Oleksiy Ponomaryov

Acquaintance

Kyiv has a unique charm and its own techno-aesthetics.

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I love the remote and underground Kyiv, as well as authentic places where I feel at home. For some reason, in the center I feel not like part of the city, but one of hundreds of thousands of tourists.

In gloomy, rainy weather, Kyiv seems especially beautiful to me. For some reason I don’t see him as sunny and cheerful. Perhaps this is why I perceive the city best in autumn.

It can be compared to Berlin, because it is just as rhythmic and gray. However, Kiev has a unique charm and its own techno-aesthetics, due to which you are constantly in business, in a hurry, wanting to be better than someone.

— What places in Kyiv are the most remarkable for you?
— I love Podol, as well as the special flavor of the Bessarabian and Zhitny markets. Even if all this is not in perfect cosmetic condition, it has its own history. In general, Kyiv has preserved a large accumulation of historical sentiments that our ancestors left to us.

In Kyiv there is a large accumulation of historical sentiments that our ancestors left us.

— In your opinion, what can be done first to save the city?
— We need to start small, for example, reducing the amount of outdoor advertising, which the city is oversaturated with.

Ideally, it would be necessary at the legislative level to ensure that before opening an establishment, its owners should consult with the chief city architect regarding the advertising signs they are planning.

In the case when the owner proposes something absurd, the chief city architect or his assistants must competently explain to them that the next sign “Pawnshop” or “Legal Consultant” will simply kill the city.

The next sign “Pawnshop” or “Legal Consultant” will simply kill the city.

— How do you perceive such a wide variety of Kyiv architecture?
— Looking at the capitals of other countries, we can see many examples of how different architectural eras should be harmoniously combined. However, for some reason everything gets mixed up for us. Many developers are eager to destroy historical architecture in the city center in order to place some strange residential building in its place. Construction in Kyiv often occurs against any architectural rules, or rather according to business rules. Like, we wanted to build here – and we built it. This approach worries me a little; I would like changes for the better.

Many developers are eager to destroy historical architecture

— Can you give a specific annoying example of such development?
— A striking example of absurdity is the story with the “plate”. I have nothing against shopping centers, but when planning to expand the area, shopping center managers must understand what the historical and architectural fabric is.

— What impressions does the “plate” give you in general?
— I once filmed a story there for L’Officiel.” We filmed in Soviet archives that remained from the Institute of Information, and it was quite an interesting experience. At all. This is a cool location with authentic interior elements and a staff that looks like it was left from the 70s.

I love modernism; this is a time when architects experimented with forms and space, not only here, but all over the world. I am close to the period of abandoning old methods and forms and creating something new; in this case, the very style of modernism is close.

— The crematorium at the Baikovo cemetery is also a striking example of Soviet modernism. Have you had any experience with this place?

— Let’s just say that the experience was terrible and depressing, and I don’t want to repeat it anymore.” We had a fashion shoot, and at the same time there was a funeral, and the priest performed the funeral service for the person. The construction itself, of course, is brilliant, but, above all, I respect the dead, and filming in such circumstances is, at a minimum, not correct. If there were not a crematorium there, but, for example, a theater, it would be a completely different story.

— Enough about the creepy experience. What about your favorite places?
— There is one unique place “19/6”, which is located opposite the Belarusian Embassy. This establishment combines a coffee shop, a gallery and a showroom, and it also has a very comfortable atmosphere that is reminiscent of Kinfolk magazine.

Besides this, there are some cool places inside the Bessarabian market. One of them is “Vietnamese Hello”: I love it for its delicious soups.

Of the bars, I like the “OLD BAR” on Lev Tolstoy. This is a simple, noisy establishment with reasonable prices, tasty beer and snacks. Mostly foreigners hang out there. I can also recommend Khvilovy, a good bar.

Foto

Fashion shooting is like a small movie in which we create a whole fictional world.

