My mind wanders from one topic to another. It always has, even back in grade school. I'd be working on an assignment when, suddenly, my thoughts would drift somewhere completely different. Concentrating on a single task for long periods has never come naturally to me. That's why I'm always amazed by musicians who can practice their instruments for hours at a time. Not me.

So why am I mentioning this?

While reviewing my collection of more than 12,000 American Revolution reenactment photographs for a previous blog, I noticed something interesting. Many of the images had one thing in common: the bayonet was the central subject. One thought led to another, and before long I had the idea for this blog.

So, what exactly is a bayonet? During the American Revolution, soldiers carried long steel bayonets that attached to the muzzle of a musket, transforming the firearm into a spear-like weapon for close combat. Bayonets played an important role on 18th-century battlefields because they allowed foot soldiers to charge enemy lines, defend positions, and continue fighting after firing their muskets.

For many years, I believed bayonet wounds were among the leading causes of death during the Revolutionary War. I was surprised to learn otherwise. Disease was by far the greatest killer of soldiers, followed by deaths suffered while held as prisoners of war. Battlefield fatalities caused by musket fire and artillery greatly outnumbered those caused by bayonets. Although bayonets are strongly associated with Revolutionary War combat and remain one of its most recognizable symbols, musket balls accounted for far more casualties on the battlefield.

The photograph below, taken during the 2021 Battle of Brandywine (Chadds Ford) reenactment, gave me chills when I first saw it. To me, it resembles an authentic wartime photograph. To enhance the sense of action and movement, I applied a radial blur filter in ON1 Photo RAW to the soldier with the bayonet, killing his enemy.

An American Revolutionary War bayonet was a long, triangular steel blade that attached to the muzzle of a musket, transforming the firearm into a spear-like weapon for close combat. Beyond its practical use on the battlefield, the bayonet also served as a powerful psychological weapon, often employed during charges when opposing forces closed to very short range. In this image, British soldiers can be seen fixing their bayonets in preparation for battle.

During the American Revolution, the bayonet was often more powerful as a psychological weapon than as a physical one. The sight of disciplined soldiers advancing with fixed bayonets could be enough to break an enemy's nerve, causing men to retreat before the two sides ever came to close combat. Its greatest value was the fear it inspired and the confidence it projected, making opponents question whether they could stand their ground.

Every year at Jockey Hollow, after the soldiers complete their drill, they fix bayonets and charge toward the spectators gathered behind a split-rail farm fence near the Wick House. Even though everyone knows it is only a demonstration, the reaction is always the same: a chorus of gasps, nervous laughter, and wide-eyed amazement as the line surges forward with steel flashing in the sunlight. It is easy to understand the psychological impact such a charge must have had on eighteenth-century soldiers. If a reenactment can still provoke such a reaction today, I can only imagine the fear and uncertainty felt by men facing an actual bayonet charge on a Revolutionary War battlefield.

At many reenactments, the British troops finish the battle with a bayonet charge, sweeping the opposing force from the field. This tactic often decided the outcome of real 18th-century battles, making it one of the most dramatic moments to recreate. It is an impressive spectacle to watch, especially since many reenactments take place later in the day as the sun approaches the horizon. The sunlight often glints brightly off the bayonets, creating a striking visual effect. For this photograph, I used a panning technique to emphasize the sense of movement. I am very pleased with the result. The challenge with panning is that you never really know if you've captured a successful shot until you download and review the images afterward.

In this photo from a Fort Mercer reenactment, the eye is immediately drawn to the gleaming bayonet of the charging Hessian soldier. The sunlight catches the steel perfectly, creating a brilliant reflection. It is a striking reminder of why the bayonet was such a feared and intimidating weapon on 18th-century battlefields, where its psychological impact could be as powerful as its physical danger.

On October 22, 1777, Hessian troops under Colonel Carl von Donop launched an assault on Fort Mercer-Battle of Red along the Delaware River in an effort to open a vital supply route to British-occupied Philadelphia. Despite being heavily outnumbered, the American defenders under Colonel Christopher Greene held their ground and repelled the attack with devastating effect. The failed assault left hundreds of Hessian casualties, including the mortally wounded von Donop, and enabled the Americans to maintain control of the Delaware River defenses for several more weeks.

The Hessians earned a formidable reputation for bayonet warfare, shaped by the military traditions of the German states from which they were recruited. Their armies emphasized rigorous discipline, precise close-order drill, and aggressive shock tactics, making Hessian infantry among the most respected and feared professional soldiers of the Revolutionary War.

For this blog, no classic music songs immediately came to mind when writing. But what it got me reminiscing about was an old movie I watched every Thanksgiving growing up: the 1934 movie The Babes in Toyland (March of the Wooden Soldiers), starring Laurel and Hardy. The marching of the toy soldiers near the end of the movie was an instrumental Leon Jessel composed in 1897. In 1922, lyricist Ballard MacDonald added English words.

Funny how you constantly learn new stuff; unbeknownst to me, The Crystals recorded "Parade of the Wooden Soldiers" for Phil Spector's classic Christmas album A Christmas Gift for You from Phil Spector's Records, released in 1963. It wasn't a hit single, but it became known because the album was commercially so successful!

Thank you for reading! Blog #119 will be posted on October 1, 2026. 

Huzzah,

Ken Bohrer

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

When I take a photograph, that's only the first step in a much longer creative process. Post-processing in ON1 Photo allows me to use my creative vision to transform an image into the final photograph I envisioned. I shoot exclusively in RAW format, which means the camera applies no enhancements when the image is captured.

A JPEG image is different; when the camera saves a photo in that format, it automatically applies adjustments such as color correction, contrast, sharpening, brightness, and noise reduction. The result is an image that usually looks good right out of the camera without requiring much editing.

Most cameras, including smartphones, save images as JPEGs by default. In those cases, the camera has already made decisions about how the final image should look. When I work with a RAW file, I make those decisions myself. Creating a finished photograph often requires numerous adjustments, including cropping, vibrance, sharpening, selective blur, motion effects, and other creative enhancements.

Recently, ON1 introduced a new filter in one of its software updates, and I wanted to see how it could be used creatively. For my experiment, I wanted to use the same image multiple times within a double-exposure composition. I chose this photograph of George Washington viewed from behind. The image was previously published in the February 2015 Early American Life Magazine, and was immediately recognizable, making it an ideal starting point. I then selected several other photographs that reflected Washington's life, legacy, and association with the American Revolution.

To this to have the effect I was wanting to select the other photo that would be identifiable with George Washington. For my first attempt, I chose a photo of him in a Durham boat crossing the Delaware River. How do we know this is his boat? It's because of Blue Star Flag, a blue field with thirteen white six-pointed stars, associated with the headquarters flag of the Commander-in-Chief during the Revolutionary War. 

Double-exposure photography has a fascinating history that dates back to the earliest decades of photography in the mid-1800s. The technique was first discovered largely by accident when photographers reused photographic plates or exposed them more than once, creating overlapping images. By the 1860s, photographers were intentionally using the process to create artistic composites. 

The distinctive cupola atop Mount Vernon rises above the mansion's roofline, crowned by a weather vane that overlooks the Potomac River and the surrounding estate. In this double-exposure image, the tower serves as a symbolic focal point, linking George Washington's silhouette to the home that became both his sanctuary and enduring legacy.

I selected images that represent significant aspects of George Washington's life and career. In this photograph, the cupola and portions of Colonial Williamsburg's Capitol Building rise above the surrounding rooftops, serving as a distinctive landmark and enduring symbol of civic life in colonial Virginia.

