Tips and advice for Air to Air shots

Hi everyone. I just got a phone call from a friend who wants me to take some shots of his aircraft air to air. I'll be shooting his tigermoth and stearman, and possibly a pitts from the side of a 182 for a dvd cover, possible magazine article, brochures etc, but to be honest I have never done air to air before so was wondering about any special things I need to consider. Things I can think of off the top of my head like wind/cold, and communication could be a concern.

Also any tips on angles, best times etc would be greatly appreciated. I am thinking/hoping the 100-400 will be all I need for both air to air and some runway shots.


Regards
Paul

First Order Of Business = Safety...

Do all of the pilots involved have formation experience?

1. Listen to Jay.
2. WHAT aircraft?
3. More...
Air to Air Photography

Shooting helicopters... from helicopters

FlyingPhotog wrote in post #10803140
First Order Of Business = Safety...

Do all of the pilots involved have formation experience?

Hi Jay, yes of course. This is all to be confirmed, but from what I understand, the 182 pilot will be the CFI of the company my friend has the planes rented out to, (they offer joyflights in all sorts of aircraft) and having met him previously when my friend took me up in the moth and seeing how he "is" as an instructor, would not let this occur unless the rest of them had their formation qualification. I assume, (but don't know for sure) that the rest of his staff will be flying the other planes. My friend who owns the aircraft doesn't have his formation ticket as yet so I am guessing he will be passenger in one of the aircraft.

photosguy:

1: most certainly, I was quietly hoping he would see this thread and offer some advice
2: ?? I mentioned them in the first post.
3: thanks for that, some good tips in that thread.

Sorry. I was still thinking about a previous thread.

Ok then, since all the parties seem to be safe and competent....

1) IMO, the 100-400 is too much lens both in terms of reach and ease of use in flight. I like the push-pull under every circumstance except a cramped aircraft cabin. I'd strongly suggest you borrow or rent (or buy) a 24-105 f/4L IS. Don't be afraid to shoot slightly wider and crop in post. Better to keep the aluminum separated than have to fly too close. Another option would be the 70-200mm f/2.8L IS which would allow your subjects to fly even a little farther out from you. I'd shoot in Shutter Priority and Evaluative Metering. Start at 1/350 and work your way slower after every five shots or so. Better to get less prop blur and sharp shots than great blur and unsuable images. I wouldn't probably drop below 1/125 unless you've got really good light where the prop disc is really obvious. Take a chance and drop to 1/60 for a few shots but only if it's really a money shot!

2) No Hoods! They make great wind catchers and can be easily lost overboard which is also not a good thing.

3) A 182 is going to limit your angles because of the strut. Ask (Insist) that the passenger side window be allowed to open fully (airflow will hold it open) so you don't have to shoot through glass.

4) Your best comms method will be to relay your requests through your pilot and let him radio them to the subject plane. You should develop some basic hand signals though incase radio goes INOP for some reason. Also establish clear and carved-in-stone deconfliction instructions (Photo Plane Will Turn Left and Climb .. Subject Plane Will Turn Right and Decend) so that if visual contact is lost, each will know for sure what the other will do. Also establish a solid procedure for doing "Kiss Off" shots where the subject plane banks away from you. Nail down how many degrees they are to turn initially and then what heading they should assume after you call clear so you can re-join if needed.

It has been suggested in some circles that once you give the Kiss Off, let the subject simply RTB, establish a new heading and altitude and call in your next subject for the join. On Again, Off Again, On Again, Off Again situations where you Kiss Off, Rejoin, Kiss Off, Rejoin, Kiss Off, etc can be stressful and it's when SA can be lost.

5) Brief a flight plan and fly it. Pick a route that will afford you a variety of backgrounds and a variety of lighting conditions. Consider simple racetrack patterns if possible so you don't have to fly very far from the airport. Fly at "High Cruise Power" so the engine RPMs are up a bit and prop discs can be more easily captured when you begin to drop your shutter speed from the initial 1/350.

6) Fly very early in the morning or late in the day when the light is best and the air is smoooooth.

