How To Post Photographs and Videos (incl photography tips from the gurus)
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Jumpseater - Actually just upgraded my gear lately, bought a new Canon EOS 1DS MK 3 and a new 70-200 2.8L lens. Gave my editor one of the 1DS MK2 bodies so he has also been upgraded.
The new 300 2.8L I have with the 1.4 x converter works really well. Just been trying it out while here in Borneo heli logging.
Ned
The new 300 2.8L I have with the 1.4 x converter works really well. Just been trying it out while here in Borneo heli logging.
Ned
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Carson/S61/767/Perth09
I have some interesting photo's/ video of 767 in action on Easter Sunday in Perth suburbs firefighting. I need help to upload....
Captain of 767 or friends, you there?
Cheers
Octane
Captain of 767 or friends, you there?
Cheers
Octane
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Aerial Photography - Stills
Can anyone offer any tips on aerial photography from the pilot's point of view?
As someone who has only taken aerials very informally (by poking a camera out of the DV window as the world goes by!), I wonder if there are any established preferred methods/procedures? I expect some forward speed is desirable from a safety point of view (single engine), and the options are linear runs past the subject or orbits around/to one side.
Is it generally accepted to operate sorties doors off, with the photographer using a harness from the back seat, assuming a larger machine?
Is the R22 practical to reduce costs?
Sorry for so many questions - I'd really appreciate any comments to help with some pics that I'd like to take!
As someone who has only taken aerials very informally (by poking a camera out of the DV window as the world goes by!), I wonder if there are any established preferred methods/procedures? I expect some forward speed is desirable from a safety point of view (single engine), and the options are linear runs past the subject or orbits around/to one side.
Is it generally accepted to operate sorties doors off, with the photographer using a harness from the back seat, assuming a larger machine?
Is the R22 practical to reduce costs?
Sorry for so many questions - I'd really appreciate any comments to help with some pics that I'd like to take!
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The R22 is fine if you and your photographer aren't too heavy. When it comes to high hovers you just need to be careful, with power limits and wind direction. Most days, out of ground effect hovering with a tail wind just isn't possible in the R22, depending on the OAT.
Most photographers I fly with don't want anything too ridicules when it comes to altitudes. For the most part they're happy with a 40-50kt orbit. But the kind of shots they need is what will ultimately determine what they ask for. If you do a good preflight briefing on what they need beforehand, with satellite shots of the site, you should be able to determine if you can give them the angle they want. If a guy is asking for 200-300AGL hover you better make sure he is on the side of the helicopter that will put you facing into the wind with a big sexy open field beneath you while he takes his shots! Keep in mind that the controls aren't removable on the right side of the R22 , so if he needs to be on that side, it could be a problem.
When operating doors off, make sure everything in the cockpit, including the stuff in the occupants pockets is secure. Phones and coins have a habit of falling out of pockets while sitting, and the last thing you need is one of them stuck in your tail rotor! It's best to have the camera tethered also.
Make sure you do a proper recon of the area you'll be flying around, especially when operating below 500AGL. The photographer may not want to waste time and money flying around in circles for a few minutes before you descend but explain that is all part of what needs to be done to keep him from getting dead. Also don't forget about other air traffic while focusing on your recon.
Most photographers want the R22 for the obvious cost reasons. But sometimes when you explain that they may get better shots from a more stable platform they'll fork out the extra dosh.
Don't forget to give the photographer the passenger briefing and all that good safety stuff, especially when they're not used to shooting from a helicopter.
Also, the altitudes you operate at for a given ship(single engine, or multi) may depend on the regulations. In the US, people generally don't mind where you operate, as long as you don't squish anyone on the ground in the event of a problem. If it's legal, you should maybe as a courtesy contact the local police and let them know what you'll be doing. That way, when the crazies call complaining, they can shut them up fairly lively!! This may or may not make your life a lot easier depending on the area and the views of the local police department on helicopters flying over their area.
