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A Dancer in Advertising: How a Commercial Casting Differs From a Company Audition

You can hold a company audition and still lose every commercial casting, because they are testing different things. Knowing which is which changes what you prepare.

Alina Kotova yesterday

Warming Up on Set: Fifteen Minutes That Save the Shoot

A photographer asks for a jump in the first ten minutes, and a cold dancer gives them either a bad frame or a torn muscle. Fifteen minutes in a corner prevents both.

Alina Kotova 6 days ago

Two Bodies, One Frame: Shooting Duos and Partnering

Two people in frame is not twice the difficulty — it is a different problem, because now the picture depends on the space between them. Most duo shots fail on that gap, not on the poses.

Alina Kotova 2 weeks ago

Injured Mid-Season: Coming Back Without Losing the Year

An injury takes a few weeks; hiding it, working through it and disappearing from everyone's calendar takes the season. The physical part has a doctor — the career part is what nobody plans for.

Alina Kotova 3 weeks ago

Stage Presence on Camera: Performing for a Lens

Stage projection is calibrated for row thirty; the lens sits at two metres. What shrinks, what survives, where the eyes go when there is no audience — and the reset ritual that keeps a performance alive across forty takes.

Alina Kotova 1 months ago

Extreme Poses Without Injury

Photo sets are the worst studios a dancer will ever work in — concrete, cold, no marley, plenty of adrenaline. The warm-up, the surface audit, the repetition budget and the veto that keep a spectacular shoot from ending in a clinic.

Alina Kotova 1 months ago

Applying to Dance Companies and Agencies: The Package

The CV, the repertoire list, the three photos and the three-sentence email — the paperwork half of a dance application, and the season logic that decides when a no actually means no.

Alina Kotova 1 months ago

Improvising Movement for Stills

Choreography wants continuity, the camera wants peaks — how a dancer builds loops, freezes and counts that a photographer can actually catch, and why the best improvisers schedule their jumps first.

Alina Kotova 1 months ago

The Dancer's Application Kit: Audition Tape and Stills

What producers request besides the showreel: the self-taped audition — framing, light, slate, one take or three — and the still photos every mover needs in their book.

Alina Kotova 2 months ago

From Stage to Lens: A Dancer's Guide to Modeling

Dancers photograph like nobody else — once they translate stage habits to camera. Lines, faces, and building a crossover portfolio.

Alina Kotova 3 months ago

Shooting Dance: Freeze the Move, Keep the Motion

Shutter, timing and working with counts: how photographers and dancers sync so the peak of the jump lands in the frame.

Alina Kotova 3 months ago

A Showreel That Gets You Booked: The 60-Second Cut

Structure for a reel that survives a producer's first ten seconds: the opener, range, rhythm — and what to leave out.

Alina Kotova 3 months ago

Start here

From Stage to Lens: A Dancer's Guide to Modeling Dancers photograph like nobody else — once they translate stage habits to camera. Lines, faces, and building a crossover portfolio.