Comments from the ChairLittle longer than usual between issues of ISnAP, but we’ve had a lot going on. Big news is, the board con-

curs that rather than go to Seattle during 2010, we hold off for a year and go to Las Vegas instead! Many of you well remember the terrific symposium we had the last time we gathered in Sin City. The venue was ter-rific, the field trip was arguably the best ever, and of course Las Vegas is a tough town in which to get bored!

We made the decision to skip on Seattle for one more year in light of what we think will be a good way to reinvigorate the symposium get-togethers. With the one year sabbatical we’ve had, we need a really attractive venue to get things back on track. In your board’s opinion, that’s Vegas.

As I write, Chad Slattery is initiating contact with the folks at Nellis AFB. We’re hoping, as we did last time we were in Vegas, to coordinate our symposium with one of the always awesome Red Flag exercises. We’re shooting for a March date. Should know more by next ISnAP and we will, of course, update you accordingly.

We’ll almost certainly be staying at the same Hampton Inn Tropicana as last time. Friend Lewis Shaw, the owner, says the fa-cility has recently undergone a major update and refurbishment and that everything is fresh and good as new. As soon as we have a firm date for ISAP-IX, we’ll get things locked-down with the hotel and get reservation information out to you.

Well, if you haven’t visited our web site in a while, let me tell you that you’re missing something extraordinary. Michele Peter-son, our web sheriff, has done an absolutely outstanding job of completely redesigning the site and bringing things up to 21st Cen-tury standards. It is, in a nutshell, magnificent and Michele deserves a serious pat on the back for all her efforts. Visit the site as soon as you have a second and encourage others to do so as well! The web address is: http://www.aviationphotographers.org/

Keep the cards and letters coming - helps keep the post office in business...

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worker. Fortunately, the child was save as a result of an emergency caesarian section in the ER. I had documented from the crash scene to childbirth in the Trauma Center. It was at that moment that I knew photography was to be my chosen path.

In 1997 I left my full time job as a 911 paramedic and went to be a medic and assistant still photographer on a movie set. It was there that my experiences took me to a whole new level of learning. For the first time I began to see all the varieties and op-portunities photography has to offer.

I was on the set for three months and had the privilege to be mentored by Doug Hyun. Hyun has been in the motion picture set photography business for many years and helped me to under-stand color temperature and how to correctly decide on what to spot meter on in tricky lighting conditions. He would also chal-

Meet the MembersSheldon Cohen

A life on the edge of aviation I was born and raised on the south side of Fort Worth, Texas. My influence in photography came from my mother who was very interested in visual media. She owned and used an SLR throughout my child-hood. We could never go anywhere without a camera of some kind documenting our every move. The youth pastor at my local church was a photojournalist with the Dallas Morning News. Every Sunday there were newspaper images posted in

his office from assignments he had shot that week.

I remember attending a large group event at his home and see-ing a Press I.D. with the outline of a B-1 bomber. I asked how he was able to get one of those. He told me how photojournalists had access to all types of cool, interesting things. I never forgot that.

I had been interested in aviation since childhood. Photojour-nalism seemed like an awesome opportunity to see aircraft up close and personal. The event at the youth pastor’s house proved the catalyst to my photography career. I started photographing with a small plastic camera (similar to a Chinese Holga) and tried to be as creative as possible using this very basic and simple camera. The following year I was able to purchase a used Pentax K1000 – which was a fully manual camera but of considerably higher quality than the Holga. It came with only one lens and a Xeroxed instruction manual. I spent most of my summer work money on film and processing but had a great time and learned a lot. In high school I started taking classes in photography where I learned how to roll and process film and print photographs.

After high school I decided to become an EMT-Paramedic and start a career in emergency medicine. While doing this, I took my camera with me on emergency calls and started document-ing fires and accidents when my services were not needed. This lead me to an assignment shooting images for Care Flite Dallas. I would fly with the crews about once a week. I did this for an en-tire summer and documented the flight crews on their emergency scene calls. The images were used for marketing materials and photos that were placed around the various CareFlite bases. I re-member documenting a car accident victim that was nine months pregnant. She was losing her child. I was able to see the whole event unfold thru my lens rather than through the eyes of a rescue

My number one goal in shooting air-to-air is for everyone in-volved to come back safely and feel really good about the shoot. It is a requirement that we do a safety briefing with everyone in-volved prior to going to the aircraft. It is important that a pho-tographer create his or her own safety ritual. This should include checking your safety harnesses each time you make any changes to your seating position or gear. Always let your pilots make the final decision about whether something is too risky to try. Remember the pilot is in charge and never try to talk him or her out of a deci-sion to pass on a shot.

