Photographing from an Airplane

Dennis_Vied · #15 04-14-2008, 01:50 PM

Jon, it sounds like you're pretty well stuck with a 172 from your message. All the above advice is great, but it sounds like you're stuck with the 172 at your local airport.

Now, from a practical standpoint, removing a door from a 172 is fairly easy, but requires some details that the owners might not particularly like. First, you have to cut the hinge pins. Operators who do this frequently have removable hinge pins in the door, as well as certification for flying with the door off. Most small airports who talk about "renting you a 172" are not usually thinking that you are going to want to "cut my door off (!?!)."

So, you're probably looking at shooting out the window. Removing the stay-open lever anchor pin will allow the window to float up to the under side of the wing at low airspeeds. However, if you do much slipping, it can bang down into your camera. This, I think, it the logical approach for you. (And, if you lost the anchor pin, as I did, they only cost a couple of bucks to replace). (Stall speed clean is 44 knots, Doug).

You'll have to either shoot between the strut and the forward fuselage, (getting some prop arc in the shot), or shoot aft of the strut in the clear, which is the better choice. This means, of course, that you'll be going away from your subject during the shot. If you remove the right front seat, and put something to sit on, like a wooden box, you'll be able to sit facing rearward, which will greatly improve your shooting.

You'll be able to go down as close to the water as the pilot will dare, but no closer than 500 feet to the subject. You'll need a good, experienced pilot to do all this, do it right, and do it safely. You should be wearing life vests just in case you need them.

If I were doing it, I'd do some general "atmosphere" shots from the air, then go aboard a chase boat and get the closer stuff.

Ed Gerson · #16 04-14-2008, 04:15 PM

Bring an air bag, the pilot might need it. Especially if it's a clear day. If you wear eyeglasses, secure them with a safety strap, available at any sports, drug or discount store. Never fly with a pilot who doesn't have gray hair.

David_Buzzard · #17 04-14-2008, 06:08 PM

If at all possible, take the door off. It's not that tough with most light aircraft. If you have a climbing harness, wear that. Helicopters, and I imagine planes, have a cleat to attach a life line to, and that will let you move around in your seat without falling out. Make sure to put your seat belt on for taking off and landing. If you don't have a harness, tape the latch of the seat belt closed. It can catch on clothes and gear, and accidentally open. When I do that, I always bring a sharp folding knife that I can use to cut the tape in an emergency. It would suck to survive a crash, and then not be able to get out of a burning plane because you can't open the seat belt.

If there's room, bring someone who can deal with your equipment. It's a lot easier and time efficient than changing lenses yourself.

As far as lenses go, the closest you'll be to the subject is 500 feet, so a wide angle isn't going to be much good to you. You also need to have a fast shutter. Not only will you be going 100 - 150 MPH, but prop planes and helicopters vibrate like crazy. I would say 1/500 is your minimum shutter speed.

David Buzzard's Technical Blog

Ed Gerson · #18 04-14-2008, 06:40 PM

Quote:

Originally Posted by Ed Gerson

Bring an air bag, the pilot might need it. Especially if it's a clear day. If you wear eyeglasses, secure them with a safety strap, available at any sports, drug or discount store. Never fly with a pilot who doesn't have gray hair.

Also: When riding in a helicopter, do not ride in the "hellhole" side, that is, the right rear side of a helicopter. When the blade hits the ground, the right side of the helicopter immediately slams into the nearest solid or liquid object....Ed

Michael_Greene · #19 05-05-2008, 11:04 AM

Do any of you aerial photographers have suggestions for dealing with haze? I am interested in improving landscape photos, especially of cities from tall buildings. National television networks constantly show the most beautiful, haze free photos, such as are taken from Rockefeller Center in NY City. But even on the clearest days I cannot approach their clarity despite increasing contrast and saturation in processing.

Dennis_Vied · #20 05-05-2008, 02:22 PM

I would speculate that the networks rely on a source which always has a camera trained on the skyline, and are able to pick and choose from a wealth of archived footage, and that these shots are shot on those glorious days when you and I would be stuck in some office cubicle, and by the time we could get to the shot, it ain't there anymore.

Just speculation, of course, but I wouldn't eat my heart out about it.

The real secret is to be there on hazeless days.