Trying to challenge Q-Anon and MAGA is an exercise in pointless futility, just like confronting any abuser directly or trying to intervene with a friend enthralled in an abusive relationship. They will only continue to dig in. They want to wear you out intellectually, emotionally, and spiritually.
Challenging Q-Anons Is Like The Siege of Troy
I once got into a discussion with one of my professors during a class about epic poetry (specifically we were on the Iliad and the Siege of Troy) on how to confront UMass Administration more effectively than marching into the building and making a loud spectacle inside. At the time, UMass had multiple sexual assaults that were getting covered up, or ignored, and students were expressing their frustrations about how they would write messages out in chalk that would get washed away daily and that maybe they should march to the admin building and stage a sit in.
I pointed out that direct assault on a fixed and fortified position was always the worst idea, given a choice, and the building was designed in the style of a classical fortress when you looked at it carefully. Look at the Greeks attacking Troy; it was going on for ten years already by the time the Illiad started. A siege is a horrible waste of time and resources.
My prof asked what I meant, so I explained that it was on raised ground, exterior walls are difficult to climb, and the primary entrance was via a long ramp that funneled all foot traffic into a very narrow approach, etc.
He asked how I figured that and I said I had just gotten out of the Army a year earlier, and those were the details I noticed. Prof Freeman then asked, “Okay, so how would YOU take on the Admin building?…I said it was simple. Sun Tzu has already figured it out.
Use The Art of War, by Sun Tzu to Counter Q-Anons and MAGA
Staging a sit in was fighting the last war (relative to 60s era styled protests) and the Admin building was designed to fight the last war. Don’t ever go direct. Starve them out. You don’t write chalk messages that can easily be washed away cuz UMass doesn’t care about you, the student. They already have your tuition. If they were to protest, do it right in front of the walking tours for prospective students from high school. Target your messages to them. Make them question whether their children (daughters specifically) will be safe at UMass while they are evaluating where to pay for school with the threat of missing out on incoming students the next year.
It’s the same with Q-Morons and MAGAt Red-caps. Never confront them directly. Mentally, that is what they want. They will make you try to prove over and over and over how wrong they are while laughing at the effort you make to convince them until you wear yourself out in mental exhaustion.
Even if they start throwing “bUt iTs a DeEp StAtE pEdO rInG aNd TrUmP iS gOnNa eXpOsE tHeM aLL dO YoU aGrEE WiTh PeDoZ?????” don’t take the intellectual bait. Don’t try to have a rational discussion or dO sOmE rEsEaRcH to support your side. It’s what they want you to do so they can wear you down. They will never be open to actual discourse.
The only way to handle them is to find ways to go over, above, below, and around them. Out vote them. Out organize them. Out think them. Out flank them. Out last them.
Aim your message at people not already in their orbit, and cut off their ability to “supply and sustain” themselves in the field. Isolate them and render them as irrelevant as they deserve to be and counter the relevance that they have been given.
Do Not Confront Q-Anons or MAGAts
They are desperate for any confrontation. It feeds their cravings for self-victimization and reinforces their narrative and sense of self-importance as a result.
I wanted to pass on some wisdom. Something I learned that applies to sales in general, whether it’s screening applicants as a corporate recruiter or selling digital cameras at CompUSA, Best Buy, or Ritz Camera absolutely is advice that applies to photographers as well:
I’ll be blunt here:
As a salesperson, people don’t buy the camera you’re selling because you work at Best Buy when they can get that exact model at Amazon, probably for cheaper and without getting hounded about that stupid extended warranty all retailers try to push on you.
As a job applicant, people certainly don’t hire your “unique” skill-set, because you are not that unique, my special snowflake. As an applicant, there are a thousand other products applicants with the same skills, same generic resume, same blasé personality, and they’re probably wearing the same tie that you are wearing.
As a photographer, people don’t buy your photos because you’re “the best!” photographer in the world. There will always be another photographer who is better or cheaper. Suck it up, hero.
In the end, we are all just selling the same crap.
The point is:
There will always be someone else selling the same camera, taking the same types of photos that you do, or who has a similar skill set. Someone will always will be better, cheaper, hungrier, luckier, or more connected than you are. It is a frustratingly difficult lesson to learn and a brutally humbling truth to accept.
TeLL mE wHy ShUd I HiRe U?
The Jerk Who Should Be Hiring You
If all of that is true, then what really differentiates you from another sales person, new hire, or photographer then what actually differentiates you from another?
You know what does? You do.
Here’s a little secret advice:
The only reason why people buy from you or decide to hire you is because they like you.
If you want to play in the ‘commodity’ lane and be compared on your prices, yeah, you’re gonna be made (sic) when someone comes out who is cheaper than you […] But if you manage to step out of that lane and sell yourself based on value and experience, then you never have to worry. Never once […]
In the end, I, you, they — anyone with a camera really — can take a photo. So what? Do you, and keep taking photos.
Anyone with a camera can photograph poi spinning dready-haired spunion wooks and hoop spinning burner yoga goddesses at a festival. So what? Do you, and keep taking photos.
Anyone with a camera can do a half priced mini portrait session weekend flash sale at a park. So what? Do you, and keep taking photos.