Most photographers I fly with don't want anything too ridicules when it comes to altitudes. For the most part they're happy with a 40-50kt orbit. But the kind of shots they need is what will ultimately determine what they ask for. If you do a good preflight briefing on what they need beforehand, with satellite shots of the site, you should be able to determine if you can give them the angle they want. If a guy is asking for 200-300AGL hover you better make sure he is on the side of the helicopter that will put you facing into the wind with a big sexy open field beneath you while he takes his shots! Keep in mind that the controls aren't removable on the right side of the R22 , so if he needs to be on that side, it could be a problem.
When operating doors off, make sure everything in the cockpit, including the stuff in the occupants pockets is secure. Phones and coins have a habit of falling out of pockets while sitting, and the last thing you need is one of them stuck in your tail rotor! It's best to have the camera tethered also.
Make sure you do a proper recon of the area you'll be flying around, especially when operating below 500AGL. The photographer may not want to waste time and money flying around in circles for a few minutes before you descend but explain that is all part of what needs to be done to keep him from getting dead. Also don't forget about other air traffic while focusing on your recon.
Most photographers want the R22 for the obvious cost reasons. But sometimes when you explain that they may get better shots from a more stable platform they'll fork out the extra dosh.
Don't forget to give the photographer the passenger briefing and all that good safety stuff, especially when they're not used to shooting from a helicopter.
Also, the altitudes you operate at for a given ship(single engine, or multi) may depend on the regulations. In the US, people generally don't mind where you operate, as long as you don't squish anyone on the ground in the event of a problem. If it's legal, you should maybe as a courtesy contact the local police and let them know what you'll be doing. That way, when the crazies call complaining, they can shut them up fairly lively!! This may or may not make your life a lot easier depending on the area and the views of the local police department on helicopters flying over their area.
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From a photographer's point of view, an open doorway provides the best view. Very often the sun's position dictates the shooting position (eg of the front of a mansion for a real estate broker) and because the shot is from the LHS (assuming it's an R22), you may require a downwind shot. If you're asked to move forward a bit, don't forward cyclic ! You'll settle with power and crash. Rather pedal turn to the left into wind, continue into a small orbit and move into a new downwind position. Beware of LTE.
For "plan view" shoots, the pilot should execute a medium left turn towards the target and once over the target, go into a steep left turn so that the shot can be taken top down from the LHS at the exact moment. It might take a couple of tries to get it perfect but the experience is exhilerating.
For sideways flight, make sure your rotor disc has some airspeed over transition/translation as the ASI will be useless.
Storytime : One of our most experienced instructors had to do a downwind HOGE at 1000' AGL at an airshow with the shots taken out the LHS of a Jetranger. After about an hour's of hovering he decided enough was enough and switched to a Squirrel into wind with shots out the RHS - it very much depends how your shooting platform is set up and what limitations the organiser imposes on you in these events.
For "plan view" shoots, the pilot should execute a medium left turn towards the target and once over the target, go into a steep left turn so that the shot can be taken top down from the LHS at the exact moment. It might take a couple of tries to get it perfect but the experience is exhilerating.
For sideways flight, make sure your rotor disc has some airspeed over transition/translation as the ASI will be useless.
Storytime : One of our most experienced instructors had to do a downwind HOGE at 1000' AGL at an airshow with the shots taken out the LHS of a Jetranger. After about an hour's of hovering he decided enough was enough and switched to a Squirrel into wind with shots out the RHS - it very much depends how your shooting platform is set up and what limitations the organiser imposes on you in these events.
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I used to fly very often with this photographer. He liked to see his objects directly beneath him so usualy we did 40 to 60 degees turns around the subject at good altitudes around 800 to 1000 feet AGL.
He had a harness which was hooked to the centre seatbelts, as well as being in his seat belt (very loose).
Photographic flights are good fun. Enjoy
One image from him. Fridrik Örn Hjaltested
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I have found that a 44 with the rear pilot side door removed works well because you can see pretty much what the photographer is seeing. This can often save time as there are less re-takes.
From my understanding (and the result of several prosecutions by the CAA) a photography flight is public transport. Therefore, you must be base and lined and the machine must be being operated under an AOC.
