Light is everything! And as much as we can, we control it in the storytelling process since it is such a powerful ally. But you’ve gotta ask yourself, “What is the right light” for your subject, your story? This is where many photographers find self doubt because figuring that out and then delivering it is a massive challenge! You start determining the right light but understanding first the subject’s story and then relating that knowledge with the story you want to tell about your subject. There is no doubt my typing this and bringing it to your attention is a whole lot easier then actually doing it. I’m posting two photo here as an example of what I’m talking about in the hopes it might assist you. Both of these photos IMHO is the right light for the subject and the storytelling. Let me explain.
We have what appear to be two different aircraft here but in actuality, they were both designed to perform the exact same job, observation platforms. The top plane is a 1947 Luscombe T8F Observer and the bottom is a Stinson OY-1 (or L-5). The bottom aircraft was actually put in use by the military, the top one, they bought 50 but they saw little action (being more popular GA). In fact, the Stinson is an actual vet, flying over Iwo Jima … those white patches are patches from where it was shot and patched from that action (recreated in its restoration). Now in photographing these two aircraft for our Texas Flying Legends project I had to pick the time we flew to do the air to air. Understanding the use of the aircraft made it rather simple for me. The Stinson, famous from such movies as The Battle of the Bulge, folks think of flying in the middle of the day. That and with its being that real sexy military green, shooting it at 1 o’clock (once the sun made it over the hump) was a slam dunk. The Luscombe on the other hand with its polished finish, shooting it in the late light permitted it to pop from the darker background, another slam dunk. Both shot from the same TBM-3E platform with the same gear, D4s / 70-200f4VR and in the same air space, the only difference is the light. And that difference in the light changes the story being told, the feeling taken away from the photographs. Don’t get me wrong, it’s not always this easy, this clear cut in selecting the light for your subject. But if you start thinking about it and looking for it, you will incorporate in your photography the right light.
I’m up in North Dakota and just told that the new EAA Sport with my piece on the Starduster Too just came out today. I’m Soooo excited because it’s a great American story about some really amazing folks. The magazine isn’t on the newsstand yet but you can see how the photos were taken because they came from my KelbyOne class on Air to Air photography and Photographing Pilots. I owe a big thanks to Bob for letting me play with his gorgeous plane and Warren for making it look so good in the air! So it’s now full circle. Gives me goosebumps of excitement!
I’ve been flying with Brian since almost day one. He’s a dear friend and a great pilot. And getting him to be in front of the camera while not in a plane one of my greatest accomplishments! Now when you say “portrait,” folks take this to mean many different things, usually some type of formality in either dress, pose or both. That’s just not Brian but even with the knowledge it was casual, taking time for a portrait took over a year of convincing. I think once it sunk in he could wear his Hawaiian shirt, he was OK with it all. And have his jeep in the photo, that just made it that much better.
One of the challenges of this shoot was the background. The T-6 (plane) and jeep were placed where they were placed for two reasons. The main being the very busy background. They are visually blocking a whole bunch of junk. At the same time, the strong backlight of sunset help put other busy items in shadow. I wasn’t worried about melding the light of ambient and flash as we’re in AZ where it simply gets really hot. Brian likes that heat so it’s part of the photo. All of this went through my head before we ever left the hangar. Parking the plane just off the taxi way takes planning, quick set up and shooting. My biggest fear is a plane taxing by and the blast from the props sending the lighting gear flying across the ramps. There are simply not enough weights!
With all that in mind, the actual process of lighting and shooting is simple as it’s predetermined. The D750 / 24-70VR did the picture taking. A Profoto B1 w/Magnum w/grid was the main light over the lens axis (on a C Stand) and a B1 w/Strip Box on the stage left. You can see a Stand standing in place of Brian for set up as he kept polishing his plane. The time required for the whole shoot, from pulling out the plane of the hangar to parking back inside was 40min. The more I do, the faster we can knock ’em out. And when you have someone in front of the camera who is really not comfortable in front of the camera, that’s important!
It started as a single photo for a single article. It evolved into a book project that I’m truly enjoying working on. We travel the country photographing very special pilots and this past week, we worked with a couple more, Larry Perkins being very special to us. He has flown many a photo mission for my lens, the Epson Finish Strong campaign in the Super Corsair #57 one of the most memorable. Our relationship with Larry goes back to day one of our aviation work and that really helps when setting up the shot. Until you see the finished book will the single portrait make sense. But with Larry, the P-51D Mustang was the perfect backdrop for this gifted and amazing pilot.
The majority of these portraits I do by myself so the system I have is based on that. This time, I had Sharon which does help when it comes to making exposure adjustments (she’s a stand in during testing). The set up is rather simplistic so I can do it by myself. I’m shooting with the D750 / 24-70VR with lighting provided by a pair of the amazing Profoto B1s with a 5.0′ RFi Octa Softbox and OCF Softbox (1×3′) attached. The Octa is left and provides the side lighting. The Strip is on the C Stand right over the lens barrel. You can see them in the photo, the one stand with no head might make you wonder. That’s my stand in for the subject. It’s set to the subject’s height and placed where I want them to stand permitting me to roughly set up light points and frame framing.
There is a 81a Gel in the main light, the strip box and none in the Octa. When it comes to exposure, I go old school, all manual. This is in part to maximize the power from the lights. It also permits rapid change in exposure for ambient light (shutter speed) and the flash (aperture). You might be wondering if the cone connected to Larry’s elbow an accident or not. That is very deliberate and my own little story in my head of the Mustang nudging Larry to go flying. Larry’s elbow cocked as if telling the Mustang to wait another minute. I set up with the sun still up and shot after the sun was below the horizon. The shooting took minutes, set up and break down an hour. And the whole time, we laughed and told stories which comes out in Larry’s smile. This was number 32 so they are getting easier and me, more confident. And all of them, very enjoyable!
A month ago I had the great honor to meet Stan Whalley, a WWII pilot from England who like other Brits, trained in the US. He shared so many stories with us then and with the blessing of the internet, we’ve been able to keep the conversation going. This just came in from Stan which I’m pleased to share with you …
“I have just seen the excellent account of my visit to Falcon Field in November, for which I thank you sincerely. However, I wondered if you could add to your account my later flying in Europe, following my return from Falcon. After flying inTiger Moths I flew P51 Mustangs and found myself in Germany after WW2 ended. I toured a ruined Germany, all the best big cities, in Berlin I entered the ruined Reichstag parliament building and viewed the big hole, outside Hitlers Bunker, in which Hitler and his new bride, Eva Braun, were thrown and burnt.
I left the Royal Air Force in 1947 and followed a career in Banking.
I have been retired 31 years and since travelled the world, but never miss a trip to Mesa cemetery in November where 23 of my colleagues are buried, not forgetting two USAAF cadets and four US Instructors also lost their lives and are buried near their homes.
Stan Whalley, and thank you again for your help.”
Sent from my iPhone
My favorite part … Sent from my iPhone … what an amazing world we live in. And at 90, here’s Stan in the Stearman about to take off on a flight over Falcon. Simply brilliant!
May 8th is a pretty important day to us, yet few know that. It was celebrated this year to honor all those who took part in protecting our freedoms. We felt very fortunate to participate in a very small way as part of the Texas Flying Legends Museum cadre, to say thanks to all those vets. Take a moment to watch the video, it just might put a lump in your throat. And if you want to learn and see more, be sure to check out Jake’s Book celebrating the day.
