Crown Point Ballet Senior Portraits with Avery — Golden Hour at the Old Lake County Courthouse
There's a version of the senior portrait that everyone expects: a school jacket, on a train track, a posed half-smile. Avery didn't want that version. She wanted to express who she is — a dancer who has been dancing since she could barely reach the barre — and she wanted it told in the town she grew up in. So instead of a studio backdrop, we got the "Grand Old Lady" of Crown Point, Indiana, an early morning of soft golden light, and a dancer who moved like she'd been waiting years for this exact shoot.
A Senior Portrait That Wasn't Going to Be Normal
Avery found me through my portfolio, and she and her mom, Christine, were specific from the first email: they wanted a real dance photoshoot, not a yearbook photo with typical small town aesthetics. Avery has been dancing since she was three years old, and she's headed to university after next year — which made this the right moment to put her years of training into a set of images that actually look like her, not like every other junior about to become a senior.
Crown Point wasn't a location I suggested. It was theirs. It's Avery's hometown, and she wanted her senior portraits to live there — on the sidewalks she's walked a hundred times, in front of the courthouse she's probably driven past without a second thought. Christine and Avery didn't blink at the travel cost to make that happen, which told me everything about how much this shoot meant to them. By the time we wrapped, they loved the set enough to order nine extra images beyond the collection — the kind of response that makes the early alarm clock worth it and the photographer felt appreciated.
Golden Hour at the Grand Old Lady
We shot at the Old Lake County Courthouse, Crown Point's Romanesque landmark that locals affectionately call the Grand Old Lady. It went up between 1878 and 1880, faced in local brick from the old Henry Wise brickyard, and it's held onto that deep, hand-kilned red for nearly a century and a half. It's the kind of backdrop that does half the work of a photograph before you even lift the camera.
That red brick is exactly why I picked the crimson skirt — chosen on purpose to sit against the courthouse's brick and the surrounding greenery. Red against red reads as warmth and continuity instead of clashing, and against the deep green hedges it turns into a full-on color story: the building holds the dress, the lawn pushes it forward. Add in early morning light — low, warm, and forgiving in the way only the first hour after sunrise can be — and the whole scene did the heavy lifting a good concept should.
We moved through the square as the light shifted: the shaded corner by the courthouse doors for quiet, contained poses, the open lawn for the pieces where the red skirt needed room to fly, and Crown Point's own Main Street — flags, hanging petunias, and all — for a few frames that plant this shoot firmly in a real, specific town rather than an anonymous backdrop.
The Discipline Behind the Grace
Anyone who's spent real time in ballet knows a photoshoot like this isn't one perfect take — it's a dozen takes of the same relevé, the same piqué, the same arm carried just slightly differently each time, until the line finally clicks. I always walk dancers through this before we start: we're going to repeat positions, sometimes many times, and we only keep the strongest frame from the set.
Avery took that in stride without a flicker of hesitation. That's not surprising — dancers who've put in the hours understand technique is built on repetition, and pointe work especially rewards exactly that kind of patience. She reset for every retake with the same focus she probably brings to a studio combination, which is a big part of why this gallery has so many usable frames instead of one lucky shot.
Christine, the Best (and Most Diplomatic) Assistant on Set
Since I don't make physical contact with the dancers I shoot, every dance shoot needs someone off to the side smoothing flyaway hairs, holding a water bottle, and running interference with curious passersby — and Christine handled all of it like a pro, no complaints, no hovering.
What actually impressed me was the part she didn't do: she knew exactly when to step back and let Avery just be in the moment and enjoy the experience, without a parent's eyes tracking her every move. That's a harder balance than it sounds, and it's a big reason Avery looks as unguarded and present as she does in these images.
Ready for Your Own Session?
If you enjoyed watching this Avery move through golden-hour light on her home turf, you might also like another dancer named Avery, who is a company dancer at Indianapolis Ballet, I photographed at sunrise in Indianapolis — proof that great light and great technique make for a great shoot no matter which Avery is on pointe.
If you're a dancer who wants a senior portrait — or any portrait — that actually looks like the hours you've put into your craft, let's talk about what that could look like. Your hometown, your favorite park, wherever tells your story best — I'll meet you there.
