:41

I doing here, we

00:27:42

shouldn’t have met, I don’t, I don’t

00:27:48

know what I’m doing, maybe this is what - to

00:27:51

be honest, I have a very mutual feeling with everyone who calls me,

00:27:56

that is, everyone who

00:28:01

will say something good about me and why they

00:28:03

love me, I’ll probably say the same thing about all of them, it’s

00:28:06

just a coincidence well,

00:28:10

plus I’m somehow very tactful, I

00:28:15

understand that firstly it has to be fast,

00:28:18

I can’t torture our rice for a

00:28:21

long time since I, for example, can

00:28:24

do this with a model because they have

00:28:28

everything arranged differently, firstly you need to

00:28:30

understand that this is a model, this model is

00:28:33

generally separate creatures from a separate

00:28:36

planet, we generally just take them as a

00:28:38

separate category, we take everyone else,

00:28:40

we take them just like ordinary people,

00:28:46

firstly, quickly, and secondly, they themselves know I

00:28:49

always ask, for example, the working

00:28:52

side,

00:28:53

I can rearrange the working side for the working side,

00:28:55

after all, the whole world that is, I am quite touching

00:28:58

about some of their

00:29:01

troubles, but at the same time I can stand on something

00:29:04

and it works when they

00:29:08

trust you, but if they don’t trust you, then I

00:29:10

couldn’t do anything, but if they

00:29:12

trusted you, then you

00:29:15

can carefully carefully

00:29:17

spin it more and more into some more

00:29:19

daring story that you are trying to be

00:29:25

friends with these people, unfortunately I don’t know how,

00:29:29

I would really like to, that is, you need to understand

00:29:32

that most of them are so

00:29:33

charismatic that they come in and

00:29:35

start telling something and you

00:29:37

just you’re just a magnet there,

00:29:40

you’re just so fascinated, I’m still

00:29:42

very amorous,

00:29:44

well, that is, I can fall in love right from the first sight of

00:29:47

this person, it doesn’t matter whether it’s a

00:29:48

man or a woman, I’ll listen, I

00:29:50

’ll be fascinated,

00:29:52

and being friends should somehow

00:29:57

develop by itself I’ve never tried to

00:29:59

kind of

00:30:01

stand on the same

00:30:04

level and try to communicate, no, I’m ready to

00:30:07

very modestly remain in the shadows as just a

00:30:11

photographer, but I’ll be happy just because they

00:30:13

trust me and let me shoot,

00:30:15

what more do I mean being friends for

00:30:18

shooting even that’s exactly

00:30:20

what and what if a person doesn’t make contact with you

00:30:23

and you leave him as he is

00:30:25

and take him off as he is and

00:30:27

try to do something like this, as

00:30:29

it usually happens, or they always

00:30:31

ban him in different ways, which is always much more

00:30:33

first of all the most ideal case is when

00:30:36

you immediately matched, you just

00:30:38

felt each other and here, by the way, to be

00:30:40

friends, she’s already further your relationship is

00:30:43

somehow torn apart, and there are people who,

00:30:48

in principle, you don’t immediately like and you

00:30:50

just behave like a professional,

00:30:53

communicate very politely and do your

00:30:56

best but probably there is no such soul there,

00:31:00

there are people whom you admired

00:31:06

and very quickly became disillusioned, there are people who are

00:31:09

closed to him, you won’t get through no matter what you

00:31:12

do, but for me it was

00:31:15

unusually very easy with men

00:31:18

because I’m like this, a little bit

00:31:20

strange, this is my manner communicate but

00:31:23

this and everyone at once melts a little and

00:31:26

is afraid with them better not that’s why I think,

00:31:28

of course,

00:31:29

different ones are more important for them these charms don’t

00:31:31

work they’re women another why

00:31:35

they work they just need to understand different

00:31:41

two different planets a man and a woman are not

00:31:43

inexplicable it’s just with me

00:31:46

In principle, it’s easier for men to set the light,

00:31:50

the more brutal the harsher the

00:31:54

better, less retouching, don’t

00:31:57

think about

00:31:58

having a super complementary light, but I’ve had

00:32:01

cases where I’m doing this and that, and

00:32:04

very carefully from people, they’re just

00:32:06

closed and won’t let in and Afterwards I won’t

00:32:09

say who it is

00:32:10

and I thought that this shooting was a failure, but for

00:32:13

me this person is just a cult

00:32:15

personality, I really dreamed of filming him,

00:32:19

I was very upset, it seemed to me that

00:32:21

the shooting was a failure and when I came home

00:32:24

from looking at the pictures, I realized that

00:32:27

awesome portraits with such a look

00:32:29

because the person was absolutely

00:32:31

closed, he didn’t let you in, he somehow very

00:32:34

practically didn’t even

00:32:36

talk, and that’s why I’m for

00:32:39

just being an observer and if a person does

00:32:42

n’t let you in, he doesn’t need to be more comfortable, that’s

00:32:45

how

00:32:52

I honestly admit It's been a while since

00:32:55

I had a period of such small star glasses

00:32:58

when they put them up like that, it's really good, well, that

00:33:01

is, you've already started

00:33:03

to get something done, you understand, for example, what

00:33:06

is needed, I can now just

00:33:08

list on my fingers that it is not necessary

00:33:09

for the shooting to turn out well, let's go good

00:33:13

preparation, I need my team, good

00:33:16

preparation, a good idea, and working out

00:33:19

cool locations so that I know

00:33:23

what’s going on, and then I can

00:33:27

completely deviate from this

00:33:29

vector for shooting, improvise, and when you

00:33:32

suddenly have in your head a certain formula for

00:33:36

successful shooting, you you feel

00:33:38

confident, therefore,

00:33:41

different teams come, all with different

00:33:43

budgets, before magazines,

00:33:45

there is someone who has not worked with you and you

00:33:48

communicate with him exactly at the same level as

00:33:50

if you were communicating with your

00:33:52

usual team and people don’t understand a little

00:33:54

and I can’t feel this moment

00:33:57

tough, rude, because

00:34:00

of this, by the way, many people don’t like me,

