For this shoot with professional dancers, we chose an unused industrial loading site. The raw concrete walls, empty loading bays, and wide open asphalt provided both a striking backdrop and the freedom to move dynamically with the performers. Shooting in this type of environment is always exciting, because it combines the unpredictability of an improvised performance with the challenge of shaping light in an unforgiving outdoor space.
The conditions were extreme - it was a blazing midsummer afternoon, with harsh overhead sunlight and heat radiating off the ground. In this situation, the broncolor Satos 3200 running on battery power was the ideal solution. Having 3200 Joules at my disposal gave me the flexibility to shape the light exactly as I wanted, and the confidence that I had enough punch to use a large Octabox 150 as my main modifier. Working in HSS mode with that much power meant I could easily overpower daylight, even without running the pack at full output, depending on how close the light was to the dancers.
With the Nikon Z9, I synced at shutter speeds between 1/2500s and 1/5000s, shooting at ISO 64 and apertures between f/2.8 and f/3.2. This combination allowed me to completely dictate how much ambient light registered in the frame, while the high shutter speed froze the dancers’ explosive movements mid-air with total clarity. The result was a look that felt both cinematic and precise, with light sculpting the dancers against the industrial backdrop.
One of the advantages of working with a single light was speed. I could move quickly, adjust the angle, and set up several variations in a short time frame. I also love the simplicity of working with one powerful light and combining it with sunlight. It frees up my mind to experiment, to react in the moment, and to stay focused on creativity rather than on technical setup. In some scenes I chose to fully overpower the sun for a soft, dramatic effect, essentially erasing the harsh midday light. In others, I balanced the flash with the sun, using it as a subtle fill to recover detail in the shadows and maintain a natural feel.
In improvised shoots with dancers, timing is everything. The incredibly fast recycling speed of the Satos system on battery power was invaluable - I never had to worry about waiting for the flash, even during rapid sequences. It felt like working with the best studio flashes, yet I was completely mobile, far from any outlet. For me, that’s the ultimate freedom: the ability to make the world my studio.
At the heart of my work is the drive to create images that not only capture a moment but also pull the viewer into the scene, sparking curiosity and inspiration. Light, movement, and setting are my tools, but the goal is always the same - to leave the audience with images that resonate and stay with them.
