Mastering the Art of Candid Portraits: My Annual Journey at Burning Man

The Canadian visual artist Mark Fromson exemplifies the essence of capturing a subject, revisiting it repeatedly, while still managing to infuse it with fresh perspectives. Mark’s journey of photographing the transient art and individuals of Burning Man’s Playa extends over multiple years, with the images from 2024 being as lively and colorful as the initial captures.

Mark’s photography represents a festive narrative through the camera, characterized by a profound connection to the locales and communities he immortalizes. DIYP spoke with Mark to understand what inspires his passion and his thoughts on being honored as the Event Photographer of the Year at the 2024 International Photography Awards.

DIYP: Could you share a bit about your background in photography?

Mark: I was introduced to photography at an early age, as my uncle Joseph Zimbrolt worked as a professional portrait photographer. In my childhood, Joe would invite me into his darkroom in Minneapolis to develop prints, and I still cherish the memory of the chemical scents within the lab paired with his patient instruction. Joe gifted me my first camera, an Olympus Stylus, and I also received his assortment of Rolleicords and Leicas. Uncle Joe counted Ansel Adams among his friends and captured his portrait, of which I have one of only two existing prints.

My enthusiasm for seizing moments persisted while I explored the globe as an elite high diver and professional acrobat. This wanderlust has since brought me to 57 countries spanning six continents, always accompanied by a camera to record my journeys.

DIYP: What prompted you to start photographing Burning Man?

Mark: During my initial visit to Burning Man, I chose not to carry my camera, wishing to fully engage as a participant rather than as a spectator. This experience profoundly impacted me, as I immersed myself in the burner culture, particularly the concept of gifting. The following year, I brought my camera and participated in Trey Ratcliff’s renowned photo walk around the playa.

Upon returning home, I was consumed with editing the images, striving to add something unique to a selection of favorites. It was throughout the editing phase that I began to cultivate what felt like an original approach to Burning Man photography that I hadn’t encountered before, and the encouraging online feedback I received for this initial limited collection was very uplifting.

The subsequent year, I resolved to commit myself to the endeavor. The outcomes from that year started attracting global recognition, with the Burning Man organization and others showcasing my images, a few contest victories, and even a feature in Sotheby’s magazine. It has expanded every year since then.

DIYP: How do you maintain creativity when returning year after year to photograph a similar subject? What motivates you to come back?

Mark: There are countless enchanting aspects about photographing at Burning Man that keep it fresh and exhilarating. Each year, the playa is adorned with new large-scale art installations, and it presents a personal challenge to capture the most iconic image of these monumental creations to offer to the artists and the community. The artists invest significant time and resources into crafting their work and transporting it to the desert, which exists only for one week, so often, my photos serve as some of the finest visual memories they possess of their remarkable endeavors.

Moreover, the region itself is incredibly vast, spanning 12 square miles, and each time I explore, I have no idea what scene will await me. There is a spontaneous visual wonder occurring every minute of every day, and if you are fortunate enough to position yourself in the right place at the right time, you may snag a unique masterpiece of a moment that vanishes shortly after. It is one of the most photogenic and vibrant destinations on the planet, a perpetually unique, ever-evolving expanse of wonder and visual delight.

DIYP: What equipment do you utilize, and what measures do you take to protect it from the desert’s sand?

Mark: During my first year shooting there, I actually took my backup camera, a Nikon D5100 DSLR, due to my concerns about how the conditions might affect my new Sony. That was an error, as I now strongly believe one should invest in top-tier equipment for a reason: to take amazing photos, not to leave your camera behind. Since that experience, I’ve used a Sony A7R3 with a GMaster 24-70mm 2.0 lens and now alternate between a Sony A7RIV with the Gmaster and an A7RV paired with the exceptionally adaptable Tamron 35-150mm 2-2.8.

I’ve witnessed individuals completely encase theirentire camera and lens configurations with tape to shield them from dust, yet I simply carry my gear in a sling and take it out when it’s time to capture images. I’ve never experienced issues with damaged equipment, even when shooting in extreme circumstances like fierce dust storms and the recent deluge. I do secure some panel edges with tape, and have a sturdy rubber band covering the connection between lens and body. It’s best to avoid changing lenses frequently out there, if possible, as that’s when fine dust can truly become problematic.

I must mention that the 8 stops of image stabilization in the Sony A7RV have completely transformed my night photography on the Playa. I’m now able to snap significantly clearer handheld night photos with exposures of .5 to 2 seconds. To capture a high number of excellent images, you need to be quick and nimble out there, and setting up a tripod isn’t really suited to that way of thinking, although it does have its advantages.

DIYP: Do you possess any tricks or advice for taking captivating candid portraits?

Mark: Inquire, inquire, inquire! More often than not, I’ve strolled or biked past a truly amazing individual and lacked the courage to pause and request a photo. These lost opportunities often become some of my largest regrets. The attendees at Burning Man, referred to as Burners, are among the most vibrant and imaginative people you’ll ever encounter. Generally, they are more than willing to pose in exchange for your details to send the shot back in the default world.

Do not hesitate to ask them to shift slightly for the best possible backdrop and lighting; it can significantly enhance the quality of the portrait to have optimal light and separation of your subject. Develop a set of pose suggestions to instill some vibrancy into the portrait, or simply invite them to do something amusing and see how it turns out. Capture some headshots as well as full-body photos simultaneously, as more clicks lead to more opportunities for standout selects.

DIYP: What’s the most difficult aspect of capturing images at Burning Man?

Mark: Undoubtedly, the primary obstacle to photographing Burning Man is time. The festival lasts for merely one week, the prime light periods are generally during sunrise and sunset, and the weather isn’t always cooperative. You still need to allocate time for sleep, meals, performing your camp responsibilities, and enjoying the marvel as a participant. Consequently, your photography is simply one more element competing for your time out there.

Try to coordinate your shooting schedule around optimal lighting conditions, and be prepared to head out to the playa at a moment’s notice for unexpected weather. Even the best-conceived plans can unravel with the relentless tide of spontaneity. You might decide to photograph a certain event, but riding toward it, you’ll face a thousand remarkable visual distractions that draw your attention everywhere. One significant upgrade I made this year was acquiring an e-bike. This allowed me to traverse much more ground while expending considerably less effort. It’s essential for anyone serious about photography out there.

DIYP: Are there any upcoming projects that you’re eager to share with us?

Mark: This previous year marked a remarkable period with my achievement at the International Photography Awards, being honored as Event Photographer of the Year (non-professional). It came as a total surprise, and my trip to Athens, Greece, for the award presentation was a memorable experience I will always cherish.

My photographs have been featured in multiple group exhibitions and photography festivals; however, I have yet to hold my own solo exhibition. This serves as a concrete objective to strive for, and I am actively taking measures to realize this ambition. I’m also greatly anticipating Burning Man 2025. It’s a perpetual, ever-changing challenge to enhance both the volume and caliber of my photography while also making the time to engage, experience, and enjoy as a participant. The best is yet to come!

You can explore more of Mark’s photos on his website, or connect with him on Instagram.

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