In today's episode, a Soviet nude photographer, another Leica auction, toy photography as well as a new product for film developing.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show everyone Liam here and you are listening to the Liam Photography Podcast Episode 459 for the week of June 19, 2025. In today’s episode a Soviet Photographer who captured nudes, a rare Leica 0 for sale, stunning toy photography and more.
When photographer Nikolay Bakharev was born in the Soviet Union in the late 1940s, he entered a strict world where artistic expression was tightly regulated.
Orphaned at the age of four, Bakharev was placed in state care, where he first encountered photography after stumbling upon a plastic Smena camera.
In 1970, Bakharev was assigned to a job in a steel factory in Novokuznetsk, a Siberian city dominated by heavy industry. Soon after, he began working as a photographer for state-run Household Services, making official portraits in schools, factories, and public institutions.
But as the Soviet Union began to collapse in the early 1980s, Bakharev turned to private portraiture. He traveled to nearby river and lake beaches, such as Cheryomushk, where workers and families gathered to relax. These beaches were among the few public spaces in the USSR where any form of nudity was tolerated. At the time, the circulation of photographs containing nudity was forbidden, as was a private commercial enterprise.
“Almost any image of a naked body was considered pornography, which was against the law,” says the photographer. Here, he created a deeply human archive of unvarnished Soviet life: intimate, unguarded portraits of people in moments of quite tenderness—parents embracing their children, couples pressed close, friends drinking in the afternoon light.
Bakharev’s camera served as a means of connection. “There must be a mutual relationship,” he says. “They need to understand that I am not watching my sitters — it’s as if I’m part of the picture… A picture should not be beautiful, but interesting, then you can find beauty. Beauty is in the human relationships that are formed.”
Bakharev has previously been nominated for the Deutsche Börse photography prize for his 2011 exhibition at the Venice Biennale and released Novokuznetsk, published by Stanley/Barker, in 2016. His latest book Cheryomushki is also available to purchase through Stanley/Barker.
The 46th Leitz Photographica Auction this month will celebrate the 100th anniversary of the Leica I, the first mass-produced 35mm camera. A rare prototype of the Leica I, the 0-Series No. 112, will be auctioned and is expected to sell for as much as €2 million ($2.3 million).
This rare camera isn’t the first Leica 0-Series prototype to be auctioned at the Leitz Photographica Auction. The Leica 0-Series No. 105 sold for a record-setting $15 million at the 40th Leitz Photographica Auction in 2022 after auctioneers expected it to fetch up to nearly $3.3 million. However, while it would not be surprising for No. 112 to have a final hammer price above its estimation — bidding wars are commonplace at Leitz Photographica Auctions — No. 105 was Oskar Barnack’s personal camera.
No. 112 does not have that going for it, but it remains a spectacular and very valuable piece of photographic history.
“These cameras were given the serial numbers 101 to 125. Today, only about half of the original two dozen pieces are known to still exist,” explains Alexander Sedlak, Managing Director of Leitz Photographica Auction. “As a milestone in the history of photography that paved the way for photo reportage, they are now some of the most sought-after collectors’ items in the world of cameras.”
The 0-Series prototype is among the most eye-catching and valuable lots in the 46th Leitz Photographica Auction, but it is far from the only interesting item up for grabs. The charity lot in this auction is expected to draw considerable interest as we. British designer John Dowell, affectionately known as King Nerd, engraved a Leica MP to transform it into a one-of-a-kind item.
“Dowell has immortalized the Leitz Park, headquarters of Leica Camera AG, on the camera in his inimitable handwriting,” Leica explains. All the proceeds from the sale of this charity lot will go to the “Licht ins Dunkel” association. Leitz Photographica Auction expects the camera to sell for between €14,000 and €15,000, or $16,185 and $17,340.
Additional highlights include the Leica I Mod. Anastigmat (No. 225), which auction organizers believe will sell for up to €120,000 (approximately $139,000).
“As the 100th Leica series camera ever produced, it fits perfectly with the theme of the Leica anniversary event in Wetzlar,” Leica notes.