00:34:02

they can be very demanding and I

00:34:06

can attack the producer, why

00:34:09

not this studio, I don’t understand, they

00:34:12

shoot everything there, I don’t shoot, that is, I

00:34:13

started to behave quite harshly, and

00:34:17

my friends began to notice it and the

00:34:20

relatives who were talking came

00:34:22

home, he took off the correspondent, but because I was

00:34:27

already at home, too, it was as if

00:34:29

fate was giving me a good smack because

00:34:33

I had a moment when suddenly everything

00:34:35

calmed down,

00:34:36

I allowed myself on Instagram to

00:34:39

speak out very boldly, boldly speak out

00:34:40

about fashionable young and successful

00:34:43

photographers,

00:34:44

thus I perfectly understood that they did

00:34:47

not hurt the feelings of

00:34:49

these young photographers and hurt the

00:34:51

feelings of their colleagues, for example, stylists

00:34:53

who began to shoot with them not with

00:34:56

me, well, that is, I allowed myself a number of

00:34:58

actions

00:35:00

that at some point sus clap

00:35:02

voice and my frantic busyness suddenly

00:35:05

disappeared, I realized this very well and I

00:35:09

suddenly realized that I couldn’t sit without

00:35:10

filming, I simply couldn’t live without

00:35:13

filming, and for the birth I took it off, put it in a locker,

00:35:17

closed it, started communicating with

00:35:20

people differently, first get started for everything that I had

00:35:23

already refused for a long time and fate saw

00:35:28

that I accepted the lesson and returned the letters

00:35:30

back to me, so probably this

00:35:33

self-confidence of mine will be an

00:35:36

impostor syndrome that alternates with

00:35:38

outbreaks of star fever, which you need to

00:35:41

realize sometimes that you

00:35:45

have gone too far before, perhaps taking into account now let's

00:35:48

talk about competition in your world,

00:35:52

first of all, I'm very interested in

00:35:55

competition and your competitor and

00:35:57

it sounds in your field specifically, who do

00:36:01

you consider your competitors,

00:36:02

you look at someone somehow, you probably get

00:36:04

inspired because we are

00:36:05

competitors, you need to be inspired, as if

00:36:07

because this one is yours the engine

00:36:09

it gives you in self-development further

00:36:12

constants so on if there are no

00:36:14

competitors then it’s like a business business

00:36:17

there is no competition that’s all and the second slightly

00:36:22

more distant question could you, with

00:36:26

your level of your portfolio, be a

00:36:30

successful photographer in Europe like this

00:36:32

if we take only the photographic

00:36:34

part and and this is probably wrong

00:36:37

because it’s all together, we

00:36:40

just talked about communication with our

00:36:43

team,

00:36:45

I’ll now tell you some of my observations,

00:36:52

I was lucky enough to shoot, for example,

00:36:56

some French actress

00:36:59

there, I shot Banderas,

00:37:02

I shot some kind of fashion in Milan

00:37:05

completely with Italian production, that

00:37:09

is, I had some experience of getting there

00:37:12

or at locations, it

00:37:14

would just be when your subject of shooting is not a

00:37:19

Russian person, it’s all different

00:37:25

as it is now, I’ll explain I would really

00:37:31

like to see how I would be if I were

00:37:34

n’t nervous and next to I wouldn’t have had

00:37:37

an IV before because it’s clear from the fact

00:37:40

that I photograph Hollywood stars,

00:37:43

if I were with the dead there, I

00:37:47

would film them as best as I can, I

00:37:51

would be very interested in seeing this

00:37:55

because I would really like them too

00:37:59

a little different

00:38:02

they are very involved in the process they are

00:38:08

different faces you need this you need to

00:38:12

understand for sure that it’s just different

00:38:14

another face there is different speech therefore

00:38:17

different facial expressions other facial features

00:38:19

French Italians I don’t know American it’s

00:38:22

just everything is different and maybe we do

00:38:28

n’t relate to ourselves that way but this is what Asian

00:38:32

market, yes, they cling so much to Slavic faces,

00:38:35

extinguishing for them something that they

00:38:37

don’t have, we also cling to what we have and

00:38:41

don’t pay attention to what we have, I do

00:38:44

n’t evaluate myself in any way in relation to

00:38:47

world photography because it’s stupid I

00:38:49

would like to have a daughter, I really like to

00:38:51

dream, I don’t even have it

00:38:53

ready, I also often tell me there is a

00:38:56

ready speech for receiving an Oscar, that’s

00:38:59

what I needed it for, it’s been around for a long time

00:39:02

because I’m such a dreamer and that

00:39:04

probably suits me, I kind of

00:39:07

dreamed, so what? it would be great it’s

00:39:10

like it happened to me even once I was

00:39:12

late for a meeting don’t answer the question at all

00:39:14

then cut it out now I’ll quickly

00:39:16

tell you and I was late for the meeting and my girlfriends

00:39:18

explained listen you know I was late

00:39:20

because I was on Helen’s show but

00:39:24

she was interviewing interview you know yes

00:39:27

which Helen show but thousand I really

00:39:31

just had a thing in the bathtub I introduced myself that

00:39:33

she was interviewing me and I really

00:39:35

told her about something I told her about

00:39:37

Moscow traffic jams about how I was driving from the

00:39:40

shoot well just that’s what she would have

00:39:43

It’s interesting that she’s never been to Moscow and

00:39:45

in short, I was so immersed and that I

00:39:48

had the feeling that I really had this

00:39:51

interview, it doesn’t mean that I’m like that, it’s

00:39:53

crazy, I think that someday

00:39:56

I’ll have all this, no, I’m like

00:39:58

I experienced it and it’s kind of cool, it’s

00:40:01

cool for me that I can immerse myself in

00:40:03

some kind of separate world of my own and

00:40:04

experience it there, so I’m very scared, for

00:40:07

example, to imagine something that I sometimes

00:40:11

dream and could become a reality, that’s why

00:40:13

I can only imagine it from an

00:40:15

IV with nurse and I won’t give you goals you’ve

00:40:20

never set for yourself, what would you do

00:40:22

