Breaking boundaries: how to photograph dancers with a twist

Gain the breaker’s trust

“I’ve never photographed breakers in the forest before,” says Shao, who set off into the woodlands of Fontainebleau before the early autumn sun had risen to capture Bboy Link Le Neil in action. “Link was the perfect dancer for this project – he’s really nature oriented, sometimes he breaks in bare feet and the way he dances is really spiritual.” Shao says that trust is everything in breaking and encourages photographers to do their research. “Check out their footage and analyse their style before meeting them. It’s important to understand how they dance, as well as the codes of breaking. You need to ensure they don’t take unnecessary risks, get injured or repeat moves too much, as they’ll tire quickly, which is why building trust is key - they’ll feel more confident in your direction if they know you know what you’re doing.”

Top tip: “I always make a point of showing the breaker my photos after taking them. I believe it’s important to share and say, ‘This is what I’ve done. How can we adjust to make it even better?’”

Get creative with compositions

“I love using wide angles down low to get close to the action to show the dynamics of breaking, but I typically avoid super-wide lenses as they often distort, especially as, in this case, the dancer was tall so his arms and legs would have looked distorted corner of the photos,” explains Shao. “However, I used the NIKKOR Z 20mm f/1.8 S here (as this lens did not distort), and I also used the NIKKOR Z 70-200mm f/2.8 VR S to compress the perspective and create straight lines in the forest, which worked well with the trees.” Shao also experimented with flipping images to create the illusion of making the dancer appear as if he was defying gravity on rocks, and in another he used sand to evoke a moon-like vibe.

Top tip: Adhere to photography rules such as the rule of thirds or using leading lines to enhance the composition. For example, ensure a leg or arm follows a natural line in the frame.

Let the light dictate the settings

Shao says the low light he experienced in the forest presented both a challenge and an opportunity. “I wanted to keep the lighting natural, so I relied on the Nikon Z6III’s great low-light capabilities, as it actually handles noise better than the Z8 or Z9 because the pixels are larger, so there’s less noise in the details,” he says. “I actually pushed it to ISO 6400 in the early morning and, as the sun came up, I took it down. I photographed wide open at f/1.8 and, as is usual for photographing dance action to make it sharp, I kept the speed above 1/1000 secs. The only time I used artificial light was for one image, where I wrapped a yellow-orange gel around a flashlight and placed it far away in the background to create the effect of sunrise.”

Top tip: “I liked the idea of having mist in the images, but there wasn’t enough, so I used a lens filter called black mist 1.0, which created a fantasy vibe.”

Start with Pre-Release Capture

“I can feel the right moment to take an image,” says Shao. “It’s part of the challenge I love. But if someone is unfamiliar with the flow of breaking, or because the moves happen so fast by the time they press the shutter, it’s often too late, which is why Pre-Release Capture is perfect. And if I were photographing other sports such as skateboarding or boxing – where I might not know the timing as well, or if my reflexes start to slow as I get older – I’d definitely use Pre-Release Capture. I do like to use burst mode, especially when the movement is unpredictable or when the dancer is fast and doing complex moves. It also means I don’t need to make the dancer repeat moves too often.”

Top tip: “Keep your bursts short to avoid overloading the camera and creating thousands of photos to sort through later.”

Master focus in motion

“Focus is key when capturing fast movements,” advises Shao, who uses the AF-C with 3D Tracking. “Continuous autofocus locks on to the dancer’s face or body, even when they’re flipping or moving unpredictably. For this project, I used 3D Tracking and eye tracking most of the time, and the depth of field was wide enough to keep the whole body sharp when zooming from a distance.”

Top tip: “When filming in slow motion, any autofocus shift will be noticeable in playback. To avoid focus jumps, slow down the pace of the autofocus shift in your camera settings for smoother transitions."   

The Nikon Z6III in review

What was your first impression of the Nikon Z6III?

“It has a reliable autofocus, and it doesn’t have any latency issues, which I saw on the Z6II, so the EVF matches the reality, which is hugely important for sports photography. The fact the Z6III is small and light means you can team it with a heavier zoom lens such as the NIKKOR Z 70-200mm f/2.8 VR S. The fact I use it means it must be good, because I'm really picky!”

What are your thoughts on its slow-motion video capture?

“I love slow motion and this camera is great for it. Back in the day, you were limited to about 25-30 frames per second. With the Z8 and Z9 you can go up to 120fps, but the Z6III allows up to 240fps, so eight-to-ten times slower than reality, which is amazing for breaking. My advice is to put the camera on the tripod or, if you’re filming handheld, select much shorter clips, because one second slow-motion becomes eight-to-ten seconds in a video, so you don't need much, especially with the camera’s excellent stabilisation.”

How did the camera help you to bring your vision to life?

“It’s no good having a camera that breaks your creativity or slows your way of working. Thankfully, the technology of the Z6III worked with me. It followed my expectations and my imagination and let me recreate what I had in my mind.”

Who would you recommend this camera to?

“Street photographers and vloggers, because you can do videos and photos at the same time – all of a really high quality. It’s ideal for amateurs who want to take their photography to the next level. And also for pro photographers as their second camera.”

How can you make the most of this camera?

“Really play with the camera, master it, and you’ll see all the possibilities of what you can achieve. Dig deep into the settings and all the different features, because it will take your creativity to the next level and help you realise your vision, which is the number one priority for a photographer.”

Kitbag

Nikon Z6III

Nikon Z8

Nikon Z9

NIKKOR Z 135mm f/1.8 S Plena

NIKKOR Z 24-70mm f/2.8 S

NIKKOR Z 20mm f/1.8S

NIKKOR Z 70-200mm f/2.8 VR S

Black mist filter (1.0)

External flashlight with gel