By Editor Marius Cinteză
Edited and published by Yvette Depaepe, the 12th of June 2025

Irina Lodusanu is not only an internationally appreciated model but also a deeply thoughtful and expressive portrait photographer. Our paths first crossed during few photo shootings where she was in front of the camera—radiant, confident, and composed. It was only later that I discovered another side of her artistry: the quiet observer behind the lens. Drawn to portrait photography, Irina began capturing images as a form of storytelling, a way to connect more profoundly with the world and the people in it. What started as a creative outlet soon evolved into a powerful complement to her modeling career, offering the rare ability to express herself from both sides of the camera. Irina’s work is defined by a search for authenticity—moments when her subjects shed their pretense and reveal something raw, real, and human. Informed by personal experiences of trauma and sadness, Irina's photography resonates with empathy and emotional depth. These life experiences haven’t just shaped her artistic eye—they've become part of her visual language. Through her portraits, she captures more than just faces; she unveils stories, inner lives, and unspoken human emotions. A fleeting glance, a sudden light, or a moment of stillness—these are the elements that, in her hands, turn a simple image into something exceptional. I invite you to discover in the article below the story of an artist who has learned to see—and help others be seen—with rare clarity and compassion.

Irina, it's a real pleasure to have you with us today. To start things off, could you share a bit about yourself beyond the world of photography and modeling? What are some of your other interests or creative pursuits?
Thank you for having me—it's truly a pleasure to be here. I was genuinely excited when I received the invitation for this interview. Beyond my professional life in photography and modeling, my interests span various fields, all interconnected by a deep curiosity about human nature and creativity. I'm particularly fascinated by psychology; I spend considerable time reading and learning about how our minds work, exploring topics such as trauma and personal development. Understanding these aspects helps me navigate both personal and professional relationships more effectively. Gardening is another passion of mine. There's something profoundly grounding about having my hands in the soil, nurturing life from seed to bloom. It's a form of meditation for me, a way to connect with nature and find inner peace. Cooking is also a significant part of my life. I find joy in experimenting with flavors and creating dishes that bring comfort and happiness to those around me. It's a creative outlet that also allows me to express care and love. Traveling is another passion that plays a significant role in my personal development. Exploring new cultures and meeting people from diverse backgrounds has broadened my perspective and deepened my understanding of the world. In essence, my life is a tapestry woven from threads of curiosity, creativity, and a desire to understand and connect with the world around me.

'Clone'

You’re widely known as a professional model, but you've also made a name for yourself behind the camera. What sparked your interest in photography? Was there a particular moment when you felt drawn to explore that side of the lens?

'Half'

My journey into photography began when I was seven years old. My father gifted me a simple film camera - a gesture that, in hindsight, was one of the most meaningful things he ever did for me. From the moment I held it, I felt an uncanny familiarity, as if I were reconnecting with a long-lost passion. Eager to explore, I embarked on my first project: photographing every plant in our home. Within an hour, I returned, excited and ready for more film. My father, surprised by my enthusiasm, explained that film and developing it were costly. He set a limit - 36 photos per month. This constraint taught me to be thoughtful with each shot, to plan carefully, and to appreciate the value of patience as I awaited the developed images. That early experience instilled in me a deep respect for the art of photography. It wasn't just about capturing images; it was about storytelling, observation, and connecting with the world in a profound way. Over time, this passion grew, complementing my modeling career and allowing me to express myself from both sides of the lens.

'smoke it away'

What does photography mean to you on a personal level?
How would you describe the role it plays in your life today?
Photography, for me, is a profound means of connecting with people on a deeper level. Unlike conventional interactions, such as meeting over coffee, photographing someone - especially for the first time - offers a unique opportunity to see them without pretense. It's about creating a space where they feel comfortable enough to reveal their true selves. Many individuals I've photographed have likened the experience to a therapy session. In that brief time, there's an exchange of energy. They entrust me with a part of their soul, and in return, I aim to reflect that essence back to them - not just through the images, but by evoking emotions and memories that might prompt introspection. This approach aligns with the concept of therapeutic photography. It's a practice that underscores the power of photography to facilitate self-discovery and healing. Ultimately, I strive for my subjects to leave the session with more than just photographs - they depart with a renewed perspective, having engaged in a meaningful exchange that transcends the visual.

'Mysterious Man'

Looking back on your journey so far, is there a specific experience that really influenced the way you approach photography now?
My experiences as a model have profoundly shaped my approach to photography. Having been on the other side of the lens, I've encountered situations where I felt objectified or misunderstood, leaving me disheartened. These moments instilled in me a deep commitment to ensure that no one I photograph ever feels that way.

