KW: I completely agree with you, in trying to get it right while on set. Which is your favorite shot and why? TR: Wow, you are so cruel, that's like asking which girl is my favorite! Okay, seriously, if I had to choose I think I'd like the opener (shot on the black coach) the best. This photograph appeals to me as very sexy, seductive, almost inviting while appearing "très femme fatale" and kind of aggressive. It does a great job keeping you on the edge and grasping your attention. Because of the model's body language it was a risky shot. We walked a very thin line but for me that is a turn-on, I like a certain portion of challenge in my work. KW: Did you have poses picked out for each purse/shoe shot? Or did the model work with the environment?

TR: I am glad to admit that everything was staged and envisioned even before the model showed on set for the first shot. While she was in hair and make-up I did my final shot-list, the props and lightning were determined, our story got its shape. I knew where I wanted her and how I wanted her to pose. Naturally there are always little improvisations that come to mind last minute but because of the delicacy and the nature of the story we had a 0% margin for error. KW: What would you be doing if you weren't a photographer? TR: That question never really came to my mind. As simple as it seems I always just wanted to be a photographer. So I guess, to answer your question, it wouldn't really matter, would it? Pumping gas, being a lawyer, working in show business, I don't know ... I am living my dream and that's a big, big privilege!

KW: How did living in Germany influence your work? TR: Well, that is a very complex question that deserves a longer answer. Let me mention first that I lived and worked for almost 12 years in Paris before I moved to New York City. Paris and