George Washington was intimately familiar with this building and its role in Virginia's government. He served in the Virginia House of Burgesses from 1758 to 1775, frequently traveling to Williamsburg to conduct public business and participate in the colony's legislative affairs. As the center of Virginia's political life, the Capitol reflected the principles of representative government and civic responsibility that shaped Washington's development as a leader and prepared him for the greater responsibilities he would assume during the American Revolution and the founding of the United States.

The process turned out to be much more challenging than I initially expected. Balancing the individual elements, controlling how the images blended, and creating a composition that felt both seamless and natural required significant trial and error. Even now, I find myself going back and forth on whether I truly like the final result. However, that uncertainty is part of what makes photography so rewarding. Experimentation pushes us beyond our comfort zones, encourages us to learn new techniques, and often leads to creative discoveries we never would have made otherwise.

For this double-exposure, I selected one of my log cabin photographs taken at Valley Forge National Historical Park. My original goal was to incorporate another image showing snow falling and covering the ground. However, once together, the final composition appeared washed out and lacked the visual impact I was hoping for. It was a clear reminder that not every creative idea works as planned. After several rounds of experimentation and adjustments, I decided to abandon that version and choose a different image. It reinforced how important trial and error can be in creating a successful photograph.

For my final George Washington double exposure, I chose the golden weathervane at Mount Vernon, which depicts a dove carrying an olive branch, a timeless symbol of peace and hope. Rising above the compass points, it is one of the estate's most distinctive architectural features and a fitting complement to the image.

Whether these photographs become personal favorites or remain part of a learning experience, the journey of creating them was well worth the effort. In the end, the final images were less important than the process itself and the opportunity to experiment, explore, and grow as a photographer. Photography is far from a static art form, especially today. It continues to evolve alongside increasingly powerful post-processing tools that regularly introduce new creative possibilities. Embracing that evolution keeps the craft exciting, and I look forward to discovering where the next experiment will lead.

As I was writing this blog, I couldn't help but think of one of my favorite 1970s bands, Foreigner, and their classic song Double Vision from the album of the same name. The connection seemed almost perfect. After all, photography and music both capture emotion, tell stories, and fuel creativity. What a great combination!

Thank you for reading! Blog #118 will be posted on September 15, 2026. 

Huzzah,

Ken Bohrer

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

Last Saturday, Brandywine Battlefield Park hosted Voices of Brandywine 2026. This theatrical program shared personal stories and perspectives connected to the Battle of Brandywine, bringing Revolutionary War history to life for visitors. For me, it was especially meaningful because it was my first event at the park since my knee replacement surgery in April, and the short drive of just over 10 miles made it an easy return to one of my favorite historic sites.

Unfortunately, this battle was not a successful one for George Washington.  The Battle of Brandywine, fought on September 11, 1777, was the largest single-day battle of the American Revolution, as General George Washington's Continental Army tried to stop British General Sir William Howe from advancing on Philadelphia. The British won by executing a successful flanking maneuver near Chadds Ford, Pennsylvania, forcing the Americans to retreat and opening the way for the British occupation of Philadelphia.

The Ring House at Brandywine Battlefield is a 1731 Quaker farmhouse that served as General George Washington’s headquarters before and during the Battle of Brandywine in 1777. Burned in 1931, it was later reconstructed to its Revolutionary War appearance in 1949, preserving its role as a key planning site for Washington’s war council.

Sometimes I like to try something a little different and create a unique image rather than taking a standard one. That’s what I did with this horsehead hitching post beside the house shown above. I got as low as I could and photographed it from an upward angle, although that was a challenge since I'm still recovering from knee surgery.

During post-processing in ON1 Photo RAW, I noticed a blown-out sky due to excessive highlights. Rather than fight it, I decided to convert the image to black and white. The conversion transformed the background into something soft, dreamy, and almost fog-like, helping draw attention to the texture and character of the hitching post itself.

In the end, the photograph turned out much better than I had expected and became one of those pleasant surprises that occasionally happen in photography.

On the left side of Gideon Gilpin House (I’ll talk more about it in the next photo), you see a large tent with picnic tables. This is where a living-history theatrical event designed to bring the people of the 1777 Battle of Brandywine to life through short 15-minute dramatic performances. The programming focused on the difficult choices faced by both soldiers and civilians during the Revolutionary War. Rather than simply recounting military history, the performances explored themes such as loyalty, independence, family obligations, sacrifice, and survival during wartime.  

Actors, with support from the Delaware Theatre Company, portrayed historical figures including:

• General George Washington
• Captain Johann Ewald (German officer serving with the British)
• Enoch Anderson
• Polly Frazer
• Joseph Townsend
• Dr. Benjamin Rush

The scripts were based on the words and experiences of these individuals, allowing visitors to hear firsthand perspectives from those who lived through the campaign and battle.

I did something differently this time; I put my camera down. Normally I would want to photograph everything that was happening. But I would be so immersed in taking pictures that I couldn't focus on them. I didn't want that to happen this time. I wanted to listen to their personal stories and give them my full attention. I'm glad I did; I learned a lot!

The Gideon Gilpin House is a beautifully preserved 18th-century farmhouse on the Brandywine Battlefield. While the house is often dated to 1754, the stone portion of the structure dates to the mid-18th century.  During the Battle of Brandywine on September 11, 1777, the farmhouse stood in the midst of the largest single-day land battle of the American Revolution. It was the home of Quaker farmer Gideon Gilpin, whose family found themselves caught in the turmoil of war as British and Continental forces clashed across the surrounding countryside.

As I walked up the steps toward the front door, I noticed a stone embedded in the whitewashed wall, clearly etched with the year 1745. The date immediately caught my attention. The house is supposedly built in 1754; so how could there be a stone bearing a date nearly a decade earlier?

One possible explanation lies in a common 18th-century Pennsylvania building practice. Families often salvaged and reused carved date stones from older structures, such as barns, mills, or earlier homesteads, when constructing a newer or larger residence. The 1745 stone may have originated from an earlier building on the property or from a structure connected to the Gilpin family.

Perhaps even more remarkable is the fact that the house survived the violence of the battle itself. Following the British victory, Gilpin's farm was heavily plundered, with livestock, crops, and household goods taken by soldiers. Yet the farmhouse endured and remains standing nearly 250 years later.

The house is also traditionally associated with the Marquis de Lafayette, who is believed to have stayed there before the battle. Today, the building is interpreted as "Lafayette's Quarters" at Brandywine Battlefield Park.

Near the end of my visit, I wanted to meet Major General "Mad" Anthony Wayne of the Continental Army before leaving the battlefield. He was standing near the Visitor Center, speaking with visitors.

Just before I could approach him, a grandmother and her granddaughter, who appeared to be about ten years old, were engaged in conversation with the General. The young girl asked several thoughtful and insightful questions, and Wayne seemed genuinely impressed by how much she knew about the American Revolution.

When it was my turn, I had the opportunity to ask a few questions of my own. First, I asked whether the nickname "Mad Anthony" had ever bothered him. He replied that it really did not. Over the years, he had come to accept it because his soldiers viewed him as intensely strict, fearless, and aggressive, both in enforcing discipline and in leading troops into battle.

I then asked whether he considered Major General Nathanael Greene to be George Washington's most capable commander. His response was immediate and emphatic: "Yes!" He clearly held Greene in the highest regard, recognizing him as one of the most talented and effective generals of the Revolutionary War.