My job tasks vary dramatically at Bell. Our department is re-sponsible for the standard grip-and-grin to promotional materi-als for publication including brochures and display materials. We currently have two staff photographers and several freelancers that we call in on a regular basis. We also archive current and historical images into a server system that allows photo access to everyone in the department.

The images I most enjoy shooting are the journalistic as-signments where a little more creative effort can be put into the finished product. There are several ISAP members whose work inspires me to push even harder on my day-to-day assignments. I remind myself that the real story is not always the aircraft it-self but the individuals who design, build, maintain, crew, and fly them. My main responsibilities in our group are scheduling and shooting images for Bell Helicopter’s all-product calendar and military calendar.

For pilots who have very limited formation flying experience, I use the Canon 100-400/4-5.6L IS lens. This allows me to get tight images while having an extra safety margin in the form of greater distance between the photo ship and the subject aircraft. I also use a Kenyon gyro-stabilizer to help reduce photo ship vibra-tion issues. Helicopters vibrate so much that without an image stabilized lens or external gyrostabilizer a photographer is forced

lenge me to pursue my passion and take chances; the true rewards in life are when you travel the road of unfamiliarity.

When I returned from the movie set I began shooting as a freelance photographer for Bell Helicopter and this was in part due to my extensive CareFlite portfolio. I also started picking up clients doing commercial work.

During 1997 I began shooting as a freelance photographer for the Fort Worth Star-Telegram. As a result, I was able to polish my skills as a photojournalist and learn how to shoot under numerous shooting and lighting conditions. Star-Telegram photographers had to come back with a shot; there was not room for excuses. This helped me learn about deadlines and working under pressure. I continued shooting for the Star-Telegram until 2001.

During 1999 I accepted a full time staff position at Bell He-licopter. At that time there were three full time photographers who took me under their wing and showed me the ropes. During air-to-air work, I began – with their help – to understand the true meaning of good communication and coordination. I work with pilots of varying backgrounds and skill levels. I discovered this could make it either very easy or extremely challenging in order to pull off interesting images in a safe manner.

to shoot at high shutter speeds. The latter stop the spinning blades on the subject aircraft, leaving an unnatural and at times discon-certing image.

I believe that both Canon and Nikon make extremely good shooting systems. My preference, however, is Canon. I have been using the 1Ds Mark II and the 1D Mark III. In my camera bag I carry a 16-35/2.8L, a 24-70/2.8L, a 70-200/2.8 L IS, and a 100-400/4-5.6L IS. I travel with four 580 EXII flash units and several sets of pocket wizards. I carry a small soft box and multiple clamps that have hot shoe mounts that can be placed almost anywhere. I like to travel as light as possible because I am by myself a lot of the time when out on location.

Sheldon is a native to the Fort Worth ,Texas area and has been shooting professionally since 1997 when he began shooting for commercial clients ranging from professional sports to journalism. With a background in emergency medicine he quickly became known in the emergency services industry and started shooting images for Care Flite Dallas, photographing actual emergency calls documenting the flight crews on emergency scenes. This lead him to shooting as a freelance photographer for Bell Helicopter in 1998. Sheldon perfected his journalistic skills shooting free-lance for the Fort Worth Star-Telegram from 1998-2001. In 1999 Sheldon became a staff photographer with Bell Helicopter and was promoted to Senior Photographer in 2006.

Sheldon travels the globe covering Bell’s customers for publica-tions, marketing brochures, and the Bell Helicopter all product calendar. His images have graced the covers of aviation publica-tions around the world. He has also won several awards for his aviation images. Sheldon has been a member of I.S.A.P. since its inception

Via ISAP member Mike Collins:

Gadget Bag by Jay Miller

Ok, I admit it. I’m writing about a piece of gear that I own - but have never used. It’s called an OmniPod and it’s another Kirk Enterprises product (http://www.kirkphoto.com/). Like other Kirk Enterprises gear, the OmniPod is tough, exceptionally well built of the best possible ma-terials, and as you might guess, pricey. If you like Really Right Stuff (http://reallyrightstuff.com/index.html) prod-ucts, you’ll like everything produced by Kirk Enterprises.

