You don't have to convince any 'old school' still photographers & videographers on the merits of using a 'steadying-device', to help them achieve 'maximum sharpness' in their work.
Before the advent of today's digital photo technology with all its' ever-improving 'bells & whistles', and image stabilization for both camera lenses & bodies - tripods, monopods, pan-heads, & vee-lense supports were essential items for any serious professional or amateur to include in their equipment kit for assignment.
Today, one seldom sees them in use, and this stuff has always been a hassle to lug around on a shoot, especially in the hot Reno sun during the air races. (Not to mention, how they tend to hinder a photographer's mobility & reflexes in responding to the spontaneous activity and photo ops.). I pack my Tiltall or Bogen every year, and keep it handy in the trunk of my rental car at the races, but more often than not, I neglect to use it. Nontheless, those daytime super depth-of-field & low-light and available light night shots I've managed to take over the years wouldn't have been possible without them.
Here's a mini-portfolio of shots showcasing the use of these items & other techniques for steadying the camera, by air race photogs (some of whom we know!):
1. Sat. 9/18/82 - Getting the 'high-angle' using a tripod during late aftn. light, this unid'd. photographer shoots the pit action of Race #1 Bud Light Special F2G 'Super Corsair' from the team's support trailer.
2. Mon. 9/12/83 - Here's that same angle view of Race #1 the following year, with Race #19 Lou IV just beyond, and distant Home Pylon - all elements with good depth-of-field sharpness using ASA 64 Kodachrome, thanks to the use of my trusty tripod & cable release.
3. Thur. 9/14/00 - Another photo showing the great appeal of the high-angle composition: Early morning sunlight portrait of veteran race pilot - Skip Holm & Race #4 DAGO RED w/a Plymouth Prowler convertible for promo. Using Kodachrome ASA 25 slide film for maximum sharpness, and tripod & cable release are a must. (Early or late sunlight is always great for those long shadows to enhance your photos!).
4. Mon. 9/17/84 - Ground-level/eye-level tripod composition by Neal Nurmi (who mentored my early 35mm instruction & taught me the importance of using the tripod), of #1 Super Corsair on the Stead ramp. I know he's using Kodachrome 64 here. Even with the strong daylight, his use of a tripod means he wants super depth-of-field & max. detail for his picture composition.
5. Sun. 9/12/99 - The MONOPOD alternative: Mark Kallio in profile shown using his monopod for eye-level vantage ramp shooting at Reno. These are great for alot of reasons - they're lighter & more compact than a tripod, and also allow for easy long lense panning with the single point pivot leg, to help get better prop blur at slower shutter speeds, besides extra depth-of-field.
6. Mon. 9/17/84 - 'Medium Low-angle' photo compositioning by Bill Fant, using tripod & cable release for his ramp shot. Zoom lenses combined with a good eye & your imagination make for some great picture taking- 'variety of style'.
7. Tue. 9/13/05 - 'Low-angle' shooting using a wide-angle zoom lense performed by veteran aviation photographer - Charles E. 'Chuck' Stewart, to capture both Sport Class NXT racers- #42 RELENTLESS & #3 NEMESIS during a staged photo op. Utilizing his elbows to become as stable as possible without a small size tripod (or using an inverted tripod center post), Chuck shows his experience in 'getting-the-shot'.
8. Also 9/13/05 - Had to try out Chuck's angle & technique myself for my own shot of the two NXTs after he vacated his spot for this picture. As I recall - the racers got moved closer together by then, and there was some cast shadow overlap of #42 onto adjacent #3. (But hey - I really ain't complainin'!)
9. Reno '85 - The- 'ULTRA-LOW ANGLE' technique ("Ouch!!!") demonstrated by my pal Neal Nurmi on the Stead ramp. I'd bet most of us have tried this approach for getting a dramatic ground-level wide-angle airplane portrait at least once in their shooting career. If the picture is worth taking, then we exhibit no shame in making the attempt! <g>
10. Sat. 9/12/98 - Here's an example of what that 'U-L-A' technique offers in the way of unique photo compositioning, shooting Race #114 ARGONAUT (N19SF) following it's arrival with Brian Sanders as pilot. I should add, that I employed the modified version of 'U-L-A' technique, by laying on my back to get this photo. BTW - When framing your viewfinder composition - you need to remember to keep your big shoes out of the frame!!!
This thread's dedicated to all those aviation photogs who've tortured themselves lugging around a tripod at airshow & air racing events over the years. (I can attest that using one made a big impact on the quality of my photos when I did. Thanks, Neal!)
