WELCOME TO ISNAP ISAP News/Symposium
ISAP-XI May 17 through 19, 2012, in Virginia Beach, VA. ISAP-XI Symposium Registration Register today for the ISAP-XI symposium in Norfolk, Va., and beat the fee increase! The registration fee is $225, and after April 15, it increases to $260; registration closes May 1. April 15 also is the deadline to reserve a hotel room at the discounted symposium rate of $92 (plus tax) per night. A link to the hotel for reservations at the special rate has been set up on the ISAP website. ISAP members in good standing can pay the registration fee online using PayPal or a credit card, or it may be paid by mailing a check and the information below to: Bonnie Kratz ISAP XI Symposium N4752 Valley Road Luxemburg, WI 54217 Please make your check payable to: International Society for Aviation Photography. If you have any questions email us at info@aviationphoto.org ISAP Member Slideshow Paul Bowen and his team are again putting together our opening slideshow for the symposium. We need five of your best aviation images, approximately 6x9 (1350 x 900) at 150 ppi, in the SRGB color space, and saved as a jpeg—plus one recognizable, close-up portrait of the shooter (800 x 1200) at 150 dpi (if you would like for us to reuse your portrait from last year please let us know). We also want to know the city where you are based and your ISAP status as a photographer: Professional, Serious Amateur, Enthusiast, Freelance, Hobbyist, or Whatever. Send your images to: bowen@airtoair.net Your response ASAP will be greatly appreciated.
ISAP PHOTO EXHIBIT: Here’s a chance to show off some of your best images to our attendees and other hotel guests. Space will be set aside for your images, but bring them with you or ship them ahead, ready to hang. We will have easels available as always, but bring your own if you can. We’ll accept any size, but would prefer 16” x 20” or larger. You can also show off your images with photo books, slideshows on your laptop, or your iPad. No image will be refused. More information about the photo exhibit will be posted online and emailed to members. ISnAP You can view and download this issue, as well as past ISnAP issues, by going online (http://www.issuu.com/isaporg). If you have a problem with the link to download the current issue, copy and paste the link in your browser. March cover / back cover images by © Jeff Welker While attending a special photo shoot with the Arizona Aviation Photographers (AzAP) on a rainy morning this past February, Jeff captured this image of Blue Angel opposing solo #6 making a low level high speed departure at the beginning of a morning practice session. Located in southern California, Naval Air Facility El Centro (NAF El Centro) has been the winter home of the U.S. Navy Flight Demonstration Squadron, The Blue Angels, since 1947. Canon 1D MkIV and Canon EF 300mm f/2.8L IS USM lens. Camera settings were recorded at 1/800 second, f/6.3, +2/3 EV, ISO 640
MEET THE MEMBER
JEFF WELKER
I can’t remember a time when photography and aviation weren’t part of my life. My father was a member of the 197th Fighter Interceptor Squadron (Copperheads) in Arizona and was responsible for the photography department. I have vivid memories of visiting the base at Sky Harbor and begging dad to let me walk the flight line. Flying F-86’s and F-104’s were the stuff of my dreams and Steve Canyon my hero. When dad’s military career was over, he naturally transitioned to a pro shooter in civilian life. The subsequent 4 decades were filled with weddings, portraits, aerial, commercial, and architecture photography assignments.
following my father’s career was not attractive. Accordingly, I grew my hair, got married and pursued a different path. For the next 32 years, I worked in local government as the director of development and building (exciting stuff). Even though I pushed away from a career as a pro shooter, memories from dad’s darkroom and watching prints slowly come to life in the developer still haunted me. Accordingly, while I wallowed in the public trough I bought a Wista 4x5 view camera and started spending much of my free time composing upside down landscape images on ground glass. On more than one occasion, Arizona’s biting insects crawled up my pants leg while I was obsessing under the dark cloth.