Anyway, I’ve excerpted some material from Kirk’s web site on the OmniPod and I’ve added a few words of my own as follows:

“Unlike other camera-steadying devices, the OmniPod can be used in many different ways indoors and out. By using it to straddle a supportive surface, or object, a photographer can cre-ate sharp images from vehicle windows, railings, chairs, signs, fences, rocks, tree limbs.....etc. Yes, it even works on barbed wire!”

“With a durable nylon and rubberized exterior it is rug-ged enough to satisfy even the most aggressive aviation shooter while being flexible enough to conform to a variety of surfaces. A velcro-equipped strap permits the OmniPod to be affixed to objects up to five or six inches in diameter.”

“For longer lenses, attach the Omnipod and simply fold it underneath the lens to create the perfect lens cradle. Be-ing lightweight and portable it can be easily stored in a gadget bag, glove compartment, suitcase, or briefcase.”

The OmniPod is available in two configurations from Kirk En-terprises. First, you can purchase it plain with a standard threaded screw to attach directly to your camera or lens. Or, you can pur-chase it bundled with the company’s popular QRC-2 quick release clamp (note: this clamp works only with Arca-style QR plates; you must purchase a plate to fit your camera or lens separately).”

Dimensions: 9” x 4-1/2” x 1-1/4”

As noted, I’ve yet to actually use this device (I have the one with the Arca-style quick release), but I suspect there will come a time when I’ll find it handy. I carry a lot of long glass and on occasion I’m in a position where it be-hooves me to shoot from my vehicle rather than take the time to stop, pull out a tripod, and set things up for a for-mal portrait. This little bag – a lot like a big paperweight with a camera mount on top – should fill the bill nice-ly when required. Price (w/QR), incidentally, is $74.95.

Jay

Photoshop Tip TimeQuick Rocky Surface

In your document, go to the Channels panel (Window>Channels), and click on the Create New Channel icon. Now, using black and white for your Foreground/ Back-ground colors, perform the exact same steps as in the previ-ous “Quick Marble” tip. Click on the RGB channel and fill it with the color you want for your rocky surface. Next, go to the Lighting Effects filter (Filter>Render>Lighting Effects) and in the dialog, set the Light Type to Directional. For the Texture Channel (at the bottom of the dialog), choose the Al-pha 1 channel you just created, then drag the Intensity slider all the way to the right to Full. Finally, try various Properties settings until you have what you’re looking for, and click OK.

Contrast CloudsPressing the Option (PC: Alt) key when invoking the

Clouds filter (Filter>Render>Clouds) will increase the con-trast between the Foreground and Background colors, giving you clouds with a higher contrast. More contrast clouds Im-mediately following the cloud rendering, if you press Com-mand-Option-F (PC: Ctrl-Alt-F), you’ll get clouds with even more contrast. Press this key combination as many times as you like until your clouds are visually appealing.

Provided by NAPP (National Association of Photoshop Professionals) ® 2008 Kelby Media Group.

Shifting GearsBy Chad Slattery

Hardware—whether pushed or pulled through the skies, propelled by rockets or driven by lawn mower engines—is the center of our profession as aviation photographers. But limit-ing ourselves to fast metal can shut out other opportunities.

Early in my career I was lucky enough to do several hundred shoots for Sunset magazine out here in California. Sunset avoids professional models, so I got a lot of experience posing amateur gardeners, hikers, homeowners, cooks and architects. Somewhere along the line I started using perspective control lenses for the building shots. Later, as the magazine transi-tioned to color, I learned lighting to keep contrast ratios low enough for 4-color offset printing.

All three skillsets came in handy on this recent shoot for AOPA Pilot’s Jill Benton for the magazine’s occasional series spotlighting instructors and students. Jill requested a vertical format with lots of negative space for text. AOPA is great to work with—they give you the format, then let you go out and be creative.

