All of us at some time have tried some form of aerial photography. Whether it be from the window of a 747, the top of a tower or from the chairlift at the show. Aerial photography reinvents our outlook on the world, radically adjusting the all-important viewpoint in our photography.

If you know you’re planning a flight, a few simple rules will help you maximise the situation and come back with photos to make your friends envious...

Choose your aircraft

Helicopters are naturally best for their ability to fly slowly and basically wherever you want. The down-side is their expense which can be minimised by sharing the trip or even doing a deal with the company if they’re going somewhere anyway.

Fixed wing aircraft are a cheaper alternative to helicopters but fly higher and faster keeping you on your toes. Make sure it’s of the high-wing variety, preferably without the obstruction of struts or protruding undercarriage.

Hot air balloons provide a more sedate and relaxed atmosphere provided you don’t mind getting up at dawn! Of course it’s not so easy to double back and reshoot but the added lure of a champagne breakfast should at least make the trip enjoyable. It’s not particularly cheap (especially as you’re sharing with others), so remember to have fun as well.

Domestic and International aircraft shouldn’t be dismissed as some great shots can be done through the scratched (double) perspex you’re issued with when you request a window seat. Keep your fingers crossed for a seat with no wing to obstruct your view and fit your camera with a rubber lens hood to minimise reflections.

Choose your camera

A 35mm SLR is the easiest and most reliable tool for aerial photography. Make sure it’s a camera that you’re familiar with and isn’t prone to jam or misload. I use a Nikon F4 in one of the few situations where its advanced functions really come in handy. The two most useful features to look for are auto or program exposure and a motor-drive. Everything happens very quickly, so time lost winding or bracketing is money down the drain and a break in your already strained concentration.

A medium format camera is a challenging and satisfying addition to your kit. Forget waist level finders; get yourself a prism (preferably auto-exposure) for viewing, it’s virtually impossible otherwise. I use a Bronica SQAi with an AE prism and speed grip which is very usable though I really should get a strap so I don’t lose it!

Finally, a panoramic camera is definitely worth a look but keep it tilted down or you’ll have some lovely rotor blades framing your shots (assuming you’re in a helicopter). I use a Widelux F8 which is small and easy to use, but slow to load with film if you’re in a hurry, so be prepared and aim to shoot one roll or get a friend to reload for you. To get around the lack of exposure meter, either use the 35mm camera reading or ‘bright sunlight’ rule (ie. 1/125 @ f8 on Velvia) and work around that. Don’t put all your eggs in this basket, just take the camera along for a few extras while your SLR is rewinding.

Choose your film

As most of my work is for publication, I shoot transparency film, primarily FujiChrome Velvia and Provia 100. While Velvia is a little slow for aerial work, a one stop push will increase its speed to that of Provia and increasethe overall contrast a little too - often a good idea for hazy conditions. Basically choose a film of at least 100 iso but not too fast unless you’re working at dusk or night. It’s probably best to clip-test a roll or two to monitor the film/camera combination and avert potential disaster but once the film speed situation is sorted out, exposure is relatively consistent, even easier than on land!

Colour negative film offers greater exposure latitude but is naturally at the mercy of the mini-lab in terms of print density and colour. Most conventional 100 or 200 films will work fine, with additional contrast changes possible with varying paper types.

B&W film can offer an interesting alternative, depending on what you’re trying to achieve. I’ve seen some great shots taken on B&W Infrared (you’ll definitely need to load this beforehand). With Kodak High-Speed Infrared 1/250 @ f8 on a sunny day will work well. The Ilford and Konica equivalents (one and two stops slower) can also be used with appropriately high shutter speeds.

Plan your moves

Discuss with the pilot where you want to go before the flight so as it can be cleared with the traffic control beforehand. On my last flight, one location was directly under the airport flight path and required special clearance and some wasted time in a holding pattern while a 737 landed.

Pre-load your cameras (including a spare 35mm in case your main camera takes a holiday). This will save valuable time and allow you to start taking pictures from the moment you leave the ground.

Un-cap your lenses. Again this will save time when changing lenses and minimise stress. I use fixed lenses for most of my work (20mm, 35mm, 50mm) although an 80-200mm zoom (preferably a fast one) will give you some very interesting shots of the world ‘down there’.

Stick to one film speed if possible. It’s easy to make exposure mistakes on the ground and much easier in the air. Set this on all your cameras before you go and have all your film accessible and the same emulsion so you don’t get mixed up.

If you’re shooting program (which I’d recommend on a modern SLR), set all your lenses to the appropriate setting (minimum aperature - f22 on most Nikon lenses) and lock it there if possible. I generally shoot on Program High which selects high shutter speeds and closes the lens down a stop or so when there’s enough light.

Aperture priority is quite usable too - set your lens to f4 or f5.6 and you’ll be working around 1/500 or 1/250 which is ideal. You don’t need the depth of field - everything is at infinity, especially on a wide angle lens. Avoid shooting wide open unless necessary as you might lose some sharpness (especially on the corners) or even overexpose the shots if your camera only goes to 1/1000 sec.

 

In the air

The main thing to remember is KEEP CALM! If you’re well prepared, everything should be fine. If the camera stuffs up, grab your spare - don’t waste precious time and opportunity trying to fix it. 

Remember to keep your horizon level. Sometimes it’s easiest to concentrate on keeping the horizon parallel to the edge of the frame and letting the rest of the image take care of itself. This can be a tricky task but well worth the effort. At the same time, avoid too much sky as it may force the camera to underexpose as will bright highlights on water, expanses of sand or salt or the stereotypical ‘hot tin roof’.

Finally - don’t drop anything. I heard a story the other day about a famous Melbourne architectural photographer who dropped a very pricey Noblex panoramic camera out of a helicopter into the murky Yarra. While this may make you wince, so will a lens cap from a kilometre up when it hits you in the head! So be careful and methodical about where you position your equipment and have the strap around your neck at all times.