A Leica M3 with serial number 700,000 is another notable inclusion featuring a noteworthy serial number. This standout piece is anticipated to sell for between €500,000 and €600,000 ($578,040 and $693,650). This camera was once passed on to celebrated sports photographer and ski pioneer Professor Stefan Kruckenhauser as a lovely gift
“When we talk about highlights of the auction, we usually focus on unique, historic pieces expected to go for big prices under the hammer,” Sedlak says. “But among the 445 lots in total at the upcoming auction, there are actually many items expected to go for amounts in the three or low four figures. These include accessories and lenses as well as cameras.”
The 46th Leitz Photographica Auction will kick off on June 27 at 12 PM CEST at Leica World in Wetzlar. Bids can be submitted in advance online, in writing, or over the phone. Live bids can also be made during the event itself.
Alex Gusev is a name that stands out in the world of product photography, particularly for his cinematic toy photography, where he brings miniature worlds to life.
Alex Gusev’s portfolio showcases the dichotomy of a photographer who can create cinematic miniatures with a touch of childlike wonder and whimsy while also producing high-end, luxury commercial work. Known for his meticulous attention to detail and emotionally charged imagery, Gusev’s imagery captures more than just products; it evokes stories, personalities, and atmospheres that transport viewers into a world where toys aren’t just objects but characters with a narrative. PetaPixel spoke with Gusev about his journey, creative process, and what fuels his passion for photography.
Alex Gusev’s journey into photography began at the age of 15 when his mother gave him a book about photography.
“At the time, I didn’t fully understand its significance,” he recalls. “But something about it stayed with me. I kept returning to the images, the explanations of light and shadow, and the idea that you could freeze time with a camera. It was the first sign.”
A few years later, at 19, he bought his first camera, marking the beginning of his serious photographic journey. “It was all about curiosity back then,” he shares. “I started walking around, capturing architecture, textures, and nature. It wasn’t about technique yet—it was about seeing the world with intention.”
Gusev describes his style as rooted in “clarity, realism, and subtle emotion.” His early work with LEGO minifigures played a significant role in shaping his aesthetic. “I built tiny worlds in my small Moscow apartment, using natural materials like sand, moss, and stones,” he says. “I learned how to create atmosphere, even on a miniature scale, and how to use light, texture, and composition to tell a story.”
These early experiences influenced how Alex approaches commercial photography today. Whether capturing jewelry, skincare, or eyewear, he strives for an image that feels natural and crisp, with every detail thoughtfully arranged.
“It’s not about overpowering the product—it’s about letting it speak for itself,” he explains. “I aim to create an environment where the product is the undisputed hero, front and center, yet embedded in a world that feels tactile and elevated.”
For Gusev, the greatest reward is seeing his work resonate with clients.
“The most rewarding moment is when a client sees their product and says, ‘That’s exactly how I imagined it’ or better yet, ‘That’s better than I imagined.’ Knowing that my images will help them sell, connect, or grow is incredibly fulfilling,” he reflects. “It’s not just about making something look good—it’s about making it useful.”
Gusev’s process starts with a creative brief, either provided by the client or developed collaboratively.
“We clarify visual goals, brand tone, and specific styling preferences,” he explains. “Competitor research is key, as we need to ensure the final images align with the brand while differentiating it in the market.”
Once the concept is in place, Gusev experiments with lighting setups and shooting angles.
“Lighting is crucial—it brings out textures and gives volume to the product without distorting its true shape,” he notes. “Once we finalize the setup, it’s time for production, followed by meticulous post-processing to ensure alignment, reflections, and color accuracy.”
“My style leans into natural textures, balanced compositions, and crisp lighting that adds dimension,” he says. “Whether I’m shooting jewelry or toys, the product always takes center stage, but it’s embedded in an environment that feels intentional and real.”
One of the key elements in Gusev’s work is what he refers to as “clarity with character.” He aims to create images that are clean, commercial, and quietly emotive without overpowering the product.
“Every surface, shadow, and material complements the product’s form and purpose,” he says, emphasizing the importance of making every detail intentional.