This also opens a can of worms with regard to operating with the left door(s) removed. SN-30 from Robinson states that you should never fly with the left door removed. See Here
So as a CPL(H) (or higher) that, presumably, wants to keep their license I would say that the 22 is not suitable for photographic work as the manufacturer states that it cannot be flown safely with the LHS door removed.
I'm sure others will have a different point of view.....
From my understanding (and the result of several prosecutions by the CAA) a photography flight is public transport. Therefore, you must be base and lined and the machine must be being operated under an AOC.
This also opens a can of worms with regard to operating with the left door(s) removed. SN-30 from Robinson states that you should never fly with the left door removed. See Here
So as a CPL(H) (or higher) that, presumably, wants to keep their license I would say that the 22 is not suitable for photographic work as the manufacturer states that it cannot be flown safely with the LHS door removed.
I'm sure others will have a different point of view.....
I will add to and contradict some of what others have said. I have conducted many photo flights over the years and even had an aerial photo/video company for a few years. Low level video shooting is a whole another topic which I will not get into right now, but for real estate and scenic photography from a pilots perspective, here are my recommendations, in no particular order:
1. The R-22 will do fine for most shoots---the Schweizer is better, and a 500 or Astar is even better, (they allow the photographer to sit on the same side as you---or switch seats for the best angle.
2. Planning is everything---especially in built up areas. You should be able to get in, get the shots and get out with no more than 3 orbits. Preview the area on google earth, have the photographer take ground shots to show you. The photographer should have a shot list---once you are over the site it is too late---and shows an unprofessional photographer. Also the photographer should have done his research and thought of things like garbage day, (not good shots with garbage cans in the streets), also make sure the target property knows which day you will be shooting, that way they can cut the grass etc.... With proper planning, it is amazing how much you can get done--Over downtown Orlando, I would average 10 properties per hour, however, I would average 2 hours of planning for each hour in the air. I would overlay my route on google earth, and have printouts of what the property looked like---especially identifying markers.
3. Contrary to what Darren says---you cannot afford to do high recons, you will annoy the neighborhood, and people WILL complain. Three orbits in and out, should avoid the complainers. Rarely should you need to go below 300 feet in a built up area---therefore no high recon required---it just starts announcing your presence. If a photographer wants you to go "low level" in a built up area, he needs to be educated that he could get the same shot by flying further out and using a more powerful lens. Generally, the professionals will not have a problem with this.
4. Approaching the site, you would identify the target and go right into shooting mode. Generally, I would take 8 shots per orbit for two orbits---one at around 500 feet, one around 750 feet. Alternate with tight and wider shots. Then on departing, we would get a real wide shot. This way there is no need to hover.
5. The pilot and photographer need to be talking the same language...for example-- "come left", does this mean apply "left pedal", "drift left" or "turn left". This avoids confusion. I have my own "language" which I will share:
Left---------------------apply left pedal
Right--------------------apply right pedal
Come around left---------bank left and turn to come around
Come around right--------bank right and turn to come around
My way------------------drift sideways TOWARDS the photographer
Your way----------------drift sideways TOWARDS the pilot side of aircraft
Bank out----------------tilt the aircraft away from the target--blades in the frame..
6. Even though you may think differently, this is NOT a job for low time pilots. There can be a lot of sideways flying, and flying on the "backside" of the powercurve, (if you have to ask---you are not ready for it). It comes down to confidence and familiarity with the aircraft AND airspace environment you will be in. Generally speaking, a higher time pilot will do better than a lower time pilot.
7. Be careful of regulations. Here in the US, if you land away from your departure point for fuel--this can be considered a 135 flight. FAR 91.119, (minimum safe altitudes), can be interpreted differently by different FSDO's. Most companies that do this work professionally have an FAA approved "Motion Picture Manual" and certificate. This allows the FAA to grant waivers of regulations to designated pilots who abide by the procedures laid out in the manual.
Hopefully I have answered most questions---if I think of more I will post---or feel free to ask.
1. The R-22 will do fine for most shoots---the Schweizer is better, and a 500 or Astar is even better, (they allow the photographer to sit on the same side as you---or switch seats for the best angle.
