I’ve always believed we all carry a creative spark inside. Mine took me on a long, restless journey — New York, Paris, Moscow, Berlin, LA, London. Different cities, different people, but the same hunger: to create, to capture, to keep searching.

This course isn’t about theory or some polished “rules of the industry.” It’s me sharing what I’ve learned along the way — the mistakes, the breakthroughs, the moments when I almost gave up, and the ones that kept me alive.

Whether you’re just starting out or you’ve been shooting for years, I want to show you how to find your own voice. To trust your vision, to create images that actually mean something, and maybe even to turn that passion into a way of living.

Photography gave me more than a career. It gave me a passport into other worlds. It carried me into new cities, new rooms, new lives. And that’s what I want to pass on — not just how to take better pictures, but how to live a life that feels alive through your art.

01. UNIT / INTRO

I’ll be sharing my journey as a photographer — how the spark first appeared, the early shoots, and the search for a personal style. The challenges, the opportunities, and the choices I made along the way, with all their consequences.

From the first magazine features and commercial projects to working with model and photo agencies, each step shaped me in ways I couldn’t have planned.

And always, the cities. New York, Paris, Moscow, Berlin, LA, London — each place left a mark, shifting how I see, how I create, how I live.

02. UNIT / PRE-PRODUCATION

I’ll also share where I find inspiration — the techniques, the sources I return to, the photographers worth paying attention to, and the books, articles, and interviews that shaped how I think about photography.

We’ll dive into mood boards — not just collecting random images, but how to build them with intention. How to organize references, turn them into treatments, briefs, even call sheets that bring clarity to a shoot before it starts.

I’ll talk about portfolios — how to edit your work, choose what really represents you, and adapt it depending on who you’re showing it to.

And we’ll get specific about fashion photography. The line between commercial and personal work. How rates and negotiations actually work. How to create concepts, manage budgets, and understand the costs behind the images. Along the way, I’ll point you toward resources — the articles, documentaries, and magazines that shaped my view of the industry and can give you perspective too.

03. UNIT / SHOOTING

Building a team is its own art. The way you connect with models, the trust you build, the chemistry on set — that’s what decides whether an image comes alive. A top model isn’t just about beauty, it’s about presence, energy, and the ability to shift a room without saying a word. Watching and learning from the masters taught me how those dynamics are shaped, and how technique becomes invisible once the moment is real.

Lighting was another teacher. Natural, strobe, continuous, LED — each one changes not just the look but the feeling. What matters is knowing how to read a space, indoors or out, and use it instead of fighting it.

Erotic photography came into my work almost by accident. Early experiments, raw and unpolished, taught me how fragile that line is between erotic and vulgar. Over time I found a way to keep the tension while holding onto aesthetics, to let the charge exist without losing beauty.

Fashion added its own layer of complexity. Commercial vs personal work. Negotiations, rates, budgets. The constant push between creating something true and meeting expectations. Resources — articles, documentaries, magazines — helped me understand the system, but in the end it always came down to shaping concepts clearly and knowing what the work was worth.

04. UNIT / POST-PRODUCTION

Post-production starts with the first edit — knowing how to look at your own work and select the strongest images. I’ll share how I approach this process, how to create layouts, and why choosing what not to show is as important as what makes it in.

Then comes the transformation of images into objects. Fine art prints, posters, postcards. Polaroids, zines, books. Each one carries a different energy, a different way of reaching people. We’ll also touch on moving images and fashion films — how stills evolve into motion.

Preparing for exhibitions, retrospectives, and lectures is another world of its own. Presenting work in public requires not just images, but rhythm, context, and atmosphere. I’ll talk about what I learned stepping into that space.

And finally, the part most photographers ignore: archiving. How to keep your files organized, how to build a system that allows you to revisit your work, track your growth, and use the past to fuel the future.

4 UNITS 17 BLOCKS

The course is built around practice. Every module comes with assignments and exercises — not just theory, but ways to actually use what you’ve learned.

These tasks give you the chance to apply techniques, test ideas, and build real experience as you go. They’re designed to push you to think creatively, to analyze your own work, and to make decisions with confidence.

It’s not about memorizing rules. It’s about doing the work, experimenting, and finding your own way through photography.