“My style is rooted in clarity, realism, and subtle emotion. I actually started by building tiny worlds for LEGO minifigures,” he explains. “Today, I carry that same approach into my commercial work. Whether I’m photographing jewelry, eyewear, or skincare, I aim to make the product look as natural, crisp, and elevated as possible without overstyling or distraction. My background in systems administration gave me a structured mindset, so everything I do is intentional. Design, storytelling, and precision all influence how I shape an image.”
When it comes to gear, Gusev finds that having high-end equipment is crucial to producing the level of work that both he and his clients strive for.
“It’s foundational to the quality and precision I aim for.”
He uses the Sony a7R V, known for its high resolution and color accuracy. Additionally, Gusev relies on a range of lenses, each suited to different aspects of his work. “I use the 24–70mm f/2.8 GM II for versatility, the 90mm macro for intricate details, and the 50mm f/1.4 for depth and softness,” he explains.
In addition to the camera and lighting, Gusev has a precise lighting setup.
“Lighting helps me control the mood and texture,” he shares. “It’s especially critical when photographing reflective surfaces like jewelry or eyewear, where accuracy is non-negotiable.”
Beyond the camera and lighting, Gusev also uses props and textured surfaces to create depth.
“Natural stones, woods, and reflective backdrops all help build context,” he notes, “but they’re always chosen to complement, never to distract.”
One of the biggest challenges Gusev faces is ensuring color accuracy across different devices and platforms.
“To overcome this, I use calibrated monitors and standardized color profiles during editing,” he explains. Another challenge is capturing reflective surfaces without unwanted glare, something he handles by adjusting lighting angles and using diffusers to control reflections.
“It’s about finding the right balance between creativity and technical precision,” he adds. “You have to stay focused on the client’s needs while also pushing your own creative boundaries.”
Gusev approaches composition and framing with a balance of intuition and calculation.
“Years of experience have honed my instinct for composition, but I also rely on structured guidelines to ensure consistency,” he says. “Color choices are often influenced by the product’s characteristics and the emotional response I want to evoke.”
The decision-making process, while calculated, also leaves room for artistic exploration. “There’s always room for intuition and experimentation,” Alex admits.
One project that stands out for Gusev is his early work with LEGO.
“I created dynamic miniature scenes where the characters felt alive and in motion,” he recalls. “It wasn’t just about posing a figure—it was about telling a story in a single frame.”
This work quickly caught the attention of LEGO, leading to a long-term collaboration that extended to other brands, such as Hasbro. “That experience shaped how I approach commercial photography today,” he reflects. “I focus on emotion, movement, and detail, no matter the scale.”
Looking to the future, Gusev is exploring the integration of AI in content creation.
“I’m excited to see how AI can enhance creativity and efficiency,” he says. Additionally, he’s exploring video production to offer clients dynamic visual content. “There’s always something new to learn,” he notes, “and that’s what keeps the work exciting.”
As technology evolves, Gusev continues to push the boundaries of what’s possible in photography, blending traditional techniques with innovative tools to create images that captivate and inspire.
In every shot, whether it’s a cinematic toy scene or a commercial product, Alex Gusev’s photography reminds us of the power of detail, emotion, and storytelling. Through his lens, even the smallest objects can come to life with depth, personality, and meaning.
The Zebra Daylight Processing Tank offers large format photographers an innovative processing solution that combines convenience, efficiency, and reliability. The Zebra Daylight Tank enables the daylight processing of large-format film, plates, and photographic paper, all without the need for a traditional darkroom setup.
For years, large-format photographers have wrestled with the complexities of developing their own negatives. Trays, safelights, and hours spent in complete darkness often led to inconsistent results and high levels of frustration. With the Zebra Daylight Processing Tank, that all changes. This modular, rugged system offers a seamless, light-tight design that eliminates the need for darkroom processing, providing photographers with the freedom to develop their work anywhere, at any time.
“Just two weeks into our Kickstarter campaign for the Zebra Daylight Processing Tank, we’re thrilled to share that we’ve surpassed 900% funding, with more than 400 backers supporting this project from around the world,” Zebra shared on its blog.