not touch yourself outside the Russian market

00:40:26

damn it, of course,

00:40:28

otherwise it doesn’t make sense and if you don’t

00:40:31

set yourself the most ambitious goals of course I

00:40:34

want to shoot Hollywood stars I want to

00:40:37

shoot Cumberbatch I want to shoot exactly

00:40:40

Atkinson damn, yes, I want to, why not, but

00:40:46

weighing all the pros and cons, but I understand that, well, the

00:40:49

percentage is minimal, but

00:40:52

why not, even if it’s one

00:40:54

percent, reason can happen, so I

00:40:58

think we should generally allow ourselves to

00:41:00

dream so boldly, and we should probably

00:41:03

set goals as grandiose as possible

00:41:06

let's go back to Russian to our

00:41:09

guys before to your competitors

00:41:11

the trees of those you follow Kim you

00:41:14

are inspired by them in fact there are not so

00:41:17

many of them I realized that I am like that horse

00:41:22

that only runs when it sees

00:41:25

another horse nearby, by

00:41:26

itself I am not interested in running

00:41:29

so I I absolutely agree with you that

00:41:31

competitors are the engine of our development

00:41:35

only when you see someone’s

00:41:38

horse’s butt,

00:41:39

walk or hear breathing from behind, only

00:41:42

then do you start running more actively,

00:41:45

I really love giving heads to

00:41:48

I just saw him break it inside and out and

00:41:54

I think that the man has broken himself so much

00:41:59

in this, he has found his strong

00:42:04

side and has multiplied it

00:42:07

and he doesn’t stop, you know, he

00:42:10

just understands that here we are,

00:42:12

crossing paths somewhere in the studio, starting to

00:42:14

talk to him and we just seem to be

00:42:16

some kind of us amateur photographers and we want to

00:42:20

learn something and even tell each other

00:42:22

people I don’t know, I give

00:42:25

master classes, they don’t have such

00:42:27

fire and zeal and the desire to talk so long and a

00:42:31

lot about photography like

00:42:32

we did from the head, well, who just

00:42:34

crossed paths for three seconds at this is not enough for me to

00:42:36

start talking about what technical things

00:42:38

he’s talking about or like Zhuravlev who

00:42:40

can come to me and say that your tripod

00:42:41

for the night is also antediluvian, look mine

00:42:44

maybe like this like this like this and like this

00:42:47

I say yes we’ll give it back very well then I’ll

00:42:49

also tell you about the vacuum cleaner dyson will later

00:42:52

tell you that of course

00:42:54

the BMW was simply better than the Jaguar and so on, that’s why

00:43:00

I really love the heads because it

00:43:03

doesn’t stop and it’s constantly the

00:43:06

worst thing is that you see it all from the inside,

00:43:09

you know how someone to someone then he

00:43:12

smiles

00:43:13

with his eyes and says nasty things, I know perfectly well

00:43:15

that they say that about me too, and

00:43:18

despite this, he’s still a

00:43:20

very good person, so he’s right-wing, I don’t

00:43:23

know, he’s not friendly at all, I don’t know how to wear

00:43:26

caps, he’s just a guru of light, that’s

00:43:30

what he does this is just in general I

00:43:33

look at the picture of me right away like this and

00:43:35

I see 2 tops well that’s just bravo I

00:43:41

really love Vasilchikov he’s special

00:43:45

one so also cinematic characteristic I see

00:43:49

when they give him a story that’s not his,

00:43:53

sometimes it’s clear that he’s interested in what’s

00:43:55

not interesting but where he is,

00:43:58

I don’t know, just like

00:44:01

Dim Zhuravlev’s songs, of course, who else among the young people

00:44:06

probably won’t invite anyone, I can’t stand

00:44:08

everyone, arrogant,

00:44:14

lazy, self-confident,

00:44:20

ill-mannered, some are simply

00:44:23

disgusting, there are prom girls about us being

00:44:26

disgusting, no, I can’t do it myself

00:44:28

aesthetics, that is, I’m just I saw

00:44:30

in someone’s stories how a certain

00:44:34

very famous photographer, by the way, I

00:44:37

have very good shots, just like that, really

00:44:39

good there, cool, but in order to take

00:44:43

some frame, she climbed onto the

00:44:45

assistant’s shoulders, she just knocked it out, but you yourself do

00:44:49

n’t like everything, it seems to me this

00:44:52

device may be just some kind of

00:44:55

youth and I’m already like that, but among them I do

00:44:59

n’t like anime as individuals, but I can

00:45:02

admit that this one has cool photography

00:45:05

here, unfortunately, but I have to

00:45:07

admit, it’s also awesome photography, that

00:45:10

is, they are talented and they are a little

00:45:14

narrow-minded and I forgot to say I

00:45:17

really like Jabiev, here he is, he’s just one

00:45:20

of the young ones who’s really super

00:45:23

strong,

00:45:24

I see that he cares about the light and

00:45:27

I always see when a photographer works with

00:45:29

light and when he doesn’t work with light

00:45:31

at all and he has such a good good

00:45:37

balance between power and some kind of

00:45:41

real photography and even sometimes

00:45:44

some very powerful stories

00:45:45

shoot through him, but again he has his own

00:45:48

specialization, that is, for

00:45:51

example, I haven’t seen a single portrait of him like that,

00:45:54

but

00:45:56

if you remove

00:45:58

a just imagine the situation that

00:46:00

the heads, but all these other guys

00:46:02

that you listed, I’ll say like,

00:46:03

we’re all tied up with photography and you

00:46:06

don’t have cores that are running next to you as you

00:46:10

develop further, what do you really

00:46:11

say very often, names for you are

00:46:14

very like that strong landmarks

00:46:15

but all these landmarks will now go away and

00:46:17

then where will you go first they wo

00:46:20

n’t go anywhere

00:46:22

hypothetically you like to fantasize about

00:46:24

wipes this is zira you know

00:46:28

such a designer john varvatos came

00:46:30

and did a lot of filming with him and it so

00:46:33

happened that I was filming for two days in a row

00:46:35

I’ll cut it alone or yes, I’m not enough of you Jack

00:46:40

and on the second day he came and again me and the

00:46:43

woman who was cinemascope look

00:46:46

look the same girl rock I

00:46:47

got rid of all the other photographers

00:46:50

[laughter]

