Capture, display, print and scan — this is the process of film shots of Kharkiv artist, photographer, doctor Vladislav Krasnoshok. It captures the Russian-Ukrainian war, its consequences, its tragedies and its heroes in black and white pictures. About photos, their meaning and approach to work — we talk with Vladislav.
I am a doctor in general. I used to work as a maxillofacial surgeon in an emergency hospital, and now I work as a doctor - dentist - surgeon - implantologist in a private clinic. Photography has always been my hobby, but I position myself as an artist who still works with photography.
No, in general, I do not have such things as projects in my head. Now I'm filming the war.
About 15 years ago, I started photographing first on a digital camera, and then switched to film. I chose black and white film for myself, because I can completely control the whole process — from shooting to printing. That is, I control all these things myself: I photograph, show, print — then I get the result I need.
There is nothing complicated here. It just takes some time.
I think that in working with a “figure” it also takes a lot of time, because you shoot, then you drop it on the computer, then you sort of process it. In my case, I took pictures, showed the films, then scanned the films to select the photos I wanted to print. Printed. That is, I have them on paper, and then, so that I can put them somewhere in electronic form, I scan them.
Again, in the case of black and white photography, I am in complete control of the shooting process before printing. But if I need to shoot in color, then I need to give the colored film to someone in some laboratory. It happens that they can do something wrong there. However, recently I started shooting on color film as well. I'm curious about this.
Black and white photography, in my opinion, is more old-school, where the form works. And color photography, in my opinion, is more complicated. Because you need to work with color, and therefore the composition works differently.
For me, quality is not the quality that can be measured in pixels, or in anything else. For me, quality is when the picture works for the viewer. From my point of view, it should be the perfect composition. That is, formally the photo should work, and if formally it works, then it can give birth to some image to the viewer when viewing.
War is a lot of different topics, and that's why I divided it conditionally for myself. My goal is to make a book about this war. When I'm 70% closed on the topics I'm working on, I'll be able to make this book. These are not only the consequences of “arrivals”, these are destroyed buildings, destroyed bridges, the work of the State Emergency Service, the work of the military and medics, the activities of our equipment, prisoners or some looters, etc. And then all this is individually put together, and from this you can make some kind of image that could convey what is wrong with us in these times.
I always said that I have a sporty approach to shooting on film, because I do not shoot everything in a row, but think about when and what I shoot. However, I never regret the frames, if there is any interesting situation. But there are shots like this when you take one or two shots — and that's good.
When I shot on Mamiya medium format, then 10 frames on film. If it is a narrow format, it is 36 frames. If the panoramic camera is somewhere around 20 frames. I always have enough film with me. I usually have 10 films with me. Although it is better to always have a supply with you, because you never know what you will see.
Both before the war and during — my pictures could be seen at exhibitions, especially abroad. Before the war, I photographed Kharkiv, Maidan, as well as the hospital where I worked at that time. He was also involved in street photography. In 2012, a Houston photography museum bought my hand painted photos. Then I bought myself a Leica film camera for this money.
This is a paper print of your photos. This is generally such a tradition in the Kharkiv School of Photography. You take some paints, for example, we took those that could be painted on fabrics, and paint these pictures.
Now a lot of photographers shoot well, so I can't highlight anyone or anyone's work. I really like how Maxim Dondyuk shoots in color. But in general, all photographers, and I too, do repetitions. That's why it's really hard to shoot something new right now.
I do not draw inspiration, I create it myself. That is, when I get bored of something, I just start doing something else in creativity. Then I go back to the photo again. Before the Russian invasion, I had a break in photography. When the full-scale began, I realized that I needed to shoot the war. Again, the photo interested me. That's why I'm living it now.
Yes, of course. I am not a news photographer, that is, I do not need to cover all the arrivals every day. I don't have this routine. My goal is different: to collect some general picture of the war and make a book.
I want to make a book. That's my goal. Maybe it will be a few books. Since I still work separately with guys from the army aviation. I constantly go to them and shoot. They need a separate edition.
There are such photos. There are photos in which the guys are still alive, and then I'm already filming their burial. There are even such photos where I shoot the burial of some guys, carry the coffin of others, and they too have already died. Unfortunately, such situations are becoming more and more. I think the pictures are valuable from a historical point of view. You seem to be writing this story. A lot of guys die, but they stay in the pictures. These images serve their function — to preserve memory. I want to add that film photos are a physical thing, and in the case of mega-blackouts, when all electronic means do not work, you will have a physical photograph. This is an advantage.
Recall that on the morning of May 19, Russian troops fired double strikes on the recreation area in the suburbs of Kharkiv with Iskander-M rockets, where about half a hundred people were. The tragedy of the destroyed recreation center from the suburbs of Kharkov on film photos by Vladislav Krasnoshchuk
Vladislav Krasnoshchek— Kharkiv artist. 1997—2002 studied at the Faculty of Dentistry of Kharkiv State Medical University. In 2004-2018, he worked in Kharkiv State Clinical Hospital of Emergency and Emergency Care named after him. O. AND. Meshchaninov. He has been photographing since 2008. He is engaged in documentary photography, street art, as well as easel and print graphics. Instagram of the photographer.
The material was worked on:
Researcher of the topic, author of the text: Vira Labych
Bildeditor: Vyacheslav Ratynskyi
Literary Editor: Julia Futei
Site Manager: Vladislav Kuhar
Capture, display, print and scan — this is the process of film shots of Kharkiv artist, photographer, doctor Vladislav Krasnoshok. It captures the Russian-Ukrainian war, its consequences, its tragedies and its heroes in black and white pictures. About photos, their meaning and approach to work — we talk with Vladislav.
