Growing up in mainland Europe, Eurovision was something I looked forward to every year as a child—and I’m still excited about it today. I love how over-the-top it is, and there’s no denying it’s one of the most impressively produced events out there.

Some artists fade from memory quickly, but others leave a lasting impression—Loreen is definitely the latter. I wasn’t going to miss the chance to see her live when she toured the UK for the first time. I had a photopass for her Birmingham date, but the stage setup at the O2 Institute didn’t allow for the full production; the iconic arch and circle were missing. Determined to see her as the show was meant to be experienced, I managed to secure another photopass for her Manchester date—and I’m glad I got to see her twice.

Low light and controlled haze transformed the stage into something almost architectural. Hands, fabric, and shadow worked together, creating frames that felt sculpted rather than simply lit. Loreen’s performance balances stillness with movement: intimate, inward moments sit alongside wider, cinematic gestures. Photographing her meant noticing subtle shifts in posture and expression, not just reacting to scale.

On the technical side, this was my first gig after moving to a mirrorless system, and I ran into major issues with colour banding. I had to slow the shutter speed significantly—far lower than I would ideally want—to freeze motion. Many shots were unusable due to blur, but that made the good ones feel all the more rewarding. Every successful frame was hard-earned, and I appreciated them even more because of it.