Anyone with a camera can be a freelancer and specialize in newborn, family, maternity, wedding, social media, product, influencer, mom-blogging, solopreneuer, boss-babe photography. So what? Do you, and keep taking photos.
Anyone with a camera can be a creepy GWC and go trawling for models on Model Mayhem to indulge in shibari “art” collabs as a neckbearded fedora-tipping incel master-rigger with a sketchy modeling contract. So what? Do you, and keep taking photos.
Anyone with a camera can always be cheaper, more expensive, less skilled, have better equipment, use retro cheap gear, specialize in natural light, be a Strobist snob with a 3 pointed lighting kit and run an assembly line headshot boudoir business as they masturbate endlessly about off-camera, always on flash, Sony ruleZ, laughs in EOS, Nikon 4 Lyfe, M4/3 cultism (RIP Olympus) while getting more likes and vlog about photography (hit that Subscribe button!) or hating on the latest Peter Lik abomination. So what? Do you, and keep taking photos.
Do what you will. Create your own market how ever you decide. Fill it with fanatics who love you and love your work. Market yourself as the best experience for your clients. Charge what you feel you are worth, charge the average for your market, overcharge, or give away the store. None of those options are sustainable in the wrong market, anyway. So what? Do you, and keep taking photos.
The photographer who is stalking your posts on Facebook and complaining about your choice to charge a fee or not? They don’t have a market that actually supports their photography. They haven’t differentiated themselves enough on anything but price simply because, as they’re unconsciously realizing, anyone with a camera can be a photographer, and it terrifies them. So what? That’s entirely their problem to figure out. Do you, and keep taking photos.
Realize that you differentiate yourself from all those other people. You are not any of your “competitors,” and that is your greatest asset.
There is currently no vaccine to prevent coronavirus disease 2019 (COVID-19).
The best way to prevent illness is to avoid being exposed to this virus.
The virus is thought to spread mainly from person-to-person via people who are in close contact with one another (within about 6 feet) or through respiratory droplets produced when an infected person coughs or sneezes.
These droplets can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs.
Take steps to protect yourself:
Clean your hands often with soap and water for at least 20 seconds especially after you have been in a public place, or after blowing your nose, coughing, or sneezing.
If soap and water are not readily available, use a hand sanitizer that contains at least 60% alcohol. Cover all surfaces of your hands and rub them together until they feel dry.
Avoid touching your eyes, nose, and mouth with unwashed hands.
Avoid close contact with people who are sick
Put distance between yourself and other people if COVID-19 is spreading in your community. This is especially important for people who are at higher risk of getting very sick.
Take steps to protect others:
Stay home if you’re sick except to get medical care.
Cover coughs and sneezes.
Immediately wash your hands with soap and water for at least 20 seconds.
If soap and water are not readily available, clean your hands with a hand sanitizer that contains at least 60% alcohol.
Wear a facemask if you are sick
Clean AND disinfect frequently touched surfaces daily.
Your performer has a safety and you, yourself, are comfortable with being a safety if needed.
You and everyone involved are clearheaded, sober, have safety equipment and procedures in place.
You have read through the Limitation of Liability section of our Terms and Conditions page. (You HAVE read it, right?…)
Ready? Good, let’s begin.
In this post I am going to discuss primarily fire fans; however, things are also applicable to palm torches since they are functionally similar from a photography perspective.
Of all the fire props and flow toys out there, my favorite to photograph are fire fans for two simple reasons:
Fire fans, more than any other prop, are an effective two-light source. A key-light and a rim-light, fill-light, or back-light.
There is always a natural pause in movement at full extension just before a transition to another movement and, if you’re lucky, great expression.
Settings can vary, depending on what you’re going for. Can you get siiiiiiiiiiick textures in the flames? Sure, but often times at the expense of all that fantastic portrait lighting, by underexposing the performer. You can even get some fire trails with fans, with some siiiiiiiiiiick flames. If that is your goal, then be sure to have some softened speedlight flash ready and use 2nd curtain sync to help time the shot. I am always amazed at the ability of flash to freeze motion on long exposures, as long as your ambient light is dark enough.
Personally, I like to treat a fire fan performance as a candid portrait session with highly variable light placement. My focus will be to watch for, and expose for, those expressive moments so, for me, I want fast shutter speeds to freeze motion and apertures as wide as possible to force those faster shutter speeds with ISO around 800-2000 to help with skin exposure. Typically I’ll be around f1.8-f2.8, and shutter speeds ranging from 1/25″ to about 1/800″. For certain shots, I’ve pushed to 1/4000″ with a wide open aperture and ISO2000.
The challenges at those extreme apertures happen when wider apertures create an incredibly thin depth of field, and auto-focus getting easily fooled by the very bright shiny light source that can get between you and the face, a mere arm’s length behind it. If you can be positioned so that the fans are at a near right angle from you and the performer at full extension, the odds of such a thin depth of field becoming apparent are greatly minimized.