00:46:56

if they are not in the first place and there are no irreplaceable ones

00:46:59

and they will appear someone and they still

00:47:02

appear, it’s just that it’s really close to me with them, what

00:47:08

they

00:47:11

do is not even my style, we’re not

00:47:13

interested, but what the young

00:47:17

people do, not everything is interesting,

00:47:20

or rather, even this style is,

00:47:24

you know, when the designer made what -it’s a

00:47:25

cult thing and everyone goes and everyone

00:47:29

wears this thing and then the bass is like that

00:47:32

overnight and it became unfashionable and everyone

00:47:35

knows what it is, but it’s from 2016, right

00:47:41

now the photos are exactly the moment

00:47:43

when a very bright

00:47:45

style appeared, but it reflects our time

00:47:48

and in five years we will all know that they

00:47:51

filmed it like this in 2018, and

00:47:56

Lindbergh will be watched as if in

00:47:59

ten years in 20 years, so I am interested

00:48:02

and

00:48:03

interested in those who are trying to capture something

00:48:07

more than just a fashionable picture, well,

00:48:10

that is, the authorship of the kingdom jump

00:48:12

some unusual handwriting it's not very

00:48:16

interesting we have a little time table that I

00:48:18

would really like

00:48:20

to get a taste of your shooting from a super

00:48:23

short question can you just ask

00:48:25

if it's a direct question [ __ ] we won't even

00:48:28

discuss it look European

00:48:36

photography fashion photography glossy

00:48:39

photography a

00:48:40

place where there are major designers and

00:48:44

clothes are created, a style is formed and

00:48:47

big money is earned, and where there is a

00:48:49

market, about the same history of the USA

00:48:52

before it was founded, which was able to appear

00:48:57

Lindbergh and so on, it seems that this is a

00:48:59

rather large machine that can

00:49:02

accept many photographers and the most

00:49:06

important thing is that it’s clear why this is

00:49:08

being done because the industry is big

00:49:09

food and it somehow makes money

00:49:11

and will give the image of the country the market and so on in

00:49:15

Russia the fashion market,

00:49:17

well, I don’t know, probably not, and the

00:49:22

feeling from the

00:49:24

Russian gloss and Russian fashion is that

00:49:28

it is not fueled by the

00:49:33

industry but they are fueled by people who

00:49:36

can do this, quite a

00:49:38

limited limited circle of people

00:49:43

who have the opportunity to do this, have

00:49:46

you tried to analyze whether this is

00:49:48

really the case or are we still moving towards

00:49:50

something more, to the formation of

00:49:51

some kind of market, or is it still like, well,

00:49:55

how I don’t know, such a privilege is shorter for

00:49:59

several people and all in Russia, and is it worth

00:50:03

it for a young photographer to think

00:50:05

that I’ll go into fashion

00:50:07

and there will be more in the future, or still not, but I

00:50:13

analyzed it, and this is probably what

00:50:17

I try to tell most often, for example, to

00:50:20

students at the master’s. classes because

00:50:23

there are whole courses of fashion

00:50:26

photography and so they come there and I

00:50:30

usually when this small group of 12

00:50:32

people I uk

00:50:33

ask everyone why he came, what he

00:50:35

wants to shoot who is his favorite photographer to

00:50:37

understand the audience further to feel and

00:50:40

most often people say what I want to

00:50:44

shoot fashion,

00:50:45

you’re asking a question, do you understand what

00:50:47

fashion fashion is, this fashion is the sale of

00:50:51

clothes over

00:50:52

there in the West, this is already a whole

00:50:55

industry that’s really powerful, but here,

00:50:59

if you want to shoot fashion for a

00:51:01

magazine, then you often depend on, for

00:51:06

example, an advertiser, and that’s who we

00:51:09

shoot cover

00:51:10

but then you bake all these names

00:51:12

that we’ll say but we must have I do

00:51:15

n’t know jewelry such and such

00:51:18

underwear such and such and there clothes such and such

00:51:22

because these brands paid to

00:51:24

be on the cover and sometimes these brands

00:51:28

make not very nice things

00:51:31

after all, everyone knows that cool expensive

00:51:34

clothes really

00:51:35

look better in the picture most often, that’s why we have

00:51:39

fashion, it’s not quite real,

00:51:42

you can’t really compare it with their

00:51:46

history with their approach, and when people

00:51:49

say I want to shoot the same computer

00:51:51

as the heap or is it true I say that you

00:51:53

want it,

00:51:54

our clients don’t have it, we don’t have

00:51:57

anything about it, and there isn’t even anything close to it

00:52:01

with such a powerful concept where they

00:52:04

allow themselves to be

00:52:05

creative, create and captivate people into their

00:52:09

story into their brand, we do

00:52:12

