10 minute read
AERIAL PHOTOGRAPHY
Sharing the view…
Ray Wilkinson explains how to improve your aerial photographic skills. From a picture you’re happy to put on Facebook, to one you are happy to put on your wall…
There are many reasons why we fly, but a major one must be the unique perspective we get of the world from being high above it. As we enjoy it so much, many of us want to share it, so not only do we take friends, we also take photographs. However, if we are to be a safe and conscientious pilot, and a half-decent photographer, we need give both activities the attention they deserve, I realise that I’m preaching (mostly) to the converted, but it’s important to keep yourself safe when taking photographs from an aircraft. It simply isn’t going to be possible to fly an aircraft, keep an adequate lookout and take photographs on your own. You cannot maintain sufficient focus on everything at once, and that’s the behaviour that mid-airs and infringements are made of. Use a suitably qualified P2 (or P1) so that, between you, you can remain clear of controlled airspace unless you have a clearance to enter it, keep an effective lookout for traffic, monitor the aircraft systems and maintain VFR. Always agree between you who is flying the aircraft, and make sure that he or she doesn’t get drawn into the photography beyond putting the aircraft where it needs to be. Remember the ‘500ft and alight clear’ rules as well, don’t be tempted to get that little bit closer in the interests of better images. Many major events, such as the F1 Grand Prix at Silverstone, will have temporary airspace restrictions in place, so check your Notam carefully. The CAA is taking an increasingly hard line on infringements these days. Always remember that safety is paramount, and it is especially important to always prioritise flying over photography.
Above The weir at Marlow, on the Thames.
Above right
Mounting a GoPro on the outside of the aircraft allows you to include part of the aircraft in the shot.
Right The rolling shutter effect makes the propeller appear to have more blades than it actually has, and for them to appear to be detached from the propeller hub.
Photo: Rich Milliron Practice makes perfect
Good aerial photography is like most other activities in life, it requires practice and the right equipment to produce decent results. This article is intended to cover the key points that will enable you to take pictures you are proud of, some of the pointers are subtle, others are blindingly obvious. However, even the blindingly obvious may not be so until they are pointed out. I also aim to explain some of the pitfalls and the tricks, to get better photos. Just as on the ground, there’s a wide range of suitable
cameras to choose from, and the opportunity to spend money on equipment is almost infinite. Generally, up to a certain level, the more you pay the better the results, but using a top-quality camera isn’t going to turn you into David Bailey on its own, you need the practice and the expertise to use its capabilities. Of course, mobile phones are capable of taking some pretty good photographs, but you need to understand their limitations for aerial photography. The most suitable lenses are generally in the wide-angle and mid-range category, and a high-quality SLR camera will tend to perform well at high ISO (sensitivity) settings, allowing a fast shutter speeds. It will also give a wider range of focal lengths than a mobile phone, for instance, and more control over the image generally.
Range of equipment
Although high-quality cameras are capable of better images than simple cameras or mobile phones, a poorly taken or unexciting image of high quality will be less appealing than an interesting or unusual shot of indifferent quality. One of the most important criteria is to know your equipment and
be able to set it up, both beforehand and in the air, quickly and effectively so you don’t miss the moment. Always bear in mind the aircraft environment and its limitations – a lens the size of a bazooka may be impressive and capable of superb images but won’t be usable in the confines of an aircraft cockpit, not only do you have the physical size issues, there are also problems like camera shake in what is ostensibly an unstable environment. The best lens to use, where you have the option, will be a mid-range zoom, such as a 28-80mm for a single-lens reflex (SLR) camera. Changing lenses in flight is something to avoid, due to the likelihood of dropping something and being unable to retrieve it – and the implications of it jamming a control do not bear thinking about. Many compact cameras have a wide range of focal lengths built in but sticking to the wider end of the range will generally give better results. The ubiquitous GoPro camera, and its many imitators, can be used inside and outside the aircraft to give superb still and moving images, and a very wide field of view allows photographs to include part of the aircraft if you want them to. The newer versions can even be controlled using a mobile phone. A wide range of mount options is available, but always assume the camera is going to fall off and provide an adequate secondary restraint – ‘two grunts past a white knuckle’ is not an adequate locking method. The LAA takes a very realistic view of mounting these cameras externally and your inspector will be able to offer advice and approve a fitment in most instances, rather than you having to go through a mods approval process. You must also consider the effects on aerodynamics; a fin-mounted camera recently caused the rudder to flutter, a potentially very dangerous situation.
