I’ve always loved the timed photography challenge series by LKs. The show invites two to four photographers from different fields to shoot the same model at the same time and location, showcasing vastly different techniques and styles from shooting to editing.

Inspired by LKs, I thought applying a similar format to fire dance photography would be an innovative and exciting experiment.

In recent years, fire dance photography has become increasingly popular in Taiwan. Whether for commercial performances or club presentations, more and more photographers are getting involved. However, I’ve noticed that many final images tend to look quite similar, following a somewhat formulaic approach.

Therefore, during my spring break visit to Taiwan in early 2025, I gathered a group of photographer and model friends for this outdoor shoot. I hoped that by bringing together creative photographers, we could spark new ideas and foster greater diversity in fire dance photography.

Given the unpredictable nature of fire dance (and indeed, some unexpected incidents occurred on the day), along with our lack of experience in producing a show like this, the event was more of an experimental, informal workshop. *THIS IS A TRANSLATED ENGLISH VERSION OF THE ORIGINAL ARTICLE*

Since the event was officially formed only two weeks in advance, and I landed at Taoyuan Airport on the morning of the shoot, the preparation was relatively rushed, leaving many areas for improvement.

For location scouting, MinZhe provided assistance by personally visiting the site a week prior. He sent back clear photos, videos, and descriptions, ensuring the location was both safe and suitable for the shoot.

The venue offered multiple backdrops to choose from (such as water features, cityscapes, bridges, and staircases), which provided flexibility but also made familiarity with the location a significant factor in the shoot.

Additionally, because of the large area, moving between spots took considerable time, and communication was somewhat difficult. In future events, it may be beneficial to impose stricter location constraints.

It might also be helpful to coordinate transportation in advance, perhaps arranging carpooling to save time and costs. A detailed route guide for both motorcycles and cars should also be prepared, as fire dance-friendly locations are often remote, and GPS navigation errors could lead to getting lost.

For equipment, ZhiHao and ZhiYu assisted in preparing fire dance props, fuel, ignition tools, and fireworks.

One major oversight on my part was not creating a checklist and verifying each item before departure. This resulted in several issues on-site, including a missing flame head on the dragon staff and one that couldn’t be secured properly, an insufficient number of windproof lighters, and some incorrect fireworks selections.

Regarding props, we assigned one unique prop per model to ensure diversity through different models. This approach worked well and could be continued in future shoots.

Lastly, we did not confirm all the models’ outfits in advance, which may have affected the photographers’ pre-planning. In the future, it would be beneficial to request reference images from models one to two weeks ahead of time.

The scheduled meeting time was one hour before sunset. For a relatively unfamiliar location, getting fully acquainted with the area while there was still sufficient light was essential, not only for safety but also for selecting shooting spots. Additionally, time needed to be set aside for adjusting fire dance props and photography equipment.

The planned start time for shooting was about 30 minutes after sunset, mainly to ensure that the ambient lighting remained as consistent as possible, creating a fair shooting environment.

Since the setup involved six photographers working with three models, the photographers were first divided into two groups. The shooting order was then determined through rock-paper-scissors. Then within each group, further coordination was done internally to decide who would shoot whom.

One of the first major challenges was time control. The original idea was to allocate ten minutes per round, using a stopwatch for simplicity.

However, several issues arose in execution: When exactly should the timing start? Should time spent re-soaking fire props in fuel be included? Could photographers switch locations within the ten-minute window, and should time spent moving and setting up lights be counted?

Since the goal was to keep the event relaxed and minimize pressure, but still maintain structured turns, we ultimately settled on using two rounds of fuel soaking and burning per fire prop as a timing mechanism.

However, different props required different soaking times and burned for varying durations, causing each group to finish at different times. In the end, we adapted by letting the next available photographer step in as soon as a model completed a round. While this threw off the planned sequence, it was a workable solution that kept the shoot moving smoothly.

Two other major issues arose during the shoot: One is dragon staff malfunction, upon assembly, we realized one flame head was missing, reducing it to a three-headed staff. Later, during shooting, two of the flame heads became loose and had to be constantly fixed. At one point, a flame head even fell into the water.

Another is insufficient lighters, with only two lighters available for three groups, and no fire canisters prepared, we often found ourselves running around just to borrow a flame.

Despite these challenges, every model remained professional, and all the photographers were highly skilled, adaptable, and easygoing. Whenever problems arose, they were tackled collaboratively, which kept the event moving forward. Also, the lamb hot pot in Hsinchu was amazing.

WenXiang’s shots represent the gold standard of classic fire dance photography, precise flash lighting, clear fire trails, smoke effects, balanced composition, and full-body model captures with expressive poses. A timeless beauty.

ZhiHao, being gay, exclusively shoots stylish and cool man. His use of a small aperture, slow shutter speed, and flash freezing techniques created stunning motion trails. Honestly, very sensual.

MinZhe’s the only one who experimented with high-angle shots, offering a rare perspective. He was also the only one who used both continuous lighting and a softbox for flash. Anyone brave enough to fight Hsinchu’s winds with a softbox deserves respect.

As the local expert and one of the most active fire dance photographers, ZhiYu delivered the most diverse results, reflection shots using water, creative light painting, and close-ups. His use of four-point star filters was particularly striking, and he was the only one to produce an upward-angle shot.

I focused on wide-aperture slow shutter shots, taking full advantage of Nikon’s top-tier lenses. I played with city bokeh effects and titanium powder fire sparks. Money well spent, and it looked incredible.

SongWen had the worst luck, dealing with the dragon staff issues right from the start, and I felt the most guilty about that. Despite the setbacks, his limited shots still blew me away, his lunar landscape inspired shots, urban backdrops, and color-graded close-ups were all remarkable.

I believe that fire dance, as an extreme and dynamic subject, is best captured using equally bold and unconventional photographic techniques. This approach makes fire dance photography far more exciting and engaging.

In recent years, the number of event photos has increased significantly. However, after sorting through them, many images tend to look strikingly similar. If performance groups and communities invite more photographers but only increase the quantity of photos without diversifying styles or improving quality, it feels like a missed opportunity.

This might be due to the complexity of fire dance environments, where various constraints lead to a higher failure rate. Beginners often start by imitating safer, proven setups, while experienced photographers may gradually tailor their work to match the preferences of popular performers, further reinforcing certain stylistic patterns.

Given this context, I think this event successfully demonstrated a broader range of fire dance photography styles. Even after shuffling through the final images, each photographer’s unique vision and approach were still clearly distinguishable, showcasing more creative possibilities within the genre.

There were definitely challenges in both planning and execution, leaving plenty of room for improvement. However, I’m confident that if there’s a next edition of this event, it will only get better.