It was a memorable conversation and a fitting way to conclude my visit to Brandywine Battlefield.
 I hadn't visited Brandywine Battlefield Park in many years. As I slowly walked the grounds, I tried to remember if Alexander Hamilton, who was serving as one of George Washington's aides-de-camp, was at this battle. He was!

Then I couldn't help but wonder what Hamilton would make of the Broadway musical phenomenon that bears his name. I suspect he would have been delighted by the success of a production that turned him into one of the most recognizable figures of the Revolutionary era. He might even have appreciated the irony that, centuries later, his greatest popularity would come not from his financial system, but from a musical. The thought brought a smile to my face as I continued my walk across this historic battlefield.

Thank you for reading, today's my birthday-August 15! Blog #117 will be posted on September 1, 2026. 

Huzzah,

Ken Bohrer

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

As I've shared in recent blogs, I haven't been able to attend many of my regular American Revolution reenactments—or explore new ones—because of my recent knee replacement surgery. During this recuperation, I've missed them more than I expected. This blog is different; it's doesn't have photos that I've taken but instead photos taken of me!

Part of that is the photography itself, but an even bigger part is the people. Over the years, I've made many friends at these events: reenactors, sutlers (merchants), and especially fellow photographers. Sadly, one friend passed away about a year and a half ago, and another is preparing to move south. Their absence has reminded me how much these friendships mean.

There's a small group of photographers who attend many of the same events. When we spot one another, we always stop to say hello. Even when we see a photographer we don't recognize carrying serious camera gear, one of us will often introduce ourselves and strike up a conversation. It's a bit like motorcycle riders acknowledging each other on the road with a nod. We're all part of the same club, connected by a shared passion.

Whether we're waiting for the action to begin or photographing an ongoing battle, if we notice a friend nearby, we'll often snap a quick picture of them. These aren't carefully crafted artistic images intended to become masterpieces. They're simple snapshots—small mementos of the day and the friendships we've built. Later, sometimes days after the event, we'll share the photos with one another.

The photograph below is a perfect example. I believe it was taken at Fort Mifflin, although I'm not certain which year. Most of my photography friends are around my age, and most are retired—unlike me. These days, when we first see each other and exchange greetings, our conversations often begin with updates on our health. Every one of us seems to be dealing with one medical issue or another.

That's exactly what's happening in this photo. I'm saying hello to a friend and catching up with him. It's a simple moment, but one that captures what these events have come to mean to me. They're not just about history or photography. They're about friendship.
Ah, a photo of me in action. It was taken at a Washington Crossing event. Judging by the snow, it was obviously cold, and one clue is that I'm wearing gloves. I rarely do that while shooting because gloves make it harder to operate the camera controls.

Some things, however, have remained constant over the years. I'm using my favorite, now older, and comfortable reenactment lens, the  Nikon 80-400 4.5-5.6 VR. I'm also wearing my Fort Ticonderoga baseball cap—usually turned backward when I'm actively photographing—and my well-worn, frayed photography vest all the time like a brand, a gift from my mother. 

That vest means a lot to me. Every time I wear it, I think of her. She passed away nearly twenty years ago, but carrying that gift with me at events helps keep her memory alive.

Hanging just below my camera is my press pass. Because of the body of work I've produced photographing historical reenactments, I've been granted special access to many events over the years. I consider that pass a badge of honor and greatly appreciated. I share my photographs with many organizations, websites, and participants, asking only for proper credit. Being able to preserve and share these moments of living history is both a privilege and honor.

This is probably the most artistic photograph ever taken of me, a close-up with the background blurred. I'm not entirely sure who captured it or exactly where, but from my vantage point, I believe it was at Fort Mifflin.

Looking at the image, you'll notice how little my gear has changed over the years. The same baseball cap, the well-worn photography vest, the backpack, the camera and lens, and even the same walking boots are all there. I wear them year-round—even in the heat of summer—because they provide the support and stability I need. Many events take place on uneven ground, muddy fields, wooded trails, or historic sites where secure footing is anything but guaranteed.

What I like most about this photograph is that it captures a side of reenactment photography that people don't often see: a significant part of the experience involves waiting. There are countless quiet moments spent observing, reflecting, and simply being ready for whatever happens next.

This photo was taken at a Fort Mifflin event by my late friend Al; you can see his watermark in the lower-right corner. Al passed away in December 2024. We attended many reenactment events together over the years and shared a lot of good memories. We even tried sharing a hotel room a few times while traveling to events, but that never worked out very well. We both snored, so neither of us got much sleep!

I find this photo funny because I'm so close to the "wounded" British soldier. I know I'm close to the action sometimes, but not this much!

Here is my pal Al waiting with me for the Second Battle of Trenton reenactment, which commemorates the events of January 2, 1777, when George Washington's army successfully defended its position along Assunpink Creek against repeated British attacks. In this photo, I'm standing and chatting with Al while we wait for the action to begin. At many reenactments, the waiting is actually one of the best parts of the day, providing an opportunity to catch up with friends and meet other folks. One of my fondest memories from a reenactment took place at this location; I'm not sure if it’s this one.

Behind my left shoulder is a row of townhomes. I eventually learned that the residents of the unit closest to the park host an annual potluck meal to commemorate the anniversary of the battle. While waiting for the reenactment to start, I noticed someone climbing the steps cradling a large crockpot. With a smile, I jokingly asked, "Is that for me?" The person laughed, and I assumed that was the end of our brief conversation.

About fifteen minutes later, he tapped me on the shoulder. To my surprise, he handed me a steaming bowl of chili and a slice of jalapeño cornbread. It was a cold day, and so this unexpected kindness was greatly appreciated. What a thoughtful gesture from a stranger and one I've never forgotten. And best of all, the chili and jalapeño cornbread were absolutely delicious!

As I was writing this blog, I kept thinking about Andrew Gold’s 1978 classic rock hit, “Thank You for Being a Friend.” Released in 1978, the song reached No. 25 on the singles chart with its heartfelt message of loyalty, gratitude, and enduring friendship. In many ways, those sentiments perfectly capture how I feel about my friends in the American Revolution reenactment community.

Thank you for reading! Blog #116 will be posted on August 15, 2026, my birthday. Be safe & well!

Huzzah,

Ken Bohrer

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

Because of my knee replacement recovery, I've had to miss recurring and new events. That's been hard. But with fewer photos to process, I've had time to review my numerous photo galleries, which contain over 12,000 photos. It's been fun seeing forgotten photos again. I noticed a trend: I take many panoramic photos. Here are some of my favorites.

When photographing American Revolution reenactments, I try to get as close to my subjects as possible to capture unique perspectives and details. At the same time, I also want to show the larger story unfolding around them. One way I accomplish that is by creating panoramas.

A panorama is a wide image created by stitching multiple photographs together. By combining several overlapping photos, I can create a single image that captures much more of the scene than a single photograph could.

To create the "big picture," I typically shoot a series of 3 to 7 images and then stitch them together in photo editing software. When I first started creating panoramas, I used Adobe Photoshop. Today, the process is much simpler using ON1 Photo RAW, which does an excellent job of merging the images into a seamless panoramic photograph.

Before beginning, I set my Nikon D500 to Single Frame mode. After focusing on my starting point, I hold the AF-Mode button to lock my focus settings, so they remain consistent throughout the sequence.

