Interview with Alessia Santambrogio
BIFA 2025 Winner, 1st Place, Professional Advertising, “Stars of Ballet – Youth Grand Prix”
Q: Can you tell us a bit about your background? What first inspired you to start photographing the world of ballet?
Coming from a background in stage photography, I’ve always searched for ‘visual rhythm’. I was inspired to start photographing ballet because it offers a unique challenge: the dancers aren’t just performing; they are sculpting the air with their bodies. I wanted to see if I could capture that fleeting geometry in a single, static frame. I have also always been deeply fascinated by the human form in motion. I have always been attracted to the balance between extreme fragility and incredible strength. For me, ballet is the ultimate expression of this duality. Seeing the sweat and determination behind the natural grace on stage made me realize that there was a profound story to tell through my lens, a story of discipline and quiet beauty.
Q: What were the biggest hurdles you faced while capturing these images, and how did you overcome them?
The biggest hurdle is undoubtedly the unpredictability of live performance lighting combined with the need for absolute silence. In a theater environment, you can’t use flash, and you must respect the dancers’ focus. I overcame this by developing an almost instinctive anticipation of the movement. I spent hours studying the choreography before shooting, learning to ‘breathe’ with the dancers so I could hit the shutter at the peak of an action or in those quiet, emotional pauses.
Q: Could you share some insights into the equipment and techniques you used? Is there a particular lens or camera setting you always rely on to freeze such elegant motion perfectly while on stage?
Precision is key. I mainly rely on a 70-200 mm f/2.8 lens, which is versatile enough to capture both wide stage compositions and close-up, exciting portraits. It’s also suitable for capturing such elegant movements without losing the ‘soul’ of the stage lights.
Q: What does winning 1st place in the Advertising category in BIFA mean to you, both personally and professionally?
It is a great honour for me to have won this award and to see my work recognised in such a prestigious international context. Personally, it is a wonderful validation of the hard work, passion, and hours dedicated to perfecting this series.
Professionally, winning 1st place at BIFA in the Advertising category is a significant milestone. It proves that fine-art aesthetics can powerfully serve commercial purposes. It opens doors to new collaborations where I can bring this high-level, ‘poetic’ visual approach to brands that value elegance and movement.
Q: If you could work on any photography project in the world, unrestricted by budget or location, would it be another ballet, or is there a different dream project you’d love to pursue?
I would love to take ballet out of the theater and into the most extreme natural landscapes on Earth—think of a prima ballerina on the salt flats of Bolivia or amidst the Icelandic glaciers. The contrast between the delicate art of dance and the raw power of nature is a project I’ve always dreamed of executing on a grand scale.