2. Planning is everything---especially in built up areas. You should be able to get in, get the shots and get out with no more than 3 orbits. Preview the area on google earth, have the photographer take ground shots to show you. The photographer should have a shot list---once you are over the site it is too late---and shows an unprofessional photographer. Also the photographer should have done his research and thought of things like garbage day, (not good shots with garbage cans in the streets), also make sure the target property knows which day you will be shooting, that way they can cut the grass etc.... With proper planning, it is amazing how much you can get done--Over downtown Orlando, I would average 10 properties per hour, however, I would average 2 hours of planning for each hour in the air. I would overlay my route on google earth, and have printouts of what the property looked like---especially identifying markers.
3. Contrary to what Darren says---you cannot afford to do high recons, you will annoy the neighborhood, and people WILL complain. Three orbits in and out, should avoid the complainers. Rarely should you need to go below 300 feet in a built up area---therefore no high recon required---it just starts announcing your presence. If a photographer wants you to go "low level" in a built up area, he needs to be educated that he could get the same shot by flying further out and using a more powerful lens. Generally, the professionals will not have a problem with this.
4. Approaching the site, you would identify the target and go right into shooting mode. Generally, I would take 8 shots per orbit for two orbits---one at around 500 feet, one around 750 feet. Alternate with tight and wider shots. Then on departing, we would get a real wide shot. This way there is no need to hover.
5. The pilot and photographer need to be talking the same language...for example-- "come left", does this mean apply "left pedal", "drift left" or "turn left". This avoids confusion. I have my own "language" which I will share:
Left---------------------apply left pedal
Right--------------------apply right pedal
Come around left---------bank left and turn to come around
Come around right--------bank right and turn to come around
My way------------------drift sideways TOWARDS the photographer
Your way----------------drift sideways TOWARDS the pilot side of aircraft
Bank out----------------tilt the aircraft away from the target--blades in the frame..
6. Even though you may think differently, this is NOT a job for low time pilots. There can be a lot of sideways flying, and flying on the "backside" of the powercurve, (if you have to ask---you are not ready for it). It comes down to confidence and familiarity with the aircraft AND airspace environment you will be in. Generally speaking, a higher time pilot will do better than a lower time pilot.
7. Be careful of regulations. Here in the US, if you land away from your departure point for fuel--this can be considered a 135 flight. FAR 91.119, (minimum safe altitudes), can be interpreted differently by different FSDO's. Most companies that do this work professionally have an FAA approved "Motion Picture Manual" and certificate. This allows the FAA to grant waivers of regulations to designated pilots who abide by the procedures laid out in the manual.
Hopefully I have answered most questions---if I think of more I will post---or feel free to ask.
Firebird
The word 'never' seems to be the bit that causes so much consternation in that SN.
It is not a limitation in the flight manual, I contacted Robinson and to paraphrase both them and I in the email conversation we had on this subject after I got bored listening to the arguments for and against, SNs are considered best practice, there is no Left Door off limitation applicable to the Robinsons.
If you have an accident caused by losing articles out of the door, your insurance company MAY (not will but may) have something to say about it, as you have ignored good advice from the manufacturer, but you are not in contravention of the POH. I believe the insurance companies are getting bored of paying for avoidable accidents.
As for the Public transport issue, if you are taking money for the flight it is probably PT. If you are on your own or with a friend and take photos this is not illegal, however it may change the category of the flight if the flight would not have taken place but for someone paying for it to happen in order to take photos (straight from the CAA). A quick call or email to FOI(GA) will usually clear up what you can or cannot do, but be careful how you word the question.
There is also the issue of non G reg (if in the UK) not being allowed to carry out aerial photography without a DFT permission.
Sorry not exactly on topic, but just to discuss the operational issues, not the how to do it ones.
GS
The word 'never' seems to be the bit that causes so much consternation in that SN.
It is not a limitation in the flight manual, I contacted Robinson and to paraphrase both them and I in the email conversation we had on this subject after I got bored listening to the arguments for and against, SNs are considered best practice, there is no Left Door off limitation applicable to the Robinsons.
If you have an accident caused by losing articles out of the door, your insurance company MAY (not will but may) have something to say about it, as you have ignored good advice from the manufacturer, but you are not in contravention of the POH. I believe the insurance companies are getting bored of paying for avoidable accidents.