n’t have that the point of all of us is small, let’s say

00:52:16

selling a brand to them is no longer up to

00:52:21

history when you don’t depend on the

00:52:24

audience when you can choose your

00:52:26

audience we are all oriented here she is a

00:52:29

simple girl just like you

00:52:32

she should want to buy it so

00:52:36

it’s

00:52:38

a little bit of a game 2 fashion industry

00:52:41

which does not exist and everyone is very

00:52:44

disappointed when they come to study

00:52:46

fashion photography they think that I will photograph some

00:52:49

company and it will be so cool but it won’t

00:52:53

be because we haven’t grown up with a client yet

00:52:55

and even if we remove fashion photography

00:52:58

advertising the same Our biggest failure is that we

00:53:03

don’t have cool advertising that

00:53:06

could be classified as art, but in

00:53:08

the West, for example, there are such shootings and

00:53:10

such videos, there are Cannes Lions, we

00:53:14

will have all this for a very, very long time to

00:53:17

develop, that is, before they all need us

00:53:22

and they you yourself must, about the client,

00:53:24

grow to such a level, that’s all, I

00:53:29

understand correctly that well, that is, it all

00:53:31

sounds a little sad, that is, you

00:53:33

do cool things, you communicate with

00:53:37

cool people, you work with cool

00:53:39

people and buildings, and all this

00:53:41

is actually some kind of... then with such a

00:53:43

game, how do you escape from this,

00:53:47

that is, your personal projects,

00:53:50

this is part of salvation, the end is about to come,

00:53:53

creative shooting is about this, we’ll

00:53:57

talk about this, we’ve just done some shooting,

00:53:59

then tell us how you came up with this idea,

00:54:01

how I’ll tell you, and here the story begins

00:54:07

with different sides, on the one hand, I came

00:54:12

to a nickname with some kind of dead ends, it was

00:54:15

precisely in photographic terms that I needed to learn something

00:54:18

new,

00:54:19

to learn to feel, and we studied law

00:54:24

together with Sergei Romanova, you can

00:54:25

draw on photographs for many years,

00:54:27

I turned to him, I went

00:54:29

just to study this process, I

00:54:33

’ll say right away that I’m an absolute beginner and it’s

00:54:38

very difficult to cope with all this on my own without laboratories,

00:54:40

but here, of course, Seryozhe

00:54:42

helped me in terms of the fact that there was no studio,

00:54:45

chemistry laboratory, and so on, but I

00:54:50

began to study the process of shooting something on

00:54:53

glass how it happens there in general

00:54:57

and everything is geared specifically to the technique and

00:55:00

then absolute magic happens there, the

00:55:02

magic is precisely that the process is

00:55:04

unpredictable you don’t know how

00:55:06

the deck will be poured you don’t know kept it

00:55:10

there for a split second longer the developer

00:55:12

some kind of spot appeared there and it

00:55:14

cool or she ruined everything, that is,

00:55:17

technically it is very complex and subtle, but

00:55:21

at the same time the process itself

00:55:23

captivates and fascinates you so much and you are ready to

00:55:25

come to terms with the fact that all your generally

00:55:27

acquired photographic skills are

00:55:30

no longer needed, that is, they are needed when

00:55:32

you have mastered this technique

00:55:34

second story this is my friend stylist

00:55:39

Ksenia Dorkina who is interested in

00:55:41

all sorts of mystical themes this is her idea

00:55:44

to do a photo shoot in passport style this is the

00:55:48

nineteenth century there was such a tradition

00:55:50

when someone in the family died it was necessary to

00:55:53

capture this person or even better to

00:55:56

take a photo with him and

00:56:00

sometimes they they even did something where

00:56:02

they drew eyes with their eyes closed, but this is still in

00:56:05

general with ancient Egypt, it’s all

00:56:09

such a multi-layered tradition that goes back there,

00:56:14

and when she told me, I

00:56:18

realized that it would be cool to do it in a

00:56:22

real way, it would really

00:56:24

pay off because it was

00:56:26

done back then daguerreotype then you

00:56:28

go through this gimbal this gimbal camera,

00:56:35

moreover, this shooting was shot on my

00:56:39

gimbal I myself, I bought a gimbal for the world

00:56:42

thanks to Seryozha and I have it, it’s from

00:56:47

the beginning of the twentieth century, Japanese in

00:56:49

perfect condition, it just

00:56:51

folds into something like this and

00:56:54

even unfolds there there is a magnesium flash, I don’t know

00:56:57

how it’s possible to use it, well, in general, it’s

00:56:59

some kind of

00:57:00

just a treasure,

00:57:03

and the story was to imitate

00:57:08

with the help of technology, with the help of drawn

00:57:11

eyes, with the help of very simple poses, the

00:57:15

feeling of that photograph, but at the same time

00:57:18

dress people in modern clothes.