Growing up as the eldest son in the home of a professional photographer meant my youthful vocabulary included names like Graflex, Rolleiflex, Hasselblad, Linhof, Pentax, Bronica, and Canon. I often mitigated the unbearable Arizona summer heat by helping dad in his darkroom – the only part of our home with air conditioning! Before I learned to properly compose and expose images, I was washing negatives and pulling prints off the drying drum. During my teenage years, dad was part owner of a Cessna 206 that was used regularly to fly aerial photography assignments. Memories of wind, cold temps and noise reminds me what happens when you go flying in a 206 with the rear door off. As I got older, dad slowly transitioned me from a little kid catching hot spent flashbulbs at weddings to a teenager with my own camera going Ansel Adams, Morely Baer, and John Sexton were my hero’s. on assignments. Like many high school graduates in the early 1970’s, Monochrome was superior to Kodachrome. Heck, I bought a dilapi-
dated 8x10 Deardorff so I could pursue contact platinum printing ala Dick Arentz. Submissions to Arizona Highways came and went without much fanfare. I started to wonder how AA ever made a nickel. To help fund my addiction to the “higher art”, I bought a Bronica and started taking weddings for dad – talk about coming full circle. Temperamental brides, overbearing mothers of brides, unmanaged kids that knock over my tripod/camera, pretend photographer family members, and drunken groomsmen soon had me hating photography. After a couple of years memorizing the wedding mass in Latin, I sold all my gear (except the Deardorff) and went headlong into fly-fishing. Sidebar: God bless all successful pro wedding shooters like my dad. You have a talent and temperament I never possessed. For the next 20 years the only camera I used was a simple point-nshoot that helped me memorialize the trout I was catching in cold water across the western United States. When my 32 year career in public service ended in 2005, I was 49 and not even close to being ready for retirement. I started a private consulting firm that provides residential and commercial land development services – Welker Development Resources (WDR). After 5 years of growing the business, clients began asking me if I could help them find someone who could provide them with photographic services. Aerial, architecture, construction In one short year, I’ve gone from someone with a mild curiosity in AzAP progress, and special inspection documentation were needed. The light and ISAP to a complete aviation photography addict. Completely and bulb slowly glowed inside my head and I saw an opportunity to return unexpectedly I’ve found a creative pursuit in aviation photography to my photography roots on my terms. that is every bit the equal of my day’s under the dark cloth. Learning the techniques associated with aviation shooting is just as challenging as mastering swings and tilts. Arizona has a rich aviation history – especially in terms of military flight operations. Nearly every municipal airport in the metro Phoenix area started life as a secondary military field or training facility during World War II. Like ISAP does nationally, AzAP has worked hard to develop relationships with public affairs officers at various military installations that afford members wonderful access and photographic opportunities. Thanks to AzAP and ISAP, I’ve had the opportunity to be mentored by Jay Beckman and a host of other tremendous shooters. It boggles my mind how I’ve been able to associate with super talented globally recognized professionals via ISAP’s symposiums. As a result, my aviation photography has grown at mach-plus speed. While performing research on equipment for aerial work, I found a group called Arizona Aviation Photorgraphers (AzAP). Their website (http://azaerophoto.com/homepage.html) was like a window back into my youth when dad was a Copperhead. I joined AzAP with the notion that rubbing shoulders with the local aviation shooters would help my primary intent to expand my consulting services to include photography. Before long, I was met a couple of AzAP shooters named James O’Rear and Jay Beckman. Like all successful drug dealers, James and Jay were soon telling me that, in addition to AzAP, I needed to join a group called the International Society for Aviation Photography. Not only did I join ISAP, Jay convinced me that I needed to attend something called ISAP-X in San Diego.
Finally, aviation photography has helped me come full circle in my personal photographic journey. Dad is now in his mid-eighties. We often travel together to Willie and Luke (two airbases he spent considerable time on) and shoot the modern military aircraft. Interestingly, dad has kept pace with the digital world and continues to help me learn Lightroom and Photoshop the same way he taught me how to dodge and burn prints under his enlarger. I hope you enjoy my images nearly as much as I’ve enjoyed this express journey in making them. I continue to seek improvement and welcome constructive criticism. Please don’t hesitate to contact me with counsel and advice.
f o o l k Water
! k c a is b Graan n
by Dylan va
Waterkloof Air Force Base is back on the air show calendar. This base, close to where I live in the capital city of South Africa has remained dormant for some time to allow for repairs and improvements to the runway and other facilities. The work complete, an air show of some magnitude broke the latter hiatus on the 1st of October last year.
“Midnite” flying the SAAB Gripen greeted our arrival with an impressive flying display. The jostling with fellow club members for the best spots at the edge of the apron started in earnest as the Gripen taxied into the staging area. The latter sense of competition soon made way for short chats comparing technical notes and sharing tips amongst club members.
During these crucial repairs Zwartkop AFB was the venue of the local airshow. Home to the South African Air Force museum it is also the old- The distinctive whine of a Goblin power plant announced the arrival of est air force base in operation in the world! the SAAF museum’s De Havilland Vampire. I have fond memories of seeing her perform at an air show in the town where I grew up and it still The greatest gift Zwartkop warms my heart to see this aircraft in flight. I’m happy to report that offers is the monthly fly my catalogue of images of her is expanding at an alarming rate, most day by museum aircraft, a recently joined by a few images taken during my very first air-to-air photographer’s delight and sortie! Perhaps a tale for another time? a good place to practice technique. I admit that I’m a fan of WWII fighter types, perhaps even addicted. The sound and sight of them in South Africa are these days, sadly, a I’m fortunate to be a member of the South African Airforce Museum’s movie and photographic club and the big day for some of us actually started on the 30th of September. Our club chairman negotiated access to the western side of the main runway and it was obvious that the show started even earlier for the planning committee, pilots and ground staff who ensured safe and spectacular displays. Having access to the western section provided an unobstructed view of the ground crews and pilots preparing aircraft for their validation flights. 2 Squadron’s Lt. Col Musa Mbokota, call sign
mirror of my SLR obscures the viewfinder. I don’t hold the shutter down during a pan but I tend to compose and fire shots at about 1-2 second intervals constantly making sure my focus and composition stays sharp. This technique seems to work for me and I’m picky about having the shots of flying aircraft as sharp as possible.