Because focus becomes so challenging at wider apertures, whatever features your camera has for auto-focus tracking and continuous auto-focus, etc, become crucial. Learn about backbutton auto-focus. Make use of those features as often as you can. Some would also suggest turning on Servo mode, or continuous shot mode. You know, that 3, 4, 5, 6, 7 – 20 frames per second your camera is capable of. As much as I hammer on the idea of using Manual exposure mode, you could try the “Sports” Scene mode, if your camera uses it, as a starting point.
Speaking of Manual mode, personally, I tend to use Single Shot auto-focus with the classic half-press of the shutter to engage and lock focus and Single Shot mode rather than focus-tracking auto-focus and Servo mode, because I prefer to maintain as much control over the shooting process as possible. It’s something I will continuously adjust while looking through the viewfinder, until I take the photo. For follow up photos, I won’t raise my finger all the way, in favor of keeping the half-press on the shutter button. This is not the way you’re normally taught to handle action shots.
Think of it as having an A, B, and C position on the shutter release button. A = Your shutter finger is lightly rested on the shutter button. B = You half-press on the shutter to engage and lock auto-focus. You’ll feel it. C = Push the shutter button all the way to take a photo.
Most people will only follow this finger sequence: A (Rest) -> B (Auto-focus) -> C (Shutter release) -> A (Reset) before preparing to take the next shot.
Instead, try this finger sequence to improve shot to shot times: A (Rest) -> B (Auto-focus) -> C (Shutter Release) -> B (Auto-focus) -> C (Shutter Release)
If you’re familiar with shooting a fire-arm, and riding the trigger’s reset between shots in order to increase shooting speed, you’ll find sequence this very familiar.
By altering your finger sequence, you can also improve your odds of nailing focus in single-shot focus mode, the way I do. Track the performer with the camera held to your dominant eye, while keeping both eyes open: A (Rest) -> B (focus) -> A (Reset) -> B (Focus) -> A (Reset) -> B (Focus) until you’re ready to shoot on -> C (Shutter) -> B (Focus stays locked) -> C (Shutter) -> B (Focus stays locked) -> things changed so then A (Reset) -> B (Focus) -> A (Reset) -> B (Focus) -> C (Shutter), etc.
It takes a bit to get used to, but once you’re used to it, your auto-focus and shot to shot times improve all while you maintain as much control over your camera as possible.
So, how to photograph fire fans:
Make full use of the two-point lighting that fire fans or palm torches create. If there is any light in the background, even better; you now have a three-point lighting system at your disposal.
Watch for natural pauses in movement. That is your best chance to catch a performer in a pose at their most expressive. Those pauses also are less likely to be motion-blurred by the performer while your shutter speeds decrease due to dimmer flames over time.
You ARE adjusting your shutter speeds to maintain exposure while the flames dim, right?..
Be wary of thinner and thinner depths of field as you push your apertures wider.
Focus becomes critical. If your camera has subject tracking auto-focus, use it. If you have Ai Servo focus or something similar, use it.
Since you’re shooting fast action, use Servo mode and make use of the fast frames per second rates your camera is capable of.
Then throw all that out the window and really work to improve your use of Single Shot mode and Single Shot Auto-focus by shaking off the usual A, B, C shutter finger sequence and altering it to improve on auto-focus and shot to shot times.
Speaking of auto-focus, I only use a single focus point. The center one.
If you use any kind of auto-focus zone, set it to a small zone focus area, centered on the center focus point. It’s always the most sensitive one.
Before I dive into photographing fire breathers, I will make a few very general assumptions:
You are using a dSLR, mirrorless dSLR, compact system camera, or whatever industry marketing-speak is for a camera that has manual controls and a decent lens with a good aperture range.
You are familiar enough with your camera to be using Manual Mode and you are capable of changing settings for auto focus (setting focus points and setting focus mode), shutter drive modes (single shot, or multi shot), etc.
Ideally you can do this by muscle memory so you don’t have to take your eyes off the fire breather constantly.
You have a grasp of the “exposure triangle” and know that when you change one setting for one effect it will simultaneously brighten or darken the image and/or increase or decrease the range of your flash.
Your performer has a fire-safety, you have some familiarity with what a safety does, and are willing to step in immediately if something goes wrong.
You and everyone involved with your shoot/at the performance are sober, clear headed, know what you/they are doing, experienced, and have safety equipment and procedures in place.
Okay, ready? Let’s get started.
The camera settings I use to take photos of fire breathers are:
Aperture – Brighten or darken the flame. The higher the f/stop the more the camera squints at the light. This is crucial. I like to use apertures between f5.6 and f16
Shutter – Increase or decrease size of fire plume. The faster the shutter, the smaller and dimmer the plume. The slower the shutter, the larger and brighter the plume. With flash, changing shutter speeds also brightens and darkens the ambient exposure. I range between 1/160 – 1/2000 of a second.
ISO – Amplify signal from base. Basically, it brightens the image. The worst thing to have is amazing texture and siiiiiiiiick flames but a muddy, underexposed, dark subject. This happens all the time. Start at 100, of course, and work your way up. Often times I find myself around 800-1600 or 100-200; it always depends on the other settings.
RAW vs JPEG – Shoot RAW. Period. I’ll show you why shortly.
There are some other factors to consider, though, outside of the above settings. Think of it like buying a computer. Everyone tends to focus on the same basic things: CPU, RAM and Storage. Just like there are more specs to consider when it comes to how good a computer system is, there are additional settings and options to consider with a camera system that can make a big difference to your final photo.