00:57:20

collection,

00:57:22

that is, we were counting on the fact that we

00:57:24

would do a creative shoot and, as usual, I

00:57:28

do with creative shoots,

00:57:30

we went, well, we’ll send it to some

00:57:33

foreign children, but

00:57:36

someone will take the digital magazine for them, of course,

00:57:39

for free and just publish this

00:57:42

shoot not no one took it, we simply offered it to

00:57:45

everyone who was possible, despite the fact

00:57:48

that at that time there was a current

00:57:50

collection that was fresh, this is always

00:57:52

of interest to everyone, that is, it was a brand new

00:57:54

season fin de produto there is a trestle there, but

00:58:00

no one liked it and this shooting lay around,

00:58:03

it turns out that it’s practically

00:58:05

I was filming for two years in May 2018, it’s a

00:58:10

very interesting process, it’s very funny

00:58:13

that people are in the frame, well, probably

00:58:19

more and more than 10 seconds, that is, it’s

00:58:25

such magic, you just take off the cap

00:58:27

and count 10 seconds and people shouldn’t

00:58:30

move, then you put the cap on and

00:58:32

that’s what happens in these 10 seconds,

00:58:34

it is not clear here the experience and and I have developed for

00:58:38

this nadushka here seconds up to 100

00:58:40

lumens and due to the fact that little light falls

00:58:42

it yes yes yes yes yes and I have developed such a

00:58:48

technology that I no unlike

00:58:51

our usual process I I didn’t look

00:58:53

at the models, that is, you initially

00:58:55

put them out, and then when I took off the lid, I do

00:58:58

n’t look at the models so as not to knock them down,

00:59:01

as if to not breathe, not to blink, although even

00:59:04

if they blink, it won’t be visible

00:59:06

because it’s just something that

00:59:09

appears before everyone’s eyes and that’s all, and

00:59:11

it’s very funny, it’s some new

00:59:13

sensations

00:59:14

and it’s really cool and I want to continue

00:59:18

doing something like this, but it’s

00:59:21

extremely

00:59:22

inapplicable in any way in silence and gloss,

00:59:27

such a narrow focus,

00:59:30

why discuss another shoot, a very not

00:59:32

very interesting shoot with Dima Ignatov

00:59:37

for which, as I understand it, you

00:59:41

got a little feminist, this whole

00:59:43

story I’m very interested in, first of all,

00:59:44

why you asked how the shooting seems to me

00:59:50

to stand out conceptually in your portfolio, I don’t know

00:59:56

why, how could it be stylistic,

00:59:58

maybe just from the introduction of some

01:00:01

kind the story of the training,

01:00:04

which was unusual for you, as it seems to me,

01:00:06

I’ll tell you again in general, this shooting is

01:00:08

very interesting, and firstly, I just

01:00:13

really love Dima Ignatov and I wanted to

01:00:16

do some kind of shooting especially for him

01:00:18

until this moment, not a lot of you twice once on

01:00:20

my personal a large project

01:00:24

where there are a lot of people, it was filmed for the second time by the

01:00:28

memory of generations for the entrance,

01:00:30

but here I just wanted to

01:00:34

come up with something for the story and we met in a

01:00:40

cafe with my team,

01:00:43

makeup artist Min Zubareva and a stylist for the village of

01:00:47

Shirokino, the one who just came up with

01:00:49

the post in March and started sketching out

01:00:51

some ideas and one thing clung to another,

01:00:56

it resulted in some kind of story about a

01:01:00

guy who caught a mermaid, did

01:01:03

she fall in love with him, did he fall in love with her,

01:01:06

then who is she really

01:01:10

because we have the final frame where

01:01:12

Dima is standing and he has an there's a

01:01:14

fish's tail sticking out of his mouth and we put exactly that in there

01:01:17

that I just got tired of and he ate it

01:01:21

seemed cool to me and plus Dime said

01:01:25

to Dime,

01:01:26

well, let's just do it naked with him, he'll

01:01:28

add this is a personal project, I

01:01:30

personally came up with a special idea for the lift

01:01:32

why why did he get it

01:01:39

does the last dime they

01:01:41

wrote to him some comments we

01:01:43

thought you were a Paralympian and therefore a

01:01:45

misogynist, what is it just

01:01:48

because he was holding her by the hair in one

01:01:50

shot, but it seemed to us that it was

01:01:53

very logical that if you caught a mermaid

01:01:55

but it would be but for something her husband in

01:01:57

the lead, they went there and pulled him out by the voice and

01:02:00

probably this is some kind of my personal approach that is

01:02:03

absolutely normal for me at the door

01:02:09

understands that I don’t believe at all not a

01:02:11

feminist and it seems to me that this is

01:02:13

some kind of very cool story about a

01:02:17

guy who caught a mermaid and It did

01:02:20

n’t work out for them in any case, I did

01:02:24

n’t want to humiliate anyone there and about the fact

01:02:28

that the female part is not the female part, it’s

01:02:30

some kind of mythical character, Dima was not

01:02:32

interesting and to show him like this, let’s

01:02:35

say even as a villain because he’s

01:02:38

terribly positive in himself

01:02:40

you just need to talk to him for two

01:02:42

minutes and that’s all, plus this is his one

01:02:47

leg,

01:02:48

for me this man’s energy is

01:02:51

simply stunning and this is the

01:02:54

fact that he doesn’t have a leg, I

01:02:56

actually don’t notice this as such a

01:03:00

given this is like his the uniqueness of Stolle,

01:03:03

although he does a lot of projects and

01:03:07

fights for us to

01:03:10

treat people with

01:03:11

disabilities normally, I photographed such guys without

01:03:14

legs without legs without arms and the coolest thing is

01:03:18

how when you treat them as

01:03:22

ordinary people, so I wanted to

01:03:24

make he’s just such a

01:03:27

brutal sexy villain who

01:03:31

caught a mermaid, plus I wanted to

01:03:34

make something like this a little bit like a set, that

01:03:37

is, not literally there are seas, something else, but some

01:03:40

kind of studio

01:03:42

let them put on a TV performance and

01:03:46

probably a signal question because

01:03:50

it doesn’t matter why look, you’re filming

01:03:54

these projects, you’re working with you, and so

01:03:56

on, but in reality you can

01:03:58

order a private shoot, just

01:03:59

now some girl will write to you on Instagram,

01:04:01

madam, I really want

01:04:04

to film with you, how real is it,

01:04:07

how can it look like.