“This overwhelming response confirms what we’ve seen growing for years: the analog photography community is alive, thriving, and eager for tools that remove unnecessary barriers while keeping the hands-on, tactile process we all love. We’re deeply grateful for every pledge, message, and word of encouragement. You’re not just backing a product, you’re helping shape the future of analog photography.”
The concept behind the Zebra Daylight Tank is deceptively simple: what if the only time photographers needed darkness was during the loading process? The solution is a uniquely engineered tank that allows users to pour chemicals in and out without exposing the film to light while ensuring even chemical distribution throughout the development process.
The design of the tank features a special light maze system within the lid, allowing for quick and clean filling and emptying from either side. This innovation eliminates the need to rotate or reposition the tank during use while preventing light leaks that could ruin a batch of film. The tank’s light-tight construction is further enhanced by a rubber gasket seal that ensures a secure closure without the need for additional mechanical parts.
With these features, the Zebra Daylight Processing Tank not only streamlines the process but also improves the quality of the final product. The even distribution of chemicals and the avoidance of turbulence during agitation prevent unwanted artifacts from appearing on the film, ensuring a smooth, clean result with every development.
One of the standout aspects of the Zebra Daylight Processing Tank is its versatility. Available in three dedicated sizes, 4×5″, 5×7″, and 8×10″, the tank accommodates a wide range of formats, from small sheet film to larger plates and paper negatives. Plus, modular holders make it possible to process custom formats like 9x12cm, whole plate, and 18x24cm, with even more options to be released in the future.
Photographers who work with 8×10″ film will particularly appreciate the expanded capacity of the 8×10 tank, which can process 16 sheets of 4×5 film or eight sheets of 5×7 film in a single run. This feature enables users to save time, chemicals, and energy, particularly when processing large volumes of film simultaneously.
In addition to the Zebra Daylight Processing Tank, Zebra is excited to introduce the Zebra Film Safe, a light-tight storage box designed to simplify film organization in the field. Whether shooting on location or traveling, keeping exposed and unexposed sheets of film separate and protected is a challenge that many photographers face. The Zebra Film Safe provides a sleek and practical solution, featuring two distinct compartments to securely store both types of film.
The Film Safe’s magnetically secured lid allows for fast, hassle-free handling—even with gloves on—making it ideal for photographers who need quick access to their materials while working in challenging conditions. The textured lids ensure that users can distinguish between exposed and unexposed film by touch, eliminating the risk of mix-ups when visibility is limited.
Available as part of the Zebra Daylight Film Kits, the Zebra Film Safe is a perfect companion for photographers on the move, offering peace of mind and added convenience for anyone working in the field. No more fumbling with film envelopes or worrying about film contamination—just straightforward, efficient storage that keeps your analog workflow organized and worry-free.
“Alongside the tanks, we’ve also launched the Zebra Daylight Kits a complete development solution designed for photographers on the move,” Zebra says.
“Each kit includes a Zebra Daylight Processing Tank, a film changing bag, and our new Zebra Film Safe a rugged, light-tight storage box for safely organizing exposed and unexposed sheets in the field. The Film Safe has two magnetically secured compartments with textured lids, so you can quickly tell them apart by feel, even in the dark.”
The Zebra Daylight Processing Tank didn’t arrive on the scene overnight. Over the past year, Zebra’s team of engineers, photographers, and analog enthusiasts has worked tirelessly to refine the design, conducting numerous prototypes and field tests. The result is a tank that delivers reliable, consistent performance, even in the most challenging environments. Photographers have already expressed their satisfaction with the tank’s ability to handle large-format materials without the typical mess or risk of contamination associated with traditional development methods.
Lars V., a documentary photographer from Sweden, sums up the tank’s impact: “I processed 16 sheets of 4×5 film in the Zebra 8×10 tank—no darkroom, no spills, just beautiful results. This is hands down the most convenient analog tool I’ve ever used.” For many, the ability to develop film outdoors, on the move, or at home, without the need for a dedicated darkroom, is a game changer.