As for the Public transport issue, if you are taking money for the flight it is probably PT. If you are on your own or with a friend and take photos this is not illegal, however it may change the category of the flight if the flight would not have taken place but for someone paying for it to happen in order to take photos (straight from the CAA). A quick call or email to FOI(GA) will usually clear up what you can or cannot do, but be careful how you word the question.
There is also the issue of non G reg (if in the UK) not being allowed to carry out aerial photography without a DFT permission.
Sorry not exactly on topic, but just to discuss the operational issues, not the how to do it ones.
GS
Last edited by VeeAny; 20th Aug 2009 at 06:07. Reason: spelling
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Firebird:
Not true sir. Anyone with a PPLH or above can fly their own or SFH a helicopter, and take photographs. It's only Public Transport if "valuable consideration is paid for the purpose of the flight" 
Another tip for nrh, warn the photographer not to poke his lens out the door frame when you are doing more than 70 Kts. Remember to slow down to about 40 Kts first!
From my understanding (and the result of several prosecutions by the CAA) a photography flight is public transport. Therefore, you must be base and lined and the machine must be being operated under an AOC.
Another tip for nrh, warn the photographer not to poke his lens out the door frame when you are doing more than 70 Kts. Remember to slow down to about 40 Kts first!
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Wait a minute
Don't go racing into any photo flight until you know where the location is.
If you are going to use a 22 be very careful as a tailwind will turn you super fast.
I only use a 44 for photo flights (budget permitting) so I can put the photog on my side and his bag of crap can't go flying out.
NEVER go below 300 feet.... You can not auto anything at that altitude.
Also, think of the people on the ground. I have the Smixx Aeriax guys over my neighborhood every Tuesday.
DO NOT be afraid of saying NO to these people. With the imaging software they use, any photo is perfect.
If you are going to use a 22 be very careful as a tailwind will turn you super fast.
I only use a 44 for photo flights (budget permitting) so I can put the photog on my side and his bag of crap can't go flying out.
NEVER go below 300 feet.... You can not auto anything at that altitude.
Also, think of the people on the ground. I have the Smixx Aeriax guys over my neighborhood every Tuesday.
DO NOT be afraid of saying NO to these people. With the imaging software they use, any photo is perfect.
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Weight, there's more
Always discuss weights with the photographer or the third party if they are booking/inquiring on behalf of the photographer.
I had a wine/olive company that was arranging promo shots for an upcoming catalogue. During the planning/booking stage I discussed the weight issue (R22 in use).
When I arrived for a first light photo shoot I discovered the photographer weighed 115 kilos (and then add camera gear on top!
)
We quickly discussed (option 1) another staff member to take photos or (option 2) we come back on another day with a B206...
They realised their mistake and were having to pay anyway so we flew another staff member. Next time they might listen.
I had a wine/olive company that was arranging promo shots for an upcoming catalogue. During the planning/booking stage I discussed the weight issue (R22 in use).
When I arrived for a first light photo shoot I discovered the photographer weighed 115 kilos (and then add camera gear on top!
)We quickly discussed (option 1) another staff member to take photos or (option 2) we come back on another day with a B206...
They realised their mistake and were having to pay anyway so we flew another staff member. Next time they might listen.
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Of course, ignore all the references of about below 300. Remember you'll need CAA exemption to go below 500.
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500 ft rule (UK)
Now here's a query from an unknowledgable rusty old timer; if you were for example to be filming / photographing a vessel (CAA speak for a boat) out over open water, how low and close could you legally go? This question assumes the boat owner / operator is in full collusion with the job on the day, and all has been pre-briefed.
It would appear all those fabulous yachting magazine covers, and the offshore powerboating heli-ops are done from a very low and close perspective........ Are exemptions available down to 20-30ft distance from the boat (UK CAA)? Any thoughts?
It would appear all those fabulous yachting magazine covers, and the offshore powerboating heli-ops are done from a very low and close perspective........ Are exemptions available down to 20-30ft distance from the boat (UK CAA)? Any thoughts?