Looking at the work of Anna Toporkova you can not help wondering where the photographer is drawing his ideas: conceptual photos, sensual portraits, original commercial works – the creative approach characterizes each of her shootings.
I got carried away with photography, even when I was studying at the university as a psychologist. At some point I realized that it would be hard for me to work with people so close, and plunged into my new hobby. The first few months I did not even have a camera, and I just read everything I could find on the Internet, about how and what you can shoot. From what has sunk into my soul most of all, I can recall the site of the photo journal “HE”: it seems, I read everything that was there. Then there was a simple soap box, and when it was time to choose some serious camera, I got a job in the photo store for the summer to finally decide on the model and learn more about how the cameras work. I graduated from university, but all my work was somehow connected with photography: a photographer for documents, a retoucher in an online store, and now a freelancer.
The first works appeared in October 2007. I periodically dig them out in an old online diary, I think to myself: “Hmmm … and a good start, it was not so great after that” and happily forget. That is, it turns out, this year will be an anniversary, although the first few years can be tactfully omitted. Photos for which I’m not ashamed began to appear only in 2012. Against the backdrop of people who say they learned to shoot cool for a year or two, I feel a little uncomfortable.
Probably, such a slow growth is due precisely to the fact that I studied myself, from books and articles on the Internet. I read a lot of books, but noticeable not only to me the growth began only after the first master classes. Live communication, the opportunity to observe the work of already experienced colleagues is an indispensable experience. Now I try to go as often as possible to master classes, creative meetings and instabilts.
If we talk about commercial photography, then the main genre in which I work is, of course, a portrait photo. I could not work with people as a psychologist, but this is much easier for me through the camera. Although sometimes I find myself thinking that often a person for me is more a tool to realize an image from my head than a self-sufficient unit. Working with people on the set gives me the opportunity to get acquainted, to communicate, to recognize them, but at the same time to remain uninvolved, to observe them from the outside. I’m pretty closed, and for me it’s an ideal way to interact with the world.
About commercial photography and creativity
To distinguish creativity and commerce is necessary, without it anywhere, because in commercial photography it is important to give a good, stable result under any conditions. In creativity, there is a place for experiments, bold steps, and first of all it’s important for me to do something that I like myself, without looking at the customer. Now for me, the main creative outlet was Instagram, where I can do whatever I want. There is even more freedom in him than in creative portrait shootings. And it’s very funny to watch my “serious” works, which gravitate towards minimalism, austerity and minimum of colors, and Instagram’s tape, where real pink madness reigns for quite a long time. Sunrises, sunsets, flowers, salutes, pink salty lakes are all in one heap. For a long time I did not know how to treat this duality, but now I even like it, and I’m glad that some of this freedom starts to flow into commercial work.