I asked Tom and Julie to wear simple clothes with no pat-terns, and to avoid white—it blows out the histograms and is boring. Tom’s airplane is pristine, so we decided to include

that. As he brought it out of his hangar at CMA (Camarillo Airport CA) I spotted the row of green hangars against the nice clear blue sky, and he parked it there.

I positioned them to the side, in a variety of poses, leaving room for text. This frame turned out to be both my and Jill’s choice. A portable Norman 400B, fitted with a polished re-flector and triggered with PocketWizards, was placed off to the right side to fill in the late afternoon shadows. To avoid converging lines, I used a Canon 24mm TS-E tilt-shift lens on a tripod-mounted Canon 1Ds Mk3 about two feet off the ground, shifted to the maximum vertical position with lots of sky background for text. Exposure was 1/250 at f/8; the Nor-man was set to give 1/250 at f/5.6 for a one-stop-under fill.

I used CS3 to remove strobe shadows, soften some wrinkles, mitigate chromatic aberration, and remove ramp oil stains.

If I did this again, I’d do a series ratcheting the shift lens down—to put Tom and Michelle at the top and give the art director lots of out-of-focus ramp as a background for text. That sky is pretty, but it’s going to be a challenge to get type to read against it.

Chad

Photoshop Tip TimeFrom Natural to Digital

You could also do your sketching with traditional media, and then scan the final to open it in Photoshop. A quick Lev-els adjustment will help to eliminate smudges. Then add lay-ers above for painting. Set the layer blend mode to Multiply so you can see through to your sketch. This can help make the move to digital a lot easier.

Measurement PresetsYou may find yourself setting up measurement parameters

for a number of different size images. To keep from having to reset the values over and over, click on the Save Preset button. It is perhaps a good idea to name the presets after the pixel dimension to make them easy to identify.

You “Knead” the Eraser ToolAn eraser has always been part of the artist’s toolbox; digi-

tal art is no exception. Choosing the Eraser tool (E) with a soft-edged, round brush and lowering the Opacity in the Op-tions Bar is similar to using a kneaded eraser to soften hard edges and enhance blends and highlights. Additional eraser tip: In Photoshop, any brush can become an eraser by choos-ing Clear from the Mode drop-down menu in the Options Bar.

Provided by NAPP (National Association of Photoshop Professionals) ® 2008 Kelby Media Group.

John Maene has been in the Air Force & in the NJ Air Guard. Duties included assistant F-100C crew chief, un-scheduled & scheduled maint. duties & transit alert stints both stateside & in S. Korea & Alaska. Obtaining his A & P licences, John worked on single & twin recip engine air-craft before joining Dassault Falcon Jet/Teterboro, N J were he’s now a Spares Inventory Buyer. John has flown w/ the Canadian Snowbirds, trapped on board the USS America & attended the Paris Air Show courtesy of Dassault Falcon Jet by winning a contest to name the HU-25A Guardian oper-ated by the USCG. Highlights of the Paris Air Show includ-ed photographing the YF-16 in its red, white & blue paint scheme & the FY-17 in the multi blue & white paint scheme.

Atlantic CityBy John Maene

These pictures recently taken at the Atlantic City, N J Air

Guard ramp showing some of the new 177 FW tail schemes & ramp shots. A hint for ISAP members: touring a base in the off season when the crowds aren’t around as long as the weather isn’t bone chilling & the PAO will cooperate results in some unigue photographic opportunities.

Trump Tower Heli-LiftBy Rod Edgcumbe

For the last few years, a large construction project has been

underway in my neighborhood. Along the Chicago River in the center of the city, the old and rather unappealing building that has been the home to the Chicago Sun-Times newspaper has been vacated and demolished. In its place has risen the Trump Hotel and Tower development.

While the majority of the project was a fairly normal construc-tion effort, one part of the building required special effort. There was to be a spire installed. Since this would reach above the abilities of the two tower cranes that had been used for the ma-jority of the project, the pieces would have to be assembled by helicopter.

I have done some previous work with one of the helicopter op-erators in the Chicago area focused on their standard work of air-conditioning modules, electrical equipment and cell phone systems and checked in with them to see if they were going to bid

for the work. They did but were not successful. However, theirs is a business in which everyone seems to know everyone else so they gave me contact details at the successful bidder, Construc-tion Helicopters of Howell MI. They were interested in working together so we started planning. This was October 2008 and the lift was expected to take place at the end of the month. That, it transpires, was an optimistic assessment.

