"When I bought my first camera in 1986, at the age of sixteen, I had no idea of the places my new hobby would lead me. Back then, I brought my artistic visions to life by taking pictures of landscapes. Soon enough, I started experimenting with still-life photography in black and white, which consequently led me to artificial lighting techniques.
Among ambitious amateur photographers, nude art photography is the highest goal to aim for, and all photographers try it out at least once. I also felt tempted by this challenging field and started my first experiments in black an white back in 1989. The outcome proved to be surprisingly convincing, and the recognition it brought encouraged me to go on - with models, most of whom, back then, were older than I was.
During the years that followed, my style developed into a more sophisticated one that eventually led me to reputable success at competitions and exhibitions.
In addition, growing success in the marketing of my pictures gave me more freedom. Since my endeavors were no longer merely a costly hobby, but more like a business that began to profit handsomely, I was able to start working more intensely and at a larger expenditure. I progressed quickly, and my experience enabled me to handle technical difficulties with greater ease. I learned to avoid mistakes, and sharpen my view for the finished product at first glance. Refining my skills is an ongoing task that makes me a happier person; however, one can only further evolve if one is never totally satisfied.
I worked in the journalistic department of a local magazine for three years and at the same time I continued to develop as a photographer on a semi-professional basis. In 1999, I started working as a full-time nude art photographer. Today, I don't consider myself merely an artist, rather a creative producer, who can use his freedom to turn his artistic visions into reality and to further improve on his own style. I work exclusively on a freelance basis. I do not cater to clients, but instead I offer the finished product. I value the freedom this system offers, since I am only obligated to myself.
A brilliant result calls for excellent working conditions. In choosing my models, I have a reputation for being extraordinarily fastidious. I insist on them being genuine and confident, with a well proportioned and harmonic physique that hasn't been upholstered with silicon or been otherwise artificially manipulated. And of course, a professional make-up artist is always present on the set.
The location also has a special significance, as it greatly influences the atmosphere of the pictures. Only the best will do, when you strive to break away from the ordinary. I work outdoors as well as indoors with artificial lighting. The requirements are quite different: when working inside, the lighting can be totally controlled by the use of a flash. It can be set consciously and very precisely, while outdoor lighting sources call for great skill and flexibility. This holds true for daylight, which can be slightly enhanced by scrims or reflectors or the positioning of the model, as well as the specific lighting conditions of the chosen location. Because these special conditions provide a large variety of possibilities, they are much more complicated to handle than a regular indoor setting"