7) Instruct your subject planes to keep their glareshields clean and clutter free. No Charts, Hula Girl Figurines, Half-Eaten Sandwiches, etc... and have your subject pilots avoid wearing hats so you can see their faces.

8 ) Be sure your photoship pilot keeps command of things at all times and is always clear on who is lead and who is wing. You can switch the lead back and forth but be clear when this is happening. You might want the subject to actually be the lead and fly straight and level while you maneuver on them. Other times, you will be the lead and the subject plane will work in / out, up / down off you.

9) Going back to the 70-200 Vs The Strut. You will have to probably have to work rear 3/4 shots shooting in front of the strut or front 3/4 shots shooting behind the strut.

10) Be sure your camera is as well secured as possible. Dropping 3-5lbs of camera from altitude is generally frowned upon!

Last thought: Consider getting another person to fly in the backseat to help scan for traffic. Most Air To Air is done from aircraft where the photographer works from the back so there can be a spotter in the right seat up front.

If at any time something doesn't feel right, look right, smell right... Call KNOCK IT OFF, deconflict and either re-establish or go back and land. I'd also ask the photoship pilot to contact ATC, explain that you are a two-ship on a photo mission and ask for Traffic Advisories or even a block altitude and (if available) a VOR radial on which to fly your racetracks so they know where you'll be.

Good Luck and Have Fun...!

These are from Bruce Moore at EAA and taken from the ISAP website.

TIPS AT FLYING FORMATION

- Bruce Moore
1. In most cases, the photo plane will form up on the subject aircraft. Please set up an economy cruise power setting so that after we join up, you will be able to go faster or slower as needed to maneuver on the Photo Plane.

2. Once the Photo Plane has called “I have the lead”, it is then your responsibility to maintain eye contact with the photo aircraft at all times. If at any time you have to look away from the photo aircraft, move out of formation before you break eye contact with the Photo Plane.

3. The basic secret of formation flying is: MATCH YOUR WINGS TO THE SAME BANK AS THE LEADER. It sounds too simple, but if your wings are held at the same angle as the photo ship you will find it easy to stay with us.

4. Anticipate power changes. Plan to use big power changes to keep in position. Airplanes accelerate and decelerate SLOWLY. Try to plan ahead with your power usage. If you have an airplane with a constant speed propeller leave your rpm set at the top of the green range for quicker power response and more aerodynamic braking from the propeller when you need to slow down and reduce power. You will be making constant power changes (and over a big range of power) to move to where we need you and maintain station in turns.

5. Do everything slowly and in small increments. When you are the leader, do all your roll-ins VERY slowly. This makes it easy for your wingman to follow you. It is easier to stay in position than to re-join the formation.

6. If you are going to be on the inside of a turn you will be traveling a shorter distance than the leader and you will have to reduce power to prevent overtaking the leader. If you are going to be on the outside of a turn, your airplane will be flying a greater distance than the leader, and you need to add power to keep up. A turn with a bank greater than 20 degrees takes A LOT of extra power to stay with the leader.

7. Whenever you change your height in relation to the photo plane you will need a power change to stay in the same position. (If you are pulling up, you will be slowing down and need to add power. If you are moving to a lower position, the plane will be speeding up and you need to reduce power.)

8. It is important for the pilot flying the plane to be in direct radio contact with the photo plane. We will be giving you instructions constantly. It is not always necessary to “roger” the instructions, but you must be able to hear them. If you lose communications, waive your hand past mouth if you can hear us but not transmit, or waive your hand past your ear if you can no longer hear us. The photographer will then give you hand signals.

9. If you loose sight of the Photo Plane, move away from our known position slowly, and immediately advise us that you have lost sight.

10. When you are being positioned for the “in-trail” pictures if you are looking through the photo plane’s horizontal stabilizer to see the photographer, then the stabilizer will also be in the picture. Please re-position so you have a clear view of the photographer.