Flash – Provides fill light or key light. Really brightens your subject. Use a diffuser of some kind; direct harsh flash looks awful. Set on TTL and don’t think about it. While on the subject of flash, make sure it has HSS (High Speed Sync) flash mode; otherwise, you’ll only be able to use a shutter of about 1/200 of a second, depending on your camera. Limit the shutter and you have to really start paying attention to the other two sides of your exposure triangle. In simple terms, HSS lets you use your flash at any shutter speed you pick above 1/200 of a second.
Auto Focus – Center focus point only. It’s the most sensitive and accurate. Know how to lock focus with a classic half-shutter press or use back-button autofocus. Contrast helps with autofocus! Focus on clothing if it has stripes and your apertures are 5.6 or more (depth of field is very kind at those settings). If nothing else, focus on the torch head.
Zoom vs Prime Lens – I use primes with fast apertures, f1.4, f1.8, and f2.8. Zoom lenses typically fit between 3.5 at the widest angle and 5.6/8.0 at the full zoom, depending on how cheap it is. Expensive zooms will have good range, IS systems, and wide apertures through the full zoom range (typically f2.8). They are also bigger, more unwieldy, heavier, and much more expensive than your cheaper zoom lenses. For fire breathing photography, you can get away with the kit lens since you’ll mostly be using f/stops 5.6 or higher, ideally, anyway.
As far as settings go, that’s it. Think of these as guidelines more than hard and fast rules. It’s important to know and be comfortable with how each setting supports, and is affected by changes in, the others. Below, I’ve put together a few examples of fire breathing photos that I’ve taken over the years from my earliest attempts, to some of my most recent shots, in order to demonstrate some of the camera settings and concepts that I am describing.
Photos of William breathing fire at Petrified Forest III, Hartford, Maine, Autumn 2017
Photo of Kevin breathing fire at Oasis, Summer 2010
Photo of Fire Breathers at Oasis, Summer 2010
Artemis breathing Fire at Nahant Beach, MA, Summer 2011
Photo of Fire Breather at Wildfire Retreat, Summer 2015
Photo of Sarah breathing Fire at Wildfire Retreat, Summer 2015
Fire Breathing Photography Final Exam (Haha!)
These two final photos have vastly different Shutter speed, ISO settings, and f/stops and a flash fired for both. They still look somewhat similar. Why? On the other hand, as a result of those different settings, what is different?
What are your favorite fire breathing photography tips?
Q – What’s a surprisingly good technique I can use to photograph fire performers?
A – Thinking.
In Part One of this series on improving your fire performer photography, we looked at using concepts from photojournalism to keep the focus on the human performer. In Part Two we looked at Always Getting Consent and Safety Third. Fire performers are not props. They’re human. Treat them that way. For Part Three, we looked at Basic Rifle Marksmanship. A camera is no different, conceptually, from a rifle. In Part Four, combat shooting, er, improving photography with Shoot, Move, Communicate. In Part Five, even boredom and creative ruts can be effective photography tools.
Today, we’ll take a fairly high level look at how camera settings interact with each other, and what happens when you don’t fully think through what you’re trying to do. This is not a tutorial on how your camera works.
Generally speaking, shutter speed will control the size of the plume or length of the trail. The longer duration your shutter is open then the flame that gets recorded will be larger. Because light from the flames will also be, in most cases, your key-light, the slower the shutter the more you risk overall motion blur as well.
Aperture and ISO will control exposure. The smaller the aperture, and the lower the ISO, less details will get blown-out to white in the flames and the darker the photo will become at a given shutter speed.
This is, usually, where I see most people stop. Once they record super detail in the flames they feel that they nailed the shot, regardless of how badly they under exposed the photo to actually get there. The flame, and lust to capture “SIIIIICK” texture overrides all other considerations, including the human element.
Think of it this way: Imagine a photograph of, say, Thomas Edison, standing next to a brightly lit light-bulb with his hand holding the lamp, and the exposure on the light-bulb is SO good that you can see all the details of the tungsten coil wire, even as it is glowing yellow-hot. You can also see the texture to the glass bulb, but you can barely see Edison. Sure, you can see his hand holding the lamp but his arm is really dark and maybe, just maybe, you can see a hint of his face, but only if you squint.
Maybe he is a little brighter in frame but, at best, he looks muddied and muted compared to the bulb, and the details you see in the bulb are so much clearer than than the half smile he has or the texture in his exhausted brow.
Could you connect, emotionally, with that image?
For me, the flame is not the subject; the performer is. I’d rather nail the exposure, and action, with the emphasis squarely on the human being manipulating the flame than on any other element in the frame. I want to see the human, the effort made, countered with the inherent element of danger from the flames. The dance, to me, is more important than the costume. When present, the human element will always be the most important factor over anything else because people will visually connect more readily with people in an image.
Let’s take these concepts a little farther, and I am going to grossly oversimplify things to do it:
The primary effect of altering shutter speeds is the amount of motion that gets recorded. Faster shutter, less motion; slower shutter, more motion. The secondary effect of changing the shutter speed is altering exposure. A given amount of light (via the aperture setting) is dumped onto the camera sensor/film for a particular duration. Faster shutter, darker image; slower shutter, brighter image.
