Igor Andreev was born in the Russia, in the provincial city of Astrakhan in 1957. The first camera was his father’s analog camera Zorkiy-1. Igor’s father taught him how to shoot, develop and print pictures, he was 11-12 years old then. However, Igor began photographing seriously only 10 years ago. He already had certain technical skills, so he started to study the composition in depth; all the necessary material was available on the Internet. He did not attend any master classes. Igor is firmly convinced that if a teacher is a charismatic person, then you can imperceptibly turn into his not very successful clone. So he is self-made in this sense.
In the eighties Igor lived in the city of Vladivostok, in the Russian Far East, and was a sailor in the fishing fleet. He sailed through all the oceans, except the Arctic. It was then that he began to understand how diverse and amazingly beautiful life is that surrounds us. He was shooting, of course, but still those shots were too amateurish. The main conclusion he made for himself then: Earth, is a planet of animals, and man is only their younger brother, who appeared here much later. All that people can do for the Earth and its animal kingdom is not to spoil, not to exterminate, not to pollute!
Now Igor lives again in his small provincial Astrakhan with a population of about half a million people. The city is absolutely not eventful. Yes, he is not shooting events, he is not a news photographer. He photographs his memories. Yes, it’s memories: memories of his childhood, youth. He was always surrounded by animals, and, thus, there are so many of them in his frames. The relationship between man and animals is his favourite subject. Igor likes to shoot in the old, unspooled by civilization, districts of Astrakhan. He likes the aesthetics of bygone times, even if it’s already collapsing or dilapidated. And he also likes to shoot children: not dressed up or strolling with their parents along the central streets of the city. No, he shoots them on location with bruises and abrasions on their knees and their dirty hands. He’s not a fan of showing a sterile childhood.
You won’t find in his photography “decisive moments” – they are simply not there, there are only moods.