"I have been photographing for about ten years, but it is difficult to say exactly when my professional career really started, because the moment that I see as being the time of my best photographs is constantly shifting towards the present.
During the past six years my “feeling” for the photograph has been formed before I actually press the shutter, which was not the case before this period, when my photography was rather experimented. If I had to identify what elements I like most in a photograph then it would clearly be symmetry, rawness, hall face portray, picture clarity with a minimum of distractive elements, as well as a feeling of depth, which is difficult to achieve in a two-dimensional medium, but can be stressed by tilting the angle of the shot out of its basic vertical and horizon alignments. Of course light also plays an important part, and if it is possible to arrange the light properly this adds to the overall result.
The important thing for me when taking pictures of girls and women is to make them look better than in reality. My latest inspiration is to depict wholly unusual ideas, with the aim being to shock, outrage and excite the viewer without using erotic or vulgar symbols. On the contrary there are also some photographs with a regular or commercial tinge, with an emphasis on the aesthetics of the composition. I would like to depart from this style of composition, but when no better idea presents itself I easily slip towards this cliché. It is also the result of the circumstances under which I produce these photographs. I should also mention the importance of framing the shot, which gives the photographer the opportunity for a great deal of experimentation. When actually taking the picture I am constantly thinking about how much and where I should take away, with the frame acting as an unfailing foe in my efforts to concentrate on the expression on the model’s face and pick the right moment so that the photograph is both communicative and interesting. Shots of large arrangements also pose certain pitfalls. It is essential to ignore any distractions in the vicinity and the background and to endeavour to compose the cleanest possible photograph."