rare occurrence. The arrival of “Mustang Sally” a P51-D Mustang helped to correct this sad situation. Flown by its owner Menno Parsons, she is fast becoming a firm favorite at local air shows. Superlative simply fails to describe the sound of the Merlin powered war bird thundering down the length of the runway and then climbing out into a reversal for another pass. The speed and exhilaration conspiring to make the capturing of the classic D model curves on “film” nothing but a challenge. One we gladly accept.
Next up was a BAE Hawk in the livery of the South African flag, showing of this eye catching scheme to great effect, the flying wasn’t too bad either. Not to be outdone by the Hawk, Mr. Nigel Hopkins piloting an MX2 in the colors of ECKO UNLTD and Aerial Concepts arrived on the scene with a display of extreme aerobatics right above our heads. We had to crane our necks to the limit to keep this aircraft in our viewfinders. By now panning was becoming easier. I rely heavily on listening to the aircraft to be able to move the camera along its flight path while the
Helicopters were up next, with the arrival of two Aerospatiale AS350 Squirrels from the SAPS air wing. We were treated to a carefully choreographed display of aerial crime fighting as ground teams with the assistance of well flown air support made short work of a mock felon’s future prospects in crime. Photographically speaking we were perfectly placed to capture the approach of Squirrel ZS-RZP, and I was able to capture nice, head on images of this aircraft before it joined the “dance floor” with ZS-RPL and the members of the ground team. With the world a safer place thanks to the efforts of the South African Police Service my attention turned to a distinctive thud-thud-thud coming from the south; this could only mean one thing…a Huey! This is an
aircraft of legend, not often seen in South African skies but becoming more common. This particular example displayed its fire fighting capabilities assisted by a spotter plane from the same operator. The helicopter’s and spotter plane’s bright yellow bringing some color to a day that was becoming a bit drab towards the end. Weather wise that is! The next flying validation display came courtesy of a Mirage F1-AZ, done in the best possible style. Fast and low, with all of us attempting to capture that ever-elusive afterburner glow as the aircraft roared past. The day almost at an end, we watched as preparations were made for
the latter allowed for better images. Filling the frame completely with winged subjects seemed to be only solution for this, as we hoped that strong detail might help detract from the exceedingly uninteresting sky. I tried tight cropping of some images later during post processing and they seemed very noisy. Saturday brought two nice additions to the flight line. The first was the arrival of an Ilyushin IL-76 whose huge bulk was largely obscured by heat haze from the runway, resulting in a nice image after touchdown. The second was a perfectly synchronized display by another firm fa-
the last validation flight. The Gripen, Hawk, Vampire and Mirage teaming up for a formation flight in a grand finale to the validation day. The flight was called off due to sudden wind gusts as the Gripen taxied out. The gusts kicked up a sudden dust storm and my photographs took on a distinctive desert like feel. The aircraft and pilots were placed on a 15-minute standby, but this validation took place before show’s start on the Saturday morning. As we departed after the day’s activities, the weather worsened and I hoped that rain would clear the haze from the atmosphere. This was not to be! On Saturday we met up at Zwarkop AFB to be ferried to the air show. The busses were late and we missed the start of the show but from our vantage point I watched as some of the action unfolded at the air show across the shallow valley separating these air force bases and I could see mushrooms bloom into life as a mass parachute jump display by 45 members of 44 Parachute Battalion opened the show. The wind was strong and I could clearly see the canopies drift downwind even from the distance we were. About 14 jumpers were hurt during this jump and some were airlifted to 1 Military hospital, all injuries however were reported later as slight.
vorite on the South African air show scene. The Gabriel aerobatic team flying Pitts Specials wowed the crowd with the flair they have become known for through the years. The members of the team were constantly in conversation over the PA system and it never ceases to amaze me how calm they come across even during high G maneuvers. It’s all in a day’s work, I guess. The area between the static displays on the apron and the fence on the flight line got packed to the hilt, and on all accounts the show was a great success.
The roads leading to Waterkloof were gridlocked and we passed long queues of visitors as we entered the gates. Eventually we gained access to the base and we dispersed to the flight line to do what we came for. The morning was especially hazy and our photos lacked impact. I joined two fellow club members at the flight line and as we were discussing the choice of shutter speed and exposure during the Gripen display, our eyes were directed upwards by a cheer from the crowd around us. We were just in time to see “Midnite” dispense flares during a vertical climb. Shutter speed and exposure are all good and well but have no relevance when a lens is not pointed at the subject! This feat was repeated later during the day and one usable image was the result. The rest of the show was very much the same as the validation flights of the previous day and to be honest the atmospheric conditions during
The most significant departure from the displays during Saturday from the validation day: lunch and drinks at the 28 Squadron hospitality suite of course!