TIPS AT BEING A GOOD PHOTO SUBJECT

- Bruce Moore
1. Be sure your aircraft interior is neat, with no unattractive gear showing. Your hats, clothing, etc. will also be visible in some of the pictures, so dress appropriately.
2.If you have a multi-place airplane feel free to take a passenger. They can help with traffic scan and navigation letting you concentrate more on the formation flying. If you have a passenger onboard, be sure they are looking at the photo plane when we are taking your picture
3. If you want to take pictures of the Photo Plane, wait for a time when we are not taking your picture. (And keep your camera out of sight when we are shooting you.)
4. Wear clothing and hats that will look good in the pictures (in many of the shots the pilots will be seen in good detail).
5. Smile! It makes the pictures much better (you are having fun, remember).

EAA PHOTO BRIEFING OUTLINE

- Bruce Moore



Introduce Photographers, describe Photo Planes.

Photo One

Photo Two

Cubby

Go around table getting info from pilots:

Name.

Type Aircraft.

Colors/Trim.

Com/Nav.

Formation Experience.

Days & Times they are available to Fly.

“ “ “ for Statics.

Communications Frequencies

Describe departure procedure.

Describe join-up:

Use economy cruise speed.

Photo Plane will pace on you.

Transfer the lead.

Formation guidelines:

Positive transfer of lead.

Lead responsible for navigation & traffic scan.

Wingman responsible for separation.

Match wing angle.

Anticipate power.

Rate of roll.

Loss of sight procedure.

We can fly on you.

Air to air instructions:

By radio:

Photo Pilot receiving directions from Photographers & will instruct subject.

Pilot that is flying must be able to hear radio!

[We have hand-held radio & headsets to loan.]

Hand signals (from Photographer).

Formation positions:

Beginning 3/4 side.

Profile.

In-trail.

In turns.

Wing-rocks.

Peel-off.

(Acro pilots: Knife-edge, Inverted, Vertical, etc).

Aircraft factors:

Blind spots.

Wake turbulence.

Subject plane passengers:

When we are shooting, look at camera and smile.

Help look for traffic.

Wait to take pictures of us when we are not shooting you.

Fuel (anticipate 1 hr. +).

In-Air Join-ups:

Call before engine start.

Position reports by range and radial from airport.

Use of landmarks on chart.

Sky Factors:

Clouds.

Turbulence.

Haze.

Backgrounds.

Return:

(LAL: “Warbird South Arrival”, “Lake Parker Arrival”)

(OSH: “Prison Arrival”, “Warbird Arrival”, “No-radio Arrival”)

Weather forecast.

Photos from shoot:

What you will get.

EAA usage & sale of photos.

Date & Take-off assignments.

Take departing aircraft immediately.

High wing & Biplanes: early am & late pm.



Bad Wx and reschedule procedures.

T.O. time slides with first departure.

Cell phone and radio updates.

New schedule by phone, radio or at next 3pm briefing.

WOW! so much info, I have decided to print it out and take many reads at it!!! Thanks so much guys, greatly appreciated.

We are scheduled to go up on Sunday to shoot the pitts to get some practice at it, and simply an excuse to go flying of course!
I actually suggested this and it was agreed we do this with just one plane at a time as I figured 3 or 4 of them would be a total pain for everyone involved........and if they like the shots, I get more chances to go do it all again shooting the moth and his stearman. Actually the stearman is still not ready, so it may be a while away before I shoot it. I initially thought it was done and in town. (full resto)


You got me worried about lenses now Jay as I can't get a lens before the weekend. I did mention to my mate that we will definitely not need to get too close with the 100-400. I already pre empted that it might be a pita to use in the confines of a moving plane with an open window. Thanks for the tip on the hood. I had thought that would be the case.

I have the 17-85, but to be honest......it sucks. I was going to take it of course, but the quality is so much lower than what comes out of the big girl. I have wanted a 24-105 for a long time now, but I can't spend the money on one at the present.


Thanks again guys, lots of great advice!

Oh, don't worry, it'll be strapped to me very well! If I lose it over the side I'll be following it down! I figure if I come home without it she's going to kill me anyway, so I may as well chose my final destination!


P.S Jay, do you have any particular angles you are most fond of? And any pics you would be willing to post here for some visual ideas?

Well let me tell ya a little story - God's honest truth it really happened.

It had taken several months to plan and execute but I was going to shoot my first B25 air to air. I had the chase plane the photo plane and the subject plane all coordinated and all the details nailed down. I had my gear chosen, the altitude picked, TOD and all the safety (or so I thought) mattes nailed down.