The primary effect of altering aperture is controlling the light for a given shutter speed. The iris of the lens opens more, or less. Wider aperture, brighter image; smaller aperture, darker image. Note: This is just like the pupils of an animal’s eyes in daylight or nighttime. The pupils of certain animals open wider than others. Cat’s pupils open far wider than those of humans. Think of them as having “faster lenses.” The secondary effect of altering aperture is controlling depth-of-field, the zone of focus (acceptable sharpness) from your subject. The wider the aperture, the narrower the zone of sharpness; the narrower the aperture, the wider the zone of sharpness.
ISO’s primary effect is amplifying the signal that is recorded by the sensor. The higher the ISO, the brighter the pixels become. The lower the ISO, the dimmer the pixels are. ISO’s secondary effect is a direct result of the first: everything is amplified, including the noise contained within the signal, especially in darker areas of the image where the camera may or may not have recorded much light data, but still recorded the noise present within that area. The higher the ISO, the brighter the noise becomes; the lower the ISO, the dimmer the noise gets.
Again, for most people, this is good enough. Fiddle with Aperture, Shutter, and ISO, and you’re golden.
What about distance, though? Just like Aperture, Shutter, and ISO, distance can affect the compositional side of the image. It can also have an enormous effect on exposure at the same time.
Distance, in particular, affects composition and exposure both by what exactly is visible within the frame (and the overall brightness and darkness of the frame as a result) and specifically it affects exposure due to the Inverse Square Law of Light. In the simplest of terms it means the intensity of light gets less as distance increases both from the observer and from the object being illuminated. Light from you is dimmer with distance from you. An illuminated face is dimmer with distance from you. A face is also illuminated more weakly the farther the light source is from it.
Finally, the last factor to consider is focal length. For the purposes of simplicity, more focal length will equal more reach. At a given camera-subject distance a longer focal length will magnify the subject more. When objects are in the frame the distance between them will appear to be much less at higher focal lengths. At wider focal lengths the distance between objects will appear to expand. Focal length will also affect depth of field as well as motion blur. More focal length narrows depth of field and increases motion blur from camera/lens shake. Less focal length deepens depth of field as well as reduces motion blur from camera/lens shake.
Here’s a couple of scenarios to consider:
A photo of Finlay is well exposed and bright because you balanced aperture at f2.8 on a 50mm lens with an ISO of 1600 and set a shutter of1/800th of a second to really freeze motion and bring out some flame texture. He is well exposed and the noise in the image is very low but when you look at it more closely, the closer torch heads are super sharp but his face is ever so slightly out of focus. What happened?
How about a shot of a Kendra where flame trails are long enough at a 1.3 second exposure to have recorded an interesting spiral pattern, flame textures are reasonable with detail because you waited until most of the fuel burnt off and the flame brightness died down, even at yet still have decent exposure at f5.6 because your ISO was at 800 and you were far but framed tight at about 60mm on a zoom lens and but the she is a fuzzy blob and everything else in the background looks like a wiggly mess?
How about LED flow props? (Yes, yes, LED poi is not fire performer photography, but the concepts are completely the same. The advantage to LED props is they are much dimmer and their brightness does not change much at all. Lock in exposure and you’re good from the beginning to the end of the performance)
How would you fix them?
(Mind you there are no right or wrong fixes to these particular scenarios)
For Finlay’s dragon staff photo, you could have been too close for the given aperture and angle, therefore narrowing the depth of field. Only the front most torches at that depth of field would have been in focus. Standing a little farther away or changing to a higher F stop would have increased the depth of field and made the angle somewhat irrelevant since DOF would have encompassed a wider area, but could also affect the exposure. Do you, then, lower shutter speed a little to compensate or reduce ISO? What if you reduce shutter speed it enough that even at 50mm, motion blur gets introduced? What if decide to avoid risking motion blur by changing the shutter speed after changing the aperture to increase depth of field but now your subject is even darker because of the aperture change? You could increase ISO, but that would push noise into obnoxious levels. Also, keep in mind the brightness of the fire prop is always getting lower and lower and that no prop will ever the same exact brightness as before. What about changing your auto-focus setting to AI-Servo and, using backbutton auto focus, prefocusing on the face, thus locking focus away from the torches? The face will be sharper, but not the torches. Would that work?
For Kendra’s photo, you could make a choice: either record trails or freeze motion. If you opt to record trails the only thing you COULD possibly do is freeze motion with flash (a powerful enough flash will freeze motion at a 1 second exposure simply because the duration of the flash can be something along the lines of 1/10000th of a second at low power). Or you could change your priority here, and opt to freeze motion — faster shutter, wider aperture (at 28mm, are you using a kit zoom lens at a max range of F3.5-5.6, another zoom lens with a 2.8-4.0 aperture, or do you have a 35mm lens at 1.4?), and higher ISO. What if F3.5 does not give you a fast enough shutter to freeze motion while keeping a decent exposure on your subject? What if an ISO above 400 is too noisy but you need 1600 at your given shutter and aperture combination to properly expose your image?
