Digital FeaturesChambre Nº 12Anna Daki
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Anna Daki


PHOTOGRAPHY Anna Daki STYLING Sheina Miretskaya HAIR & MAKEUP Kristina Kuzikova PRODUCTION Alyona Kotlyar PHOTO ASSISTANCE Andrew Tishenko MODEL Diana @ I Mother Agency LOCATION Hotel Otrada Odessa CAMERA Leica S (006) with Summarit-S 35mm f/2.5 Asph. and APO-Summarit-S 120mm f/2.5 (CS).

Her visual sense for physical forms never fails her: in collaboration with stylist Sheina Miretskaya, photographer Anna Daki’s unique and mysterious imagery shaped model Diana for ‘Chambre Nº 12’ for the S Magazine.

S Magazine: Women are at the centre of your photography. Is this a question of aesthetics or are there other reasons?
Anna Daki: It‘s mostly a question of aesthetics. I’m super fascinated by human beauty and the human body, both male and female; but somehow I produce much more work with woman. Also I find it incredible how different human beauty can be and how special. For me it’s like opening a new book every time.

Photographically speaking, your emphasis is on presenting the body in different ways, also sculptural, constructivist. What was the focus this time in Chambre Nº 12?
This time I really wanted to show a soft female side, very sexual, very real, but also a bit provocative. I was inspired by Helmut Newton works. I wanted it to be a bit too much, a bit over the top sexy. I feel that, when it comes to showing skin, magazines are being very precise nowadays, also in Germany. It’s just boring!

The model in the Chambre Nº 12 series expresses very different moods: from sentimental, thoughtful and seductive to intellectual… do your find that, to some degree, she embodies the feminine ideal?
From the very beginning, stylist Sheina Miretskaya and I had the idea that we wanted to project the feminine ideal that we both have in our minds and that we adore. She is strong, independent and, at the same time, very attractive and liberated.

In addition to being a photographer, in Berlin you’re known as a fashionista. What role does fashion play for you and how involved do you get in the styling and looks for your photo productions?
Every time someone tell me I’m a fashionista it surprises me. I’m always wearing the same stuff and absolutely never care for trends; and I spend all my money on new equipment and the studio. But I’m very much in love with fashion when I see incredible designs and fabrics, and colours that fit. Sometimes I do the styling for my own photo shoots - when it’s only beauty and jewellery, for example. On a photo shoot with a stylist, I don’t usually get very involved, as I always leave the professionals to do their job. In the same way, I don’t really like it when someone gets in my way during a photo shoot.

Chambre Nº 12 was produced in your hometown of Odessa. Why? Does the city have a particular flair that results from its culture, but also from the current political situation?
We produced most of it there because I knew it would be easier to find a model who would be open to us, and who wouldn’t be shy; and also because I wanted to do it with Sheina, as we had had this idea for a long time. I would say that in Odessa people are generally super relaxed. We had this incredible 100.000 euro jewellery from Otrada Luxury Boutique to use, and everyone was very chilled about it. The political situation made people much stronger; but on the whole people in Odessa are very optimistic.

Do you prefer to work in the studio rather than on location? To what degree do you conceptualise your photo shoots, to what degree are they intuitive and spontaneous?
I really love both: the studio for its safety and clean shots, and locations because you can never know what exactly will turn up and how beautiful it might be. But mostly locations help tell the story more precisely.  
I can be super spontaneous, and the people who work with me know this about me. I can be calling an agent at 18.00 asking for a girl for the next morning; or I might call a stylist and a makeup artist at 10 at night if there’s an incredible girl in town for just one day. Somehow it always works out and the idea comes along.

You work with both the SL and the S. When does one system have an advantage over the other, or which one do you basically prefer to use?
I really love the S because it’s just an incredible camera! It gives this crazy depth and quality and I just love the shutter sound! The SL is much faster, and super light, etc... It’s amazing for location shoots and I would definitely take it when travelling. I love both, but I would always prefer to use the S system for my shoots. It sounds funny, but having a big camera in my hands also gives me the feeling of being a very “grown up photographer”.

You are very active on instagram. Do you see a difference between electronic and printed pictures?
Right now I’m very thankful for this platform because it really helps my job; it helps me show my work fast and find amazing clients. But I do see a huge difference in online and printed works. Every time I work for a print publication and then receive the magazine, I just love to see the images in that totally special way. The same with my personal work and portfolio images. Print has this depth, and it gives you the feeling that you are producing art in some way!