When I stowed my camera gear onboard the photo plane, I was 100% positive that I had also put in my safety harness.

We took off, and I started searching the inside of the Mooney for my harness. I should have put it on prior to takeoff but I chose the seat instead. We got to altitude and I watched the B-25 come up on us and I felt like a piece of meat on a stick. We were flat out and he was barely able to keep it in the air. But I had no harness, no parachute, no door and no plan. NOT GOOD! It was me some air and 4000 ft of aw sh*t straight down.

So when we drill safety, safety safety trust me we mean it. One wrong move and folks get hurt or killed and folks and stuff on the ground too. We want you to come back with awesome shots, great stories and all your body parts attached in the right places. Don't do what I did and make sure that you plan down the nth degree every aspect you can and if something is not right - Just like Jay said - call it of and do it another day. I now have hundreds of shoots, and have never had another issue. Commo is double and triple checked. A/C is triple preflighted. I ask stupid questions of every pilot and person involved. I had a pilot call me a few years ago that wanted to do a A/A shoot of his S2S inverted and over water as low as he could get. I asked his experience, his hours, who is instructors were and his experience at low level. He got PO'd and hung up. I heard that he ground looped his plane a few weeks later while attempting a snap roll into a two point landing. Hot dogging is never cool. I have been up with some of the best Airshow performers and all are nuts about safety. I had shoot canceled with a BIG name performer when his wing had a slight issue with the covering. We called it off and it got fixed and we shot two weeks later.

Now go bring us some damn good shots!

Between Jay and Les I think they pretty well got it all. 24-105 is perfect and my preference for air-to-air. This seems to work great, you don't need a fast lens, and you shouldn't need a long lens. Formation experience is a MUST, and speed compatible airplanes are also a must. The 182 and the Pitts should be fine, I shot a Pitts from a Super Cub one time and it worked well. If you can, like Jay mentioned open the window on the 182. Most of the time there is a stop that limits the travel of the window, you want to rework this on the ground so you can open it all the way.

I would also say look at air-to-air photos you like and really put a lot of thought into how that shot was taken. Plan where to put the subject airplane and what the pilots will have to do (I'll take model airplanes and position them, briefing with the pilots. Sometimes I'll even look through the viewfinder at the model to get the right angle). I plan 3-4 angles per shoot, this should take about 45 minutes. Don't get greedy and go for more. Keep shooting between the planned angles too - I'll shoot 200-400 pictures in an hour. There is a lot of different ideas here, but I go with the shoot a lot. Also, wait for the subject to get into position - no need to start shooting as soon as you see the subject.

There is a lot of good knowledge here, think of specific questions and feel free to ask.

Didn't happen today as the wind was up to 35 knots. Wouldn't you know it, the forecast was correct!

Hopefully next week or so, we'll try again.

Sorry you're first try got nixed, hopefully you'll get another stab at it. Until then, I got to thinking of a few other tid-bits that might be of value to you that don't often get mentioned.

1) ALTITUDE - There is two different altitudes to shoot air-to-air at, either high, or low. It is really easy to plan to shoot at 2000' or 3000' agl because that's where most people fly. That's exactly where you don't want to shoot. That is where the haze is the greatest, and the clouds are the worst. I plan to either shoot low (500'-1000') when I've got great backgrounds, or high when I've got great clouds (or if that is the environment where the airplane really belongs). Here's a couple of examples:

High (this was about 10,000' I think):

Great intel RYAN!! I always wondered how that pattern was flown to get the light "just right" down the sides of the plane without getting the exhaust softness. Also I really love the Staggerwing shot. It is without a doubt one of the most elegant designs ever.

I got to shoot the Stearman Black Wolf airmail from Reno, I am woking on a Stearman owner now to do some A/A stuff. Good work all around.

Excellent info Ryan, thanks a lot for those tips!

After looking at the (awesome) images and your little assci drawing I can see exactly what you mean in your explanations.

It's been windy here for a solid week now, and we are prob going to try to regroup in a couple of weeks now to have a go at it.

Did you ever get to do the shoot? How did they turn out?