Improving the image
Most of the general rules for photography apply, but there are a few ‘gotchas’ that are specific to taking photographs from aircraft. Generally, a bright, sunny day will usually give better conditions for photography, as it Below Clouds can be an attractive feature, and bringing the shot in closer enhances the ground features despite the misty conditions. will increase contrast and detail, and allow a faster shutter speed, hence less camera shake. If you are taking photos inside the cockpit, watch out for reflections from the windows. In some cases, it may be difficult to avoid them, although the position of the sun relative to the aircraft may be the problem. If possible, try photographing the subject from a different side or at a different time of day. One key tip is to look at the whole frame, not just at the subject. It sounds obvious, but before you fly, check the screens for flies or other dirt, and clean them carefully before departing. Remember, there’s not a lot you can do once you are airborne and you’ll be very frustrated if a superb shot is impaired by spots that you could so easily have cleaned off the screen! Although we all treasure those flights where visibility is tens of kilometres, often that is not the case. When vis is less than ideal, you have the choice of working with the sun and the landscape around you to make the mist a key part of the image or restricting yourself to close-up photographs of specific points. Generally, images that don’t show distant ground or the sky will make misty conditions less obvious. Also, boosting the contrast in Photoshop will often pull a great image from a mediocre one.
Cloudscapes
It’s tempting only to consider landscapes and specific features or buildings when thinking of aerial photographs, but clouds can make beautiful images as well, especially when combined. But don’t be tempted to break the rules if you are restricted to VFR, at the risk of repeating myself, safety is paramount and if you are a VFR pilot, as most of us are, do not put yourself in a dangerous situation just to take a photograph!
Camera settings and technique
Due to vibration and the awkwardness of handling a camera in the confines of the cockpit, a higher than usual shutter speed will be needed to avoid camera shake. If you have control over the ISO setting on your camera, set it as high as
you can without getting washed-out images – experimenting on the ground beforehand will show the trade-offs. A professional or high-end digital SLR will typically be capable of using 800 ISO or higher without much degradation of image quality, whereas a cheaper half-frame SLR or compact camera may start showing adverse effects beyond 400 ISO. Alternatively, to avoid camera shake, use as wide an angle of view as possible. For a full-frame (FX) SLR camera, it is usually recommended that you set a shutter speed at least equal to the focal length (e.g. for a focal length of 125mm, use a speed of at least 1/125 second). For aerial photography, it’s a good idea to double this due to the adverse conditions. For DX-format SLRs, the focal length is effectively 1.4 times the one shown on the lens, due to the smaller sensor, so bear this in mind when deciding the minimum shutter speed to use. If your camera has an eye-level viewfinder, you should use it as it’s easier to hold a camera steady when pressed against your face than held out far enough to see the viewing screen. There’s a ‘proper’ way to hold a camera, and an internet search of images using the keywords ‘holding a camera’ will show you how. Make sure you press the shutter gently – don’t snatch it – and take multiple photographs of the same subject, so that if one is shaky you have other chances of getting a good one. Unlike the old days of film, the cost of taking a picture is inconsequential, so there’s no bar to taking plenty. Many good photographs are spoiled by the horizon not being level, and the extra difficulty of taking photographs in the cockpit makes this harder to address, but some cameras can be set to show an artificial horizon-type reticule as a reminder.
Propeller aspects
An interesting, often annoying, effect relates to the movement of the propeller during the exposure. At low shutter speeds on an SLR, the shutter is fully open for a time and the propeller will be blurred. At higher speeds, not all of the shutter is open at one time and this can lead to some strange effects, as the moving propeller is seen by different parts of the sensor at different times. In extreme cases, parts of the propeller can appear to be detached from the hub, blades can appear bent or there can be more blades appearing on the image than on the actual propeller. This is known as the rolling shutter effect, and a search online will show plenty of examples. A similar effect appears on the shutterless cameras in mobile phones. A phone camera works continuously, and a picture is taken by scanning each line of pixels in turn (known as a raster scan) into memory. Again, different parts of the image are captured at different times. This also applies to video cameras, and another video effect is that rotating propellers can appear to be moving much more slowly than real life, or even backwards, due to the video frame rate of 25 frames per second.
Above Proprietary mounts are available for the GoPro and similar cameras but your inspector will need to give you the OK that the camera is satisfactorily mounted. It is imperative that consideration is also given to possible effects on the aircraft’s aerodynamics.
Below Woburn Abbey, taken in low evening sun, which adds contrast and depth to the photo.
Finally…
Whatever your skill or experience as a photographer, combining it with your passion for flight is a great way of bringing some of the magic of flying to those unable to enjoy it for real. It does require some practice and patience, but the results are well worthwhile. Using the right equipment and taking the time to learn to use it to its best, can indeed transform a picture that you are happy to put on Facebook into one that you can be proud to put on the wall. ■
