Q: Can you introduce yourself and share a bit about your background?
A: Certainly. I'm Milena Kravetz, but I'm known under the name Katastrofffe.
Remember once I read about myself "Cute female director of porn as well as
photographer for Vogue." I think it's funny and kinda accurate.
I'm most known as a Berlin photographer, though I currently reside in
Lisbon. My origins trace back to Polish and Tatar heritage. Over the years,
I've gained recognition for my work, particularly in the realms of provocative
photography and artistic fashion. I've collaborated with numerous
prestigious magazines like Vogue and Gmaro. My portfolio reflects my
passion for black and white imagery, capturing art-fashion, evocative
portraits, self-love narratives, and dynamic yet provocative portraits.I
particularly enjoy capturing live shoots and behind-the-scenes stories. As a
young 35-year-old woman, I also bring ten years of experience as a camera
operator and producer for documentary projects.

Q: You mentioned being involved in both photography and filmmaking. Could
you elaborate on your experiences in these fields?
A: Certainly. Beyond my focus on photography, I've also delved into the
world of filmmaking. I have collaborated \with UNESCO, which has led to
extensive travel experiences, including to extremely remote areas of the
Arctic. Through my roles as a camera operator and producer, I've gained
invaluable insights into capturing candid moments during live shoots and
behind-the-scenes interactions. This exposure has significantly enriched my
creative perspective.
It's worth noting that my years of experience working closely with people
have cultivated a sense of ease and rapport, which becomes evident during
shooting sessions. Additionally, being a female director has provided unique
advantages, especially when exploring projects that delve into themes of
eroticism and porn. The perspective I bring as a woman has added depth
and authenticity to my work in this arena.

Q: Your work seems to reflect a strong focus on black and white imagery.
What draws you to this aesthetic?
A: The monochromatic palette enables me to distill the very core of my
subjects, accentuating their unfiltered emotions and intricate nuances. The
interplay of dark tones and deep contrasts engenders a sense of depth and
dimensionality that's often challenging to attain in color photography. It's an
aesthetic that exudes elegance, classicism, and edginess all in one stroke.
With black and white, there's a unique invitation for the viewer to participate
in the image, to imagine the colors, and paint their own emotions onto the
canvas I've provided.
You know the colours? Paint it yourself :)

Q: Your KATASTROFFFE project seems central to your creative journey.
Could you tell us more about it?
A:In a way, you could say that KATASTROFFFE emerged as a sort of playful
experiment that evolved into something deeper.
I could describe this project like a joke which went way too far :)
During my involvement in documentary filmmaking, I was dealing with heavy
and important issues like saving cultural heritage, combating sex slavery,
addressing famine, and tackling ecological crises, I found the need for a
lighter, more lighthearted outlet. KATASTROFFFE became that outlet,
allowing me to infuse humour and fresh perspectives into my work.
Interestingly, the balance has shifted over time. While documentary
filmmaking was once my primary focus, it's now taken on the role of a hobby
and a side venture. For instance, my latest documentary delves into the city
of Barentsburg in the Arctic region. This shifting dynamic highlights how
creativity can lead us down unexpected paths and evolve our artistic journey
in surprising ways.

Q: With your background in both photography and teaching, how do you
balance these roles?
A:My journey has been quite unique in this regard. While I never formally
studied photography, my education in Fine Arts has significantly influenced
how I approach photography. While I have cultivated my own unique
technique, I also hold three degrees in fine art and sculpture. This
background has allowed me to perceive photography not just as a service
but as a powerful medium of art. I believe that photography can transcend
its conventional boundaries and find its place within the realm of high art
history, even within gallery spaces.
Drawing from my education in Fine Arts, which includes understanding
composition rules, the play of light, and the study of sculptural forms, I've
found that these principles seamlessly translate into the world of
photography. This knowledge equips me with tools to translate conceptual
ideas into tangible visual representations.
I did engage in private classes for oil painting and even established my own
art studio in Istanbul. However, I reached a point where a choice had to be
made. Photography emerged as my chosen path. My decade of experience in
teaching within the field of Fine Art and Sculpture has proven invaluable.
The act of teaching not only deepens my personal understanding of art but
also provides me with the opportunity to guide aspiring artists on their
individual creative journeys. This dual role continues to fuel my enthusiasm
for artistic expression, contributing to both my personal growth and
evolution as an artist.
Presently, I also teach the art of creative thinking in photography within
private schools on an invitation basis.
Q: Favorite photographers?
A: Okuhara, Lukasz wierzbowski, Oliviero Toscani, Larry Clark, Kostis Fokas,
Josef koudelka, Grant Harder, Julie Pike, Herbert List, Lars Botten, John Lou
Miles, Elizaveta Parodina at the moment.

Q: What advice do you have for emerging photographers and artists looking
to make their mark in the industry?
A: My advice would be to stay true to your artistic vision and embrace your
unique perspective. Be open to pushing boundaries and stepping out of your
comfort zone. Continuously learn and evolve, while also remaining resilient
in the face of challenges. Most importantly. Success as an artist requires
dedication and perseverance.
Talk about yourself even to yourself.
Trust your instincts, nurture your talents, and acknowledge your worth.
Authenticity is magnetic; staying true to your own voice is how you resonate
with your audience.
I understand this journey firsthand. Maintaining strong discipline and an
unyielding work ethic are fundamental. Being an artist demands commitment
and perseverance. It's not merely about appearing dedicated; it's about truly
living it.
Remember, your path is uniquely yours. Don't just seem to embody these
principles—be them.

Q: What do you envision for your future in the world of art and photography?
A:My art will continue to find its place through various avenues. Expect to
encounter my works at diverse exhibitions, as well as within the pages of my
photography books. The KATASTROFFFE clothing line serves as an
extension of my artistic vision. And of course, my artistic journey remains
vividly alive on platforms like Instagram - however Instagram can't handle
some of my imagery - 4 of my profiles were taken down and I am restoring
my following back.
As I gaze into the future, my aspiration is to achieve a level of recognition
that resonates before my time is through. I seek to amplify my voice as an
artist, leveraging my creative expression to make a meaningful contribution
to the world around me.

Q: Do you sell your art?
A:Absolutely, my art is available for purchase, as well as through exhibitions
and collaborative projects. I sell prints, postcards, t-shirts which feature my
prints and photo books. I believe that art should be accessible to those who
connect with it, and offering prints allows a broader audience to engage with
my creations on a more personal level.

Q: What would you tell your 10-year-old self?:
A: Embrace the chaos and uncertainty that lies ahead, for it will fuel your artistic expression and
personal growth. Never start smoking and don't get married to guys with long hair.