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الزوايا في الصور الجوية ..
التصوير الفوتوغرافي الحديث
ANGLES on AIR PHOTOS
No one can really afford to specialize in aerial photography as a sole means of income - but , the ability to make good air views is a valuable asset for freelancers seeking wider markets !
AERIAL PHOTOGRAPHS are dramatic , spectacu lar , interesting , essential , useful - according to the subject , situation and purpose . Who uses aerials ? Everyone . Newspapers , magazines , advertising agen cies , industrial companies , calendar publishers , real estate developers , government agencies , resort and travel outfits .
The hitch is that there are days between when no aerial assignments crop up . No photographer can afford to specialize in aerial photography as a sole source of income !
But -- the ability to do good , hopefully outstand ing , aerial photography is a valuable asset for the versatile photographer . For example : A commercial organization builds a new plant , factory , refinery , apartment building they want full picture cover age of it to be used for their advertising , annual report , sales brochures , public relations , murals , etc.
So , the photographer takes exterior shots , pictures of the lobby , new equipment , the decor , the machinery whatever features the client wishes to show . Then , a good aerial view of the entire project can be the photograph that ties the complete package together .
Take , for example , the accompanying photo of the high - rise apartment building adjacent to the famed George Washington Bridge spanning the Hud son River between Fort Lee , N. J. and New York City . The ad agency wanted to emphasize the close ness of the building to the bridge for convenience of future tenants who would be commuting to work across the river while at the same time showing the very spectacular view the building affords .
How to start doing aerials
How do you start taking aerials ? If you have a camera with which you have been taking good on the - ground pictures , give it a try in the air . Begin with black - and - white film because your flubs won't be as costly as with color .
Also , many aerial shots should be taken in b / w rather than in color for color should be used only when there is color to show . Much of the texture and the pattern of terrain is as effective ( or even more so ) , in black - and - white as it would be in color .
Size of camera ? First choice , if you have it , is a 4x5 " using cut film . Don't go for the war surplus K - 20's and other aerial cameras that use expensive , hard - to - find , difficult - to - process rollfilm . Also , any camera that takes film larger than 4x5 " is usually too heavy and cumbersome for use in a small plane .
True , the bigger the negative , the more clarity you have for distant scenes . But , a good 214x¹4 " or a 35mm camera with a good lens will give you satis factorily sharp pictures .
A 4x5 Speed Graphic is fine . Make sure to tape the focus at infiniy before taking off . Keep the camera bellows out of the slipstream if you are shooting out side the cabin if the window or door is out .
If you can afford one- the new 6x7 cm . format cameras , such as the Pentax 67 , make good aerial cameras . Linhof also builds a fine aerial camera but it costs well over $ 1000 .
A Rolleiflex , long a standby , works well . Be sure to tape the focus at infinity so you won't accidentally move it when working in the plane . With the Rollei and similar cameras , use the direct open finder in stead of the reflex viewfinder .
LOW WING planes like the authors ' Mooney Super 23 are excellent for aerial picture assignments .
Should you use filters ? No filter , lens or film com bination can cut through industrial haze because it is made up of soot and dirt particles . However , if the haze is made up of moisture droplets , then an orange filter will help when shooting b / w film . For more contrast with black - and - white pictures , instead of using a filter , try underexposing one stop and then overdevelop the film to increase the contrast .
Avoid the use of filters !
Avoid the use of filters whenever possible . Why risk spoiling the results of a high quality lens by putting a relatively cheap piece of glass in front of it unless conditions make it absolutely necessary ? For color aerials , no film is " warm " enough to compen sate for the excessive blue in the atmosphere . The higher the shooting altitude , the greater the blue . Use a skylight filter to gain some correction .
Ideally , one waits for clear air conditions to do aerials . But , with the air pollution conditions that prevail most everywhere today , clear air days are rare and assignments usually will not wait .
Don't let clouds ( other than a solid overcast ) , stop you from shooting . Often a cloudless sky will not look anywhere as good in your photographs as will interesting cloud formations such as puffy cumu lus or layered cirrus when you are showing a hori zon with sky in the picture .