I have had a fascination with aircraft and an interest in photography going back to childhood, but I didn’t combine the two until recently. I attended my first air show in the spring of 2009 with my camera in hand and have been hooked ever since.
by Jeff Greger
AFTER
HOW I TOOK THE IMAGE
BEFORE
Post processing was done using Lightroom 3, Nik’s Color Efex Pro 4 and Nik’s Dfine 2.0. First, minor exposure adjustments were made using Lightroom. Next, Color Efex Pro was used to enhance the sky. I used the pro contrast filter to enhance the contrast in the clouds and graduated filters to add color to the sky. Specifically, I added a bit of orange to the As an aviation photographer, my goal is to create dramatic shots that lower half of the image and blue to the upper third. I then added a slight convey the romance of flight. I believe most photographers strive to vignette to darken the edges of the image. The last step was to remove capture the spirit of a scene at the time the shutter is pressed, as do I. noise in the image and this was done using Nik’s Dfine 2.0. We all know that sometimes that doesn’t happen, and it didn’t happen with this photograph that I took of the Aeroshell Aerobatic Team at the My camera settings were as follows: shutter priority mode, 1/160, f 18, 2009 Milwaukee Air and Water Show. The photograph was flat and it ISO 250. I used a Nikon D80 with a 70-300 mm VR lens at 300 mm. lacked drama. This image sat in my files, never seeing the light of day until recently, when I decided to experiment with the tools in my digital darkroom to see if I could more clearly convey the drama in the scene.
VEGAS NIGHTS 2012 by Mark McGrath
On a recent trip to Las Vegas, I decided to undertake some night photography at McCarran International Airport from the top of the airport parking garages and a couple of other locations. The parking garages at McCarran are a popular location with aviation photographers during the mornings when, with northerly winds blowing, airliners and biz jets can be photographed with the casinos and hotels of the Las Vegas strip in the background as the aircraft get airborne. Night photography from the parking garages is a different proposition, as the terminal buildings restrict the view of the aircraft gates and ramp area. However, some of the gates and ramp areas are visible from the parking garages, one of
which being the ramp area and some of the gates of Terminal 2, the current international terminal at McCarran. One particular aircraft I was determined to get a decent photograph of at McCarran was the British Airways Boeing 747-400 that operates their London Heathrow to Las Vegas Service. The schedule for this flight sees it arrive & depart under the cover of darkness during the winter months. On two consecutive nights I ventured to the parking garages with the aim of getting an image of the BA 747-400. The 1st night I ventured to the parking garage, on initial push back the backdrop to the 747 was not particularly inspiring and I took some standard aviation photographs with the aircraft centred in the frame. After the aircraft began to taxi, they came to a halt about 1000 meters from where they had started with the Luxor Hotel & Casino in the background for a few minutes while they resolved an issue. Quickly changing lenses I put the 70-200 on the camera and zoomed out till I had the aircraft near the bottom of the frame and the hotel visible in the background. My luck was in and I was rewarded with the spectacular photograph that you see above. With the above image in the bag, I wasn’t going to venture out a 2nd night until I noticed that the BA747 was in their Oneworld Alliance scheme and there was also an RAF Tristar at McCarran. The Tristar would prove a trickier photograph to capture as it was parked in a dif-
ferent part of the airfield, and would involve trying to take a photograph through a diamond mesh fence that had a smaller opening than the diameter of my lens. As the saying goes, you’ve got to be in it to win it, so I ventured to get a photograph of the Tristar. Zoomed out, I could get the whole aircraft in the frame, but was getting a horrible diamond pattern showing on the final image. Therefore, I zoomed in on the forward fuselage area to minimize any diamond pattern. While the results are not as spectacular as the BA shot above, I am more than happy with the outcome. I used a Canon 1DIV, 70-200L F2.8 IS II, 300L F.28 IS & a Gitzo Tripod in taking these photographs at McCarran International.
THE COOLEST JOB IN THE WORLD: LIZ KASZYNSKI
LIVING LEGENDS
BY BONNIE KRATZ
ISAP member Liz Kaszynski gave a presentation on “The Coolest Job In The World” at the 23rd Annual International Women in Aviation Conference in Dallas on March 11, 2012.
OF AVIATION
Liz is a Videographer/Aerial Photographer at Lockheed Martin Aeronautics Company in Fort Worth, Texas. ISAP members attending last year’s symposium will remember Liz as one of our speakers. Liz talked about ISAP in her presentation.
AWARDS SHOW Her presentation was enjoyed by WAI attendees.
