Group Shoot Etiquette

With input from Paul Burns, Juan Medina, Dave Hewitt, Kirk Edwards, Johnny Griffin via Light Painting Lab

There are a lot of moving parts to a group light painting shoot, and more than a traditional group photoshoot. This is intended to be a guide to help group shoots go smoothly, and to help new light painters/models/participants understand what to expect. The first part applies to all participants, the second part is designed for people hosting events.

Participants

Understand and Establish Expectations

Before showing up at a group shoot, you should understand what the group shoot is about. Is this an educational experience? Is this an open shoot where everyone does their own thing? Is it mostly a shoot, but one where people will teach what they know as well?

On top of that, you should prepare prior to arriving at the shoot.

For photographers this means:

• Bring a tripod, a camera, a remote (wireless or wired)
• Understand how to use bulb mode (most cameras have it), or time mode. You can shoot a fixed long exposure, like 30 seconds, but if the shot is much shorter than that you'll disrupt the flow of the shoot by asking people to wait for your shot to finish. If the shot goes longer than 30 seconds, like many light painting shots do, then you will miss out on some, or a lot, of the shot.
• As a photographer you can wear pretty much whatever you want. If you are going to be in front of the camera with lights, you are going to want to have dark clothing. It's not necessary to wear a ninja mask, but dark pants, and a dark shirt/hoodie with long sleeves is a good idea. If you're bald, probably wear a hat.
• Light painting shots can use lights of all kinds of intensities and power. You should understand how your camera settings (aperture, ISO) affect the brightness of what is captured. Since we're using bulb mode, you should understand how time impacts the shot as well, but that one isn't something you'll change on the camera.

For models this means:

• Understanding what is expected of you as a model in a light painting image. Your role is different than traditional images.
• Communicating with the photographer or group about what your look should be. A lot of times this doesn't matter, but it's a good idea to ask. We shoot differently if you're wearing light clothing vs dark, and we almost always like clothing and hair with shape and texture. Translucent is fun, big hair can be fun. Just make sure you're on the same page, or find out that anything goes.
• Understand and communicate your own limitations. If you're injured then you might not be able to hold a pose in the way that light painting might require, even if you would be able to in a more traditional shoot.
• If you don't know about a phrase that's brought up, or a technique... ask!

For hair/make up/body painters this means:

• Do your normal thing. Your job isn't much different than in a traditional shoot

For location owners this means:

• Have an idea of what you will and will not permit at your location
• Communicate this to whoever is hosting the event

You should also understand what is expected of you at the actual shoot. A lot of this is covered in the rest of this document, but the less scrambling there is at the actual event, the better.

Start Time

Light painting group shoots may or may not have a kickoff meeting. If it's a private location where rules have to be discussed, there is a good chance that there will be an initial meeting. Don't be late to this and make people wait on you. If you're hosting an event, and someone is going to be more than a minute or two late, proceed without them and don't make everyone else wait just because they arrived on time.

Interpersonal Dynamics

Group shoots are about creating art together, and about meeting people. They are not about dating or trying to hook up. Some basic guidelines apply:

• If you're already dating, married, or have an established relationship dynamic then by all means do your thing!
• Meeting people is fine, and expected, but do NOT try to pick up other participants before or during a shoot. This is just creepy and can ruin a meetup.
• If you really click with someone, and want to talk after the event is done, go for it. But if it's not reciprocated, don't push it or you won't be invited back.
• If someone says no, respect that the first time it's said. If you continue to make someone feel uncomfortable then you will be asked to leave.
• This all applies from photographer to photographer, photographer to model, model to model, and from any participant to any participant.

Respect the Space

Sometimes you shoot in an underground rock quarry, sometimes an elegant mansion. In all cases, respect the space. If you want to move things around, ask. If you want to use fire, steel wool, or something else that might be dangerous to the location or humans, ask. The rules of the space are critical. Respect them for the sake of your reputation, the reputation of the group, and out of respect to the person who let you shoot at the location.

