It was two years ago this N3N-3 took to the skies after decades of collecting dust. Painfully and carefully brought back to airworthy, I felt humbled to be flying beside it, taking its portrait in the sky. Especially since that is our son Brent in the rear seat! Once back on the ground, I chatted up the team. It was then that plans were put in motion to further the progress of the N3N-3. No matter whether you have inside intel or not, following up your photo mission with conversation (and prints) often does, the majority of the time, yield more photo opportunities. And before I knew it, the N3N-3 was on floats! I’m here to tell you, that went fast!

The sweet light is often before the sun breaks the horizon in the morning and after it sneaks down in the evening. If you have the good fortune of flying in formation, though in the wee light hours and you’re launching or recovering, that’s not the time not to be shooting. That’s what’s happening here, we are on final heading back to the airport. When Keith went lower over the beach, even though backlit and just a glint of light, I went for the shot. The odds of coming back with one sharp image are slim to none, but in the final analysis, the worst that could happen is you delete all the images. The most, you come back with one click like this. Being story driven, I went for it, thinking the whole time, in coming!

I love being around aircraft! There are many reasons, one of which is the history they share with us. That’s what typically goes through my mind as I line up statics in my viewfinder. This morning on the ramp at KMOT (where our A2A Photo Clinic is held next month) the Spirfire MkIX was pulled out on the ramp with this one shot in mind. It’s all because of the partial moon. A few years before, I had met WWII Spitfire pilot Barry Nedham at KMOT, who related his story from WWII of being “at the ready.” That story has always stuck with me. There was a moon that morning Barry was at his Spitfire, which he said he focused on while killing time, at the ready.

Taking plane portraits, statics, at an airport can be challenging. You have the limitation of aircraft on the move, taxing, limiting where you can park a plane for any length of time. Then there are backgrounds. At the average airport, they suck. This is because often light industry builds right up to the airport since homes are typically not near airports. On this morning, I decided to go with a long lens, and stack up the hangars in the morning light as the backdrop. The foreground shadow is created by a hangar. Shooting wide open at 400mm threw the background slightly out of focus while compacting the row. It’s the first time I’ve tried this technique, and I really like it. So now I look for it as it seems like the perfect, unique portrait studio.

Your small, regional airport is a great place to practice and perfect your craft. Normally, there are no fences, which is a huge plus right from the start. Go and talk to the airport manager and tell them you’re there to photograph the aircraft because you LOVE aviation. You’d be surprised at the doors that open. Like being able to stand at the end of the taxiway I did this evening as planes launched. Pilots watch the wx, and when there is a break in it, into the skies they go. Pilots will see you standing there, and at some point, will come up and talk with you. And with that, you gain more access and more opportunities. Simply put, the small airport produces big opportunities.

Spring greens are special! The feeling of well-being and new possibilities can transform any photograph into a feel-good moment. This is especially true for aircraft. Nearly all airports have a green area where aircraft can be taxied or towed to. There are very few aircraft that can’t be placed on grass, the plane owner will know. You’d be surprised by the reaction you’d get when you ask if the plane can be parked on the grass. It’s unique for many aircraft, and that creates a unique photograph. The perfect time to ask is right now, when they are at their finest, spring greens time.