Intervista per Malvie Magazine France

1. Can you tell us the story behind the Time to Dance editorial? What was the initial concept or inspiration?
I met Alessia because my agency introduced her to me. She’s young, very beautiful, friendly, and has great communication skills. We met, and her mother was also there. Together, we decided which female authors would be best suited to develop an editorial project for her.Besides modeling, Alessia has a great passion for dance, which she hopes will be her life’s work. In fact, she’s been studying and dancing since she was a child. Strangely, she’d never done a photoshoot on this theme. So I thought the best solution was to have her dance and take pictures.

2. What made you choose this particular location, and how did it complement your vision?
I thought it was interesting to bring her offstage to dance. I wanted the theatrical stage she’s used to to become something different, broader—something street-like, that would embrace her artistic and expressive talents. The location I chose is in Milan, just steps from the bustle of the city, but next to the Naviglio, a classic of our city. Lots of people pass by on foot and on bikes. Alessia isn’t from Milan and wasn’t familiar with this area, but she immediately loved it. The passersby became her enthusiastic audience.

3. There’s a beautiful blend of grace and power in the dancer’s pose. How did you approach directing her movement?
To put the dancer at ease, I decided to recreate a real session she’s used to. Initial stretching at the barre on the bridge followed by steps of her choice, from the most static to leaps. I would suggest subjects to her from time to time, but only so that they were centered within the camera frame. Our interaction was always continuous, and the connection between us was absolute.

4. What were you aiming to capture in the expression and energy of this shot?
Her inner beauty, her energy and her authenticity

5. The light in this editorial is very soft and golden. Was this natural light or controlled? Tell us about your lighting approach.
The shoot is very recent, and Milan is really hot in the summer. I chose to shoot in the latter part of the day and use the golden hour for two reasons:
1. The outside temperature was a little lower and more favorable (but still above 30°C).
2. The sunset light is soft and pleasant and doesn’t bother the model, who can control her expressions so they are natural.
When I work outdoors in natural light, I always check the light before each shot, also because, unlike studio lights that are fixed and adjusted beforehand, the sun can’t be controlled. Even light clouds can change the scene, or even just the sunset light that gradually becomes weaker and more orange. Constant monitoring is necessary to maintain expressive consistency.

6. What camera and lens setup did you use for this shoot, and why?
When I work outdoors in natural light, I always check the light before each shot, also because, unlike studio lights that are fixed and adjusted beforehand, the sun can’t be controlled. Even light clouds can change the scene, or even just the sunset light that gradually becomes weaker and more orange. Constant monitoring is necessary to maintain expressive consistency.

7. How do you typically prepare for an outdoor editorial like this — both technically and creatively?
I focus on the message the client wants to convey, so the type of lighting—soft, dramatic, etc.— then on the make up and hairstyle the model should have, which are essential for conveying the mood. In this case, wanting to recreate a dance session, the typical ballerina hairstyle and makeup that’s evident in the photos, but still light on the face, are the key. Then I prepare a mood board with references, including examples of poses, accessories, etc., to show to the model and the team so everyone knows what the goal is.

8. What was the biggest challenge during the shoot, and how did you overcome it?
The heat of the day, and the light, especially at the beginning of the session. I always tried to position the model so as not to tire her out or dazzle her with direct sunlight. But for me, it wasn’t the same, and sometimes I was so blinded by the sun that I couldn’t quite see what I was shooting. In these cases, the assistant needs to help with an umbrella to provide some shade. Finally, the heat makes the model’s skin shiny, and it’s important to ensure this unsightly effect doesn’t develop. The assistant also has this monitoring role. but all this becomes routine and the problems are overcome.

9. What draws you to working with dancers or athletes in fashion photography?
Their uncommon expressive ability as well as the plasticity and control of the poses. It is no coincidence that models who are also dancers, or have previous experience in dance even as children, are immediately recognisable. and with them you can do great things during the shooting: grace, beauty, energy.

10. How do you balance artistic storytelling with showcasing the fashion elements in an editorial?
Balancing artistic storytelling with showcasing fashion elements in an editorial requires a careful blend of creativity and purpose. I aim to create a narrative that draws viewers into a compelling story or mood, while ensuring that the fashion pieces remain the focal point. This involves thoughtful styling, location choices, and posing that complement the theme without overshadowing the garments. I also pay attention to lighting and composition to highlight key details of the fashion, integrating them seamlessly into the story. Ultimately, my goal is to craft images where the fashion is not just displayed but contextualized within.

11. What do you hope viewers feel or take away when they look at this image?
I hope viewers feel a sense of grace and serenity when they look at this image. My aims to capture the fluidity and emotion of dance, especially in the natural light of the sunset. I want viewers to be transported into a moment of harmony between movement and nature, appreciating the beauty of both the human form and the surrounding environment. Ultimately, I hope the image evokes inspiration and a deep appreciation for the artistry of dance and the magic of outdoor storytelling.

12. Finally, what advice would you give to emerging photographers who want to shoot editorials like this for major magazines?
My advice for beginners is a summary of the answers to this interview, for which I thank Malvie. The key points are deciding which model to wear for which editorial project. Understanding which pieces best suit the message, and therefore which location to shoot in and what lighting. A basic understanding of fashion, acquired through study and ongoing training, is essential, as is the technical side. . Connecting with and managing a motivated and professional team is essential. And finally, a love and passion for this type of work. Not only tecnical skills.
Technical skills are not enough: it is necessary to observe and look at things, not only with the eyes, but with the soul.