The initial trigger for planning such a shoot was these photos, which I had kept for a long time and cherished as inspiration to create something in this format.

For myself, I highlighted:

  • "power" shooting;

  • retro elements;

  • black and white, very contrasting;

  • something similar to old sports chronicles.

Reflecting on the old sports chronicle style, I moved to my next source of inspiration.

This led me to recall the video for Rammstein's "Let me see you stripped."

It used footage from old Olympic Games chronicles, themselves excerpts from the German propaganda documentary 'Olympia' from the National Socialist era (I learned this context much later).

When I first saw it, I was amazed by the visuals.

For me, it was about the will to push oneself and one's body to the limit to reach a personal peak.

When considering these aesthetics, I find several elements particularly striking:

a) The contrast eloquently emphasizes the silhouettes and lines in the physique and pose.

b) A very visible contrast clearly separates the object from the background.

Moving to another aspect of these images, I also focus on the ratio of object scales within the frame.

a) Many full-length shots show the person in the frame as small compared to the overall space—the stadium, sports equipment, etc.

b) Some close-ups use interesting angles to emphasize the dynamics of the pose or movement.

In summary, my approach will be to shoot almost everything in black and white, experimenting with both the contrast of the images and the scale of objects within the space.

Who will I shoot and what will I dress her in?

I needed a hardy, physically fit person with experience in shooting and an understanding of how it works.

And I also wanted her to be a real athlete.

We have already worked with Sveti, and for me, it was the case where you feel like you have known each other for many years. She reads my thoughts like a telepath, fast, clear, and "outrageous" in the most positive sense of the word.

And of course, if you look at Svitlana, it is impossible not to notice that she is graceful, but at the same time strong and athletic.

Plus, Sveti is an active athlete - a volleyball player - disciplined, hardy, and specific.

PERFECT

@svetkazelen

As for the appearance, I wanted something old-school.

I like the aesthetics of old sports clubs, sports aerobics, and bodybuilding.

I came across such references and began searching for the ideal sports bodysuit.

Oh my God, you won’t believe what kind of trash I’ve seen).

And then my dear former colleague Olenka sends me a link to Rozetka, where I see this nightmare with simply fantastic potential.

Olenka, @Ghelen.hrytsyuk, thank you again!

So I ordered this, and together with Sveti, we transformed it

into this :

Next, I purchased gymnastic rings for 1,600 UAH and rented a studio for the same amount.

we shot at ©kultphotostudio, thank you!

I rented a rolling scaffold from them to hang the rings (note that the rental cost is 1000 UAH) and an additional light for 1800 UAH.

+ expenses for a swimsuit and related clothing, which we never used.

We ran out of time.

We rented the studio for 2 hours, but

The actual shooting lasted just 40 minutes.

The rest of the time was spent hanging and adjusting rings, modifying the leotard, setting up lighting, handling the ladder, and managing countless small details.

(thanks to the guys from the studio)

— cutting off unnecessary parts of the leotard and attaching it to the outfit the way we needed

— setting up and positioning the lighting for both photo and video

— placing and removing the ladder Svetа used to climb onto the rings

— plus a ton of tiny things we kept running around doing

Conclusion: for shoots like this, you need an assistant

You also need 3–4 hours to shoot.

I drew inspiration from the experiments in both the chronicles themselves and fantasy art. Sveti also spent a lot of time experimenting and beating her poor knees, testing her vestibular apparatus, and rubbing her hands (you need to have gloves or magnesium, or better yet, all of them together).

“Why the hell do I even need this?” I do it for myself.)
For me, it’s like a summary of my own skills —my personal “final thesis.”

These small projects highlight what I excel at, where I struggle, and guide me on what to learn next by showing which techniques work and why.

These small projects compel me to approach the shooting process in a different way. They push me to think more, experiment, and grow.

It’s my way of testing my abilities. They motivate me to break routine and discover new abilities outside my comfort zone. That’s why I wish everyone involved in any creative field to find time for their small — and not-so-small — personal projects.




Because sometimes you forget why you’re doing all of this.
And things like this remind you.

Thank you for your attention.