Interview with Anthony Lekarew

Meet the Photographer

My name is Anthony Lekarew and I am a portrait photographer. I was born and live in Tashkent, Uzbekistan. I work with local artists, star bloggers, and well-known people. I create stunning image-based shoots in the studio, on the streets, and in nature.

What’s your signature as a photographer?

I love working with people's identities, breaking stereotypes in my shots while still following some of the canons and trends of fashion photography and applying them to the people in front of the lens. I particularly enjoy working in low key lighting, where there are many shadows in the frame. Dark faces, details blending into the darkness, and cool, enveloping tones are my signature.

How would you describe your visual style in 3 words?

Dark. Expensive. Dense.

What’s something unique about how you shoot or approach a session?

I prepare extensively for my shoots. Together with the model, we work on the look, select references, and I plan the poses and angles I will use. On the day of the shoot, I intentionally avoid using references to bring my own vision into the frame, but I still implement ideas from the concepts I have in mind.

Tell us the story behind one image you’ll never forget.

I try to eliminate unexpected incidents on set. The most memorable moment was when a stream of artificial snow from a canister accidentally hit the model in the eye.

What do people feel when they see your work—and what do you want them to feel?

I want people to understand that despite the ease of taking instant photos in the 21st century, it’s my photos that elevate the person or brand in the frame, making them stand out above the rest.

What’s a photo you’re most proud of, and why?

It’s my first photos, taken with cheap equipment, without tons of lighting gear or an expensive studio. But these photos hold true love for photography. It doesn’t matter what equipment or settings are used, what matters is that these photos contain all the experience and love for the craft, focused on that single moment.

Walk us through your creative process—from concept to final edit.

If the shoot is creative, it may come to me while listening to a new artist on Spotify, watching a movie, or simply observing how the sun lights up the tree crowns from my window. If it's a commissioned shoot, during communication with the client, I already visualize the final image in detail. Once the general concept is formed, I go on to look for references. These references should convey mood and feelings, not instructions on how to light or position the model. It typically doesn’t take long — about 1–2 hours to more thoroughly plan the shoot concept. Then, I move on to choosing the look. With the concept already in place, my assistant and I find the right outfits either in stores or from costume rentals. We also plan what accessories we’ll need on set. Next, I figure out what equipment I’ll

need (camera, lens, lighting). I try to shoot everything with one lens and avoid bringing a bunch of lenses with me. On the day of the shoot, I pack my bags with everything I need two hours before, check memory cards, and make sure I have spare batteries. Then, I head to the shoot. Afterward, I select the photos on the same day, removing any bad shots and keeping only the best. I pass them to the client, who picks the ones to retouch, and I finalize the edits. The client then prints their photos.

How do you prepare for a shoot? Any rituals or must-haves?

The most important ritual is checking my memory cards and spare batteries.

What gear do you swear by—and what’s your approach to editing?

I shoot with Sony cameras, although I was a Canon fan for many years. Now, my entire workflow is on the compact Sony A7C R. It's a very convenient and lightweight camera, and the sensor’s resolution allows me to crop the shots without losing quality. As for lenses, I’ve spent a long time shooting with the Sony 50mm 1.4, but recently I’ve been using the Tamron 35–150 (especially in the studio). I also love the Sony 24mm 1.4 and the Viltrox 16mm f/1.8. Even portraits shot with these focal lengths turn out unique. For editing, it’s the classic approach — Adobe Lightroom for color grading and Photoshop for retouching. I’ve also started using Retouch4Me plugins and Aperty software from Skylum. These tools allow me to handle tasks that used to take hours much more quickly.

What’s the most unexpected thing photography has taught you?

I’ve learned many things. For example, the lighter the setup, the longer you can generate cool ideas on set rather than focusing on your fatigue. The more a model talks about their professionalism, the more bad and unsuccessful shots you get after the shoot. I’ve also learned that not everyone can see the difference between an edited and unedited picture. Lastly, if you don’t like the result on the camera screen during a shoot, turn off all the lights and leave only one source.

What do you want your work to say about you, even when you’re not in the room?

It’s not the work that should speak; people should stop talking when they look at your photos. The greatest compliment a photographer can receive is silence when viewing their photos — it means the shot is captivating and makes people look at it with interest, without needing any comments.

What do you want to be known for—as a photographer and as a creative?

There are many creative people, but not many good photographers. In the age of AI, we are competing with the vast experience of humankind in visual arts. A good photograph with

memories is always better than another creative idea that will be reworked and passed off as someone else’s in a year.

If someone’s looking at your portfolio 10 years from now, what do you hope they see?

I want the viewer to try to see the entire journey of my photography, from simple images to more complex ones. They should notice how moods and trends changed over the years. By the end, I hope they’ll understand why I didn’t lower my standards, but instead, I kept improving.

What’s one truth about your creative journey that’s stayed with you?

The more you shoot, the better your work becomes. Everything else changes, and only this stays constant. Experience is the most important thing. Don’t be afraid to experiment, as it will bring unexpected and great results.

What’s something about you people don’t usually see in your work—but should?

You always need to find the right approach to the people in front of the camera. You have to choose the right words and help reveal their personality. Even professional models have moments at the start of the shoot when they feel uncomfortable, and your job is to make sure that discomfort doesn’t show in the photos.

Brought to you by Bold & Beyond—where curiosity meets clarity.