Mirko and I have known each other for a few years and we decide to finally shoot together

Mirko is an actor from Tuscany, expressive, intense, and incredibly aware of his body and face—basically the perfect subject when you want to push things a little further.

This session was born with a very clear goal: experiment.
Not just take portraits, but really test different lighting setups and visual languages, moving from natural light to flash and LED, always keeping a cinematic approach in mind.

From Sunlight to Controlled Light

We started simple, using available light. Sunlight is always honest, it gives you very little margin for error, but when it works, it works beautifully. With Mirko, it was all about subtle movements, micro-expressions, and letting the light sculpt his face naturally.

Then we slowly transitioned into artificial light.

For flash, I went with my trusted Godox AB600 BM. It’s a light I know inside out and that familiarity lets me focus entirely on the subject instead of the gear. We worked on contrast, direction, and separation, shaping the face almost like a movie still rather than a classic portrait.

For continuous light, I used my Colbor CL220, which has quickly become one of my favorite tools. LED lighting is fantastic when you’re thinking in cinematic terms since it allows you to see the light in real time, fine-tune shadows, and build atmosphere frame by frame.

Challenging, Fun, and Very Educational

This shoot was definitely challenging, but in the best possible way. Changing setups, adapting poses, switching mental gears between still photography and motion… it keeps you sharp.

I also filmed parts of the session, which was extremely useful. Lately, Direction of Photography has become a bigger and bigger part of my work, and it’s something I truly love. Thinking in sequences, movement, mood, and visual storytelling pushes me beyond the single frame—and this shoot was a perfect training ground for that.

The Cinematic Goal

The idea was never just “nice portraits.”
I was looking for cinematic shots—images that feel like they belong to a film, that suggest a story before and after the frame.

Between Mirko’s presence and the lighting experiments, I honestly think we nailed it.

These kinds of sessions are why I love personal projects: no pressure, a lot of freedom, and huge creative growth. And when you walk away feeling inspired and more skilled than before, you know it was time well spent.

More experiments like this are definitely coming. 🎬✨