For stability, I hold the camera with my left hand pressed against my left side and keep my elbows tucked tightly against my body. My feet and lower body remain in one position while I rotate from the waist and shoulders. Often, I'll begin with my shoulders turned nearly 180 degrees to the left.

Looking through the viewfinder, I select my starting point and take the first photograph. I then slowly rotate my body and camera across the scene at about walking speed. For each successive image, I overlap approximately 75 percent of the previous frame before pressing the shutter again. This overlap helps the software accurately align and stitch the photographs later.

Most of my panoramas cover roughly 180 degrees, though the exact width depends on the scene. Once I finish the sequence, I'll take an additional photograph of the ground. This serves as a marker, making it easy to identify the panorama sequence when reviewing images later. Sometimes I'll shoot the same panorama a second time to ensure I have a backup in case something didn't align correctly in the first series.

This photograph captures the participants, the action, and the full scope of the reenactment experience, allowing viewers to appreciate the event's scale and atmosphere. It is from the Battle of Newtown in 2019. My goal is to show the full scope of the encampment, which is the main focus here.

This photo was taken during day 2 Battle of Bunker Hill reenactment, one of the highlights of my American Revolution photography experiences. As the British forces advanced up the hill, it felt as if I had been transported back to June 17, 1775. The action was intense and nearly nonstop, continuing until the militia was finally forced to retreat.

A single traditional photograph could never fully capture the anticipation and tension of the militia waiting for the British attack. That's why this panoramic image is so meaningful to me—it conveys the scale of the moment and the uncertainty before the battle erupted. The entire reenactment was incredibly immersive and gave me chills, making it one of the most memorable historical events I have ever photographed.
Sometimes the best photographic opportunities come when I’m not focused on the reenactment itself. This photo was taken at the Battle of Fort Mercer reenactment in 2022, where visitors descend a staircase leading down to the park area along the Delaware River.

As I was walking the grounds, I immediately noticed this scene. The strong symmetry of the composition caught my eye. I captured the image handheld, concentrating on keeping the lines balanced and centered.

What I enjoy most about this photograph is its simplicity, just a quiet, visually pleasing moment that highlights the beauty of the setting. It serves as a reminder that some of the most rewarding images can be found away from the main event, simply by slowing down and paying attention to your surroundings.

This photo from the Battle of Germantown reenactment in 2018 feels different to me because my eyes immediately dart left and right across the scene. Instead of settling on one focal point, I scan the image much faster than most of my other reenactment photos, almost as if there's no single place to stop and look. Does your eye move across the photograph the same way, or is it just me?

Fort Mifflin, located along the Delaware River near Philadelphia International Airport, is often called "The Fort That Saved America." That title comes from the extraordinary stand made by its small Continental garrison during the Siege of Fort Mifflin in the fall of 1777.

After defeating George Washington's army at the Battle of Brandywine and occupying Philadelphia, the British needed to open the Delaware River to supply their troops. Standing directly in their path was Fort Mifflin.

For more than six weeks, a vastly outnumbered American force defended the fort against relentless bombardment from British warships and artillery batteries positioned on both land and water. Despite horrific casualties and overwhelming destruction, the defenders refused to surrender, buying precious time for the American cause and earning the fort its enduring nickname.

This photograph was taken during Fort Mifflin's annual Siege Weekend event in 2021. It is one of my favorite living history events of the year. Being so close to my home makes it especially convenient, but what truly sets it apart is its unique location beneath the flight path of planes landing at Philadelphia International Airport. Aircraft pass directly overhead throughout the day, creating a striking contrast between the modern world and the 18th-century battle unfolding below. I often wonder what passengers are thinking as they look down and see the fort beneath them—especially when skirmishes are taking place.

For this photograph, I was standing atop the highest rampart overlooking the Delaware River. The dark, stormy clouds gathering overhead added a dramatic atmosphere to the scene.

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

As I reviewed this collection of panorama photos, one classic rock song kept playing in my head. With image after image stretching across the screen, I thought of "The Long and Winding Road," made famous by The Beatles. Released in 1970 on the Let It Be album, the song became the Beatles' final No. 1 single in the United States. Its title felt fitting as I reflected on the long and winding journey that led me to capture these sweeping panoramic views of American Revolution reenactments over the years.

Thank you for reading! Blog #115 will be posted on August 1, 2026. Be safe & well!

Huzzah,

Ken Bohrer

With the United States celebrating its 250th anniversary, American flags seem to be flying everywhere. It's wonderful to see. I've always liked flags. Years ago, when I lived alone in my two-story condo, I displayed many flags along the stairway leading to the main floor, including the Lone Star flag of Texas and the iconic Don't Tread on Me flag. Whenever a breeze drifted through, they would gently flutter as if they were flying outdoors.

Growing up, we had a wooden fence in our backyard that resembled a frontier fort. As I mentioned in my October 1, 2023, blog, I shared a childhood memory of creating a homemade American flag to fly above our backyard fort-like fence.  I mounted it on the fence, and every day when I came home from school, I would spot the flag waving before I even walked inside. Seeing it always brought a smile to my face. It flew for years atop the fence until my Dad said, "Enough is enough." Not surprisingly, then, some of my favorite photographs over the years have featured flags.

This image was taken at the Battle of Monmouth reenactment in 2018 and remains one of my favorite photographs because it features a flag. It was later selected by the North Carolina Museum of History in Raleigh for publication in Tar Heel Junior Historian, Vol. 63, No. 2—quite an honor and a proud moment for me.

Many of the flags actually carried by Continental Army units did not feature the familiar stars and stripes that most people associate with the American Revolution today. In fact, I only rarely see 13-star American flags at a handful of reenactments.

For a Revolutionary War reenactment, the 13-star flag is generally considered period-appropriate as a symbolic representation of the early United States. However, historians cannot say with certainty that soldiers at any specific Revolutionary War battle carried this exact circular-star design. While the "Betsy Ross" pattern is extremely popular at modern reenactments and patriotic celebrations, there is no definitive historical evidence that Betsy Ross created this particular flag. As iconic as it has become, it was probably not among the most common flags seen during much of the war.

This photograph was taken at Fort Lee in 2025. A reenactor happened to be walking by carrying the flag, and fortunately, it was a breezy day. The wind caught it at just the right moment, causing the flag to fully billow.  I also came away with an excellent vertical image of the same reenactor and flag, giving me two memorable photographs from the encounter.

There are so many different Stars and Stripes flag designs at reenactment events, and I don't recall seeing this particular design before. What makes this photograph from the 2024 Fort Roberdeau Revolutionary War Days event especially special to me, however, is not just the flag itself—it is the image's simplicity and clarity. The flagpole and flag stand out in razor-sharp focus against a rich blue sky.

I remember taking this photo vividly. Standing near the fort's entrance, I looked straight up and framed the shot to emphasize the flagpole's height against the open sky. Captured at 70mm and f/5, the settings helped isolate the subject while preserving the striking contrast between the flag and the deep blue background. That simplicity is what makes this image one of my favorites from the event.

At the 2017 Battle of Short Hills reenactment, this flag caught my attention. Unlike many flags typically seen at Revolutionary War events, this design is not a historically authentic flag from the American Revolution. Instead, it is closely associated with the American Bicentennial celebration of 1976, commemorating the nation's founding in 1776.

The most striking feature of this flag is the large "76" displayed in the blue canton, surrounded by a circle of stars. Although reenactors strive for historical authenticity, it's always interesting to encounter flag variations like this one. They offer a glimpse into how different generations have chosen to honor America's heritage.

