Nov 1, 2016 | Aviation
Capturing a story, in part or in whole visually so the end product evokes a response is in large part what drives my photography. Whether it’s stills, video or both, the end game is to evoke a response. We all start out the door with that in mind but we don’t always come home with success in our pocket. That’s why we keep going out, to find that success. I offer up this example of going out for six months refining that message to where we’re close to success….
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And if this video does it’s job, we’ll have not only put you in the pilot’s seat and in the audience watching, but also reminded you of those who provided us with the freedoms to explore all we do with our cameras. And lastly, to get you out next week and vote because just as your photographs matter, so does your vote. They can change the world!
Gear used to create video
D5 2x
D500
D750
80-400VR3
70-200f4 AFS
24-120VR
24-70VR
Ace M Fluid Head with 2-Stage Aluminum Tripod & Mid-Level Spreader
MC24-EL Battery or Phantom Powered Professional Condenser Shotgun Microphone
Oct 31, 2016 | Aviation
Every subject has gesture. What’s gesture? Since I use this term a lot, I’ve been asked to define it, a lot. The problem is gesture in this sense is not some body movement communicating some message. You could say it speaks of an emotion but I don’t think it’s that simple either. Successful gesture in a photograph communicates a whole lot more than a single word, a single emotion or even a single action. There is no camera setting or digital darkroom slider called gesture. Rather, it’s a response invoked in the viewer of a photograph that permits them to connect with that subject. What I have here is an illustration of gesture as I feel it.
Both of these aircraft are flying, that is obvious. But the feeling of joy breaking the bounds of gravity, the freedom flying a routine brings one, the weightless feeling when there are no G’s, this and much more is communicated in the gesture in these photographs. Now if you go looking for gesture odds are you won’t capture it. If edit for gesture, again it won’t appear. Gesture is a emotional response communicated to us by the subject and if we are in tune, we click the camera at the right moment. If it doesn’t strike you, doesn’t make sense, that’s pretty normal. But if you open up your passion and give yourself time, it will and you’ll feel it in your photographs.
Oct 27, 2016 | Aviation
The ramp at sunrise is a special place. Yeah, there are the planes and that sure sets the scene, the thrill and the challenge, but there’s more to it than that. Being able to be on the ramp at that time of day is special if for no other reason then, you normally can’t be on the ramp that time of day. This past weekend during the Wings Over Houston Airshow, we were there continuing on with our project with the Texas Flying Legends Museum. These aircraft are very familiar to us, having done everything from washed them to flown in them. And this wasn’t our first morning to be shooting them on the ramp. Then in telling the story, how does one keep moving it forward?
On this particular morning, the TFLM TBM Avenger was parked kinda by itself. This left open many photographic opportunities with the rising sun. As the sky started to open up, I went to my classic arse shot. Shooting with the D750 / 70-200f4 AFS, the monitor is flipped out making shooting at ground level a whole lot easier. With the grid turned on, I line up the symmetry which is so important in arse shots. The shot looks nice so I make the clicks. I’m about to get up and move to another angle when I see a Major walking the line shooting the planes himself with his cell phone. I wait to see if he comes down to the TBM. He walks on down and then stops when someone calls him. It’s all I need to make the click. While the TBM by itself is a nice shot, the soldier makes it great. Not only does he give it scale, but he now gives it an emotion that wasn’t present without him. That’s the challenge we face in our photography every time we go click. Those times are the fleeting moment.
Oct 21, 2016 | Aviation
Wings Over Houston, one of our favorite airshows, is this weekend and some questions about what tips I might have to offer. Below are some thoughts one bringing life to your images, motion to your stills. Realizing most learn best from watching rather than reading, I have three classes on KelbyOne that will help you: Kelby Class on Aviation Photography, Pilot Portraits and The Art of Air to Air and especially Finishing. And if you want a sense of what’s happening at Wings Over Houston, be sure to watch Warbirds and the Men Who Flew Them which was filmed at Wings Over Houston!
These techniques apply to ALL moving subjects not just planes! Start with understanding that shooting unrestricted is essential! My airshow set up this year consists of the D5 / 200-400VR2 (could be substituted with 80-400AFS which I’ll have for my air to air work), 24-70VR and 14-24AFS and that’s all (and of course AN-SBR2 Black Rapid Quick-Draw Strap). I love it being so light as that permits me to easily carry it all in my slingbag along with iPad (to show previous images to pilots) and business cards (to give pilots). 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). And don’t forget the basics, handholding and panning which are a must (start practicing now!)! With that in mind, here are some tips that you can apply to any action photography and in particular 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 will be MOVING into your frame which gives a feel 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 relationship to your position so your panning 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. This gorgeous P-51D is a great example as the light brings out the fuselage and the dark skies sets is all off. The light also brings the prop blur to life making it feel like a bat out of hell. The angle of the light makes all the rivits 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 speciality) 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 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!
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.
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 panning 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 panning, look for the light and think motion with a big dash of fun and you will be successful! The TFLM will be flying their six ship this weekend, here’s a guide to get the best photos from their performance. Have a great weekend shooting! OH … my good friends the Texas Flying Legends Museum, Sharon, Brent and Jake will be there so if you see us, say hi. And if we can be of assistance, just ask. Cya there!
Oct 18, 2016 | Aviation
If you want to drive me nuts, give me great light and nothing to shoot! There is simply nothing worse then to waste great light so when it started to unfold Saturday at the Nut Tree Air Fair, I instantly started to pace. What makes it great light you ask? The range of light is less than three stops and that’s part of it. More importantly is the way the light is being bounced and modified by the clouds. There is a reason you see so much of my photography including clouds, it’s the light! Luckily for me, right then they decided they needed to move a plane to get to another plane out of the hangar. And the plane they had to move is this gorgeous, simply spectacular 1929 Waco DSO … I was so upset that’s all I had to throw in the great light :-)
Being a California boy, the gorgeous hills in the background with the oaks in the light was the perfect background. Working in the shadow of the hangar which is a favorite technique of mine, with this combo of ramp and background, I asked if the Waco could be pushed to the corner of the ramp. Once there, I just waited for the sun to just barely kiss the Waco and started to shoot. This is the one thing I will stick my butt up in the air for as I was down on my knees (oh that hurts) with the D5 / 24-70VR inches above the ground as I shot. I depend on the Grid in the D5 for these shots, to center the subject for symmetry and level. Then, if it couldn’t get any better, the Waco was turned over to taxi it to its parking spot for the day. Still working in the great light, I now had to move, fast to get the second shot. Just like the light, the opportunity came and went fast, too fast but just these couple of clicks, I love. Which pose and gesture to I like best? On that, I’m still torn. Now, to only get in the air with this beaut!
Oct 14, 2016 | Aviation
We … Brent, Jake, Sharon & I are part of a very special project. I’ve talked about the project during this past year, the first of its three years and I’ve been asked many times what’s it all about. Some of it simply can’t be discussed right now. This video Brent created from our last event says in photographs pretty well what it’s all about. Being a visual storyteller, being able to tell a story in this way is important which is why I bring this to your attention. To learn more, please visit the Texas Flying Legends Museum website. Enjoy!
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