Capturing Pictures

If you are going to take any pictures at all, make sure you have explicit permission from everyone who is going to be in a shot. If models are involved, ask the models. Where light painting is involved, make sure the light artists are on board. For most group shoots this can all be agreed to at the start and you won't have to ask every time. If, however, someone specifically asks you not to capture an image of a shot that you are not personally involved in, please respect that. (Also, see the section below about crediting participants)

If you are capturing behind-the-scenes footage make sure everyone knows this and approves. Taking pictures of people when they don't they are being photographed doesn't build good group morale. This applies to everything from scouting, to setting up a shot, to models getting ready. If you take pictures of models in various states of undress without their knowledge or blessing, be prepared to be asked to leave the shoot and not be invited back. Seriously, don't be "that guy". If you're asked to leave, don't resist. It's pretty easy though, explicitly ask and only shoot when you are told you can.

Controlling Personal Light

The whole idea of light painting is to create images in the camera with intentional lighting. Cameras don't register light when it's dark, and that is core to how we make our images. Any unintentional light can ruin an image.

Most unintentional light in group light painting events comes from people walking through a location, in the dark, shining their light to see where they are going. This is reasonable in most cases, but it can ruin shots in light painting.

One thing that doesn't ruin light painting photographs is sound. If you are approaching a doorway and you think someone might be on the other side, call out to see if if anyone is shooting. As you approach, keep your light closer to you and less "all over the place".

If someone yells at you to turn your light off, it's not personal. Cover your light or turn it off immediately.

Camera Placement

For any given light painting shot, one person is usually leading that shot. They are usually creating the shot for a specific camera angle, and their camera is the one that should have priority placement. After that, it's typical for several cameras and tripods to be positioned in close proximity to that main camera, in order to capture the same shot.

To be clear, if it's your shot then you should have camera placement priority.

A challenge arises when one or more people are shooting regular lenses and another person wants to get much closer with a fisheye or ultra wide angle lens. For your own personal shoots, go for it and get close. For group shoots, yield to the person who is running that shot, and don't put your camera into their shot.

Great results can often be attained by capturing alternate angles as well. Don't be afraid to try something a bit off to the side. Although we often use the area behind a model to turn our lights on and off, you'll capture something unique from everyone else.

Adding Light to a Shot

When someone is setting up a specific shot, it's their shot. Do not add your light to the shot uninvited. If you have an idea, feel free to ask the person running the shot, but understand that your idea is not part of their vision and they will likely decline.

Sometimes you can do shots where the person leading it is content to run the entire shot, then close their shutter. At that time, with an expectation set in advance, you might be able to add light to your own image without impacting anyone elses. You should still defer to whomever is running the shot, as sometimes they might want to find a groove and do multiple shots in rapid succession.

Inside of a Specific Shot

A few things to consider inside of a specific shot:

• When a capture is ready to start, do not delay it if you have arrived late to the shot. You can set up your camera while that shot is taking place.
• Set your focus in advance, then switch to manual mode. It will irritate people if you have to refocus after every shot. Feel free to find your focus, then tape it down with gaffer tape if that helps. If you arrived late, focus at your first opportunity, but not within an ongoing shot.
• One person will typically be in charge of leading a specific shot. If they have coordinated with others then it might be more than one. If you have doubts about if they have coordinate with you, they haven't, and it's not your shot to lead.
• The person leading the shot should announce both the the start and end of their intended shooting timeframe, in a voice loud enough for everyone present to hear. Some people count down (3, 2, 1, start the shot on zero), and then say either "done" or "and... done" when the shot is over. Saying the "and" bit can let people prepare to end their shot instead of having "done" take them by surprise. This can help reduce the amount of unwanted light in a shot.

Moving Through A Space Where Someone Is Shooting

A shot in progress is sacred. Don't walk through a scene or shine any lights into a shot in progress. If you need to get to a spot that involves walking through a shot in progress, just wait. If you don't know if a shot is in progress, ask!