This photo is similar to my first selection and was also taken at the Battle of Monmouth, this time during the 2017 reenactment. The image captures a column of reenactors moving into position before the battle demonstration began. The flag serves as the focal point of the scene, standing out against the lush green backdrop and symbolizing the group's unity as they prepare for the day's events. This gallery contains many additional photographs featuring this historic flag throughout the reenactment.

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

After reviewing all these flags, I was reminded of country music legend Johnny Cash's 1974 spoken-word classic, "Ragged Old Flag." The song is recited as a dramatic narrative that traces the history and resilience of the American flag through the nation's triumphs and struggles. Listening to it again sent chills down my spine. Its powerful storytelling serves as both a tribute to the Stars and Stripes and a memorable history lesson, making it a fitting final note for this collection of historic flag images.

Thank you for reading! Blog #114 will be posted on July 15, 2026. Be safe & well!

Huzzah,

Ken Bohrer

In my May 15 blog, I shared five favorite photos of women portraying camp followers. That post has become one of my most popular posts recently. It has drawn about 500 views. The post was partly inspired by Abigail Adams’ famous “Remember the Ladies” message from her March 31, 1776, letter to John Adams. It's a reminder to recognize often-overlooked perspectives.

In my June 1 blog, on my visit to Jockey Hollow I described my portrait approach at these events. About half the time, I ask permission; the other half, I rely on candid moments—like this one. This balance is central to my process and helps capture the authenticity I seek.

As a result, I almost always leave these events with a few strong portraits like this. This image, for instance, was taken at the 2015 Battle of Boone. Her expression is natural and unguarded. If I had asked for her photo, she likely would not have appeared as relaxed, making this candid moment even more meaningful.

Beyond photography, the strongest joy I’ve found at reenactments is the lasting friendships I’ve developed—with fellow photographers, sutlers (merchants), and reenactors. Camaraderie defines the reenactment community, present across American and British units, but the most distinctive bond appears among the camp followers.

That connection likely comes from their shared responsibilities. Much of the behind-the-scenes work—cooking, cleaning, childcare, and countless camp tasks—falls to them. There’s a quiet teamwork in these roles that creates a strong sense of community.

This photograph, taken at the Redcoats and Rebels Grand Tactical at Mount Harmon in 2024, captures a simple but telling moment. A small group walks together along a path, heading back toward their campsite. The ease and familiarity in their movement reflect how shared experience builds lasting friendships.

What makes this image especially meaningful is the setting: a closed tactical event with no spectators, designed just for reenactors to practice. I received special permission to attend and document moments that most never see. After I took the photo, a couple of participants waved, surprised by my presence.

This event reinforced for me that reenacting is ultimately about the people. The connections and sense of community bring the past to life more than the battles themselves.

At most of these events, one of the first things you notice is the aroma of food drifting through the campsite. Meals are constantly being prepared. The responsibility for feeding everyone falls largely on the camp followers—work that is as demanding as it is essential.

This photograph, taken at the Battle of Newtown in 2019, vividly captures that effort. In the image, a woman stands over a large iron pot, steadily stirring a hearty stew filled with visible chunks of vegetables and meat. The long wooden stirring stick and the sheer size of the pot hint at the scale of the task. This is not a meal for a few—it is sustenance for many. The image highlights the physical labor involved in camp life.  The kettle appears enormous.

Moments like this remind me that behind every reenactment lies a quieter, often-overlooked story—the daily work that kept everything running. These scenes, as much as the field action, bring history to life.

Many reenactment families bring children of all ages to these events; all dressed in colonial attire that adds authenticity and charm. It’s especially enjoyable to watch the children spend time with their parents, interact with friends, and simply be kids, like in this moment captured at the 2019 Battle of Stony Point.

A certain energy is always visible at these events when reenactors bring their families, transforming common ground into a living colonial experience. At the 2022 Battle of Bound Brook, participants of all ages—dressed in period attire—brought generations together, with even the youngest reenactors adding a charming, unforgettable memory.

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

Thank you for reading! Blog #113 will be posted on July 1, 2026. Be safe & well!

Huzzah,

Ken Bohrer

Three days before my left knee replacement surgery, I attended the Spring Encampment at Jockey Hollow. It’s always a fun and meaningful event for me. Each visit reminds me that Jockey Hollow—Where a Forgotten Army Persevered to Win America’s Freedom by Rosalie Lauerman—features three of my photographs in the Visitor Center gift shop. That’s something I’m incredibly proud of.

The drive from the Philadelphia suburbs to Morristown, NJ, took longer than usual because of traffic, and my knee didn’t help. Still, I met longtime photography friends and connected with new faces, making the trip worthwhile.

I didn’t stay as long as usual and missed the formation drill. Even so, I captured interesting images—proof there’s always something worth photographing at Jockey Hollow.

I look forward to returning after surgery, when moving around with my new knee will be easier. It’s remarkable to live in a time when we can keep going by replacing worn-out parts. Lately, I joke that I feel like a used car with parts being swapped—but I’m grateful for the tune-up and excited for the miles ahead.

This photo makes me smile. I wondered what the commander could have been pondering so seriously in that moment. At the same time, the scene felt completely different—it looked like a line of baby ducks trailing their mother.

My photography goal at any event is to capture one remarkable portrait. Walking through the campsites almost ensures some compelling photo opportunities. About half the time, I ask permission before photographing, while the other half I depend on spontaneous, candid shots—like this one. This approach sets the foundation for the moments I strive to capture.

In particular, capturing an authentic moment in real time feels deeply satisfying. When I request a photo, the pose or expression can sometimes appear unnatural, especially since many are uneasy about being photographed. For this reason, those unrehearsed, genuine moments feel most rewarding to me.

The standard photography technique of leading lines really makes this image work. The alignment of the soldiers and their muskets draws your eye cleanly across the frame, creating a strong sense of structure and unity. What stands out even more is how similar their expressions and overall demeanor appear—it reinforces that feeling of cohesion and discipline. Altogether, those elements combine to make this a very strong and compelling photograph.

Sometimes, for impact, I turn to ON1 Software filters to add a dynamic edge to an image. That’s exactly what I did here. The soldiers were simply stacking their muskets after formation. On its own, this action doesn’t always make a compelling photograph.

I used a radial blur effect to convey immediacy and movement. These qualities weren’t present in the original capture. The result transforms a routine moment into something far more engaging and powerful.

Post-processing is now essential to my creative process. Experimenting with these techniques isn’t just about doing something. It’s about reimagining the scene and introducing a creative process that the original shot lacks. In many ways, creative exploration like this is now half the fun of photography.

At any event, George Washington naturally becomes the focal point—you almost always come away with at least one compelling image of him. As I rounded the corner near the Henry Wick House, built around 1750, I spotted him speaking with a group of children. I quickly fired off a series of shots, and this frame stood out as the strongest.

The light plays a decisive role in the image. A shaft of concentrated sunlight falls directly on him, functioning like a natural spotlight. It isolates the figure from the surroundings, heightening a sense of authority and presence while lending the scene a painterly, historically evocative quality.

Near the end of the Revolutionary War, King George III reportedly remarked that if George Washington relinquished power and returned to private life, “he would be the greatest man in the world.” At a time when most leaders clung to authority, Washington did the unthinkable—resigning his commission in December 1783 and quietly returning home. Through this act, Washington set an enduring example, suggesting that true greatness is defined more by humility and the ability to surrender power than by retaining control.

