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because you may need fast shutter speeds. The best method of shooting photographs through a window is to take the picture with the optical axis of the lens perpendicular to the surface of the window. The lens should be as close as possible to the surface of the window without touching it. Although this method is better. When shooting photographs with an SLR camera through a window or canopy, you will find it helpful to make a foam rubber "doughnut" about 2 or 3 inches thick. This foam rubber shield should be taped to the camera using surgical tape because it sticks well and can be removed without leaving a gummy residue. you should place it against the aircraft window to block camera "sees." The shield also absorbs vibrations from the window. have to fly oblique and vertical strips that require overlapping photographs. The camera-to-scene the strip. Changes in distance cause the image size to change and make matching the adjacent exposures impossible. You should make the exposures at interval visually between the exposures for a strip. Before the flight, mark your viewfinder to show the distance an object must move in the viewfinder to move the image 40 percent of the width of the film. During the flight, make the first exposure, hold steady, and make the second exposure after some point in the scene has moved the distance marked on the viewfinder. The marks are the same for any aircraft speed or altitude. format or the focal length of the lens. on the floor or from a passenger seat and hold the camera with the proper attitude for taking verticals. You should hold the camera firmly in your hands, keeping your torso relaxed so your arms will act as vibration dampers. Using this method, you can take vertical aerials that are incredibly sharp because of the maneuverability of the helicopter, its capability for slow flight, and the possibility for both the pilot and the public affairs (PAO) photographs. You may also be assigned to take air-to-air photography for research and testing purposes. When shooting air-to-air photographs, you should maintain voice communication with both the pilot flying your aircraft as well as the pilot(s) of the aircraft you are photographing. This provides an opportunity for you to direct all the aircraft involved into position for photographs. forward of the plane being photographed; however, you should try other views, such as from below or slightly aft of the subject aircraft. A longer than normal focal-length lens (80mm or greater for a 35mm camera) should be used when you are photographing only one or two aircraft at a time. Longer focal-length lenses prevent distortion that results from using a normal or short lens. With a normal or short lens, the wings that stick out from the fuselage of the target plane and the photograph them from close range. When shooting formations of three or more aircraft, you should use a normal focal-length lens because you are farther from the subjects and distortion is not a problem. For a head-on view use a long focal-length lens and have the pilot fly the aircraft you are in across and above or below the projected flight path of the plane being photographed. Of course, each of the pilots need plenty of room to avoid a mid-air collision. A better and safer way to get a head-on shot is to fly in front of the plane being photographed, in the same direction, and at the same speed. You can take this shot from the open ramp as these, you can stand at the edge of the open ramp; ensure that you are secured properly with a safety harness. can be taken while aircraft are maneuvering, such as in a long, slow turn or in a bank. When the underside of the fuselage must be shown, request the pilot of the target aircraft to roll the plane, so the sun shines on the containing the photographer should fly in a bank above the subject plane. This maneuver provides you with a Advanced Photography Course |
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