{"id":1437,"date":"2016-06-28T23:24:56","date_gmt":"2016-06-28T23:24:56","guid":{"rendered":"http:\/\/www.apogeephoto.com\/?p=1437"},"modified":"2016-07-29T12:54:24","modified_gmt":"2016-07-29T12:54:24","slug":"why-do-aerial-photography-part-1","status":"publish","type":"post","link":"https:\/\/www.apogeephoto.com\/why-do-aerial-photography-part-1\/","title":{"rendered":"Why start An Aerial Photography Business: Part 1"},"content":{"rendered":"

There are at least three good reasons to do aerial photography:<\/p>\n

~ A client needs your aerial photography skills;<\/p>\n

~ You want to create Art with a different perspective;<\/p>\n

~ Because you can – for the excitement and fun.<\/p>\n

An aerial photography business requires the same set of skills and attention given to the craft of sports, landscape or wildlife photography, but in order to be successful, some additional knowledge will be needed.<\/p>\n

\"Aerial<\/p>\n

Aerial photography can provide a new set of photographic challenges and rewards.<\/strong><\/p>\n


\nThe Aerial Article Series
\n<\/strong><\/p>\n

In this series, I will discuss how certain camera settings and features of equipment will impact the end results in an aerial environment. I will review some of the fundamentals of digital photography as they apply to aerial work and explore some topics that you may not have considered (nor are necessary) with ground-based photography.<\/p>\n

So why do aerial photography? Above all, because it\u2019s fun! Not only will it expand your photographic horizons (literally), but it will provide a new perspective on the craft and possibly help to launch an aerial photography business<\/strong>. Put simply, things look different up there!<\/p>\n

 <\/p>\n

\"aerial<\/p>\n

Landscape photography takes on a new dimension
\nwhen you\u2019re looking down on a different palette.<\/p>\n


\nRequirements for Creating Aerial Images<\/strong><\/p>\n

An understanding of the relationships between shutter speed, aperture, ISO settings, contrast, EV values and so forth is very important, along with being thoroughly familiar with your camera equipment \u2013 fumbling around trying to figure out the camera settings while you\u2019re flying is not advisable.<\/p>\n

There is only one light source with which to work \u2013 the sun. How you use that light makes all the difference. As with any worthy endeavor, practice in a chosen field is a key component.<\/p>\n

This kind of photography can also require substantial monetary funding (a good reason to have paying clients), depending on the chosen source of rising into the sky.<\/p>\n

Be willing to learn something about the wonderful world of aviation.<\/p>\n

Oh yes, and most important \u2013 if flying high and looking out and down creates distress, you\u2019ll need to stay with those photo genres that keep your feet on the ground!<\/p>\n

\"Aerial<\/p>\n

Doing aerial photography does not require jumping out of a perfectly good airplane.
\n<\/strong><\/p>\n

Getting There is Half the Fun<\/strong><\/p>\n

In order to enjoy aerial photography, one major objective must be accomplished \u2013 a gain in altitude. And that involves defying one of those pesky Newtonian Laws of Physics \u2013 gravity. It\u2019s that invisible force that keeps 99% of us planted on terra firma<\/em> most of the time. The \u201cproblem\u201d with gravity is it seems to work all of the time, not just some of the time. When that law is defied in pursuit of aerial photography, it\u2019s good to keep in mind that it works without fail. What goes up will most assuredly come down! It\u2019s the return trip that is of most concern \u2013 getting back to earth safely.<\/p>\n

There are a number of ways to gain altitude, all of which involve breaking the law of gravity – airplanes, helicopters, hot-air balloons, and even hang gliders. Rising high involves personal preferences, available financial resources, and above all \u2013 your objectives. I know of one photographer who uses kites to help his camera gain altitude; though in my view, that sort of defeats the purpose of \u201cgetting up there.\u201d<\/p>\n

Even sky-diving is a means to enjoying aerial photography, but a word of caution: most of the photographic activity takes place on a one-way trip. A very fast trip! It would be challenging to change ISO settings while remembering to pull the rip cord. Multi-tasking is not advisable in this environment.<\/p>\n

