I started to shoot nudes inspired by early masters of photography and also by antique statues. Classic nudes like studio studies were my first inspiration and still are until today. But now I'd like to let some fresh air in. I'm focusing on fusion of male body with nature, on harmony between man and nature, on public outdoor photo and body in movement. Some photos are born a long time before being shot and are well conceived others are unexpectedly spontaneous. Check my online gallery of limited edition of black and white male nude prints here on Sensual Images...

My last exhibition of Fine Art Male Nudes took place at the Gallery RadostFX in Prague from March 15 to the end of October 2002. Three extensions of the exhibition and great visitors' reviews were a total thrill for me. One main photo magazine from the local ones published my portofolio and choosed a studio nude picture for its front page. A portofolio of my work was also featured in the April 2002 issue of Magazin Fotografie and in further specialised publications like Foto Video to name only one of them. Your comments are encouraged and welcome.

Interview: I know it is a big luxury to shoot material just for one's own exhibits these days... coming up with new concepts, forming your ideas and thoughts on how to create this and that. And then the big fuss with all the sponsors, the whole production process... things like enlarging the photos, framing them... printing and I don't know what else.

Maybe that requires even more skill than the actual photography. On the other hand this is what let's me move on to new levels in life. It gives me the possibility to set myself free, to proceed with my ideas. Just an idea floating around in my mind or a scatch on a piece of paper don't let me sleep and help me get up in the morning just to go on and create something.

The people that know me at least a little bit know that I am constantly doing something even when I'm having hard times. I will do anything to take n absolutely perfect picture. I can never compromise the quality of my artwork by not working hard enough on it.

Here I would like to thank anybody who has supported me in the past, since what I do can't be done without those people! I take pictures almost everyday and it is therefore very hard for me to select pictures for my exhibits from thehuge piles of negatives. All of them seem important to me, but I realize it is not possible to put everything on display.

Sometimes I only choose one photo from a whole one-day series, other times I collect a whole mix. It is really nice to watch how people change over time.... How someone who we've been debating with everyday disappears or sometimes never comes back. It is something like a diary...how all the people's personalities become frozen with just one push of the trigger.

I used to shoot with 35mm earlier, but as time went on I developed into using middle and larger formats. 35mm was easier and quicker to use and it did a lot of the work for me. With the larger format I have to do all the work myself, but at least the entire picture looks exactly as I intend it to look.

With 35mm you miss a lot of aspects. The viewfinder is very small and the entire thing is just snapping more and more snapshots. You take a lot of pictures - and that's it. With the large format, you have to set up everything yourself, but you know it will be there. It is very subjective. I feel like I am somehow attached to the pictures. I do a lot of the things automatically and the real focus is just on the communication with the model and the environment.

This way I get to enjoy every picture and also the fine print of the enlarged photo can't compare to anything else. Sometimes as I'm taking pictures I don't even notice myself loading new film or walking 20 meters away into the distance.

I like classic stuff better, polaroids and negatives. I use my digital camera as a notepad. I think the technology has progressed rapidly in this area, but the original only looks perfect when it is enlarged using the classical magnifying method.

Only this way each enlarged photo looks original and with the use of silver print on archival paper you get unbelievable scale of halftones. The look of a classic black&white enlarged photo doesn't compare to anything yet.

You can notice this in more in foreign countries, where collectors don't want to buy just a poster or a print but an original. They are willing to pay only for that. The fact that I've been born only to pay bills, shop for things being driven by commercials, to smile at my boss and then die one day has never really satisfied me. I know that for sure. The only thing that really bothers me is how time fly by so fast and I'm slowly relaizing that I might not complete all the things I have in my head. /jk/