A perspective on greatness contrasts with a song from my teenage years—never a hit single. On Ringo Starr's 1973 album, the John Lennon–written “I’m the Greatest” playfully embraces ego and celebrity with a tongue-in-cheek parody of self-importance. In contrast, Washington’s greatness stemmed from surrendering power. Though Lennon’s song satirizes the illusion of greatness, it reminds us that true greatness lies not in boasting but in the humility to step back. This humility is why Washington’s example was essential to founding our nation, as his actions set the standard for leadership rooted in self-restraint rather than self-promotion.

I’ve enjoyed using ON1 Software on my photos since I began photographing American Revolution reenactments in 2007. Every image on my site is processed with this program. It’s an essential part of my workflow, and I often feature it on my blog because I truly depend on it. I personally edit every photo here, and ON1 remains a reliable post-processing tool.

Interested in ON1 Software? Click the image below and enter code AFFILIATE20 to save 20%. Try it—you won’t be disappointed!

Click here for the Spring Encampment at Jockey Hollow 2026 Photo Gallery!

Thank you for reading! Blog #112 will be posted on June 15, 2026. Be safe & well!

Huzzah,

Ken Bohrer

Recovering from knee replacement surgery has been tougher than I expected, delaying the post-processing of my latest Jockey Hollow encampment photos and a blog interview post with a renowned reenactor in the Philadelphia area. With Mother’s Day in May, I decided my next post should instead feature women and my five favorite Camp Followers photographs.

You may be wondering: What is a camp follower?

A camp follower was typically a civilian—often a woman or child—who traveled with the army, providing support like cooking, laundry, nursing, and mending. Though not soldiers, they endured the same hardships and played a vital role in the army’s survival and morale.

To build on that background, the photo below is one I commented on in my April 1, 2026, blog about my visit to Guilford Courthouse in Greensboro, NC. Here’s what I wrote at the time:

In this photo, a woman tends to a “wounded” soldier during a reenactment at Guilford Courthouse. These women are an essential part of the story, making these events meaningful and special.

I took this as one of my first photographs at the 1777 Whitemarsh Encampment 2023. Like many women at these gatherings, she was focused on preparing food. What stood out immediately was her glasses, perched low on her nose. The vivid blue dress, red apples, and green grapes added lively color to the scene. The fruit's freshness and her absorbed expression struck me as both amusing and unexpectedly appetizing.

Here is a photo from the 2014 Battle of Wyoming reenactment—an event that unfortunately no longer takes place. It portrayed the harsh realities of frontier warfare in the Delaware Valley during the Revolutionary War, a style of conflict defined by sudden raids, shifting alliances among Patriots, Loyalists, and Native American groups, and a constant sense of danger for isolated settlements along the region’s borders.

As this image illustrates, women were not merely bystanders—they, too, often had to learn to defend themselves and their homes. Frontier warfare blurred traditional roles, exposing entire families—including women and children—to violence that reached into daily life.

There is nothing quite like a strong portrait. My initial reaction to this image is a sense of quiet confidence. It feels like yesterday when I took this, but unbelievably, it was from the  Battle of Monmouth all the way back in 2015. Seeing this photograph again brings back memories and a thought.

Now, I find myself reflecting on the details—especially the clay pipe. I wonder whether it was typical for working-class or camp follower women to smoke during the American Revolution. Based on what I understand, women did smoke clay pipes during that era, especially among the working class, though it was not universal, and acceptance varied by setting.

What’s funnier—the woman’s enthusiastic offer of a drink to the soldier, or his determined focus and refusal to break formation? Moments like these make reenactments so much fun.

This photo was taken at the Retreat at Fort Lee reenactment in late November 2017, when the cold made an alcoholic drink especially tempting. The authentic atmosphere enhances the scene—you can almost feel the chill and temptation. I enjoy photos with a comic twist.

I’ve been enjoying ON1 Software on my photos ever since I began photographing American Revolution reenactments—back in 2007. Every image on my site has been lovingly processed with this program. It’s a vital part of my workflow, and I often share about it on my blog because I truly rely on it. I personally edit every photo here, and ON1 remains a powerful, dependable post-processing companion.

Interested in ON1 Software? Click the bus image below and use code AFFILIATE20 to save 20%. Try it yourself, you won’t be disappointed!

A great classic soul song to celebrate moms is “Respect” by Aretha Franklin. Originally written and recorded by Otis Redding, the song was transformed by Franklin into a powerful anthem of dignity, strength, and appreciation—qualities that resonate deeply when honoring mothers. Redding, who tragically died in a plane crash in 1967, left behind a remarkable musical legacy. I have a personal connection to his story, as I once lived for 5 years in Macon, Georgia, not far from where he lived.

Thank you for reading! Blog #111 will be posted on June 1, 2026. Be safe & well!

Huzzah,

Ken Bohrer

In last month’s blog, I shared two reasons for revisiting my photographs from 2007 to 2016, when I first photographed American Revolution reenactments.

The first reason: I recently attended the Battle of Guilford Courthouse in Greensboro, NC for the first time in 15 years. It powerfully reminded me how quickly time passes. Reviewing images from that era, I was surprised by how many photographs I had forgotten moments and scenes that felt new again.

The second reason involves my friend Harry Schenawolf, founder of the American Revolution Journal. Harry writes extensively about the American Revolution and often uses my photographs in his articles. He has an uncanny knack for rediscovering images I’ve long forgotten, prompting me to revisit my archive more often.

One of the highlights of photographing American Revolution reenactments has been attending Patriots’ Day in Boston, celebrated in New England on April 19th—the same day as the Boston Marathon. When I attended, the festivities spanned two days and featured three major reenactments. The day began very early, around 5:00 a.m., with the first shots on the Lexington Green, followed later by the Battle of the North Bridge in Concord, MA. This photograph was taken along Battle Road, capturing the moment when British forces were defeated and began their retreat back toward Boston.

I enjoy creating blurry and out-of-focus images. For me, the suggestion of movement—and even a touch of dizziness—keeps my attention. I feel mesmerized as my eyes zigzag across the photograph, never quite settling.

These two photographs are similar, both depicting British troops marching. What’s funny is that they were taken in the same year, in 2009, yet both events no longer exist. One image comes from the Raid on Wyoming, the other from the Rock Ford encampment. In that way, the photographs are a reminder of a time gone by.

I wish I could recall my precise technique for creating these images. Perhaps I used a gentle pan as the troops passed, letting motion blur override sharpness. What fascinates me most is that you only fully grasp what you’ve captured in post-processing.

This simple photograph resonated with me and others. I captured it at the Battle of Monmouth reenactment in 2014, and it appeared in the February 2015 issue of Early American Life magazine. Do you remember acquiring that favorite magazine on your favorite topics and slowly leafing through each page, not wanting to miss anything?

The scene is simple: it shows two dragoons (cavalry) loading their muskets. The deep greens and reds of their uniforms contrast with the muted green background, creating a striking visual harmony. These colors make the photograph memorable.

The post-processing was done in On1 software, and I used this border, which provides  a soft, natural, and earthy feel and adds to the nostalgic feeling. In the software update,sometime in 2016, this border style was eliminated. Unfortunately, a later software update eliminated this border style—making this image a small reminder of a creative tool that no longer exists

At any Battle of Trenton reenactment, I always hope for snow because it enhances the realism in my photos, mirroring the wintry conditions Washington’s troops faced during the 1776 Christmas campaign. This Battle of Trenton 2012 photograph captures a key moment: amid the chaos of December 26, Hessian commander Colonel Johann Rall was mortally wounded as he tried to rally his troops against the advancing Continental Army. It even looked like a blizzard was happening! I don’t recall if Rall’s death had been depicted before or since.