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Fashion shooting is like a small movie in which we create a whole fictional world: the stylist selects the looks, I come up with a story and use visual graphics to show its details. In fashion photography projects, I can implement my ideas as both a cameraman and a director.

At the same time, fashion for me is rather a tool in achieving goals. However, this is exactly the area where I can develop as an artist. Just like in architecture: the client sets a task for you, and you need to implement it using creative techniques.

— How did you get into the field of fashion photography?
— Once a friend showed me the Italian Vogue, and I was very inspired by what I discovered then. Sometime later I had my first modelling shoots. The girl I photographed as a model was called Galya Archipenko, and it was thanks to her that I realized that the fashion world was not at all what I imagined it to be. And in general, from the moment of filming, we became great friends.

— Could you tell us about your communication with Galya in more detail?
— Essentially, all this time I was in my Kharkov shell, and Galya at that time was already in New York, Tokyo, Milan, working with Vogue and Numéro. It was she who brought me news from another universe, telling me how it was happening abroad.

After talking with Galya, I got excited about the idea of ​​moving to Kyiv. Actually, I did just that, found a team – stylists, models, makeup artists. Together we took some cool photos and got published in a London indie magazine. It was a wonderful experience for me.

— What publications are you working with now?
— I shoot backstage scenes at Ukrainian fashion weeks for magazines such as Vogue, L’Officiel, and Harper’s Bazaar. Sometimes I photograph musicians for publication, the most recent being Alekseev and Michelle Andrade. For Marie Claire we often shoot heroes. Sometimes I shoot digital editorials for ELLE.

— Can you tell us about the types of fashion photography?
— In the fashion world there are different types of filming. Let me introduce you to some of them. For example, commercial shoots are aimed at selling a collection while revealing the designer’s idea and the texture of the items.

There is a fashion story where there are no boundaries. In fact, this is indirect advertising, since the emphasis is on the image, which consists of different brands. Initially, stylists combine various elements of clothing and create the image of a rebel who is being chased and runs away from, and all this happens in some colorful market. In such stories there is always a beginning, a development and a climax.

When creating editorials, the choice of photo that will be present in the story is very important. Together with the stylists, I have to select only 1% of 300 frames, and then approve it with the editors.

— What does the filming process look like in the context of communication with models?
— Initially, the editors give us some kind of reference, which we discuss with the entire film crew and then show to the models. Most of the girls are professionals in their field, they know what to do, but I just silently record what is needed. Sometimes you have to suggest and correct something. In this regard, photography itself seems to be born in the process.

— What is your impression of girls who do modeling?
— Let’s start with the fact that there are many stereotypes, they say, models are stupid and only know how to lift their legs. In fact, most of them are intellectually savvy, if only because they have seen a lot in life. These are mostly smart, developed and sociable girls whose eyes sparkle. They are often interested in what art is in a broad sense – theater, cinema, books. In short, they don’t waste time.

— Which fashion photographers inspire you?
— Initially, it was Peter Lindbergh, Paolo Roversi, Steven Meisel – the classics, those who developed photography. At the same time, today I am very interested in new faces who work with such publications as “Vogue Czechoslovakia”, “Harper’s Bazaar UK”. It’s interesting to see how people around the world create something local and at the same time global.

— How do you perceive aesthetics? And how important is it in everyday life?
— Aesthetics is important in everything: in dishes, clothes, interiors, urban architecture.

— What is modern gloss?
— Lately, gloss has become somewhat different, more simplified, cinematic and, in some way, soulful.

— What was the last glossy magazine that became a pleasant discovery for you?
— Recently, I have been impressed by the aesthetics of the Kinfolk magazine. For me, it symbolizes minimalism and the rejection of anything pompous, glamorous, and superfluous. It must be taken into account that while spending time reading magazines, modern people who live in the rhythm of a metropolis simply want to relax.

— Are you inclined towards minimalism?
— I am a supporter of conceptual minimalism. For example, when it comes to creating a personal space, the most important thing is that my eyes can rest so that I feel comfortable when I pay attention to it.