Portability has been a key consideration in the design of the Zebra Daylight Tank. Manufactured from durable, chemical-resistant plastic, the tank is lightweight yet rugged, capable of withstanding the rigors of on-location work. Its compact size and efficient chemical usage, under 0.5L for 4×5 film, under 1L for 5×7, and under 2L for 8×10, ensure minimal waste while still delivering full-format compatibility. Photographers can carry the tank with them on field trips or easily use it in home setups without needing excessive storage space or complicated workflows.
The tank also includes a custom funnel for easy, spill-free filling, and the straightforward assembly and disassembly process makes cleaning a breeze. These design elements, paired with a robust construction that can endure frequent use, ensure that the Zebra Daylight Processing Tank is a long-term investment for anyone serious about analog photography.
The Zebra Daylight Processing Tank’s development has been guided by a community of passionate analog photographers. Feedback from real users has played a critical role in shaping the tank into the refined product it is today. From the initial concept to the final prototype, the project has been built by and for the community. Testers from around the world have shared their experiences, praising the system’s performance, ease of use, and ability to deliver high-quality results without the usual complications of traditional processing methods.
Alison P., a dry plate artist from the United Kingdom, highlights the modular system as a standout feature: “I’ve been waiting years for something like this. Finally, a solution that works for dry plates and modern film in broad daylight. The modular system is genius.”
Zebra promises that its Daylight Processing Tank is more than just a tool; it represents the future of analog photography. By making large-format film processing accessible, practical, and stress-free, the tank brings new possibilities to photographers working in both traditional and modern workflows. Whether in a home studio, on a remote landscape shoot, or traveling abroad, the Zebra Daylight Processing Tank provides the flexibility and reliability that every large-format photographer needs to thrive in the analog world.
With the Zebra Daylight Tank, the darkroom is no longer a barrier. Instead, the tank-based design is a perfect blend of innovation, functionality, and simplicity, designed to meet the needs of today’s on-the-go analog photographers.
The Zebra Daylight Processing Tank is available for pre-order through Kickstarter, with pricing starting at $17.25-23 (€15–20) for the 4×5″ size in the EU, and $28.75-34.51 (€25–30) for international orders. The 5×7″ and 8×10″ sizes are similarly priced. Each tank includes a custom funnel for easy filling, and additional accessories, such as the Zebra Film Safe, are also available. With only 100 units of each size available at the special Kickstarter price, early backers can secure their tanks at a discounted rate before production begins with expected shipping starts at the end of 2025.
Maxim Dondyuk (b.1983, Ukraine), winner of the W. Eugene Smith Grant, is a research-based photographer and artist who combines fieldwork, historical inquiry, and personal reflections with the medium of photography, video, text, and archival materials.
His regular interests include history, memory, conflict, and their enduring impact. His recent projects examine the meanings of war, nuclear energy, and their impact on human perception.
His work has received international acclaim, marked by prestigious awards including the 2022 W. Eugene Smith Grant in Humanistic Photography, being named the International Photographer of the Year at the Lucie Awards, and becoming a finalist for the Prix Pictet Photography Prize.
His art has been exhibited worldwide, in venues such as the Musée d’Art Moderne in Paris, Somerset House in London, MAXXI National Museum of XXI Century Arts in Rome, the House of Lucie in Budapest, the International Red Cross and Red Crescent Museum in Geneva, and L’Arsenal in Bastia.
Peter Levitan: Congratulations on winning the W. Eugene Smith Fund Grant for your coverage of the Ukraine and Russian conflict. Given the nature of the award, do you see or feel a connection between your work and the documentary/editorial work of W. Eugene Smith? For example, his Minamata Japan series, which examined the human cost of mercury poisoning?
Maxim Dondyuk: Thank you for the congratulations. In fact, I received the award back in 2022 — it’s been two years since then, and a lot has changed. But I do feel a certain connection to Eugene Smith’s work. Primarily in how difficult it is to find publications willing to publish heavy, uncomfortable stories. Even during the war, I created a series that magazines refused to run — for example, one about a military hospital. They considered the images too harsh.
Today, everything revolves around breaking news. If a topic isn’t at the top of the headlines, no one is interested. It’s nearly impossible to make a living from documentary photography now — the profession is dying. And in that sense, I feel a kinship with Eugene Smith: you’re doing important, meaningful work, but it’s not wanted, and it’s not something you can survive on.