The last time I photographed Trenton in falling snow was 2017. Despite the harsh drive home, I seek out these conditions each year for their authentic atmosphere and striking photos, which reinforce my wish for snow.

At every special event, Fort Mifflin flies a large U.S. garrison flag—about 20 by 38 feet—which towers over the fort and is visible for miles, continuing a powerful military tradition. The annual event each October, conveniently near my home, is one I attend almost every year. Over time, I’ve accumulated nearly a hundred images of this flag. This photo is from 2009.

With each visit, I challenge myself to photograph the flag from a new angle, at a different time of day, or from a fresh perspective. The moat around the main entrance provided just such an opportunity. Walking the grounds, I saw the flag’s reflection shimmering in the water, contrasting quietly with its imposing presence above. The resulting abstract photo blends blurred shapes and muted tones, creating quiet mystery. Light and shadow encourage viewers to interpret emotion instead of objects. 

A week ago, I finally had my left knee replaced. I’ve dealt with knee issues since high school, and my doctor always said that when the pain and discomfort begin to affect your quality of life, it’s time to do something about it. Well, it was time.

Facing surgery, I initially wondered if doing both knees at once made sense. Thankfully, my doctor steered me away from that idea. The surgery went very well, and while the recovery has definitely been painful, I’m seeing improvements every day. Reflecting on this experience, I was reminded of The Who’s song line from My Generation-"Hope I die before I get old"—for me, it’s just about new parts. There’s more to share about this journey ahead.

I’ll be missing a few upcoming events, but not too many. With continued progress, I should be relatively active again within the next two months.

Thank you for reading! Blog #110 will be posted on May 15, 2026. Be safe & well!

Huzzah,

Ken Bohrer

I’ve photographed American Revolution reenactments since 2007, which feels like a lifetime ago. This blog grew from two connected reasons.My recent trip to Guilford Courthouse in Greensboro, NC—my first in 15 years—made me realize how much I had forgotten from earlier visits. Looking through my gallery, I was struck by the strength of images I didn't remember. With over 12,000 photos now on my site, revisiting them all can feel overwhelming, but it also shows how much my experiences and collection have grown.

The second reason for my reflection comes from seeing my work resurface in unexpected ways. For example, my friend Harry Schenawolf, founder of the American Revolution Journal, who extensively writes about the American Revolution, often draws upon my photographs to illustrate his articles, and he has an uncanny knack for rediscovering images I haven’t seen—or even thought about—in years. More than once, I’ve found myself asking in genuine surprise, “Is that really my photo?”

From his website:

Historian

A passionate historian, Harry devotes his time to research and writing about the American Revolution and Colonial America, particularly the impact and incredible sacrifice by African Americans in the founding of our nation.  Detail oriented, he is an avid reader of both fiction and non-fiction novels dealing with all aspects of history.

That made me realize it was the perfect moment to revisit my earliest galleries, reminisce, and pick 10 favorite images from 2007 to 2016, when I was still finding my footing as a photographer. To keep it interesting, I skipped images I’d already featured. In that spirit, think of these as album tracks—overlooked songs that never charted but still resonate, waiting to be rediscovered.

As I’ve mentioned in my blogs, my favorite place to unwind is Colonial Williamsburg, VA. The lion statue here—paired with the unicorn—stands at the entrance to the Governor’s Palace, built in 1722. I’m drawn to this image because the lion is sharp while the Capitol and its cupola partially out of focus behind it.

Panning is when you move your camera side to side, matching your subject's motion to keep it sharp while the world streaks by. It’s not an exact science—sometimes it works, sometimes it doesn’t.

This image was taken at Mt. Harmon in 2011 and might have been the first time everything truly came together for me—the rider and the horse’s head are tack sharp, while the background dissolves into a soft, streaked blur. The sense of speed and purpose is unmistakable.

Looking back, it’s simply a really good photograph—one I had almost forgotten. Still, it holds up and reminds me why I love chasing moments like this, and why panning feels so rewarding when it works.

Some of my photos are funny almost by accident, like this one from the Battle of Monmouth in 2014. The reenactor was likely lining up in formation before the troops began their march. I often photograph both American and British units; it gives me close‑up access and more opportunities for unique images.

As I moved along the formation taking photos, something unusual caught my eye in the viewfinder: an arm thrust forward at chest level, the hand rigid and straight, fingers joined, as if signaling—or perhaps targeting—in a specific direction. The soldier himself seems utterly unaware of the moment.

I’ve always remembered this shot, which is usually a sign of a good photograph—one that reveals an unplanned, slightly humorous slice of life.

The Return to the Hook in 2013, held on a narrow strip of land along the York River directly across from Yorktown, VA, was one of the most unique and unforgettable reenactments I’ve ever attended. The action portrayed events that helped set the stage for the eventual capture of General Charles Lord Cornwallis’s army at Yorktown, beginning with engagements involving British cavalry under Banastre Tarleton, who initially pressed the American forces before being forced back.

Two elements made this event truly special.

First, the organizers constructed two square wooden towers, nearly three stories high and roughly 10–12 feet wide, specifically designed for photography and video coverage. I was granted access to these towers, and from that elevated vantage point I was able to view—and photograph—the entire reenactment from a perspective I’ve never had before. It offered a sweeping, almost cinematic view of the battlefield. 

But the event is best remembered for something no other reenactment has ever matched: the on-site construction and deliberate burning of a period farm cabin as part of the interpretive storyline. If memory serves, the cabin’s construction was just being finished when I first arrived. Later, its destruction vividly illustrated the real-world impact of the war on civilians, not just soldiers.

I photographed the burning extensively, and this image remains one of my most memorable from the event. Never before—or since—have I seen anything like this at a reenactment.

This photograph was taken during the 2011 Burning of Kingston reenactment, an event marked by a beach landing—a feature rarely seen at Revolutionary War reenactments. From memory, only a handful of boats were involved, likely between three and five in total, with just one to three operating during any given scenario. These were small, open, colonial‑style watercraft, used to stage historically accurate shore landings by British Crown forces, adding an extraordinary layer of realism and immersion to the event. In this image, soldiers can be seen on the verge of landing, capturing a fleeting moment of tension and anticipation.

The scene in this photograph brings to mind one of my musical favorites—the one and only Sir Rod Stewart, the iconic singer of the 1960s and 1970s. Just as the soldiers prepare to land, Stewart’s song “Sailing” echoes the sense of movement, longing, and quiet reflection. Although it was only a minor hit in the US, it became a defining British chart classic, perfectly complementing the mood captured in this moment.

Thank you for reading! Blog #109 will be posted on May 1, 2026. Be safe & well!

Huzzah,

Ken Bohrer

I’ve always enjoyed road trips. As I’ve gotten older, though, I’ve learned my limits—about five hours is now my comfortable maximum. That rule was tested when I decided to attend the Battle of Guilford Courthouse reenactment in Greensboro, North Carolina, a nearly eight-hour drive. My first reaction was an honest yikes. Could I still do this?

Heading south, I couldn’t help thinking of Willie Nelson’s “On the Road Again,” an upbeat anthem celebrating freedom and wanderlust. It felt fitting.