GADGET BAG by Jay Miller
high-frequency sound generated by its diminutive Continental-Teledyne J-69 turbojet engines could permanently damage human hearing in as little as ten minutes. Anyone having anything to do with T-37s - particularly ground support personnel - were required without exception to wear high-end hearing protection. That did not mean foam plugs in the ear canal; it meant full-up ear muffs that reduced sound levels to below the minimum where hearing loss was an issue. Over the years, as you might guess, I have been through a variety of ear protectors. Today’s gadget bag concentrates on what I am currently using, which is the Sperian Howard Leight - specifically the Noise Blocking Leightning LOF. I am particularly enamored with this ear muff because it folds into a very small (for ear muffs) package, it is very effective as a hearing protection device, and it’s reasonably priced. Sperian describes the unit as follows: “The Leightning series steelwire construction provides high performance and robust durability. The Leightning stands up to daily use and abuse without compromising comfort. The series has been optimized to deliver the highest level of comfort available, featuring an exclusive padded foam headband and super-soft ear cushions that eliminate that “squeezing” pressure on the head. The Leightning series also features Bilson Technology’s patented Air Flow Control technology for optimal attenuation across all frequencies and snap-in ear cushions for easy maintenance.” My personal experience with the Leightning has most certainly proved all of the above claims to be true. It is extremely comfortable to wear for long periods of time, the sound attenuation is outstanding for all frequencies experienced on an airport ramp, and fit adjustments are easy and quick. As noted, I particularly like the way it folds up into a small, oblong ball (approx. 3.75 x 3.75 x 5.00 inches). It takes up minimal space in my camera bag and it is most certainly light, rugged, and extremely well built. Only color available is black.
Flying machines are inherently noisy. Even the stealthiest of military aircraft produce noise levels that are potentially catastrophic to human hearing. No matter what the type, short or long-term exposure to functioning aircraft engines and parts (exhaust nozzles, exhaust pipes, propellers, rotors, and intakes) can impact a person’s hearing acuity for life. Decibel levels, even for the quietest flying machines, can easily exceed the minimum standards (90dB to 95dB) said to cause permanent Highly recommended. Price is $19.61 via Amazon.com and irreversible hearing loss after even modest exposure. I’ve chased aircraft at one level or another for well over fifty years. I’ve been in ‘em, on ‘em, and around ‘em almost constantly over those years, and have therefore been exposed to a lot of noise - one hell of a lot of noise, in fact. And yes, I have some hearing loss - though not as much as one might expect. Part of my problem is simply old age, but some of it is almost certainly attributable to being around loud aircraft. Jet engines on average produce the equivalent of 140dB of noise at a distance of 100 feet. That is 50dB more than what is considered seriously deleterious to human hearing. The only reason I’m not stone deaf is that from almost the very beginning of my career as an aviation photo-journalist, I have done whatever I could to protect my hearing. Over the years I’ve progressed from fingers to foam inserts to ear muffs - and today I would not go anywhere near a flying machine without a pair of the latter somewhere within reaching distance. I remember well an experience I had about thirty-five years ago. I was photographing what most of us would consider to be a fairly innocuous airplane - a Cessna T-37. Turned out that the “Tweet”, as the T-37 was nicknamed, was considered by the Air Force to be the most dangerous airplane in its inventory from the standpoint of noise. The
COWBOYS AND THE
INDIAN BY STEVE ZIMMERMANN
Following Thakur Dalip Singh into the FBO at this rural, western Colorado airport is an interesting experience. Heads turn, eyes register surprise, then look away. Thakurji, as he invites me to call him, is a fellow ISAP member whom I have invited along on an aerial survey of the spectacular landscapes of Colorado and Utah. An accomplished and widely published landscape and aerial photographer who lives in northern India, near Delhi, he is also the nephew of a Sikh high holy man and wears the robes and turban of his faith. He’s quite out of the ordinary in this dusty place, prompting the local pilots to make an elaborate show of unconcern while stealing glances at the slight, brownskinned foreigner with the full gray beard. The taciturn character behind the counter—who like so many smalltown FBO owners these days seems to be overdue for retirement— takes our fuel order and sends a younger man out into the afternoon heat. Thakurji retires to the pilots lounge to rest and meditate while I follow the gas truck across the ramp to my airplane. The Remos G-3/600 is a carbon fiber Light Sport aircraft manufactured in the former East Germany. At only 700 lbs. empty weight, the tiny, white, high-wing Remos has been my photo platform for the past several years, offering a nearly ideal combination of good runway and climb performance, docile flying characteristics, low operating costs and top-hinged doors that swing open in flight to afford an unencumbered, wide-angle view of the landscape spooling by below. Rewind the clock ten days, to the ISAP X symposium in San Diego. It’s there that I first encounter Thakurji’s aerial photographs of the Indian countryside, displayed in the members’ slide show that opens the proceedings. He and I have a similar eye: we’re drawn to capture the spe-
cific, the colors and textures of the natural world beneath us as seen in low-level flight. As an ISAP member I shoot airplanes, too, of course, and also take my share of ‘postcard’ aerials: sweeping landscapes that encompass the horizon and the sky above as well as the landforms below. But it’s the semi-abstract imagery shot from directly overhead that really excites my artistic sense. And it’s clear from his slides that, for all his exotic foreignness, Thakurji is a kindred spirit. I seek him out and introduce myself: a few minutes into our conversation I extend an invitation to visit Colorado and propose that we go flying, with an eye to the photographic possibilities. So here we are, on the afternoon of the first of two planned days flying over the varied landscape between my home airfield—KEIK, near Denver—and Page, Arizona. Already we’ve crested the snow-covered
and rock formations of Monument Valley looming dead ahead. After a brief respite we descend again to make photo passes over the iconic landscape, eerily familiar for having been the shooting location of hundreds of films and TV shows.
