I have been going strong on my summer hobby of crafting art pieces. (As you might recall from my previous posts featuring batch 1 and batch 2: I either use a photo I’ve shot as a base for a piece, or I use it as the visual inspiration.)

I love seeing artists develop and evolve. I think nowadays we most commonly see this process with actors and directors in cinema. (Because cinema is the art form we all most consume, besides music.) We will often see actors and directors in various films they make over the years, and through that progression, we can see how their style and technique transform over time.

Getting to see the process of how someone further enhances their art is one of my favorite things. I hope you enjoy that process here as I continue to share my work with you all.

The Reverie Dance Company (Vanessa Childress, Jenna Skipworth, Georgia Brinkman, Erin Patterson, Kelly Dornan)

Briana Djurasevic, Casimere Jollette, Carmina Ballesteros and Lindsay Fulton.

Keep an eye on the Zine for future art works.

-Oliver Endahl

Back in 2010, when I was still starting out, I began experimenting with a concept I called “Asteria”

(In Greek mythology, “Asteria” was the goddess of stars, astrology and dreams.)

“Asteria” was basically me using a tutu that my sister Lilith and I had placed 5 packs of LED lights through, so it would glow in the night.

To achieve these shoots, the plan was usually the same. I would wake up around 3:30 in the morning, drive into San Francisco and meet up with a dancer. We would then shoot from 5-7 AM. (Usually in the extreme cold) There were a few shoots where we shot after sunset, but those were rare.

The dancers were absolute troopers to shoot so early, and in such cold conditions. Reflecting on it now, it was a really pure experience. At that moment in history, influencers weren’t a thing yet. So everyone who collaborated with me, they did so purely because it was fun, new and exciting.

Something I kept an extra eye on for this series was the tone of the shots. I had only recently stopped dancing myself, so my state of mind was much deeper in the industry/much more self conscious of my work. Social media was still brand new then, so no dancers were really posting any content there yet.

Every photo I posted was put under the microscope of the ballet industry. Lots of eyes were watching, and I had to be very careful not to create/post anything that could be viewed as “corny, cheesy, tacky, lowbrow,” etc.. (Today, there is an endless variety of ballet centric photos and videos out there. There really is no more scrutiny of what is and isn’t “acceptable”, but back then, 14 years ago, it would have been a faux pas to post something that wasn’t considered “high brow”)

There was also a technical challenge in creating these shots because the cameras I used back then (I believe I was using a Canon 50D when shooting these) didn’t have the night capabilities that modern cameras do today. Capturing any quick movement was especially difficult since the camera was already hitting its technical ceiling. I enjoyed the challenge though, and learned a lot about photography from these night shoots.

I am very proud of these images, and the execution of the concept.

Till next time,

-Oliver Endahl

Art Pieces Batch 3 by Oliver Endahl

2010 Asteria Photoshoots

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