DBD
Before the advent of today's digital photo technology with all its' ever-improving 'bells & whistles', and image stabilization for both camera lenses & bodies - tripods, monopods, pan-heads, & vee-lense supports were essential items for any serious professional or amateur to include in their equipment kit for assignment.
Today, one seldom sees them in use, and this stuff has always been a hassle to lug around on a shoot, especially in the hot Reno sun during the air races. (Not to mention, how they tend to hinder a photographer's mobility & reflexes in responding to the spontaneous activity and photo ops.). I pack my Tiltall or Bogen every year, and keep it handy in the trunk of my rental car at the races, but more often than not, I neglect to use it. Nontheless, those daytime super depth-of-field & low-light and available light night shots I've managed to take over the years wouldn't have been possible without them.
Here's a mini-portfolio of shots showcasing the use of these items & other techniques for steadying the camera, by air race photogs (some of whom we know!):
1. Sat. 9/18/82 - Getting the 'high-angle' using a tripod during late aftn. light, this unid'd. photographer shoots the pit action of Race #1 Bud Light Special F2G 'Super Corsair' from the team's support trailer.
2. Mon. 9/12/83 - Here's that same angle view of Race #1 the following year, with Race #19 Lou IV just beyond, and distant Home Pylon - all elements with good depth-of-field sharpness using ASA 64 Kodachrome, thanks to the use of my trusty tripod & cable release.
3. Thur. 9/14/00 - Another photo showing the great appeal of the high-angle composition: Early morning sunlight portrait of veteran race pilot - Skip Holm & Race #4 DAGO RED w/a Plymouth Prowler convertible for promo. Using Kodachrome ASA 25 slide film for maximum sharpness, and tripod & cable release are a must. (Early or late sunlight is always great for those long shadows to enhance your photos!).
4. Mon. 9/17/84 - Ground-level/eye-level tripod composition by Neal Nurmi (who mentored my early 35mm instruction & taught me the importance of using the tripod), of #1 Super Corsair on the Stead ramp. I know he's using Kodachrome 64 here. Even with the strong daylight, his use of a tripod means he wants super depth-of-field & max. detail for his picture composition.
5. Sun. 9/12/99 - The MONOPOD alternative: Mark Kallio in profile shown using his monopod for eye-level vantage ramp shooting at Reno. These are great for alot of reasons - they're lighter & more compact than a tripod, and also allow for easy long lense panning with the single point pivot leg, to help get better prop blur at slower shutter speeds, besides extra depth-of-field.
6. Mon. 9/17/84 - 'Medium Low-angle' photo compositioning by Bill Fant, using tripod & cable release for his ramp shot. Zoom lenses combined with a good eye & your imagination make for some great picture taking- 'variety of style'.
7. Tue. 9/13/05 - 'Low-angle' shooting using a wide-angle zoom lense performed by veteran aviation photographer - Charles E. 'Chuck' Stewart, to capture both Sport Class NXT racers- #42 RELENTLESS & #3 NEMESIS during a staged photo op. Utilizing his elbows to become as stable as possible without a small size tripod (or using an inverted tripod center post), Chuck shows his experience in 'getting-the-shot'.
8. Also 9/13/05 - Had to try out Chuck's angle & technique myself for my own shot of the two NXTs after he vacated his spot for this picture. As I recall - the racers got moved closer together by then, and there was some cast shadow overlap of #42 onto adjacent #3. (But hey - I really ain't complainin'!)
9. Reno '85 - The- 'ULTRA-LOW ANGLE' technique ("Ouch!!!") demonstrated by my pal Neal Nurmi on the Stead ramp. I'd bet most of us have tried this approach for getting a dramatic ground-level wide-angle airplane portrait at least once in their shooting career. If the picture is worth taking, then we exhibit no shame in making the attempt! <g>
10. Sat. 9/12/98 - Here's an example of what that 'U-L-A' technique offers in the way of unique photo compositioning, shooting Race #114 ARGONAUT (N19SF) following it's arrival with Brian Sanders as pilot. I should add, that I employed the modified version of 'U-L-A' technique, by laying on my back to get this photo. BTW - When framing your viewfinder composition - you need to remember to keep your big shoes out of the frame!!!
This thread's dedicated to all those aviation photogs who've tortured themselves lugging around a tripod at airshow & air racing events over the years. (I can attest that using one made a big impact on the quality of my photos when I did. Thanks, Neal!)
DBD
Attached Files
DBD
I was too afraid to run back to the car to get the tripod, and miss the engine test. Still wish I would have got the whole prop.
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