ridges of the Rocky Mountains; crossed the immense, high altitude expanses of South Park and the San Luis Valley; and taken in the spectacle of Great Sand Dunes NP, where the prevailing winds and terrain have conspired to deposit towering dunes as much as 800 feet high, over an area of several dozen square miles. The mid-afternoon June sun is kicking off strong thermals, creating turbulence and gusty surface winds. For photo missions I rarely fly more than one or two thousand feet above the terrain: since the next leg will take us over the red-rock country of southern Utah it’s going to be bumpy, and hot. We’re still more than two flying hours from Page, our planned overnight stop, and the sun is already starting to slip down the western sky. We’re ready to take advantage of the warm, late afternoon light: we’re well rested, with a full tank of fuel; our cameras are checked and stowed under the seats. We take off and turn west, down the San Juan River. Approaching the small town of Bluff we open the doors, cameras at the ready. For the next hour we’re treated to a fantastic visual feast, one spectacular scene after another: the dun-colored cliffs and verdant green river bottom near Bluff; colorful Comb Wash, with its fantastic array of eroded layers stepping down to a dry creek bed; the deep red sandstone cliffs and hoodoos of the Valley of the Gods, near Mexican Hat; the Goosenecks of the San Juan. A bit windblown and overheated (we and the engine, both: flying at low speeds and high power settings against the extra drag of the open doors has pushed the oil temperature uncomfortably into the yellow arc), we close the doors and climb to find smoother air and cooler temperatures, and catch sight of the spires
Now we’re in a race with the sun: it’s late and we’ve still got Lake Powell in front of us, with its hundreds of miles of shoreline and steep, bare, drowned canyons in every shade of red and beige, murky green water probing their limits. We’re mesmerized by the alien landscape and exotic colors, but now the sun angle is too shallow for us to do photographic justice to the deeply cut terrain: the side canyons become deep black scars in the blazingly bright rock, the contrast almost too great for any camera to capture. As we near Page the landscape opens out and the lake waters respond, sparkling in the last rays of sunlight, deep green cut by the white wakes of speedboats. We push on and land at Page just as the sun touches the horizon, tired and happy and visually over-stimulated: it’s been a remarkable day, one for the memory banks, with the prospect of a repeat performance when the sun rises again in the morning. But that’s tomorrow. This day is enough.
ISAP X by Thakur Dalip Singh I joined ISAP few years back to learn and interact with aerial photographers. This was my first ISAP conference; I met several new people there, they showed me a lot of interest and camaraderie. There I met one white-haired, tall, handsome gentleman, Steve Zimmermann, who showed interest in my pictures, which were screened in the slide show. I saw his book of aviation pictures also. We became friends for chatting. I was curious to know about getting a plane in the USA for photography, because we have a lot of problems in India. I was surprised when Steve told me he has his own plane. He also said that his plane’s doors can be opened fully while in flight. Then he invited me to come and fly with him. Curious, I hesitantly accepted. Mr. Steve is a very good host, a great photographer and a surprisingly great pilot/instructor, also. I enjoyed being with him and particularly the flying. He knows the countryside, in each place explaining the natural history and geography.
I flew with him for two full days in his Remos plane. It was thrilling, my first time to experience this type of flight, which is like open cockpit. I was able to open my door whenever I wanted; I enjoyed grand scenery of the Rockies and many places while travelling to Page then Lake Powell: so many things I never imagined exist there. It is a vast countryside with a great variety of topography and landscapes that I was able to see, thanks to Mr. Steve.
PHOTOGRAPHING A I R C R A F T AT N I G H T
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by Rob Edgcumbe Once the sun has gone down most photographers tend to pack their kit away and head home, particularly, in my experience, aviation photographers. Taking photographs at night is a lot easier than most people would think and the results can be absolutely stunning.
Probably the easiest place for you to get some ‘night-time action’ (no pun intended) is to start with airfield shots. Most likely there will be some parked aircraft and sufficient available light from the various ramp lights dotted around to provide some good opportunities to ‘dip your toe’.
While I won’t pretend to be an expert in this field, I think that anyone is capable of obtaining some very pleasing results when taking photographs at night. It is also possible to achieve this with fairly basic equipment that you probably already have in your bag barring one or two essentials, and they don’t need to cost the earth.