As far as the LED poi shot is concerned, using flash is no help when it is poorly bounced around a venue that is primarily black and eTTL is fooled because, well, black absorbs light. Also, optical lens stabilization makes zero difference to a moving subject. The overall exposure is fine; however, the image is awful. No one is sharp, no one is clearly visible. Just a couple of vaguely human shapes surrounded by squiggly lines but hey, siiiiiiiiiiiick patterns, and the room is bright…
What is the point to all of this? A good photograph is composed well and relies on effective use of one or two of these elements and is well supported by the rest, in order to show emotion and connect with the viewer. In order to use these different elements effectively, it takes a strong understanding of what each can do in relation to the others under fast changing conditions, incredibly variable lighting, and very little time to reach. A poor photograph, well composed or not, uses one or two of these elements and ignores the others, while failing to connect with the viewer.
How to Use Manual Speedlights to Light a Headshot Portrait
I was hired by my friend Hanna to produce some photography for her massage therapy business in Brookline, MA. We tossed some ideas around for looks, and mutually decided that it would be best and most time-efficient to begin with a somewhat conservative headshot look, suitable for any corporate profile, before getting a little playful and creative with the photography.
I hadn’t seen the inside of her studio before, outside of a couple of smartphone photos that she sent that helped give an idea of color, so I was not certain where exactly we would set up for portraits. Even though her studio space was relatively small, it turned out that her office had a large enough blank wall that I could use as a backdrop for portraits fairly easily.
I didn’t have a light meter with me, so I opted to use my camera’s histogram as a quick and dirty light meter. To the right are the lightest pixels, to the left are the darkest pixels. I also set up a manual flash on a stand and reflected umbrella to camera right (about 45 degrees from where Hanna would stand) and at about a 30-40 degree angle downwards as the key light. I marked a spot on the floor to act as a visual reference I could use to help guide Hanna where to stand, well away from the wall. Distance and angle of light would prevent any shadows from showing up on the wall in the portrait background.
This first shot shows the straight image off the camera and histogram based on the initial settings I chose. It gives an idea of the wall, and the kind of ambient lighting that was present.
The next shot shows what happened after I turned on the flash — my initial estimate was fairly mid to low strength, at 1/16th power. Of course, everything is over exposed: note the wall pushed to clipping white (the extreme right of the histogram shows it) while the black jacket is grey-ish (the left of the histogram confirms no black tones/shadows. It does not reach to the edge). At the settings chosen, I wanted to keep the aperture at f5.6, as it’s sharp for portraits on my chosen lens. If I increased the shutter speed, the ambient light would get dimmer but not subject exposure. The way light was hitting, there was zero ambient light registering — it was all wall/jacket subject exposure.
In the next shots, take note of the difference the black leather jacket and in the corresponding histogram. The blacks and shadows creep further and further to the left. Drop the ISO more, to 400, and the jacket is mostly black with the histogram nearly fully extended to the left.
At this point, I brought Hanna over to stand at the spot I designated, while I took a test shot or two at F5.6, 1/125th, ISO400, and flash at 1/16th power. Shadows and midtones are good (left and center segments of the histogram) and given the wall color (not white), there isn’t much white to expose for. There is the white thermostat to the left on the wall but it would’t be lit to white anyway, otherwise I’d blow out Hanna. Almost dead on, I’d say. Exposure can be pushed to the right as needed. Noise won’t become a huge factor in the shadows, since Hanna’s shirt has plenty of texture and Canon RAW files can withstand a lot of noise reduction before getting horrid detail loss.
One niggling factor that bothered me was the contrast between the lit side and the shadow side on her face. It was too dark, for me, and for the use I had in mind for her headshots, so I asked the RTMS2000 to hold a make-shift reflector to camera left in order to try and pop some light back towards the shadow side of Hanna’s face. Some difference, but not enough, so I set up a second flash with a shoot-through umbrella to the my 7 o’clock position behind me. Though it would be farther, and therefore a little dimmer, even at the same power setting as the key-flash at 1/16th, I wanted to still have a gentle transition between shadow and light across Hanna’s face, so I reduced the second flash to 1/32nd instead. A quick explanation, demonstration, directing, and tweaking of Hanna’s pose lead to the final shot. Some quick sprinkling of pixie dust in Lightroom, and she has a simple, conservative, headshot for use.
Noting that we still had some time to experiment a little, I incorporated a 3rd flash to about camera 10 o’clock, on a flash stand about waist height and pointing up towards her shoulders, with an impromptu snoot (a Rogue Flashbender worked perfectly!), but with a blue gel. I wanted the splash of color to rake her arms and back as a rim-light. I also bumped the shutter to 1/250th of a second, the maximum sync speed for my camera and flash. I wanted to lower exposure a tad for the background and bring more color out from the gels. By the next shot, I had decided to not use the Flashbender in favor of unmodified light with a relatively wide throw, and after adding a red gel, the third and final shot.
There you have it, a headshot portrait photography session, on location at a small studio space, lit quickly and efficiently with a bare minimum of equipment, and making use of what is available in the environment. Realistically, this was overkill if I were creating photos for the newspaper. It could easily have been done with just a single off-camera flash and umbrella. Even simpler, I could have used on-camera flash set to eTTL modified with a black foamy thing and been done with it.
