“I shoot at airshows, why do I need flash?” I seriously get asked this, a lot and the answer is a resounding … oh heck yeah! The normal response to this is, “I don’t photograph people so do I still need flash?” That opens the doors to all sorts of things but for right now, I’m going to just stick with flash and aircraft. When I was asked about using flash with aircraft recently, the questioner simply said, “I can use AI masking so I don’t need flash.”

Working on a project, I wanted to make magic for the statics and pilot portrait. A big part of the story is the floating hangar where the 195 resides. Yeah, I could have moved the 195 out into the water for the statics easy peasy but that would have just been a plane in the water. A floating hangar is really unique so up on its “platform” in the hangar was my only option. The issue was, there was no light and to tell the visual story, I needed to write with light. That means, flash! In this case, I simply put two Profoto A10 in their Octa on stands at 45 degrees to the nose of the plane. Why in Octas? Look at the quality of light! Look at the visual impact of the angle of the floats shooting at 14mm! What you see here is the before and after shots as I dialed in the exposure for the 195 (flash) and the underexposure (in camera exp comp) in the camera for outside.

I would encourage you to look at the before and after down below over and over again. Look at the information that pops because of the flash and the information that disappears by underexposing for the exterior. Look at the drama that the Profotos bring to the scene. It didn’t take much light, but it did take light. Most questions that you ask of your photography, you need to find the answer that works for you. One of the most important I feel is, need flash in aviation?

The alarm had us on our feet at 02:00. By 02:30 the coffee was in the mugs and along with us, in the truck heading east. We had been forewarned that the weather looked bad for flying and few aircraft were expected. Jake was going to be there and we wanted to spend a day with him so we were going no matter what. But you just never know right? I firmly believe that the worst weather can make for some of the best photography. We want through a couple of big down pours on our three hour drive and as we came over the last pass dropping down into Three Forks I saw on the horizon eerie red patches of light. It’s why I say to aviation photographers, just show up!

The Three Forks airport is a delightful small town field! The gate was open so with camera in hand, I walked in with the twenty or so aircraft tied down on the ramp. Tents dotted the field. The ramp was wet with large puddles from the recently ceased rains. To the east, the storm started to break and the light began to dance off the heavens and the tarmac. It was photographic and spiritual shang-ri-la as I was the only one about to soak it all in.

The Three Forks Flyin never disappoints! The great folks make it seem like going home week. Planes flyin early for the delicious pancake breakfast. There is nothing like eating a hot and delicious breakfast with hot coffee on the ramp with pilots just dying to take you flying! They are there all day with that intent as the day ends with an amazing roast beef dinner. In between there are stoll contests, floor drops, ping-pong ball drops, plane judging and fellowship.

Jake and I just wandered the ramp with camera on shoulder. The size and proximity of the field made the Z 8 / Z70-200f2.8 the perfect rig for shooting. The Z24-70f2.8 was in the vest pocket for some static and portrait work. The clouds stuck around until the afternoon keeping it cool and the light doable for all day shooting. Probably why I came back with nearly 5k images to file (be sure to check out the gallery below!). In all honesty, can’t think of a better way to spend the day. On the three hour drive back after dinner, Sharon & I were a buzz with conversation about the day. All I can say is thanks to all at MAAA cause once again, Three Forks Flyin, wow!

There are flyins every weekend but many go unnoticed or visited by photographers. The Three Forks Flyin is a great little flyin with normal some really rare and eclactic aircraft as well as those know by all. One of the great things about it is the big skies surrounding it all. I’ll be there, I hope to see you there!

The gathering right now at Osh is one of the great airshows paying tribute to our heroes who fought for our freedoms! I want to give you some thoughts, tricks, and tips so you can make the most of your Osh shooting. Now of course, buying a copy of Takeoff would be a great start! Realizing most learn best from watching rather than reading, you can head to my Kelby Class on Airshow Photography for more in-depth explanations. I want to talk about putting movement into your stills right now so just because you see planes here, these techniques apply to ALL moving subjects! Start with the understanding that shooting unrestricted is essential! The less you carry, the more mobile you are, the more mobile and limber you are, the sharper the photos and better composed they will be. My main gear for an airshow is the Z  9 / Z400f4.5 w/Z1.4x for ground to air and Z 8 / Z24-70f2.8 for statics. With that in mind, here are some tips that you can apply to any action photography and airshows.

