Kristina Lind

2010 Asteria Photoshoots

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

2009 Lands End Sutro Bath Ruins Photoshoot

Today we’re going back in time to 2009 to my second photoshoot ever.

Kristina Lind and Myles Thatcher at the Lands End Trail in 2009

Since this was my second shoot ever, I borrowed a Canon 50D camera with a 50mm lens, enlisted my friends who I trained with at the San Francisco Ballet School, and we shot outdoors at the Sutro bath ruins and lands end trail in San Francisco, California.

The canon 50D by the way had 15 megapixels. To put that in perspective, the latest iPhone here in 2025 has 48 megapixels. (Of course, photography isn’t all about the megapixels, but it’s still wild.)

My friends in this shoot are Kristina Lind, Myles Thatcher, Dylan W and Nicole Voris. During this timeframe, we had all recently finished (or were close to finishing) our training at the San Francisco Ballet School. We were all hungry for life and at the start of our professional careers.

This shoot hugely propelled my confidence forward in photography. At the time I was guessing I could create images that entailed high level ballet technique, but on top of that, I also wanted to convey a sense of movement, a sense of whimsy, and a sense of emotion. (All the things I think ballet itself is.)

I’m still a big fan of these images. I can see where my photographic flaws were, but overall, I look at these images with joy. We had a lot of fun creating them and the reception they received at the time was so strong, I recall it hugely motivated me and gave me the confidence that I could actually achieve the photographic goals I wanted to.

What’s also fun when looking at photos from the past is to see where the dance careers of everyone ended up. Kristina Lind danced with the San Francisco Ballet, then Dutch National Ballet and then Bayerisches Staatsballett. (And she is currently a principal dancer there)

Myles Thatcher joined San Francisco Ballet the year of this photoshoot as an apprentice, and he is now a soloist there and a respected choreographer in the dance industry.

Nicole Voris (Who is also my wife as you all know!) Toured with San Francisco Ballet, then danced with Cincinnati Ballet, Ballet Austin, and then danced commercially in Los Angeles. She now does repertoire dance work with our friends who are choreographers, and she also choreographs herself. (She is also an exceptionally talented dance teacher)

Till next time!

-Oliver Endahl