01:04:10

under what conditions will you agree to this

01:04:13

story and how much does it cost

01:04:14

exactly private shooting

01:04:18

they write all the time yes of course you can I

01:04:22

send it to my manager who

01:04:25

voices a certain set my fee

01:04:30

average studio equipment if studio

01:04:35

makeup artist-stylist retouching clear set everything

01:04:42

is broken down by cost

01:04:44

such shootings happen but it’s extremely rare

01:04:47

because rarely anyone can

01:04:51

afford this and how much does it cost the whole

01:04:54

complex

01:04:55

well because you can tell me then and

01:04:58

then that I have a friend who really

01:04:59

wants to shoot for the flu where can I find a

01:05:01

great photographer and I’m like this republica I

01:05:04

need to use it

01:05:06

doesn’t work so let me

01:05:09

tell you the story that I had a project

01:05:12

Smith facility where they sold this shoot

01:05:16

in this light I was a stylist Masha

01:05:20

Kolosova and I was a makeup artist bobbi brown that

01:05:24

is, you could just buy this shoot

01:05:28

all the money went to a fund to fight a

01:05:31

certain disease

01:05:34

there is some nuances after which I

01:05:37

probably don’t really want to participate in

01:05:39

such stories, but there was a certain auction

01:05:42

that lasted a week, in the end this set

01:05:45

was bought by a certain girl for

01:05:48

190,000 rubles, I can say that in ordinary

01:05:55

life for that kind of money you can’t

01:05:57

get me and the whole team, this is not

01:06:00

enough but not very ok, but you

01:06:03

can, it’s very important, let’s just

01:06:05

try with everyone, too, little by little,

01:06:07

he talks about money because it’s wildly

01:06:08

interesting for viewers, you can at least

01:06:10

roughly say in general what is

01:06:13

happening in the gloss industry now in terms of

01:06:14

fees, bush by year, success, how much is

01:06:18

successful and glossy photographer

01:06:19

for photography, on average, don’t tell me

01:06:22

about what specific ones the wife is now,

01:06:24

in general, the average fee for shooting and for

01:06:26

the cover is that you just need to understand that

01:06:31

if you shoot for magazines,

01:06:34

you don’t earn very much money,

01:06:37

not very much at all, if we

01:06:39

compare with advertising from one very

01:06:43

famous publishing house, which

01:06:45

means a magazine page costs 57

01:06:50

thousand rubles, you may be paid for retouching,

01:06:54

they may not pay you, they may pay for

01:06:56

an assistant, they may not pay for the

01:06:58

studio equipment, everyone pays, that

01:07:01

is, there is even less money than before

01:07:04

5000, this was a million years ago, I

01:07:08

won’t name they are detailed prohibited ru1 the

01:07:13

closet was once in dollars, yes, I even

01:07:15

remember that I actually received it in dollars, for

01:07:18

example, a weekly one for a

01:07:21

story of 8 pictures

01:07:24

without a cover costs 20,000 rubles with a

01:07:27

cover 30,000 rubles

01:07:29

another weekly, the same exact

01:07:32

shooting will cost a little more about

01:07:33

fifty dollars individually, everything is very

01:07:38

individual, you need to work a lot

01:07:39

to earn normal money, and

01:07:41

you need to understand that some magazines

01:07:43

may not pay you for a year, you will be

01:07:47

knocked out, and you have already paid your

01:07:49

assistant, you have already paid for retouching and

01:07:52

but what is good about the work, why, for

01:07:56

example, the weekly My many

01:07:58

photographers

01:08:01

didn’t work for a very long time because it was considered not

01:08:03

prestigious and the weekly magazine, by the way, this is

01:08:07

probably a small piece of my success and I

01:08:09

never refused because it

01:08:11

was an opportunity to work with some

01:08:14

cool heroes, that is, I was not interested

01:08:17

in the fee, I was not interested in the format of the

01:08:19

magazine that it was a weekly magazine, that good

01:08:21

swear it’s worth that the shooting would look

01:08:23

just terrible, nothing interested

01:08:26

me, I wanted to shoot

01:08:28

some interesting characters, so I

01:08:31

always agreed,

01:08:32

and now, for example, this

01:08:34

weekly magazine is sometimes laid out and looks

01:08:39

cooler than some serious glossy magazine,

01:08:42

so everyone is growing, everyone is

01:08:45

developing and now they’re

01:08:46

filming everything for this weekly magazine, that’s cool, I

01:08:54

think it’s time to end this, thank you to

01:08:56

myself, a small, very cool, apple, I

01:09:03

actually wanted to point out one

01:09:05

feature because I think none

01:09:08

of us had any idea in what

01:09:10

way the interview would go because the questions are

01:09:13

all different and some are quite

01:09:20

straightforward,

01:09:22

like yes, which many people

01:09:25

may not answer, but just a huge

01:09:29

respect for

01:09:31

Olya’s sincerity because very cool stories and

01:09:34

very cool information that is super

01:09:37

interesting is that you talk about it,

01:09:39

talk about it and do it so

01:09:41

honestly just beyond all praise

01:09:44

thank you very much I liked it thank you

01:09:48

cheers guys thank you really so people do

01:09:54

n’t hold women by the hair otherwise you will be

01:09:57

pecked this is the final thought and listen to the

01:10:01

cool guys us and Olya all bye

01:10:11

bye yes I just wanted to say that I haven’t

01:10:15

gone to heaven under this comment about

01:10:18

hair I wrote down what I like

01:10:22

when someone holds you to a conclusion and you

01:10:24

try

01:10:25

it

Description:

ВЫПУСКИ НЕВОЗМОЖНЫ БЕЗ ВАШИХ ДОНАТОВ https://money.yandex.ru/to/41001185298832 ⬇⬇⬇ Ссылки на все о чем идет речь ⬇⬇⬇ Ссылки на ведущих: Илья Нодия - https://www.facebook.com/unsupportedbrowser Дмитрий Гусев - https://www.facebook.com/unsupportedbrowser Дима Гущин - https://www.facebook.com/unsupportedbrowser Гость: Ольга Тупоногова-Волкова - сайт: https://tuponogova.com/about инстаграм: https://www.facebook.com/unsupportedbrowser Говорят о: Йорис Ван Велзен - https://jorisvanvelzen.com/ ВГИК - https://vgik.info/ Петр Мудренов - https://www.facebook.com/unsupportedbrowser Андрей Рогозин - https://www.rogozinandrey.ru журнал Seventeen - https://www.seventeen.com/ Guido Mocafico - https://www.guidomocafico.com/ Данила Головкин - https://www.facebook.com/unsupportedbrowser Алексей Колпаков - https://www.facebook.com/unsupportedbrowser Наташа Водянова - https://ru.wikipedia.org/wiki/%D0%92%D0%BE%D0%B4%D1%8F%D0%BD%D0%BE%D0%B2%D0%B0,_%D0%9D%D0%B0%D1%82%D0%B0%D0%BB%D1%8C%D1%8F_%D0%9C%D0%B8%D1%85%D0%B0%D0%B9%D0%BB%D0%BE%D0%B2%D0%BD%D0%B0 Mari Claire - https://www.marieclaire.ru/ Эллен Дедженерес - https://sso.passport.yandex.ru/push?retpath=https%3A%2F%2Fwww.kinopoisk.ru%2Fname%2F20162%2F&uuid=6cbd32c8-3f56-4197-9b8c-96b8e55c7702 Дмитрий Журавлев -https://www.behance.net/dmitryzhuravlev Владимир Валисьчиков https://vladimirvasilchikov.com/ Арсений Джабиев https://www.facebook.com/unsupportedbrowser Джон Варватос- https://www.johnvarvatos.com/mens-clothing/ Сергей Романов - https://www.facebook.com/unsupportedbrowser Ксения Доркина - https://www.facebook.com/unsupportedbrowser Елена Зубарева - https://www.facebook.com/unsupportedbrowser Дима Игнатов - https://www.facebook.com/unsupportedbrowser Продакшн: FDMPro Монтаж: Фёдор Анисимов По всем вопросам сотрудничества пишите на [email protected] 00:00 - Начало 00:11 - Представление гостя 00:53 - Заставка 01:32 - Краткая история начала 03:50 - Про эстетику "безобразного" - (80-90е годы) 05:35 - Что прекрасного запомнилось из времени 90х 07:13 - Осознание что любовь к 90м это сильная сторона 08:50 - Про академическое обучение фотографии 15:55 - Какое было начальное направление 18:00 - Какое отношение к Still life сейчас? 19:55 - Как Ольга перешла от Still life к портретной съемке селебрети 22:26 - Про журнальную фото карьеру с 2000 по 2015е (от Гущина) 24:22 - Часто ли топовые селебрити требуют своего фотографа на съемки 26:54 - Как Ольга находит общий язык с Селебрити 29:23 - Есть ли попытка дружить с селебрити? 30:17 - Про дружбу на съемке 31:15 - Про работу с мужчинами и женщинами 32:52 - Период звездной болезни и про то что нужно для отличной съемки 35:48 - Конкуренция и был бы успех в Европе? 40:21 - Про цели 41:21 - Про конкуренцию 46:02 - Что произойдет если все ориентиры в фотографии пропадут 48:25 - Вопрос говно от Нодии: Идем ли мы к формированию фэшн рынка? 53:33 - Персональные проекты 59:33 - Про съемку с Димой Игатовым 1:03:54 - Реально ли заказать частную съемку? 1:06:15 - Про гонорары в глянце 1:10:10 - P.S. про волосы

Preparing download options

Popular

HD video

Only sound

All

* — If the video is playing in a new tab, go to it, then right-click on the video and select "Save video as..."

** — Link intended for online playback in specialized players

Questions about downloading video

How can I download "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub" video?

http://unidownloader.com/ website is the best way to download a video or a separate audio track if you want to do without installing programs and extensions.
The UDL Helper extension is a convenient button that is seamlessly integrated into YouTube, Instagram and OK.ru sites for fast content download.
UDL Client program (for Windows) is the most powerful solution that supports more than 900 websites, social networks and video hosting sites, as well as any video quality that is available in the source.
UDL Lite is a really convenient way to access a website from your mobile device. With its help, you can easily download videos directly to your smartphone.

Which format of "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub" video should I choose?

The best quality formats are FullHD (1080p), 2K (1440p), 4K (2160p) and 8K (4320p). The higher the resolution of your screen, the higher the video quality should be. However, there are other factors to consider: download speed, amount of free space, and device performance during playback.

Why does my computer freeze when loading a "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub" video?

The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.

How can I download "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub" video to my phone?

You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.

How can I download an audio track (music) to MP3 "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub"?

The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.

How can I save a frame from a video "Ольга Тупоногова-Волкова: Про счастливое детство, съёмку селебов, индустрию моды / Fundaclub"?

This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.

What's the price of all this stuff?

It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.