Shoot through Plexiglas windows ? Yes , if necessary . Many planes used regularly for aerial work have a removable door . Others do not . Where the door or window is not removable , you must shoot through the window itself .
care of one Several tricks will prevent reflections . Nature takes in most situations your back will be to the sun ( or nearly so ) , so you'll be shooting out of the shadowed side of the plane and this will subdue existing reflections in the windows . Hold your camera lens very close to the window ( about one inch away ) so that it sees through only a very small part of the pane . At this close distance the lens itself will help block out reflections .
Be careful to not let the lens or lenshood touch the glass for it will cause scratches and you certainly don't want to be shooting through scratch marks . Also , by not bracing yourself and the camera against the aircraft , you will reduce the effects of vibration which could ruin your photos .
AIR VIEW shows proximity of bridge for easy commuting for prospective tenants of apartment house .
Wear a black shirt . Use black cloth , such as a chang ing bag or focusing cloth to drape over any light reflecting objects in the plane's cabin .
Back to that Plexiglas again . When booking a plane , it's most important that you find out whether the glass is clear or tinted . Green tinted glass , which is standard on many planes , makes color shooting more difficult . A CC - 10M filter will correct most of the green tint for satisfactory color balance but you will lose about 2 / 3rds of a stop . If you take your exposure meter reading through a CC - 10M filter plus the tinted glass , compensation is automatically taken care of in the reading . Otherwise , just open up 2 / 3rds of a stop . Black - and - whites through tinted glass , inci dentally , are no problem .
Point exposure meter down
When making an exposure meter reading from a plane , tilt the meter down sufficiently so it will not be influenced by the brightness of the sky , clouds or light - reflecting haze on the horizon . Except when most of your picture is sky and clouds , just aim the meter at the subject you are photographing or at one of similar brightness from the same angle at which you are going to make your exposures !
For example , if you are photographing a cross lighted scene , take your reading from that cross - lighted angle . Be sure to not aim your meter at the light re flecting surface of the wing , too !
RARE DAY without obscuring air pollution resulted in above view of New York . Tony Linck used back light to accent Verrazano Bridge across N. Y. harbor .
UNIQUE SHOT of ballparks at dusk , made on assignment for Sports Illustrated , was shot in 1 / 40th second .
Shutter speeds ? Anywhere from 1/200 of a second to 1/1000 of a second . If it's a rough air condition and you are using Tri - X on a bright sunny day , you can use 1/1000 of a second and f / 8 ( check your meter ) . If you are using ASA 64 color film , hope for smooth air because you will have to use 1 / 200th second and about f / 8 . Never use your lens at its maximum aper ture as most lenses don't give maximum sharpness when wide open .
Night aerials ? Well -- dusk shots are possible , but tricky ( see Yankee Stadium - Polo Grounds shot ) . Sports Illustated magazine wanted this picture of the last simultaneous use of the two New York ball parks .
Afterglow added highlights
How to do it ? It had to be shot just at the transition time when automobile lights and stadium floodlights started glowing while there still was an afterglow of sunset to cause reflections on the tops of cars , rivers , roads , etc. Such a picture has to be shot in a westerly direction to pick up that 45 - degree angle of afterglow .
The film used for this shot was Royal - X Pan with a shutter speed of 1 / 40th of a second using a 6 " f / 4.5 lens wide open at 1500 ' altitude . The processing was in undiluted DK - 50 , with development pushed to just where developing fog starts to set in that is the ultimate .
In this case , the circumstances justified using a wide open aperture and slow shutter speed . Even though the air was very smooth on the evening the shot was made , many of the exposures contained moves and blurs . But , all that was needed was the one successful shot !
An experienced photo pilot is as indispensable as the camera , film , plane and photographer . But , harder to find .
A photographer who intends to do any large amount of aerial work should learn , early on , the basic man euvering capabilities of the aircraft he will be using . Beginners invariably think in terms of a high - wing plane because " the low wing gets in the way " . Not at all . The only photography done vertically is for carefully calibrated mapping done with great pre cision and requiring very expensive and elaborate camera - plane riggings .
Your photographs will be obliques . Your photo pilot , when he understands what you are trying to accomplish , can put a low wing plane in a banking orbit around your picture subject which becomes , in effect , the hub of a wheel with the plane being the " rim " . You'll have an unimpeded view with no high wing , struts or wheels to shoot around in case the pilot banks too much or not enough .
TYPICAL AIR shots for industries are the three on these two pages done for oil companies . Top , an offshore drilling rig ; below - tanker on the Hudson .