Instead, I used the extra time and assistance available to craft images that provided plenty of opportunity to experiment, relax, and bring out Hanna’s personality at a pace that was quick enough to keep from losing her interest and participation and efficiently enough that I wasn’t wearing myself out in the process.
By the way, if you’re in the Boston area and are looking for an excellent massage therapist, Hanna is wonderful!
Hanna Shansky, LMT 1318 Beacon St, Suite #10 Brookline, MA 02446 (508) 395-4226
Q – How can you improve your photography of fire performers?
A – Believe it or not, get bored. It helps.
In Part One of this series on Fire Performer Photography, we looked at how the discipline of photojournalism brings the focus back to the human being behind the fire prop. In Part Two we covered Consent Always and Safety Third. Performers are people, first. Not props. Treat them with respect. In Part Three, we looked at how learning to shoot a camera is essentially the same as Basic Rifle Marksmanship. In Part Four, we took the rifle concept a step further and looked at how the combat-shooting techniques of Shoot, Move, and Communicate can improve your photography.
Photographing fire performers and flow artists has become a specialty of mine over the years. Obviously not every prop is fire based and not every prop is represented but every event that I have been to since 2010 has had its share of some combination of fire eaters, fire breathers, poi spinners, hoopers, dragon-staff spinners, fan dancers, pixel whips, levitation wands, palm torches, glovers, and so on, and they are inevitably surrounded by the folks and photographers who love them. More often than not I end up seeing the same people, regularly, with the same props at all the semi regular events, weeklies, monthlies, and outdoor festivals I’ve been to whether or not they are jam band based events, Christmas themed raves, or psytrance oriented festivals.
Are you bored, yet? I hope so. That’s exactly the point of this post. I’ll let you a big secret. As a photographer, I find it all to be very boring. Often.
You know what, though? Boredom is perfectly okay. In fact, boredom is an incredible creative asset.
My Very First Photos of Fire Performers
“I did not say I, personally, find festivals, flow artists, nightlife events, or the people who attend them to be boring. Quite the contrary. I’ve made wonderful friends, met incredibly talented and creative artists, passionate crews, and interesting personalities in all the various ‘scenes’ I’ve been blessed to be a part of. ”
–Totally Necessary Disclaimer
Art and artistic expression is necessary and healthy and very human. It’s easy to fall into a routine, a creative rut, without even realizing it. It’s normal and it will happen. Same with boredom. It, too, is normal, will happen, and is perfectly okay. As an artist, photographer, musician, fire performer, flow artist, author, welder, banker, real estate agent, partner, spouse, parent — as a human being — recognizing when boredom strikes, understanding why you feel stagnant, and using it as motivation to change, is absolutely necessary in order to grow.
Can you imagine how a photographer who specializes in, say, weddings feels at having to take the same types of shots from a set list of must-haves, with the same general flow of activity, day in and day out, week after week, month after month, year after year?
Let’s take this even farther. Can you imagine growing bored with photographing fine art nudes? Maybe you just cannot stand people at all and prefer landscapes?
Maybe, though, photography is your life’s blood and you really enjoy the energy and warmth and genuine compassion from flow artists? Have you considered that you could put the camera down and mingle? Get out from behind the lens and really put yourself out there. You could always pick up a set of poi and try your hand at spinning. One photographer I know is currently trying his hand at at last year’s Fractalfest I made the choice to let others concentrate on the glory shots of the stage, the different DJs, producers, and the various bigger-perspective moments that always get the attention. I wanted to experience Fractalfest differently from the past incarnations that I attended so I chose to primarily stalk the dance floors, photograph The Firefly Caravan, the art projects, and interact more with the attendees, strange creatures, masked characters, and live blog about the experience whenever possible. When photographing fire spinners at Petrified Forest III in Maine, I set up a spot to do portraits of people with a wall of fire behind them.
During my second festival, ever, at Tir Na Nog in Saratoga Springs, NY, I ran into my friend Kaitlyn after putting my camera away, and nearly quitting photography all together, who asked to do some portraits. Under the conditions that we were under, giving explanations while photographing was particularly difficult, so I asked her to just do whatever came to mind and I would try to take some shots. After about fifteen minutes, I was distracted by someone who decided to nearly set himself on fire next to me while pouring Kaitlyn’s fuel onto a dying fire pit (no, seriously, dude was that fucked up), so after making sure no one was injured or killed, I shouted back over, “KAITLYNNNNN, I don’t care what you do, just keep moving, PLEASE?..”
Kaitlyn at Tir Na Nog in Saratoga Springs, NY
My photography has completely changed, forever, as a result of these images of Kaitlyn.
I am forever grateful.
For me, I hit that boredom point long ago. At some point, every photographer ends up dazzled by the pretty lights and challenged into recording mesmerizing textures and patterns to the detriment of a good shot of the performer behind the lights. I don’t really focus on that anymore. Rather than photographing light trails, I aim for faces and the try to photograph performer. Light trails are just a secondary element in the shot, they’re just another prop.
