NYC Dance Project's Instagram account alone is enough to send us into paroxysms of glee. But today the couple released a stunning coffee table book, The Art of Movement, which brings their images to even more vibrant life in its huge, glossy pages. It includes thoughtful quotes from its numerous talented subjects, too.
If you love NYC Dance Project's absolutely dreamy photos, this is the book for you. It's filled with hundreds of the duo's stunning shots of dance world greats—you'll definitely be inspired with every turn of the page. Enter for a chance to win by “following” Dance Spirit on Facebook and filling out the form below.
If there's one thing that never gets old, it's looking at beautifully breathtakingdance photos. Dancers just know—how to pose, how to move and how to captivate their audiences, three things which are even more stunning when captured in a photograph. NYC Dance Project is no stranger to the stars of the dance world. They photograph superstars on the regular, from New York City Ballet's Tiler Peck to American Ballet Theatre's Misty Copeland. But what makes their pictures stand out is the consistently beautiful posing, dresses and timing—they know exactly when to take the picture. Lucky for us, their new book, "The Art of Movement," is set to be released on October 25th, and will be filled with over 300 pages of their photographs. In the meantime, we've rounded up some of our favorites. Check them out below!
ABT's Daniil Simkin (photo by NYC Dance Project)
NYCB's Tiler Peck (photo by NYC Dance Project)
Alvin Ailey's Daniel Harder (photo by NYC Dance Project)
Alvin Ailey American Dance Theater's Sean Aaron Carman and Michael Jackson Jr. (courtesy NYC Dance Project)
Every NYC Dance Project image feels like a glimpse into something greater: a dance that's happening behind a curtain, in a private moment. Take, for example, one of Les Ballets Jazz de Montréal dancer Céline Cassone's photos, a commanding shot of her on pointe in passé, her fiery red hair flung upward over her face. Or, the image of Misty Copeland that perfectly portrays both her incredible strength and her ineffable grace. NYC Dance Project's photographers have taken powerful photos of dozens of famous subjects. But what inspires their iconic images? And how do you capture such stunning shots?
World-class ballet dancers. An elegant, light-drenched setting. Black-and-white cinematography. A serene orchestral score. It never fails, guys: Give us these ingredients, and we'll watch your video on loop, forever.
NYC Dance Project, how we love thee: all the flowing gowns, spectacular dancers and breathtaking photographs give us life—time and again. So what could be better than an entire book filled with these images? Try a feature video from Adorama, showcasing the shooting process of Deborah Ory and Ken Browar, the husband-and-wife team behind the lens and project. The video, which features tons of amazing footage of New York City Ballet's Miriam Miller, Alvin Ailey American Dance Theater's Yannick Lebrun and Vienna State Ballet's Liudmila Konovalova, offers its own intimate portrait of how these portraits are made—from directorial choices to costume selection to the overall workflow of a session. It's fascinating to watch Ory and Browar in action, and equally as fascinating to watch how the dancers respond. Check it out below!
By now, you've probably seen Harper's Bazaar magazine's Degas-inspired photo shoot featuring American Ballet Theatre principal Misty Copeland. Us ballet nerds and Misty fans were totally thrilled with the gorgeous end-product, but we wanted to know more. We asked Deborah Ory (one half of photography duo NYC Dance Project) what it was like to be on set with the star, working with the couture gurus at Bazaar.
(Photo by Deborah Ory and Ken Brewer for Harper's Bazaar magazine)
Dance Spirit: What was it like working with Misty?
Deborah Ory: She was so fun and easy going on set. Obviously, she's a beautiful dancer, but she works really hard and is very down-to-earth.
DS: How did you implement the Degas concept?
DO: It was a big challenge. We searched for the right backdrop to shoot against, so that the photographs would replicate the Degas' paintings as closely as possible, and we used actual dancers as extras to recreate the atmosphere of the classrooms he painted.
But we were also trying to incorporate the groundbreaking changes in what ballet looks like today. It's not the same as when Degas was painting. We used dancers spanning multiple ethnicities, and, of course, Misty herself.
DS: When you shoot your NYC Dance Project portraits, what is your process like? How did it compare to the Harper's Bazaar shoot?
DO: NYC Dance Project shoots are simpler, with just the dancer, a hair and makeup team and maybe three to five people. And we don't usually have poses in mind. For the Bazaar shoot, we know the poses ahead of time and we worked from there. It was a much bigger production.
DS: What did you look for, from a photography perspective, to capture both the couture clothes and Misty's artistry?
DO: We always look at movement first and foremost—how dresses will move with the dancers. It's about making sure that nothing is constrictive and that the dancers can just be themselves and move freely.