So what do you need and how do you get those great shots? I’ve broken it down into a few easy steps and listed the couple of items you need along with some basic camera settings that should see you produce some good quality images without too much hassle.
When photographing any subject, people look for the ‘perfect light’ and so assume that once the sun disappears over the horizon and night falls, it is not possible to achieve anything worth keeping. Or, maybe assume that having seen some images other people have obtained at night meant spending large amounts of cash on specialist equipment. Not so!
1) Firstly, a tripod is essential. A good quality, sturdy model is important. The whole reason for having a tripod is to avoid any camera shake. I personally use a SLIK Cameraman, which I have had for years. It is still in great working order and does the job. It has a nice ‘weighty’ feel to it and provides a solid platform for my Canon. Don’t be tempted into buying a cheap flimsy model, you will regret it.
Photographing at dusk or dawn produces some fine images. If you are going to attempt real night time photography, you will need some available light, and we are not talking ‘flash’ photography here.
2) The next important item is a Remote Switch. You could use the cameras built in timer, but it is not ideal. I use the Canon RS-80N3 camera’s shutter release. It supports a half-press or full press - which releases the shutter. In addition, the remote release button slides forward while pressed in - this will lock the shutter open in B (Bulb) mode.
Some people may prefer to use a wireless remote as opposed to a cable release like the RS-80N3. However, they are a lot more expensive and have a limited number of frequencies. If you happen to be using it somewhere such as an organized night-shoot you may find someone else using the same frequency as you and setting off your camera inadvertently. So save yourself some money and go for the cable release type. While on the subject of cost, make sure you shop around. I purchased an original Canon RS-80N3 for £16 (about 25USD), but I have seen them advertised for as much as 70USD. In terms of additional equipment, that really is it. If you have the two items above you are ready to go shoot some airplanes. As I mentioned above, ramp shots are a great place to start because you can be sure the aircraft will not move and there should be enough light to illuminate your quarry sufficiently.
ever be aware this may not be the exact sweet spot for your particular lens. The only way to really know is to test the lens for yourself or you may find it in a lens review article in one of the many photography magazines). But let’s not make this too confusing as I want to keep it simple, so work on the assumption above. I used a Canon 24-105mm L-series lens for the photos shown, which has a max stop of F4 and I used F8. 3) ISO is a little more difficult as you would assume you need a high ISO to achieve good results. I have seen great shots with an ISO as low as 100! Bear in mind that the ISO will affect the exposure time and also if it is too high you may get ‘grainy’ shots. I use an ISO of 160 and that works for me. 4) Next it’s time to set up the other settings. Again I want to keep this
So let’s move onto the actual shoot. Firstly it’s important to set up the camera correctly. Once done you shouldn’t need to change anything providing the circumstances in which you shoot do not change. The details below are for a Canon (that is what I use), so terminology etc. may be slightly different for say a Nikon user etc. I would also suggest that you go and have a little ‘practice’ with the settings once you have everything ready to go. You don’t want to be messing around and missing shots once you get in the field. I will keep it simple and give you the settings I would use for the scenario described above. Again please bear in mind the Canon terminology, which may mean non-Canon users will need to read their respective camera manuals. 1) Firstly set up the camera. Go to Custom Functions, select Autofocus/ drive, Mirror lock-up and select enable. (On the Canon it is C.FN III-6). This will prevent any vibrations caused by the reflex mirror action. In effect what this does is open the reflex mirror when you hold the shutter button halfway down, when you then take the picture you push the
simple, so ‘Red-eye’ off (obvious but if you have it, turn it off), I use automatic white balance (AWB on Canon) and Exposure Compensation set at 0. 5) Turn off the image stabilisation on the lens. You don’t need it with a tripod and in fact it can screw up the image. 6) Plug in the remote switch to the side of the camera and place it on your tripod. You are good to go. How it works is a simple as this a) adjust the focal length on your lens (assuming it’s a zoom type), press the button part-way to let the lens focus, push it fully and release to lock-up the mirror, then push it fully again to take the shot. Job done! As I said before, go out practice. Even if you only take some shots outside your house using street lighting, you’ll be surprised how easy it is and once you have some good results you’ll be hooked. It’s then time to get out and start being a little more creative.
button fully. Resulting in no camera shake from the mirror movement as it is already locked open and stays as such during the shot. 2) Set the camera to Av mode (aperture priority) and select the F-stop you want to use. All lenses have what is known as a ‘sweet spot’ as far as the best F-stop to use. (Let’s say you have a lens with a maximum Fstop of F4. That would make the sweet spot of your lens about F8. How-
So let’s get out there, start taking some images and why not send some into ISnAP? We’d love to see what you have achieved and we’d love to publish them to show off your work, particularly if it’s something you have never done before. All the images in this article were taken using the method described with a Canon 24-105mm L-series lens, Canon 50D body and a Canon RS-80N3 remote switch.