التصوير الفوتوغرافي الحديث
ANGLES on AIR PHOTOS
No one can really afford to specialize in aerial photography as a sole means of income - but , the ability to make good air views is a valuable asset for freelancers seeking wider markets !
AERIAL PHOTOGRAPHS are dramatic , spectacu lar , interesting , essential , useful - according to the subject , situation and purpose . Who uses aerials ? Everyone . Newspapers , magazines , advertising agen cies , industrial companies , calendar publishers , real estate developers , government agencies , resort and travel outfits .
The hitch is that there are days between when no aerial assignments crop up . No photographer can afford to specialize in aerial photography as a sole source of income !
But -- the ability to do good , hopefully outstand ing , aerial photography is a valuable asset for the versatile photographer . For example : A commercial organization builds a new plant , factory , refinery , apartment building they want full picture cover age of it to be used for their advertising , annual report , sales brochures , public relations , murals , etc.
So , the photographer takes exterior shots , pictures of the lobby , new equipment , the decor , the machinery whatever features the client wishes to show . Then , a good aerial view of the entire project can be the photograph that ties the complete package together .
Take , for example , the accompanying photo of the high - rise apartment building adjacent to the famed George Washington Bridge spanning the Hud son River between Fort Lee , N. J. and New York City . The ad agency wanted to emphasize the close ness of the building to the bridge for convenience of future tenants who would be commuting to work across the river while at the same time showing the very spectacular view the building affords .
How to start doing aerials
How do you start taking aerials ? If you have a camera with which you have been taking good on the - ground pictures , give it a try in the air . Begin with black - and - white film because your flubs won't be as costly as with color .
Also , many aerial shots should be taken in b / w rather than in color for color should be used only when there is color to show . Much of the texture and the pattern of terrain is as effective ( or even more so ) , in black - and - white as it would be in color .
Size of camera ? First choice , if you have it , is a 4x5 " using cut film . Don't go for the war surplus K - 20's and other aerial cameras that use expensive , hard - to - find , difficult - to - process rollfilm . Also , any camera that takes film larger than 4x5 " is usually too heavy and cumbersome for use in a small plane .
True , the bigger the negative , the more clarity you have for distant scenes . But , a good 214x¹4 " or a 35mm camera with a good lens will give you satis factorily sharp pictures .
A 4x5 Speed Graphic is fine . Make sure to tape the focus at infiniy before taking off . Keep the camera bellows out of the slipstream if you are shooting out side the cabin if the window or door is out .
If you can afford one- the new 6x7 cm . format cameras , such as the Pentax 67 , make good aerial cameras . Linhof also builds a fine aerial camera but it costs well over $ 1000 .
A Rolleiflex , long a standby , works well . Be sure to tape the focus at infinity so you won't accidentally move it when working in the plane . With the Rollei and similar cameras , use the direct open finder in stead of the reflex viewfinder .
LOW WING planes like the authors ' Mooney Super 23 are excellent for aerial picture assignments .
Should you use filters ? No filter , lens or film com bination can cut through industrial haze because it is made up of soot and dirt particles . However , if the haze is made up of moisture droplets , then an orange filter will help when shooting b / w film . For more contrast with black - and - white pictures , instead of using a filter , try underexposing one stop and then overdevelop the film to increase the contrast .
Avoid the use of filters !
Avoid the use of filters whenever possible . Why risk spoiling the results of a high quality lens by putting a relatively cheap piece of glass in front of it unless conditions make it absolutely necessary ? For color aerials , no film is " warm " enough to compen sate for the excessive blue in the atmosphere . The higher the shooting altitude , the greater the blue . Use a skylight filter to gain some correction .
Ideally , one waits for clear air conditions to do aerials . But , with the air pollution conditions that prevail most everywhere today , clear air days are rare and assignments usually will not wait .
Don't let clouds ( other than a solid overcast ) , stop you from shooting . Often a cloudless sky will not look anywhere as good in your photographs as will interesting cloud formations such as puffy cumu lus or layered cirrus when you are showing a hori zon with sky in the picture .
