ANYA OZERCHUK

Of course, I sometimes have doubts about whether my work is good enough, did I do enough, do they catch people and make them pay attention? A lot of confidence comes from feedback and compliments of people I work with or people who see my work. It's very pleasant when some time later they tell me that growth is noticeable. When I feel that something is going wrong or that I'm exhausted, I always do creative shootings for the soul. This gives an opportunity to show exactly what you want. Movies and books are also an important part of inspiration. So much inspiration is given by travel.

 

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I didn't shoot women purposefully. Just at some point, I realized that female portraits are predominate in my portfolio and I like it. I realized that every woman is beautiful, regardless of age or profession. I worked with very young girls, ten year olds, and with older women; one of them was seventy. This was an incredible experience and an example to follow.

 

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It is very important to understand what kind of meaning you put into every shoot or somehow a specific shot. This helps to accurately convey your ideas to all of the participants in the shoot and generally agree on the filming. For this, you must always draw inspiration and not stop learning.

 

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I realized that I was drawn to very simple things more. If it is a portrait, it reveals the inner world of a person, tells us about the emotions and experiences of this person. I am for laconic outfits that will not distract from the person themselves. If it is fashion portraits, you can afford more. It's always great when there's a stylist on the set, but very often I'm styling my shots myself. I strongly love pastel and gray colours in clothes and locations, but I also really love monochrome bows - total black / red / white. I think the most difficult thing for me would be to combine several bright colours in one picture, but I will definitely try.

 

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The most challening part is probably shooting interesting and famous people, and working with cool brands and projects. It is always terrible to collaborate. I always begin to doubt whether I am good enough for this, but when everything happens and it turns out really cool, shooting it is an inexpressible feeling of delight.

 

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Plans for the future are to further improve in the technical aspects of photography and expand my horizons; to study more and work with light to such an extent that there is no technical task that could lead to a dead end. From the creative point of view, to learn more to reveal people, ideas, and thoughts through their pictures; learn to create a competent style of shooting, and do what I like more.

 

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To me, as a user of Nikon, it seems that the Canon army attacks us. And if they capture everything, this will be the end of civilization.

 
















01 Zhilyova Lera // zhilyova
02 Julia Pomoshko // julia__pomoshko
03 Veronica Krasovska // veronicalilu
04 Uncredited
05 Gusenica Lo // gusenica_lo
06 Elena Mukh // elena_mukh
07 Elena Mukh // elena_mukh
08 Uncredited
09 Olga Sklyar // olga1.60
10 Alice Steblovskaya // alicesteblovskaya
11 Gusenica Lo // gusenica_lo
12 Uncredited
13 Uncredited
14 Julia Pomoshko // julia__pomoshko
15 Uncredited
16 Dasha Taivas // dashataivas

 

Anya Ozerchuk // anya_ozerchuk

 

JUNNNKTANK is an online zine which has existed in one form or another since 2006.
For over a decade, the focus has been on highlighting the efforts of inspiring individuals and artists from around the world.

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Submissions are always welcome to junk@junnnktank.com.