Also, if a shot is almost ready to go, please don't walk through their scene or introduce new lights. If two shots are being set up at the same time then the one that was there first has the most priority. If two people are shooting in the same spot but in different areas then the shoot that is ready first gets the first shot. After that, alternate shots if there is any concern about light from one shoot interfering with the other. Obviously you can make any arrangement you want in the moment but if no arrangement is made do it this way.

Crediting Those Involved

There are a lot of aspects to a light painting shot, and everyone involved should get credit EVERY TIME YOU SHARE IT. This includes models, photographer (the person on the camera), the light painters, any hair/makeup artists, any body painters. If you've been given access to a private location and the owner hasn't asked otherwise, credit the owner as well.

Do not represent an image where your only participation was to push the camera shutter button, on as your own work, without crediting the light artist, model, and other participants. You didn't create that shot, there's a good chance you would not be able to create it again. As you get familiar with friends and regular collaborators, feel free to come up with your own rules, but if in doubt, give credit.

Communication and Respect

There is very little that can't be proactively handled with communication. Don't be a dick. Don't assume you're entitled to something. If you have questions, ask. We're all in this together and together we'll create awesome images, and have fun doing it.

Hosting a Shoot

Set Overall Expectations For the Shoot In Advance

As a host, it's important to set expectations for what the group shoot is actually going to be about.

• Is it an educational meetup? Is it just people getting together to shoot? Will it blend elements of both?
• Will there be any kind of group collaboration shot?
• What's the parking situation like?
• What do you need for this location type? Rubber boots? Warm clothing?
• Are there bathrooms?
• Are there changing areas?
• Is the event age-restricted? USA/Canada events will likely be: all ages, 18+, or 21+. Even if 18+, will there be any adult activities (pot, alcohol, nudity).
• What are the picture-sharing terms for the shoot?

Make sure these expectations are communicated to the group prior to the event.

Set Specific Expectations for Various Attendee Types

What do your participants need to know? Having them read the top part of this document might give them a good starting point. Do you have any other specific requirements for any of your attendees, especially those that are new to light painting?

If you have models or performers that are attending, make sure they know that this is different from pretty much all photography they have previously encountered, and make sure they know what to expect.

Communicate with Location Owner

What's off limits? What's areas of the location merit special consideration? Can you use fire/fireworks/steel wool? What are the expectations of picture sharing? Do they want the location to be credited or not?

Communicate the necessary information to attendees either in advance or at the kickoff meeting.

Location Prep

Does the location need any preparation? Who is going to do it and when? This might mean tidying up a host host, or sweeping, blocking off hazards etc. Do any rooms or locations need to be marked as off-limits, or specifically marked for easy access (bathrooms!).

Designate assistants at event

You might be the one running the event, but in a big group that can get overwhelming. Designate a few people who can help to answer questions. You might have to field all location-specific questions, but others can help take off some the burden by being available to answer basic light painting and etiquette questions.

Kickoff Meeting

Hopefully everyone is on time. A kickoff meeting at the start of a group event is a great time to go over news, announcements, and location rules.

• Make a list so you can cover everything quickly, and thoroughly, without forgetting anything
• Reiterate the overall expectations
• Go over any location rules, resources, bathrooms etc
• Reiterate a policy of respect and to "leave no trace" on the property
• Remind people to pick up any trash they generate
• Remind participants of the terms of the group shoot (what will be delivered to who, and when)
• Have people sign a group model/participant release if you do that sort of thing
• Point out anyone who you have chosen as designated assistants
• Thanks the location owner, if applicable, and anyone else who made the event possible.

Closing

When the shoot is over, breathe easily. You did it! There's a little more to do, but that's it!

• If the owner is still at the location, thank them. Reiterate expectations on when pictures can be shared.
• Make sure all trash is removed
• Remind participants that they agreed to prompt processing of images, and that they should be shared very soon.
• Remind photographers to credit everyone involved in their images. This includes the property owner if they want that.