I had attended this event before—but that was fifteen years ago. Hard to believe how quickly time flies. I left early on Friday and, aside from the usual minor traffic delays around Washington, D.C. (there always are), the drive went smoothly. By midafternoon, I arrived in Greensboro. My first stop was the Guilford Courthouse National Military Park visitors' center. Afterward, I grabbed dinner and checked into my hotel, turning in early to rest up for the big day ahead.

Saturday morning began warmly. I met an old fraternity brother I hadn’t seen in almost 50 years. Over breakfast, we caught up and shared college stories—one of those conversations that makes the years in between feel shorter.

Just a few miles away, Country Park is a large recreational area with lakes, wooded trails, open meadows, and athletic facilities, including disc golf, tennis courts, soccer fields, and playgrounds. The park also includes preserved Revolutionary War battlefield land and regularly hosts community events, festivals, and this reenactment.

About a hundred yards from the parking lot, down a gentle slope, lay the American and British camps. Seeing them brought back memories from my last visit. For this photograph, I used the two main logs in the foreground to frame the scene—a quiet moment where past and present met. When I looked back at this photo, I quickly noticed the number of young men in the ranks—and that’s a very good thing. Over the years, most reenactors I’ve seen are my age, which isn’t ideal for the hobby’s long‑term health.

Reenacting, though, is an expensive pursuit. Most new infantry reenactors spend anywhere from $800 to $2,500 just to become fully field‑ready. You can start for less by borrowing gear from a unit and upgrading gradually, but the costs don’t stop there. Travel, lodging (if not in a tent), and other event‑related expenses add up quickly. Time is another major commitment, with numerous events spread across the calendar each year.

Because of all that, I truly admire those young recruits who choose to participate in these reenactments. Their dedication—of both time and resources—bodes well for the future of the hobby and inspires hope that our shared passion will continue to thrive for generations to come.

When attending American Revolution events—reenactments or festivals—you never quite know what you’ll see or what will unfold. Yes, there’s usually a schedule that highlights the major moments, but so much of the experience happens in between.

While walking through the camps, I unexpectedly came across a fencing demonstration. It wasn’t planned or staged—it just happened. The swordsman in green was explaining feinting, parrying, and other sword‑fighting techniques to a small group of spectators. The exchange felt spontaneous and authentic, and it was a lot of fun to watch.

Being in the right place at the right time matters in life and in photography. While speaking with an officer of the 14th Regiment of Foot, he was unexpectedly handed a letter sealed with plant-derived rosin—a material historically used in 18th-century correspondence, rather than modern wax.

The envelope bears faint printed text and a blurred Union Jack watermark, both of which are unreadable. Moments later, the opportunity vanished. Had I arrived minutes earlier or later, I would have missed this scene.

These fleeting, unscripted moments have occurred at other events, reinforcing a lesson photography teaches presence and timing matter.

As I write this blog in March, it is Women’s History Month in the United States—a time dedicated to recognizing the achievements, contributions, and lasting impact of women throughout American history. The month celebrates women’s roles in our social, cultural, political, and economic life, while also highlighting the continued pursuit of equality.

It inevitably brings to mind Abigail Adams’s famous “Remember the Ladies” message, written in a 1776 letter to her husband, John Adams, urging him to consider women’s rights and protections as new laws were being formed. She boldly warned that women would not submit to laws in which they had no voice, making her words an early and powerful call for gender equality in the United States.

At every reenactment or historical festival, women are a visible and vital presence in the camps. During the American Revolution, many women were known as camp followers, accompanying Continental and British armies as soldiers’ wives, widows, or paid workers. They provided essential support by cooking, laundering, nursing the wounded, and sometimes even carrying supplies or ammunition during battles. At reenactments today, you’ll see these same roles faithfully portrayed, especially as women prepare meals and keep camp life running.

A few women also took on active combat roles, disguising themselves as men or directly assisting on the battlefield by carrying ammunition or tending to the injured under fire. Here, you can see a woman caring for a “wounded” soldier during the reenactment. Let’s not forget these women—they are an essential part of the story and a big reason why these events are so meaningful and special.
Click here for Battle of Guilford Courthouse 2026 Photo Gallery!

Unfortunately, I was only able to attend the event for one day due to family responsibilities. Immediately after the reenactment concluded late Saturday afternoon, I began the long drive home. It was a tiring journey, but well worth it—I finally made it to bed around 1:00 a.m. Sunday morning.

Thank you for reading! Blog #108 will be posted on April 15, 2026. Be safe & well!

Huzzah,

Ken Bohrer

As I’ve shared before, whenever it snows, I try to make my way to Valley Forge National Historical Park to capture some fun photos. I live only about 30 minutes away, so it’s always an easy and rewarding trip. This visit was a little different, though—along with my camera, I brought my two young boys so they could enjoy some sledding while I explored with my lens.

George Washington chose Valley Forge for the 1777–78 encampment because its high ground and natural defenses made it difficult for the British to attack, while still keeping the Continental Army close enough to Philadelphia to monitor British movements. The location also provided access to crucial roads and surrounding farmland that could help sustain the army through the harsh winter.

In the photo, this tree near the Muhlenberg Brigade huts caught my attention immediately. It dominates the skyline and creates a striking contrast with the historic structures. Of course, during the encampment in 1777–78, a tree like this wouldn’t have been standing because of the soldiers—any sizable timber would have been quickly turned into hut walls, fortifications, or much‑needed firewood.
When chimping this shot—the informal slang photographers use for checking the camera’s LCD screen right after taking a photo—I noticed how deeply dark the middle section of the photo’s tree line was. It immediately grabbed my attention and made me think, this is interesting… this is different. 

To really emphasize those deep blacks, I converted the image to black and white using ON1 software. The result brought out a striking tri‑tone effect: the forest’s inky dark trees, the gray streaks of light in the sky, and the clean white foreground. Together they create a dramatic, high‑contrast composition that feels powerful and bold.

Here’s another photo that really shines in black and white—there isn’t any color in the scene anyway, with all that snow falling. Just looking at it makes me feel cold. Moments like this always make me reflect on the soldiers and civilians, their belief in the cause, and their physical endurance in unbelievable conditions, which is hard to fathom, who struggled to survive the brutal winter encampment at Valley Forge in 1777–1778.

Near the park's exit stands a monument to “Mad” Anthony Wayne, facing his homestead in Chester County. He earned his nickname from his bold, aggressive leadership style during the American Revolution, where his fearless tactics often seemed almost reckless to others. His soldiers also said he remained cool under intense pressure, which they described as being “mad” in the sense of fiercely brave rather than angry.

I drive by it all the time on my way to Valley Forge. For the longest time, I mistakenly thought the monument depicted Washington—at first glance, it really does look like him.

Using filters in ON1 Software, I gave the finished photo a soft, dreamy, painterly look. The blurred trees in the background help enhance that effect, adding a sense of depth and atmosphere.

Ah, my boys sledding! As you can see from their faces, they’re having an incredible time. I used a panning technique to capture this shot as they zoomed past, and it really brings out the movement and excitement of the moment.

Panning is a photography technique where you move the camera along with a moving subject to keep it sharp while blurring the background. This creates a dynamic sense of motion and speed in the final image. The hills here are pretty steep, and my youngest took a few spills—earning a couple of scratches and a few tears along the way—but overall, they both had an absolute blast!

Click here for Valley Forge National Historical Park in the Snow 2026 Photo Gallery!

Thank you for reading! Blog #107 will be posted on April 1, 2026. Be safe & well!

Huzzah,

Ken Bohrer