Camera settings were ISO-160, F.8 Aperture priority, with a focal length between 28-70mm and exposure time between 2-8 seconds. Mike Green; International Editor: ISnAP
ANSWER to Mystery Aircraft for February The top aircraft is the Republic XP-72, sometimes referred to as the “Super Thunderbolt”. It was, in fact, a highly modified derivative of the famous Republic P-47 “Thunderbolt”, one of the most successful US combat aircraft of World War II. The XP-72 was designed to stretch maximum speed performance of the original P-47 design to its ultimate extremes. To bepowered by a massive 28-cylinder Pratt & Whitney R4360 (the largest production piston engine in history) rated conservatively at 3,500 hp, the XP-72 was conceived during early 1943. Two prototypes were ordered on June 18 of that year. At the time Republic engineers (headed by theinimitable Alexander P. de Seversky and the great Alexander Kartveli) estimated that the aircraft would be capable of speeds well in excess of 500 mph in level flight - in 1943, an extraordinary performance figure (the world’s absolute speed record, held by the German Messerschmitt Me 209V1 and set on April 26, 1939, with Fritz Wendell at the controls, was 469 mph).
Name The Mystery Aircraft for March
The first XP-72 flew for the first time on February 2, 1944, equipped with a single four-blade Hamilton Standard propeller. The second XP-72 was completed on June 26, 1944 and delivered to Republic flight test with a custom-built Aero-Products contra-rotating six-blade propeller (three blades on each shaft). Designed to be a long rang, high-altitude escort fighter, this role had begun to diminish in importance by the time the XP-72 was ready for production. This, and the advent of jet-propulsion and the high-speed capabilities it implied, led to the cancellation of the 100 production P-72As then on order. By the end of the war, the two XP-72As had been scrapped. The XP-72A had a length of 36 ft. 7 in. and a wingspan of 40 ft 11 in. Max. takeoff weight was 14,433 lbs. Maximum speed recorded in level flight during flight testing was 480 mph. Range was estimated at 1,200 miles and service ceiling was 42,000 ft. It was to have been armed with six .50 cal. Browning machine guns and be capable of carrying 2 x 1,000 lb. bombs.
WANTED: Your Amazing Photographs
Every year, Lockheed Martin Aeronautics Company produces a calendar showcasing the company’s aircraft and technologies for its employees, team partners, suppliers, and, most importantly, for the men and women who fly our combat, air mobility, maritime patrol, and surveillance aircraft. The 2013 calendar will have a “Best of Code One” theme, and we are inviting Code One readers and contributors to send us their best shots. We’re looking for recent, striking photographs of current Lockheed Martin aircraft. Whether it’s an F-22 performing high-G maneuvers at an airshow, a U-2 coming in for a landing, an F-16 refueling from a tanker, or paratroopers jumping from a C-130, we want to see your shots. In addition to having your work displayed in ready rooms and offices around the world with name credit, each photographer whose shot is selected for the main image each month will receive a desk model and a Code One challenge coin. Top photos that do not make the final cut will go into a special gallery here on the Code One website.
Please submit high-resolution digital image files for consideration. Entries must be received by 9 July 2012. Send them to eric.hehs@lmco.com. Additional Details and Considerations: Photos will be judged by specific aircraft type: C-5, C-130, F-16, F-22, F-35, P-3, T-50, and U-2. Please limit entries to three images per aircraft type. The contest is open to the public, including Lockheed Martin employees and members of the military. The calendar will be a landscape (11-inch x 8.5-inch) format, so vertical images may be rejected because they cannot be cropped to fit the format. Entrants must agree to usage rights for the Code One website and for the printed calendar (if a winner). Please keep photo manipulation to minimum needed to correct exposure, clean, and crop. Please keep email attachment size below 2MB. Entrants may be asked to ftp higher resolution or original raw files (if available). Direct questions to Eric Hehs at eric.hehs@lmco.com.
ISAP Chairman
Larry Grace
ISAP Vice Chairman
Jim Wilson
ISAP Secretary Jim Koepnick ISAP Treasurer Bonnie Kratz ISAP Lawyer Albert Ross
ISAP Board Member
Jessica Ambats
ISAP Board Member
Mike Collins
ISAP Board Member
George Kounis
ISAP Chairman Emeritus
Jay Miller
ISAP Membership Coordinator
Dan Beauvais
ISAP Forum Matt Miles
ISnAP Editor Kevin Hong
ISnAP International Editor
Mike Green
ISnAP Staff John Ringquist
ISnAP Staff
Lyle Jansma
The ISnAP is a periodic publication of the International Society for Aviation Photography and is used to communicate news, functions,convention information, and other information of interest on the local, regional, and national scenes. The views and opinions expressed in this newsletter are those of the authors and should not be construed as the views or opinions of the International Society for Aviation Photography. Please submit photos as a jpg file, sized at 4x6 or 5x7 (200 dpi minimum), and text as a Microsoft Word file as attachments via email to ISnAP@aviationphoto.org