\"Aerial<\/p>\n

It is advisable to make sure your harness is attached to
\navoid making an unscheduled visit to the neighbor\u2019s pool.<\/p>\n

High Wing, Low Wing, Rotary Wing \u2013 Oh, My!<\/strong><\/p>\n

For most aerial work, the more conventional means of gaining altitude are airplanes and helicopters. For clarity, I will refer to these as \u201cfixed-wing\u201d and \u201crotary wing\u201d \u2013 more on that later. All aircraft types have pros and cons when it comes to photography, but there is a rule of thumb that always works \u2013 low and slow is better. Certainly, spectacular aerial photos can be made from a jet (another type of fixed wing), but most \u201ccommon folk\u201d don\u2019t have access to such aircraft. Besides, things happen so quickly in a jet, it\u2019s hard to keep up.<\/p>\n

\"Aerial
\n
\n<\/strong>Very fast aircraft are not necessarily
\nthe best for aerial photography.<\/strong><\/p>\n

\"Aerial<\/p>\n

Vibration from a helicopter can quickly
\nmake you feel like the poor fellow in the sling.<\/strong><\/p>\n

In the fixed-wing category, high-wing aircraft are preferred for most aerial photography. It\u2019s much easier to see the ground without that silly wing blocking your view.On the other hand, if you want to do some up-close-and-personal portraits of clouds, you might find that a low-wing aircraft is more suitable. Remember your objectives?<\/p>\n

In general, the slower you fly, the more opportunity you have to ponder the next image. With aerial photography, time can be a seriously limiting factor. Anything you can do to get more of it will pay dividends in the number of and quality of images you can make. This is a major reason why helicopters are such a popular platform. There is something to be said for having the ability to hover over your objective \u2013 it gives you time to consider your composition.<\/p>\n

Helicopters have a major drawback, though. In addition to being notoriously expensive to operate, rotary-wing aircraft are prone to vibration which can adversely impact the sharpness of your photos. This is in part because the lift-inducing mechanism \u2013 the rotor, which is actually a wing \u2013 is pushing air toward you at several hundred revolutions per minute. Add to that the inherent vibration created by transforming the lateral kinetic energy produced by the engine into vertical energy (powering the rotor) – you get the picture.<\/p>\n

How do you fight the vibration monster in rotary-wing aircraft Certainly a fast shutter speed in combination with optical stabilization in your camera or lens (you are using a DSLR, aren\u2019t you?) will help. But the ideal solution is a gyro-stabilizing platform on which to mount the camera. Problem is, most professional-grade stabilizers are quite expensive (several thousand dollars) and out of the reach of most of us, though renting is always an option. Here are some instructions for a \u201cD.I.Y. low-cost gyro stabilizer\u201d<\/a> – might be useful for the tinkerers among you.<\/p>\n

Equipment Basics For An Aerial Photography Business<\/strong><\/h3>\n

It has been said that \u201cthe best equipment is what you have in your hand.\u201d This is certainly true in most cases – nothing says you can\u2019t use a point-and-shoot for aerial work. But there are certain kinds of equipment that just work better in an aerial environment. First and foremost, consider the lens \u2013 regardless of what kind of camera to which it\u2019s attached.<\/p>\n

If all you have is a point-and-shoot, that\u2019s OK. Just rely on the optical zoom segment of the camera\u2019s focal range. Avoid using the digital zoom \u2013 all it does is crop the image captured by the sensor while creating a fertile breeding ground for \u201cthe shakes.\u201d<\/p>\n

\"Aerial<\/p>\n

Portraits of clouds can appear very different when you\u2019re looking down at them.
\n<\/strong><\/p>\n

