Creating a conceptual dance image
When I was asked to create a preview image for Jasmine Ellis Projects' upcoming dance piece, Everything That Is Wrong With Me, we didn’t have much to work with—just one dancer, no choreography yet, and only a rough idea that parachutes would play a major role in the set and costumes. The challenge was to capture the essence of the piece before it even existed.
The idea
We decided to suspend a parachute from a tree and light it from within, letting it act as a huge, glowing diffuser. This way, the dancer could move with it, and the light would wrap around her in a soft, almost surreal way.
Of course, that came with some logistical challenges. It was the middle of a sunny day, so we had to make sure the parachute actually glowed instead of getting washed out. There were no power outlets anywhere, so everything had to run on battery. We also had a short window with the dancer and choreographer, meaning we had to work fast.
We needed to ensure the light inside the parachute was strong enough to overpower full daylight while still feeling soft and atmospheric. The setup also had to be quick and efficient, as we had limited time with the dancer.
Making it work
The broncolor Satos 3200 was a game-changer. It had enough power to overpower the sun, all while running on battery, which meant we could shoot exactly where we wanted without worrying about power outlets or generators. This allowed us to be completely mobile, setting up in a natural, outdoor environment without compromising on lighting quality.
After pre-shoot tests in the studio, I found the best way to light the parachute was by placing one Pulso L with a standard reflector behind it. The thin white fabric acted as a giant glowing diffuser, softly lighting both the dancer and the surrounding tree. This method created a natural, dreamlike quality that felt both organic and controlled.
The setup
I shot on the Nikon Z9 camera with a Nikon 24-70mm f/2.8 lens, which gave me the flexibility to capture both wide shots and close-up details of the dancer interacting with the parachute.
Using my climbing skills, I rigged the parachute to a strong overhanging branch, ensuring it hung freely and moved naturally. The single Pulso L was placed high on a stand behind the tree, with the Satos 3200 pack acting as a weight to stabilize it.
For additional lighting control, I introduced a broncolor Siros 800 L with a 150cm Octa from the side, bringing back subtle detail in the dancer where needed. This allowed for more flexibility in shaping the final look while keeping the primary focus on the parachute’s glow.
The result
With the Satos at full power, and shooting at ISO 64, 1/250s, and between f/5 and f/9, the parachute glowed beautifully, even under midday sun. The light wrapped around the dancer in a atmospheric way, creating a dreamy, almost weightless look that fit the theme of the piece perfectly.
The interplay between movement, fabric, and light resulted in an image that felt both powerful and ethereal. Considering we started with just a parachute and a vague concept, the final images turned out better than expected.
This shoot was a perfect reminder that great images don’t always come from perfect conditions—sometimes, it’s about adapting, experimenting, and making the most of what you have.
