my photography

influences

OLESYA SHATSKOVA

Olesya SHATSKOVA - from St. peitersberg, russia

I first saw her photography on her Instagram account: @olesyashatskova. I noticed that her photo-taking style uses manual focus instead of autofocus, as she uses an older lens with only a manual focusing ring. This made Olesya experiment more and become a much better traditional photographer.

I did a Q&A with her, asking questions about her gear mostly but also her filmic and grainy motif, which I was most fascinated with; the softness she got for her portraits was so dreamy, I wanted to know all about that. She told me the lens she uses is a “Minolta Rokkor 58mm 1.4”, which is an old vintage lens from Osaka, Japan and the camera she used and told me was a “Sony A7 1 (2013 release)” camera with it to get that filmic tone. Her equipment isn’t too expensive or crazy, which was the most fantastic surprise. I learned that gear isn’t everything; it’s your skill in photography.

From the PDF document below, I did it for my university module. I messaged Olesya on Telegram Messenger.

OLESYA also EDITIED ONE OF MY PHOTOS

This was my edit of the photo from my photoshoot with @anpanmodels on Instagram. While I thought my edit was decent, it didn’t capture the filmic look I was aiming for at the time. However, when Olesya edited this photo, it completely changed my perspective on editing.

I made these two edits based on her preset and editing style to adjust to my scenario and setting. Olesya is known for her lighting; she told me that lighting is essential. I utilised what she told me, her tips and tricks, and I have used them since for my photographic style.

This Q&A with her helped me make my life easier. It guided me to develop a style within film and photography, whether it's lighting or gear; she gave me an insight into her motif, which accentuated my photographic journey.

“ LIGHT CREATES VOLUME AND ALSO HELPS TO DO LESS RETOUCHING. ”

“ THE MAIN THING IS NOT TO BE AFRAID & IDEALLY, DO NOT BE AFRAID OF DIFFERENT SCHEMES; WORK WITH BACKLIGHT. ”

Some quotes about lighting can be found in my PDF document Q&A with Olesya Shatskova.

Olesya's editing style for one of my photos featured her signature motif, characterized by a soft backdrop reminiscent of a vintage lens. Since I didn't have a vintage lens available, she cleverly used haze in Lightroom to create the dreamy atmosphere typically achieved with her Minolta lens. Olesya also adds a filmic grain and a faded, movie-like tonal quality to all her edits. One of my favorite aspects of her approach is the way she darkens the shadows, giving them a filmier look.

HOW LIGHTING IS IMPORTANT…?

fallen angels WONG KAR - WAI & christopher doyle

Wong Kar - wai is from Hong kong, china

Christopher Doyle is from SYDNEY, Australia

Wong Kar Wai was the filmmaker and director. Born on July 17, 1958, in Shanghai, China, he is a renowned filmmaker acclaimed for his unique visual style, poetic storytelling, and exploration of love, loss, and identity. He is often associated with the Hong Kong Second Wave of cinema, known for its innovative techniques and thematic depth.

Christopher Doyle, born on May 2, 1952, in Sydney, Australia, is a highly acclaimed cinematographer known for his groundbreaking work in multinational cinema. Doyle's collaboration with Wong Kar Wai, particularly in films like "Fallen Angels, “has been instrumental in shaping the visual aesthetics of contemporary filmmaking.

With "Fallen Angels" “1995), Wong Kar Wai and Christopher Doyle pushed the boundaries of visual storytelling even further. The cinematography in "Fallen Angels" is characterised by its frenetic energy and experimental use of light and shadow. His wide-angle approach, combined with handheld camera work, creates an immersive experience that plunges viewers into the chaotic world of the characters. I also wanted this for my project, utilising experimental ultra-wide-angle techniques.

Conventional methods, often involving improvisation and spontaneity, perfectly complement Wong Kar Wai’s aesthetic storytelling. Together, they create films that are visually stunning and emotionally resonant.

I wanted to combine the creative togetherness of Kar-Wai's visually ominous green tone from the “Fallen Angels” movie and Doyle’s Atypical wide-angle approach to his filmmaking with my compositional thinking, which I did for the images below.

"Uncertainty" (2023) Yhongyu, Chinese Model
- A2 Photographic Print — "Uncertainty" (2023) Yhongyu, Chinese Model - A2 Photographic Print

"Hysteria" (2023) Yhongyu, Chinese Model -
A2 Photographic Print — "Hysteria" (2023) Yhongyu, Chinese Model - A2 Photographic Print

"Hope" (2023) Yhongyu, Chinese Model
- A2 Photographic Print — "Hope" (2023) Yhongyu, Chinese Model - A2 Photographic Print

michael wolf

TOKYO COMPRESSIONs, michael wolf

Michael Wolf's "Tokyo Compression" is a powerful and evocative series of photographs that explore the theme of urban overcrowding and human density in Tokyo. The series, which Wolf began in 2010, captures the daily reality of Tokyo's commuters packed into crowded subway trains during rush hour.

The "Tokyo Compression" images are particularly striking for their intimate portrayal of individual expressions and emotions. The pictures often show commuters pressed against the steamy windows of the train cars, their faces conveying a range of emotions from resignation and fatigue to frustration and discomfort. The glass acts like a barrier or lens through which Wolf captures these private moments amidst the public chaos of urban transit.

Wolf's photographic style in this series is characterized by a close-up, almost claustrophobic framing, emphasizing the lack of personal space. The compositions are often tight, focusing on one or two individuals, heightening the sense of confinement. The use of natural light diffused through the train car windows adds to the intensity and moodiness of the images.

I USED steamy GLASS TO CONVEY A SENSE OF depth and the

foggy look accentuated my emotions during the pandemic

I felt LOST AND TRAPPED IN A mental prison of nature’s making,

uncertain of the future

I wanted to evoke that Wolf-like intensity and horror tone in my project, conveying emotions that portray my emotional journey throughout the pandemic through a steamy glass like Michael Wolf’s “Tokyo Compressions” series. Still, I wanted to showcase it differently, more through my lens, instead of strangers on a train. This is a depiction of a model portraying my emotions, not in candid form but in a more expressionist and personal approach.