most everything a dancer does is beautiful.
a more interesting challenge i find, is in choosing the best frames for the meaning the dancer attempts to convey – in quick sequence and moody lights – and in balancing that with being true to the scene as i see it.
a final image works for me as an abstraction and the rendering process itself cant help being a kind of reflective – like me watching myself translate and getting it too right, or sometimes not exactly wrong but differently, and knowing when to stop and look away.
[a bitter sweet thing] about dance photography is that the shooter only ever really gets to watch the show retrospectively. we get to take good notice again and again, of ever more exquisite nuances of expression and meaning in every single movement and every single still.
There is an interpretation of this story that I’ve already made, perhaps I’ll share it in part 2. I notice that this piece has me slightly flabbergasted still – and I really ought to temper my enthusiasm. I needed two weeks to come down off the initial stimulus of this piece. From paying attention to my own emotional reaction, what I’ve learned from documenting performances such as this, is that as photographer it’s best to give oneself time before releasing any final shots. My perception shortly after an act of this calibre is naturally heavily biased towards a lingering afterglow. The state affects how I see the images now in that everything looks and feels fantastic. For the normal viewer here, who hasn’t yet had the chance to experience this delightfully tumultuous drama first hand, the images just have to be good at delivering the just promise of this performance in a rightful way.