In February I had the marvelous opportunity to do a winter air-to-air with my dear friends, in winter! It was Zero degrees at 1k feet as we flew over Mt Spokane with the brilliant Waco EQC-6. Here’s a little video from that flight. The video was shot with a Keymission 170 that rode in the hotshoe of the D5 / Z6. You’ll see the video footage and then the still image was taken during that segment. Enjoy!
Advance the clock a few years, a few client air-to-air photo missions in the can and there I was in California’s Central Valley photographing “Betsy” just after she got out of restoration. It was a pretty sweet honor to be invited to the private event and be accepted by basically all strangers who only knew me because of my images. I was sharing these photos with a friend after the fact who asked, “How’d you make that happen?” And that’s the key, I made it happen by simply pursuing a passion as professionally and with all the talent I could muster. This all manifested itself in the final photographs that the pilot received as big arse 24×30 prints. He is one happy client! But it didn’t happen overnight, I made it happen … you can make it happen and that’s the point!
Years ago I did an air-to-air photo mission and those prints and the story of that shoot reached Scott. He then hired me to photograph his aircraft over the Golden Gate which turned out to be pretty cool. Then Scott told the owner of “Betsy” about me, the shoot and my photography and then I got the call. And in between all of this shooting, there are the all-important communications, relationships that are personal and professional making things happen. Photographers look at other’s photos and think it’s the gear that lead to the success, in this case only four pieces, D5 / 70-200f4 and Z7 / Z14-30. But it was actually much more before because this is just the current gear. There is, of course, the talent and skill and craftsmanship that goes with that gear. The techniques and vision that brings life to the still image of a moving object. More important is the persistence in crafting the perfect 24×30 prints. But the most important element is YOU! You have to push this all up to the hill, every day, 24/7/365. Never lose sight that when all is said and done, the photographic success you enjoy comes from you and nothing else. YOU make it happen!
I regret we won’t be there this year but want to pass along a couple of speed tips. So I thought I’d cap the most common ways I like to put the action in my stills. 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 Aviation Photography for more in-depth explanations. But just because you see planes here, these techniques apply to ALL moving subjects! Start with 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 are (here is a complete listing of the gear that’s with me, most in the vehicle just in case). With that in mind, here are some tips that you can apply to any action photography and airshows.
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 planning has to be spot on.
Taking your shutter speed down below your comfort zone is key! Shooting in Shutter Priority to be in control of shutter speed and then the blur puts action into your still. 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.
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 belly shot is of a Hawker Sea Fury Race 232 which ended up in the victory circle in the 2012 Reno Air Races. On the afternoon this shot was taken, it wasn’t this fact that is was a winner that had me trained on 232 but rather the way the light played on its red color against the great blue / white background. 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!
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 of 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.
This one is really 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!
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 really simple one to employ but to take it to the next level, put the subject on the path again in a slightly awkward place.
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 slightly slanted up hill and the sun is included (lens closed down all the way for a sunburst) to finish the feel.
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!
Cramming action into a vertical creates lots of mental movement in a still! The tension of the subject looking 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 planning gets more difficult and composition more challenging. At the same time, the rewards for success goes up as well.
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 planning, look for the light and think motion with a big dash of fun and you will be successful! have a great weekend shooting!
F-106 Delta Dart
captured by D750 / 80-400VR2
It’s such an awesome plane, I wish I had seen it fly (probably did but I don’t remember it). When it was first delivered to Dakota Territory Air Museum, I was fortunate to “play” on the Dart while it was in the hangar getting restored. Then I was there right after it got parked and its head on profile grabbed my attention. It still does. This is definitely a static aircraft and as such, the background is essential to make “the” photograph come to life. Is it possible to improve a static portrait the second day?
F-106 Delta Dart
captured by D5 / 80-400VR
These two different photos were taken actually two months apart. Though I saw the Dart numerous times in between, it wasn’t until I saw the second possibility did I see I could improve on the first. That’s really the secret to this whole thing, make the best possible photograph you can at the time you shoot but realize you can always improve. Shooting long and compacting was important to the shot so improvement didn’t come from gear but from light and background. Being a cold war aircraft, I wanted that feeling to the photo. While that’s the only change, that’s a biggie to the story I wanted to tell. When photographing statics and there is a plane you really like, remember that it might just take twice or more to make that shot you’re after!
Telling visual stories, weather (wx) is a huge factor that when understood can make the telling simpler and cleaner. If you hadn’t noticed, I use it a lot. I was very, very fortunate to have a father who was trained by the USAF about wx that he passed along to me. But a common question I get is, “How do you get that fog, you have a fog machine?” The ground fog you see in my photographs all comes from Mother Nature and whenever it’s possible, I’ll be out at the crack of dawn to incorporate it in my story. “Hit or Miss” resides outside Tampa, FL but her true home and heart are in England, Spanhoe to be exact. How can I bring her home when it’s 4000 miles away? Wx or fog is one quick and easy way! How do you know if it’s possible though?
Ground fog occurs usually (no guarantee as it can be regional) when the dew point and air temp are the same. In Florida, when there has been a good rain and these to numbers match up, there is a good chance you’ll get that magic. I had seen the numbers the day before so asked that “Hit or Miss” get tugged out into the grass the night before. That increased the odds of ground fog enveloping it the next morning. Sure enough, when we arrived before sun up the next day, the fog was there but as the sun slowly rose, it disappeared. I wasn’t going to stop the shooting so I got the Z6 / Z24-70, set the WB to 9k and walked over. No sooner than I got in place then the ground fog formed again. Like a mad man I ran about shooting cause I knew it wouldn’t last long. The two shots you see here were taken minutes apart from opposite sides of the plane. Within ten minutes, the fog was gone but that was OK, it was there long enough to make the images I wanted. Though I was 4k miles away I put “Hit or Miss” back at her home in the UK and it was all in the dew point.
“I’d like a photo of the Speedmail in front of the old terminal at night.” A simple enough request from my client (who is simply the nicest guy) which we had talked about before and which I had scoped out a few years ago. Easy peezy I thought, what could go wrong? I’ve light painted for decades but I’ve done very little if none in the last five or so years so I thought I should brush up. I headed to KelbyOne and watched my buddy Dave Black’s lighting Painting classes to get my mind thinking about light painting. Then I contacted Dave (such a great guy) and told him what I was thinking and what light recommendation did he have. “The Larson Electronics 5″ should do the job nicely” (he was right, it did). With my homework and notes and light in hand, off I went to work.
What could go wrong? We had checked out the terminal the previous night and that’s when I found that they had installed new “bright as the sun” lamps to illuminate the new fueling terminal. Egads! It was nice and romantically dark in front of the old terminal previously with this neon “Welcome” dude all in red that was going to be part of my background. Now I had EVERYTHING in the background lite up like daylight. “Not to worry, I can block the actual light fixtures with the plane,” I told the client. After 19:00 the 4E Speedmail taxied over to the terminal and with little trouble getting it parked where it blocked those horrible lights. One of the things I like to do is get the “base” exposure when working with extra lights, be it flash or a Larson Electronics. Shooting with the Z6 / Z24-70 on the Robus / BH-55, it took a bit of time to get it just right to block those lights. It was 24 degrees so the client saw the first exposure (the bottom one) and thought that was pretty cool. Then he hopped back in the car to stay warm. After about 40min and many exposures later, I got the top photo which was the best I was going to get this time out. It is by no means the best possible as those bright background lights made a long exposure and good light painting painful. The client though when he emerged from the warmth of the car to see the final photos was ecstatic and that’s what matters. I’m already planning the reshoot, I will do better next time.
