Wow! These are fantastic shots. I am in awe. I take pics of many RC planes, and I find that difficult sometimes. You are an amazing photographer. Thanks for sharing.
Beverly
Yes, we've got a beautiful '43 T-6G. Wonderful aircraft and a real kick to fly, heck just to taxi!
I've found that some of the best Reno shots are on the ramp and in the pits. I've been out at the pylons a number of times and you can get some interesting shots but they all begin to look alike.
JW
Edited by JWilsonphoto on Sep 04, 2007 at 02:47 PM GMT
Great work --- Incredible work. I am just an armature at this stuff compared to your work. I do have a few of my own posted on my web page. Would love to know what an expert thinks of my modest work.
Any tips, areas I should focus on?
What is your primary camera/lens combo for aviation assignments?
Thanks Buddy! You're probably better than me right now. Tips for Reno would be like anywhere else, shoot lots. Look for vignettes, people/props guys crawling all over big engines and of course all shots are best during those sweet light times early/late in the day. Do you have pylon credentials? I hear the Feds are really restricting that these days. Out at the pylons, again shoot lots, work on pans and slower shutter speeds so you capture the motion and emotion of those beauties ripping around the course. Those shots that get several aircraft compressed in the turns are really a matter of luck with some skill mixed in, track 'em going around and shoot lots again. Getting in the rythmic groove as you pan with the racers is just a matter of practice. In the days of film you shot bunches and didn't really know how you did until days later at the light box. Digital lets you see if you're getting it right there, how great!
I'm going to look for a shot I did at Reno years ago. I was walking back to Tiger Destefani's pit and glanced over my shoulder saw this happening and kind of just shot from the hip. It turned out to be pretty unique, see what you think.
JW
Edited by JWilsonphoto on Sep 04, 2007 at 02:51 PM GMT
When you do get a chance to shoot air to air, choose your platform, pilot and subject carefully. I can't tell you the number of times I've been told, "my buddy rents this 172 and he can fly you to take the pictures", or "we don't need a trained formation pilot and a safety pilot, all I want are a couple of good shots". There's a million ways to be suckered into a dangerous situation by the lure of a great air to air image. I've done hundreds of air to air shoots and if they aren't done right, they're risky business. You lessen the risks considerably by knowing your crew, knowing that your subject pilot/aircraft are formation proficient, and that everyone understands the objectives and how you plan to get there. It is just flat amazing how quickly two aircraft can get together (in a bad way) if anyone loses their focus. Most of the editorial stuff I shoot, the aircraft I'm shooting is being flown by the same gentleman. He's an F-15 instructor instructor and has been there many times over and has all the t-shirts. We know each other so well in the air that we could almost do the routine without a transmission, but we know the risks, so nobody moves without announcing intentions and getting confirmation. The discipline keeps you safe, and if you think it's not hard for each person to burn a hole in their task, ask my pilot how bad he wanted to look over at that Mustang tucked up underneath our wing.
Hope you get to do it, it's a thrill each and every time. One time will give you a tremendous respect for the process, cause you're shooting something that's moving, from something that's moving, and you're both suspended in air that's moving. Sometimes even your breakfast is wanting to move!
Good luck, keep safe!
JW
Edited by JWilsonphoto on Oct 19, 2006 at 07:56 AM GMT (Reason: spelling)
Edited by JWilsonphoto on Jan 27, 2007 at 03:34 PM GMT (Reason: spelling)
Edited by JWilsonphoto on Sep 04, 2007 at 02:52 PM GMT
A side note on that last image. It was shot on Velvia 50 and there's not a speck of retouch or enhancement. We went around and around with those cirrus in the background until we both thought we were going to hurl. Remember the days of film when the cameras were lacking that little preview screen on the back? I thought that shot had potential to be cool, but didn't know for sure until it roll out of the soup at the lab.