Q) You photographed the people and places in Ukraine during the first eight years of the Ukraine and Russian conflict. What were your editorial goals?
A) I didn’t set any specific editorial goals for myself. In most cases, I was photographing without assignments — I was documenting the war in my own country. Sometimes I worked with magazines, but that was very rare. I think it’s a bit of a misconception to view me as a photographer who fulfills traditional editorial tasks.
I made a conscious decision to stay in my country and document the war between Ukraine and Russia. Magazines reached out to me occasionally — because I speak the language, I know the terrain, I have connections. But I’m not the kind of photographer who comes in on assignment and leaves a week later. I did it because this is my country.
Q) How did you get access to the war zone and the agreement of the fighters?
A) Since 2014, following the revolution and the annexation of Crimea, I began actively documenting events – including the tragedy in Ilovaisk, where the Ukrainian army was encircled. Since then, I’ve built many connections and relationships, especially among the military. This helped me gain access to various places — not as a journalist, but as someone who had earned trust since 2014. But even with access, it wasn’t always possible to publish what I shot. Often, I was allowed to photograph but asked not to release the images for ethical reasons or safety concerns. That’s why not everything I’ve captured has been shown to the public or published in magazines.
Q) Did photographing a war in your own country take an emotional toll on you? If so, how did you overcome that feeling to be an objective observer?
A) This question can be answered simply: this isn’t about photographing a war — this is the war. The war in my home. I lost my hometown. My parents lost everything and are now living as refugees in Europe. I lost everything too. I’ve been wounded several times. Many of my friends were killed. Others are still on the frontlines. Half of the country is soaked in blood. This isn’t a three-week assignment from an editorial office. I don’t have a home. My family doesn’t have a home. Many people I know have nothing left. Some lost their loved ones. This has changed me forever. Of course it affected me — how could it not?
As for “objectivity” — I don’t believe in it. Objectivity suggests detachment, coldness, And indifference. But how can you look at a dying person with indifference? There is no objectivity in my photography — and I’ve always made that clear. I am subjective, just like any photographer or journalist, no matter what they claim. Everyone has their own context, their biography, emotions, and attachments. All of that shapes how they see and capture what’s happening. Objectivity is defended by those who feel nothing while they work — or by those who don’t want to take a side. But I am on a side. This is my country, my people, my pain. I’m not traveling to a foreign war I have no connection to, in a country whose language I don’t even speak.
Q) How did you get the photographs out into the country, into your society, and beyond?
- I don’t actively distribute my photographs — I document history. I have a website, I’m working on a photo book, and I organize exhibitions. Sometimes magazines publish my work if they’re genuinely interested in it. But around 90% of my archive remains unpublished. Most of these images will likely appear in the book or be shown in exhibitions. Some are shared on Instagram — for those to whom it matters. But I’m not aiming for mass distribution. For me, what matters more is documenting the story. I’m not a fan of the internet, I don’t use social media personally, and I don’t send my photos out to magazines. If a magazine is interested, they’ll reach out — but I don’t pitch my work myself.
Q) Can a conflict photographer who drops into the war zone from another country, often for a short period of time, capture the true human toll and magnitude of the events on the ground?
A) For me, the answer is clear — no. Because they can’t truly feel or experience that suffering. They may not know the language, may not understand the context, or be aware of the history. They might stay for three days or three weeks, then move on to another war, spend some time there, take beautiful shots, and go back home. And often those images are just compositions — the kind that win World Press Photo awards.
But what do they really convey? Horror? Yes. Despair? Sometimes. But do they capture the essence, the atmosphere, the internal state? Most often — no. And not because the photographer is bad, but because they’re an outsider. They came, got their dose of adrenaline, and left. It’s closer to war tourism.
I’m convinced that only local photographers can truly convey the reality of a conflict, the depth of a tragedy. That’s why I’ve never gone — and never plan to go — to photograph wars in other countries.
You can find more of Maxim’s work and connect with him on his website.
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