I am a doctor in general. I used to work as a maxillofacial surgeon in an emergency hospital, and now I work as a doctor - dentist - surgeon - implantologist in a private clinic. Photography has always been my hobby, but I position myself as an artist who still works with photography.
No, in general, I do not have such things as projects in my head. Now I'm filming the war.
About 15 years ago, I started photographing first on a digital camera, and then switched to film. I chose black and white film for myself, because I can completely control the whole process — from shooting to printing. That is, I control all these things myself: I photograph, show, print — then I get the result I need.
There is nothing complicated here. It just takes some time.
I think that in working with a “figure” it also takes a lot of time, because you shoot, then you drop it on the computer, then you sort of process it. In my case, I took pictures, showed the films, then scanned the films to select the photos I wanted to print. Printed. That is, I have them on paper, and then, so that I can put them somewhere in electronic form, I scan them.
Again, in the case of black and white photography, I am in complete control of the shooting process before printing. But if I need to shoot in color, then I need to give the colored film to someone in some laboratory. It happens that they can do something wrong there. However, recently I started shooting on color film as well. I'm curious about this.
Black and white photography, in my opinion, is more old-school, where the form works. And color photography, in my opinion, is more complicated. Because you need to work with color, and therefore the composition works differently.
For me, quality is not the quality that can be measured in pixels, or in anything else. For me, quality is when the picture works for the viewer. From my point of view, it should be the perfect composition. That is, formally the photo should work, and if formally it works, then it can give birth to some image to the viewer when viewing.
War is a lot of different topics, and that's why I divided it conditionally for myself. My goal is to make a book about this war. When I'm 70% closed on the topics I'm working on, I'll be able to make this book. These are not only the consequences of “arrivals”, these are destroyed buildings, destroyed bridges, the work of the State Emergency Service, the work of the military and medics, the activities of our equipment, prisoners or some looters, etc. And then all this is individually put together, and from this you can make some kind of image that could convey what is wrong with us in these times.
I always said that I have a sporty approach to shooting on film, because I do not shoot everything in a row, but think about when and what I shoot. However, I never regret the frames, if there is any interesting situation. But there are shots like this when you take one or two shots — and that's good.
When I shot on Mamiya medium format, then 10 frames on film. If it is a narrow format, it is 36 frames. If the panoramic camera is somewhere around 20 frames. I always have enough film with me. I usually have 10 films with me. Although it is better to always have a supply with you, because you never know what you will see.
Both before the war and during — my pictures could be seen at exhibitions, especially abroad. Before the war, I photographed Kharkiv, Maidan, as well as the hospital where I worked at that time. He was also involved in street photography. In 2012, a Houston photography museum bought my hand painted photos. Then I bought myself a Leica film camera for this money.
This is a paper print of your photos. This is generally such a tradition in the Kharkiv School of Photography. You take some paints, for example, we took those that could be painted on fabrics, and paint these pictures.
Now a lot of photographers shoot well, so I can't highlight anyone or anyone's work. I really like how Maxim Dondyuk shoots in color. But in general, all photographers, and I too, do repetitions. That's why it's really hard to shoot something new right now.
I do not draw inspiration, I create it myself. That is, when I get bored of something, I just start doing something else in creativity. Then I go back to the photo again. Before the Russian invasion, I had a break in photography. When the full-scale began, I realized that I needed to shoot the war. Again, the photo interested me. That's why I'm living it now.
Yes, of course. I am not a news photographer, that is, I do not need to cover all the arrivals every day. I don't have this routine. My goal is different: to collect some general picture of the war and make a book.
I want to make a book. That's my goal. Maybe it will be a few books. Since I still work separately with guys from the army aviation. I constantly go to them and shoot. They need a separate edition.
There are such photos. There are photos in which the guys are still alive, and then I'm already filming their burial. There are even such photos where I shoot the burial of some guys, carry the coffin of others, and they too have already died. Unfortunately, such situations are becoming more and more. I think the pictures are valuable from a historical point of view. You seem to be writing this story. A lot of guys die, but they stay in the pictures. These images serve their function — to preserve memory. I want to add that film photos are a physical thing, and in the case of mega-blackouts, when all electronic means do not work, you will have a physical photograph. This is an advantage.
Recall that on the morning of May 19, Russian troops fired double strikes on the recreation area in the suburbs of Kharkiv with Iskander-M rockets, where about half a hundred people were. The tragedy of the destroyed recreation center from the suburbs of Kharkov on film photos by Vladislav Krasnoshchuk
Vladislav Krasnoshchek— Kharkiv artist. 1997—2002 studied at the Faculty of Dentistry of Kharkiv State Medical University. In 2004-2018, he worked in Kharkiv State Clinical Hospital of Emergency and Emergency Care named after him. O. AND. Meshchaninov. He has been photographing since 2008. He is engaged in documentary photography, street art, as well as easel and print graphics. Instagram of the photographer.
The material was worked on:
Researcher of the topic, author of the text: Vira Labych
Bildeditor: Vyacheslav Ratynskyi
Literary Editor: Julia Futei
Site Manager: Vladislav Kuhar
UAPP is an independent association of professional Ukrainian photographers, designed to protect their interests, support, develop and promote Ukrainian photography as an important element of national culture.
UAPP's activities span educational, social, research and cultural initiatives, as well as book publishing.
UAPP represents Ukrainian professional photography in the international photographic community and is an official member of the Federation of European Photographers (FEP) — an international organization representing more than 50,000 professional photographers in Europe and other countries around the world.
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