Shoot through Plexiglas windows ? Yes , if necessary . Many planes used regularly for aerial work have a removable door . Others do not . Where the door or window is not removable , you must shoot through the window itself .
care of one Several tricks will prevent reflections . Nature takes in most situations your back will be to the sun ( or nearly so ) , so you'll be shooting out of the shadowed side of the plane and this will subdue existing reflections in the windows . Hold your camera lens very close to the window ( about one inch away ) so that it sees through only a very small part of the pane . At this close distance the lens itself will help block out reflections .
Be careful to not let the lens or lenshood touch the glass for it will cause scratches and you certainly don't want to be shooting through scratch marks . Also , by not bracing yourself and the camera against the aircraft , you will reduce the effects of vibration which could ruin your photos .
AIR VIEW shows proximity of bridge for easy commuting for prospective tenants of apartment house .
Wear a black shirt . Use black cloth , such as a chang ing bag or focusing cloth to drape over any light reflecting objects in the plane's cabin .
Back to that Plexiglas again . When booking a plane , it's most important that you find out whether the glass is clear or tinted . Green tinted glass , which is standard on many planes , makes color shooting more difficult . A CC - 10M filter will correct most of the green tint for satisfactory color balance but you will lose about 2 / 3rds of a stop . If you take your exposure meter reading through a CC - 10M filter plus the tinted glass , compensation is automatically taken care of in the reading . Otherwise , just open up 2 / 3rds of a stop . Black - and - whites through tinted glass , inci dentally , are no problem .
Point exposure meter down
When making an exposure meter reading from a plane , tilt the meter down sufficiently so it will not be influenced by the brightness of the sky , clouds or light - reflecting haze on the horizon . Except when most of your picture is sky and clouds , just aim the meter at the subject you are photographing or at one of similar brightness from the same angle at which you are going to make your exposures !
For example , if you are photographing a cross lighted scene , take your reading from that cross - lighted angle . Be sure to not aim your meter at the light re flecting surface of the wing , too !
RARE DAY without obscuring air pollution resulted in above view of New York . Tony Linck used back light to accent Verrazano Bridge across N. Y. harbor .
UNIQUE SHOT of ballparks at dusk , made on assignment for Sports Illustrated , was shot in 1 / 40th second .
Shutter speeds ? Anywhere from 1/200 of a second to 1/1000 of a second . If it's a rough air condition and you are using Tri - X on a bright sunny day , you can use 1/1000 of a second and f / 8 ( check your meter ) . If you are using ASA 64 color film , hope for smooth air because you will have to use 1 / 200th second and about f / 8 . Never use your lens at its maximum aper ture as most lenses don't give maximum sharpness when wide open .
Night aerials ? Well -- dusk shots are possible , but tricky ( see Yankee Stadium - Polo Grounds shot ) . Sports Illustated magazine wanted this picture of the last simultaneous use of the two New York ball parks .
Afterglow added highlights
How to do it ? It had to be shot just at the transition time when automobile lights and stadium floodlights started glowing while there still was an afterglow of sunset to cause reflections on the tops of cars , rivers , roads , etc. Such a picture has to be shot in a westerly direction to pick up that 45 - degree angle of afterglow .
The film used for this shot was Royal - X Pan with a shutter speed of 1 / 40th of a second using a 6 " f / 4.5 lens wide open at 1500 ' altitude . The processing was in undiluted DK - 50 , with development pushed to just where developing fog starts to set in that is the ultimate .
In this case , the circumstances justified using a wide open aperture and slow shutter speed . Even though the air was very smooth on the evening the shot was made , many of the exposures contained moves and blurs . But , all that was needed was the one successful shot !
An experienced photo pilot is as indispensable as the camera , film , plane and photographer . But , harder to find .
A photographer who intends to do any large amount of aerial work should learn , early on , the basic man euvering capabilities of the aircraft he will be using . Beginners invariably think in terms of a high - wing plane because " the low wing gets in the way " . Not at all . The only photography done vertically is for carefully calibrated mapping done with great pre cision and requiring very expensive and elaborate camera - plane riggings .
Your photographs will be obliques . Your photo pilot , when he understands what you are trying to accomplish , can put a low wing plane in a banking orbit around your picture subject which becomes , in effect , the hub of a wheel with the plane being the " rim " . You'll have an unimpeded view with no high wing , struts or wheels to shoot around in case the pilot banks too much or not enough .
TYPICAL AIR shots for industries are the three on these two pages done for oil companies . Top , an offshore drilling rig ; below - tanker on the Hudson .
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