'Hide my pain'

From what we’ve seen on 1x.com, your black and white portraits and artistic nudes stand out. What draws you to these genres? What do you find so compelling about capturing people in this way?
Over the past 22 years, I've explored various photography genres - landscapes, macro, street, events - but I always find myself returning to intimate, one-on-one portraiture. There's something profoundly compelling about being alone with a subject, free from external influences, allowing for a genuine exchange between two souls. Black and white portraits and artistic nudes, in particular, captivate me. The absence of color strips away distractions, emphasizing form, emotion, and the raw essence of the individual.

'Queen'

What keeps your creative energy going?
Are there certain themes, emotions, or ideas that consistently inspire your portraiture works?
Creative energy, for me, is a dynamic force - it ebbs and flows. There are days when inspiration strikes relentlessly, flooding my mind with ideas, and others when self-doubt creeps in, making me question my work. These fluctuations are part of the artistic journey. The core of my inspiration lies in human connection. Engaging with people, understanding their stories, and capturing their essence fuels my creative drive. Each interaction offers a new perspective, a different emotion to explore, and a unique story to tell. Music also plays an important role in my creative process. It has the power to transport me into various emotional landscapes, setting the tone for my work. Whether it's the melancholic strains of a cello or the uplifting rhythm of a drumbeat, music helps me tap into the emotions I aim to capture in my portraits. Moreover, personal experiences of trauma and sadness have profoundly influenced my art. These emotions, while challenging, have deepened my empathy and understanding of the human condition. They compel me to create images that resonate on a deeper level, capturing not just appearances but the underlying emotions and stories.

'Shaman'

Every photographer faces their own challenges. When it comes to portraiture, what would you say is the most difficult or complex part for you?
One of the most challenging aspects of portrait photography for me is when I find it difficult to connect with a subject. When there's a lack of common ground or a significant difference in energy levels, establishing that essential rapport becomes a struggle. In such situations, the session can feel forced, and the resulting images may lack the authenticity and depth I strive for.

'rainy thoughts'

As someone who's experienced both sides of the camera, what advice would you give to those just starting out in professional modeling?
Only pursue modeling if you're genuinely passionate about it—the long hours can be exhausting, and the industry is demanding. It's essential to be strong and resilient, as you'll face various challenges. Never compromise your personal boundaries for anyone; once photos are taken and shared, they become part of your permanent record.

'Pain'

In your view, what are those subtle, perhaps unexpected, elements that can transform a portrait from just good to truly exceptional?
Maybe it’s a glimpse of sudden light, an emotion that rises out of nowhere, or a deep, unguarded stare. I don’t think I can quite pin it down — I guess it’s about clicking the shutter at exactly the right moment. It’s not something you can always plan for — it just happens, and when it does, you feel it instantly.

'feminine energy'

When you're working with a model, how do you typically approach a shoot? Do you prefer to plan every detail ahead of time, or do you let things unfold more spontaneously during the session?

'Fragile'

When I'm working with a model, I like to keep things flexible and collaborative. There's usually not an intense amount of pre-planning involved — I simply ask my subjects to come dressed in plain black, which helps keep the focus on them and allows for creative freedom. Sometimes we’ll briefly discuss ideas in advance, especially for more conceptual shoots where there’s a theme or message we’d like to explore. In those cases, either I or the model might bring an idea to the table, and we build from there. Other times, the magic happens in the moment. As we shoot and chat, I might pull out a few props that feel right, or I’ll let the model choose how they want to express themselves. For me, the best sessions are those that feel like a true collaboration — an organic mix of energy, inspiration, and trust between me and the person in front of the lens.

'Unlucky'

And from your experience as a model, what would you suggest photographers do to make their sessions run more smoothly and bring out the best in the people they’re photographing? How important are trust and communication?
From my experience as a model, the most important thing a photographer can do is stay human and adaptable. Often, photographers come into a shoot with a very fixed idea they want to execute — and while having a vision is great, being too rigid can make them miss what’s actually unfolding in front of them. Reality won’t always bend to fit a concept, and when you try to force it, it can lead to frustration on both ends. The model might feel confused, disconnected, or simply not in the right mood for what’s being asked — and that discomfort will show in the images. Adaptability is key. Be open to the energy of the moment. Read the room. Let the setting, the light, and the model guide you sometimes, instead of trying to control every aspect. Another big one is not overdoing it. Many photographers — especially those starting out — will stay on one setup or idea for far too long, trying to "perfect" it. But this often kills the vibe. It’s hard to stay emotionally engaged for hours on the same concept. Let things flow. Shift when it feels right. And this may sound simple, but take breaks. Bring snacks, water, coffee — whatever helps people relax. Shoots don’t need to be high-pressure marathons. I’ve had sessions where we spent 90 minutes talking and 30 minutes shooting — and those 30 minutes produced far more powerful, honest images than two hours of continuous, disconnected shooting. At the end of the day, trust and communication are everything. You can’t fake genuine connection — and if the model feels safe, seen, and part of the creative process, it will always show in the final result. Time is money, yes — but quality and emotion can’t be rushed or bought.