A-10 Warthog
captured by D4s / 200-400VR2

Put yourself in relationship to the action in a position where it performs around you. At airshows, aircraft often make a “photo” pass which is often done in what’s called a “banana pass.” If you can picture a banana with your being inside the curve of the banana, that’s basically a banana pass. When you’re on the INSIDE of that curve, the aircraft or athlete or motorcycle will be MOVING into your frame which gives a feeling of not only speed but also intimacy. Keep in mind that being on the inside of the curve, the subject will be going faster in relation to your position so your panning has to be spot on.

AH-1 Super Cobra
captured by D5 / 200-400VR2

Taking your shutter speed down below your comfort zone is key! Shooting in Shutter Priority permits you to use a slow shutter speed consistently blurring moving parts communicating speed. In some cases, the shutter speed is arbitrary based on how you feel. In some cases, it could be a very specific shutter speed to blur props of aircraft or blades on a helicopter, in this case, 1/20 to blur the blades of this Cobra. Keep in mind that your panning blurs the background and the degree of that blur is a function of how fast you’re panning vs. your shutter speed. Now if your background is all blue, bald sky, there is not a slow enough shutter speed to show motion. You need something in the background to scream movement.

B-17G “Sentimental Journey”
captured by D5 / 200-400VR2

When you’ve got the light, forget everything else! Ya, there are lots of rules, ideas, suggestions and sexy action that can grab your attention but when you’ve got light, ditch them all for that light. I love this example of just that because many tend to not photograph the bellies of aircraft. This top shot is of a B-17G taken at Sioux Falls Airshow is a banana pass in gorgeous light. The angle of the light makes all the rivets pop and creates a shadow that just makes it seem like it’s going faster. You can’t go wrong with great light!

FG-1D Corsair
captured by D5 / 200-400VR2

Go for the ass! Any subject that is going away from you in the frame sets the mind to thinking movement. While this seems obvious, ass shots in themselves can be tricky. There is the matter of proper social protocol (not my specialty) along with attractiveness. There are a couple of aspects of subject positioning that goes along with this. Lower and centered in the frame is the place to start and then based on other elements in the frame can be moved about accordingly. When shooting the ass of an aircraft, the blurred prop is required to speak to movement. The slower the shutter speed, the more blurred the prop and the more blurred the prop, you change the position of the aircraft in the frame.

PT-19
captured by D5 / 200-400VR2

This one is real simple. When you have a great background, think of smaller subject size in a slightly awkward placement in the frame. Yeap, that’s all it takes for the mind to see the placement and move the subject through the frame against that background. I like simple!

Beech Model 18
captured by D5 / 200-400VR2

Let the path set the movement. A track, street, sidewalk or trail of smoke communicates movement when you place the subject on that path. This again is another real simple one to employ but to take it to the next level, put the subject on the path again in a slightly awkward place.

P-51D “Precious Metal”
captured by D4s / 24-70

Low angle with a wide angle is a great way of communicating motion! Here is a classic example considering the only thing moving in the frame are the props. The rule of thumb is to leave enough room in the frame in front of the subject for the mind to give the subject motion. You can enhance this mental path by getting down low with a wide angle. This technique is great when in reality, you’re crammed up in a crowd and can’t get physically where you want to. In the case of aviation, think of slow shutter speed and not keeping the horizon plum. Here, it’s slanted up hill and the sun is included (lens closed down all the way for a sunburst) to finish the feel.

PT-17 Stearman
captured by D5 / 200-400VR2

Follow your subject in the viewfinder for its entire path! You just never know what surprises you might find in the viewfinder that if your eye is not up against it, you’ll miss. In this case, these Stearman finished a loop right overhead so a normal view of an aircraft from the ground, looking at the top of the aircraft, was all you see in the viewfinder. A unique perspective to any common subject begins the journey of having a unique photograph!

Snowbirds
captured by D5 / 200-400VR2

Cramming action into a vertical creates lots of mental movement in a still! The tension of the subject looks like it’s going to run into the side of the frame can work with the rest of the elements are in sync. Other elements? Ya, light, blur, color, placement in the frame vertically, all those elements that together bring movement to the subject. Keep in mind that as soon as you turn the camera to vertical, your panning gets more difficult and composition more challenging. At the same time, the rewards for success goes up as well.

AH-1 Huey
captured by D5 / 200-400VR2

Never ignore the common! This Huey is no warbird or screaming jet yet I would be really bummed if it weren’t in my files. When you can make the uncommon out of the common, your photograph always wins! In this case, since it’s an airplane and it’s up in the sky, the mind knows it’s flying and that in itself says motion. Use proper handholding and panning, look for the light and think motion with a big dash of fun and you will be successful! have a great weekend shooting!