What kind of lens should you use in an aerial photography business? Again, it depends on your objectives. I always advise using a zoom lens (preferably one of high quality) for the simple reason it is much easier to re-frame a composition with the zoom feature than it is to re-position the aircraft a couple hundred feet one way or the other as would be required with a fixed focus lens. Pilots get cranky when asked to move the aircraft a half-degree for the sake of composition (\u201cWhat are you, an FAA examiner?\u201d).<\/p>\n

While very-wide-angle lenses can produce some extraordinary panoramas, you have to be very careful in framing your composition (especially with cropped sensor cameras) to avoid getting wheels, struts or wings in the photo. At the other end of the spectrum, long lenses are very prone to the shakes (even on a stabilizer platform). Mechanical vibration and turbulence can ruin an otherwise stunning photo (more on that in another article). I personally prefer my go-to lens: 18 \u2013 200 mm zoom. Covering the entire spectrum from wide-angle to telephoto, it is very utilitarian, though I find that 90% of my aerial work in concentrated in the 85 mm to 135 mm range at altitudes most useful for aerial photography.<\/p>\n

It helps to have a good quality camera, too; preferably one that has some kind of optical stabilization (either in the lens or in the camera). I use a DSLR simply because that\u2019s what I\u2019m used to. It allows me to change certain parameters \u2013 shutter speed, aperture, EV, white balance \u2013 on the fly in response to changing conditions. Trust me, conditions can change rapidly in aviation \u2013 ask any pilot.<\/p>\n

Pilots are also essential \u201cequipment\u201d for aerial photography. Unless you have very a sophisticated remote-control setup, I strongly advise against trying to fly and take photos at the same time. We humans are not very effective at multi-tasking.<\/p>\n

\"Portrait
\n
\nA pilot is essential equipment. She will plan the mission to the
\nsmallest detail and advise you on conditions you might expect.<\/strong><\/p>\n

\"Aerial
\n
\n<\/strong>Haze is a fact of life in aerial photography, but we can deal with it without using filters that can compromise the sharpness of your photos.<\/strong><\/p>\n

To Filter, or Not to Filter<\/strong><\/p>\n

Finally – a word about filters.<\/p>\n

The aerial landscape, especially at certain times of the year, can be plagued with a high level of haze due to atmospheric conditions. I don\u2019t use filters, not even a UV \u201chaze\u201d filter.<\/p>\n

Now, I know what you\u2019re thinking, \u201cBut UV filters are meant to cut down on haze.” That\u2019s true to a point. The amount of haze reduction provided by a filter is insignificant compared to the haze you are likely to encounter on an aerial sortie. And the tradeoff \u2013 reduced sharpness induced by even high-grade filters \u2013 isn\u2019t worth the small incremental improvement you\u2019ll get from using a UV filter. Some people will argue that a high-end filter (those costing upwards of $100) won\u2019t compromise an image. That may be true for ordinary ground-based photography, but the aerial world is an extraordinary environment. Because of the great distances involved with aerial photography, even the slightest disruption of the photons reaching the sensor (as introduced by a filter) can have a major impact on the sharpness of your photos.<\/p>\n

And by all means, stay away from polarizing filters. While glare and reflections can be minimized by using polarizers, most of these filters have an unfortunate tendency to induce a bluish cast into the image. You\u2019ll find you have an overabundance of blue to deal with \u2013 you don\u2019t need more.<\/p>\n

In another installment, I\u2019ll show you how to mitigate the effects of haze, glare and bluish conditions without resorting to the use of filters.<\/p>\n

Let\u2019s Go Flying!<\/strong><\/p>\n

Now that we\u2019ve established our objectives and selected our equipment and aircraft, we\u2019ll devote the next installments of this series to making all this stuff work together so you can proudly display your work.
\nTechnical data for all photos:<\/p>\n

Camera \u2013 Nikon D90<\/p>\n

Lens \u2013 18-200mm zoom<\/p>\n

Format \u2013 RAW<\/p>\n

Light source – sun<\/p>\n

by Allen Moore
\nAll text & photos: \u00a9 2013 Allen Moore. All rights reserved.<\/p>\n","protected":false},"excerpt":{"rendered":"

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