'Enlighten me'

These days, it’s rare to see portraits that genuinely surprise or feel original. How do you want to stay away from clichés in your work and keep your images fresh?
To be honest, I never really think about that. I take photos for the pleasure of it — for fun, to relax, to connect with people, and to bring to life the images in my head... or sometimes to discover ones I didn’t even know existed until the moment revealed them. I don’t compare myself to others, follow trends, or try to impress anyone. For a long time, I didn’t even share my work publicly — I kept it just for myself. But eventually, I realized that showing my images made it easier to find people who wanted to create with me. That’s really the only reason I started posting. So when it comes to staying away from clichés — I guess I just don’t chase anything. I let things happen and stay true to what feels meaningful in the moment.

'Diva'

Gear isn’t everything, but we know many photographers are curious. What’s in your camera bag these days? Any favorite bodies, lenses, or tools you rely on?
I wish I could offer more insight here — and honestly, I wish I knew more myself. As many of you know, photography isn’t exactly a cheap passion, and I haven’t had the chance to experiment with as many camera bodies, lenses, or especially lights as I would have liked. For the past 6–7 years, I’ve been working with a Sony Alpha A7III, mostly paired with a Sony FE 1.8/50mm (which I’d love to upgrade soon). I also use a Samyang 14mm F2.8 AF Sony FE, and a Sony 90mm F2.8 Macro 1:1 OSS G — which I absolutely adore. Occasionally, when I’m feeling brave, I reach for the SMC Pentax-M 1:1.7 50mm and try my hand at manual focus… though I’ll admit, I don’t quite trust my eyes for that yet. It may not be the most extensive setup, but I’ve learned to make the most of what I have — and sometimes, limitations fuel creativity more than gear ever could.

You’ve been part of countless shoots as a model. How have those experiences informed your perspective as a photographer? In what ways have they shaped your creative vision?
For me, it wasn’t so much about absorbing creativity from others — I believe creativity is something you either have or you don’t. It’s not something you can borrow, steal, or replicate. What shaped my perspective most were the do’s and don’ts, the overall vibe of a shoot, and how much that atmosphere could either elevate or completely ruin the experience. As a photographer, I’ve realized how important it is to build a unique creative process with each person in front of my camera — and that process can only unfold through real connection and the energy we share in the moment.

'She is flower'

Is there a particular photograph you’ve taken in recent years that holds special meaning for you? We’d love to hear the story behind it.
I’m sorry to disappoint, but… not really. I know it might sound cliché, but I always feel like my next work is my best. Or maybe I just haven’t yet learned how to truly value and appreciate my own photography. What really stays with me is not a particular image, but the reactions. I feel most rewarded when my models leave smiling, when they message me afterward to thank me, or say something kind about the experience. That kind of connection means everything to me. And honestly, when one of my portraits becomes someone’s profile picture — that’s when I feel like I’ve done my job right. It means I captured them in a way they love, in a light they want to share with the world. That, to me, is more meaningful than any single favorite shot.

'Quiet'

Are there any photographers, mentors, or artists who've had a lasting impact on your approach to photography?
There was something Alex Gâlmeanu once said during a shoot that really stuck with me: “To shoot someone, I have to fall in love with them first.” I don’t take it literally, of course, but I deeply relate to the idea - that in order to photograph someone meaningfully, you first have to see and feel their beauty. That mindset has stayed with me ever since. The second person who’s greatly shaped the way I work is my dear friend Marco Gressler. We've done many workshops together (with me as the model), and what stood out to me is how much he values connection and conversation. From him, I learned that no matter how long it takes to build rapport, that time is never wasted - it always leads to a better, more authentic shoot.

'Tied up'

And finally, looking ahead, are there any new projects or creative directions you're excited to explore?
I’m always excited to try new things — whether it’s experimenting with lenses, lights, fresh ideas, or simply connecting with new people. I don’t have anything specific lined up at the moment, but I’m open to whatever the future brings. I think the best creative moments often come when you leave room for surprise.

'Queen'

'despair'

'Watch me'

'The demon within'

'Trinity'

'Sweet child'

'Escape'

'Vulnerable'

'Mourning'

'Human touch'

'Mysterious guy'