The other side of my approach is to keep things a little casual. For example, I like to wear slightly wrinkled clothes. When everything looks perfect, it makes me feel some kind of discomfort.

If we talk about minimalism in photography, I used to love effects myself, and as a result my frame was filled with something unnecessary, not what I needed. Now I’m trying to get away from it.

Approach

Photography is a language with which you can convey your inner worldview.

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As for me, photography is a language with which you can convey your inner worldview. Moreover, everyone shares their feelings in their own way: the artist conveys them with the help of paints, and the architect embodies ideas in building concepts.

The original purpose of photography was documentation, but over time it has grown into a parallel reality and can now even compete with painting.

In my opinion, an artist can be called someone who has the base of a craftsman, but at the same time is able to break the rules of his craft. In any case, to create a new product you need to at least experiment during the process.

If we talk about myself as an artist, I am much more interested in working with form than with an idea.

— How do you feel about the concept of your own handwriting in photographs?
— Over time, any author develops his own style, because each photographer has an individual sense of self and vision of the world. Some people like to experiment with light, while Paolo Roversi shoots in the dark. Actually, four photographers will shoot the same scene differently.

For example, if we consider the works of such famous photographers as Lindbergh, Meisel and Roversi, then the visual graphics of each photograph are radically different. Moreover, each of them is cool in its own way. In principle, it was they who at one time gave birth to photography trends, and thanks to their searches, the entire industry developed.

Four photographers will shoot the same scene differently.

— Who is an artist? Can a photographer be an artist?
— For example, if they tell me to remove the bed, would that be art?” It’s unlikely, I’ll just carry out the task: set the desired light and press the button. A photograph like this reflects the subject, but not my vision. When I need to shoot a campaign or editorial, I work like an artist. However, there are actually fine lines between an artist and a craftsman.

— Was there any local inspiring example in your life that convinced you of your desire to take up photography?
— In this vein, I can tell you about my period of life in the Kharkov hostel. It so happened that a somewhat strange guy lived in the room with me. He watched strange films, listened to strange music and already at that time took photographs on film. Basically, he was a hipster before they existed. Actually, he admired me and was a kind of example.

Speaking specifically about photography, inspired by his example, I bought a Zenit film camera and literally began filming everything I saw around me: the city, asphalt, grass, sunset. Then I started filming exhibits, printing them and hanging them on the walls. Or, using glass, he came up with some filters on his own.

While the photography was focused on girls in dresses on the lawn, I tried to experiment and swim against the flow. I was interested in visualizing images from my head and communicating them primarily to myself. At the same time, I didn’t even have the thought that photography could become my main job.

Visualize images from your head and convey them primarily to yourself.

— How, in your opinion, does film photography differ from photographs taken with a digital camera?
— The main difference is the cool color that the film has. Good medium format and large format film have high resolution and deep tonal depth.

— What is the process like when you take photographs for yourself?
— If I don’t need to go anywhere on a day off, I just take my camera, listen to jazz and walk in a random direction. I like to experience the process itself.

— When photographing a person, do you, first of all, want to create some kind of image or display the real person?
— When it comes to commercial filming, I try to come up with some kind of story that will be interesting to the customer. If I photograph for myself, I want to show what is real in a person.

— At the beginning of the interview, you said that you associate Kyiv with autumn. What do you associate winter with then?
— I associate winter with the village, where smoke comes from the chimneys of houses, where you feel the cold, but you know that at any time you can enter the hut, where the hostess will feed you a hot dinner.

— What camera would you recommend to beginning photographers?
— To begin with, I would advise you to buy any camera that takes photographs. Based on common sense, you don’t need to immediately buy a DSLR for a thousand dollars, because it may simply turn out that photography is not your thing. This is also normal. Many people buy a camera, try to shoot something, and realize that nothing works. First, try taking at least a couple of shots with any inexpensive film camera. If you get a kick out of the process, continue.

To begin with, I would advise buying any camera that takes photographs.

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