If you’ve been following this series on improving fire performer photography at all, none of this should be a total surprise, or shocking advice, and is applicable to any kind of people-centered photography.
To take it one step further as a photographer, try any or all of the following:
Get away from Auto settings.
Try change modes on the P/A/S/M dial. (P/Av/Tv/M if you use Canon)
Change shutter speeds.
Vary the size of the heads in your photos.
If you think you are close, get closer.
Get even closer. (If you’re careful, there is no such thing as too close)
Remember Consent Always and Safety Third.
Be okay with happy mistakes. I made friends with fire faeries entirely by accident.
Make eye contact, and try silent communication. Direct with your hands.
Stop trying to photograph the fire and start photographing the performer. It will absolutely change your entire photography technique, I promise.
Are you ready to learn how to photograph specific types of fire performers?
I hope so. In the next post we will start taking a high level look at camera settings for fire performers and how those settings interact with each other.
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Thank you, as always, for your support!
First Things First:
How Not To Write an Email To a Photographer
When I received the email below, it arrived at my Photography Licensing Request email box. Unless you want to license any of my photos for your use, that is absolutely the wrong email box to use. Normally will just outright delete messages without giving it a second thought. This time though, because it was the second one that came in on the incorrect email. For giggles, I decided to research them a little bit. Variations on “‘NAME.com’ spam / reviews / scam” etc. Nothing very in-depth, really. Bottom line, this is not an effective email.
To make a long story short, they don’t have a very positive search engine footprint — most of the links I found were fairly negative in nature. So, I wrote the reply via email below and then made the initial blog post about into a week long Sponsored Post on Facebook and Instagram for giggles. I was feeling feisty.
What I did not expect, however, was any sort of reply from someone else within the company. Obviously someone within the company actually read the blog post that I referenced, and passed it on to someone who sent an email back.
What I also did not expect was the subtly cheeky, and effective, email response in return by pasting my name on top of another generic form-letter.
Well played, Sir. Well played.
So, how do you write an effective email to a photographer?
If you want to contact me, a photographer, click the “SEND EMAIL” button. You’ll then be sent over to my contact form. Please fill it out and then send it. That’s all. Simple, right?
If you’re curious, this website is hosted by Dreamhost on their dedicated WordPress hosting plan, DreamPress. Dreamhost is currently my favorite hosting provider. I arrived here after migrating away from Squarespace, and after having looked at Hostgator, SiteGround, InMotion Hosting, and Pressable, and I refuse to touch GoDaddy. Right now, on my shared hosting plan, I am also hosting two websites, one for Zoe’s chainmaille and scalemaille webshop and one for Artemis’ psychedelic electronic music DJ website. Dreamhost is the right combination of price, storage, un-metered bandwidth, expertise, and support (I swear, I learn something new every time I contact Customer Support with a new question).
Please check out Dreamhost (Affiliate Link), I’ve been happy with them for a couple of years, now!
Q – How do you photograph fire performers like a combat shooter?
A – Shoot, move, and communicate.
In Part One of this series of tips to help improve your photography of fire performers, we looked at seeing fire performer photography through the lens of a photojournalist as a way to create stronger, more impactful images. After all, the human element is what draws us into any performance. In Part Two, we looked at Always Getting Consent and Safety Third to remind you that a performer is not just a sparkly prop who happens to be spinning pretty fire — there are many factors to be aware of, especially the importance of everyone else’s agency. In Part Three, we began to delve into how to more effectively use the camera by using techniques taught to soldiers as Basic Rifle Marksmanship. You are, after all, shooting people with a camera.
In this post, I wanted to pick up where I ended off with the idea of Kinetic Shooting vs Static Shooting and which is better, as well as how Shoot, Move, Communicate helps to reinforce Consent Always and Safety Third. Ready?..
How and Why to Shoot, Move, and Communicate
TL; DR – Don’t stay in one place. Once you start moving around, don’t be an asshole.
Always keep moving. Staying in one spot is boring for you, and does not help you make a picture interesting, especially one you realize that you happened to pick a bad spot to begin with. That’s it.
Once you start moving and shooting, but you are not communicating with people around you your intentions and gaining their consent as you move around (“S’cuse me, may I take a shot from here?”), being aware of possibly getting in someone’s way (“Am I in your way?”), to apologizing for getting in someone’s way (“Oh, I’m sorry, I’ll get out of your way — my bad!”) then you risk becoming the dreaded Uncle Bob that wedding photographers love to make fun of amongst themselves who is always in the way of a good view. At best.
At worst, you become like the Naked Guy who risks impacting the performance itself, and the safety of everyone around them. Imagine you are spinning a rope-dart, originally a weapon, requiring great concentration and awareness due to its sudden strikes and long reach. Now set the business end of it on fire. Along comes a Naked Guy who suddenly gets well within 10 feet and ends up between you and your safety, who is responsible for quickly putting you out should you somehow set yourself on fire, preventing them from moving our of your way JUST as you’re about to fire off a quick strike in that direction.
Simple, right? That is all I wanted to go over for Moving around and Communicating, and all I will cover when it comes to the boring stuff.
Okay, well, not exactly.
In the next post, I’ll explain just how boring fire performer photography can be.