The first issue was from were to shoot the operation. Since the building is 90+ stories high and the pieces to be assembled had already been lifted to the roof by the tower cranes before they were disassembled, the majority of the work would be tak-ing place a long way up. A second helicopter was not in their budget and they like to keep the airspace around the lift clear should anything untoward happen. One of the local TV stations dud ultimately use their own aircraft to film the event but only from quite a distance.

The next option was to get on the roof of a high building nearby. Initial enquiries were met with some positive responses but then the question turned to fees and the job was not going to stand

that measurements at the spire site suggested gusts up to 70mph at times.) Fortunately, I could shelter in the lee of part of the structure. Even with a solid tripod mount, the 500mm lens was still moving a fair bit.

Now we just had to wait. Even suitably wrapped up, that was a cold roof to be waiting on for a while. Eventually we spotted the S-61 approaching from the lake. The initial approach was to the roof to gauge the conditions. While everything was a little “active” up there, they concluded that it was a possible day. Now to fuel up so off they went to Midway. We continued to freeze on the roof.

The next time in, they had to pick up the lifting line. The ap-proach and departure route was along the river. Consequently, they approached below the level of our roof. I was able to go to the edge of the roof and shoot down at them. While I have never been bothered about flying, I am not great with heights. Leaning over the edge of the 86th floor was a new experience. Doing it

the money they were after. Meanwhile the likelihood of the job going ahead promptly was dropping fast. The city was having a number of permitting issues associated with the necessary street and river closures. Also, the original plan to land locally and to have a refueling truck was not going down well and an alterna-tive base was required. Meanwhile, Thanksgiving was coming up and the city does not like to permit operations over the holi-days.

Sure enough, everything slipped. Thanksgiving came and went and December is not always the best month to try and plan a complex lifting job. However, finally we looked like we had a go for the middle of December. Not only that, but in the last week, a location to shoot from came available. The company that was contracting for the lift work is also responsible for a number of other installation projects on the roofs of tall buildings in the city. They could get access to a roof to shoot from. It looked like we had a plan.

Saturday came. The team gathered early in the morning at the base of the Trump building. Overcast skies and windy conditions did not bode well either for the lift or for getting good shots. It was also pretty cold. Ice on the roof would not help the instal-lation team. However, everything was in place, the FAA were onsite to check they were happy and we looked like we were going to have a go. I set up on the roof across from the site. The wind was blowing at up to 40mph. (After the attempt, we heard

when the wind was gusting strongly from behind you just en-hanced the moment for me. My host on the roof seemed oblivi-ous to this as he casually strolled to the edge and leant over. I was kneeling on the ground wedged against the parapet with just my upper body leaning out. He must have thought I looked stupid!

In they came and picked up the lifting line at the base of the building. A straight climb to the top and they picked up the first (and heaviest) piece of the spire. The structure is a triangular frame with GRP panels. The majority of the panels had been removed to assist in installation although originally it had been thought they would go up intact. A base of the spire was already in place. From our vantage point, you could see three guys hang-ing on to this frame waiting for the first piece. Tension was taken on the load and it was lifted across. For many minutes the crew held the piece in place above the building as the installation crew fought to attach it to the base. Watching the aircraft through a long lens, it was clear they were working incredibly hard to keep it stable but it was a losing battle. The wind was just too strong and gusty. This was the heaviest piece. If it could be done, the remaining pieces would only get more difficult.

Everyone called it for the day and we packed up. Sadly, the security guys were out of contact and we were stuck on the roof. (That is another story but we did eventually get down!) We met up and it was agreed to have another go the following day. The forecast was looking worse but the building people wanted to do it so that was agreed. Early the next morning it was clear the forecast was right and the aircraft was never even called in.

Now the weather really did its best. Combinations of low cloud base (i.e. you couldn’t see the roof) and winds meant no chance. The holidays then intervened so again no chance. The next shot that came available was the first weekend of January. This time things looked promising. Permits were in place for the Saturday and Sunday. Two days were booked as there was already an-other job on the Saturday morning for a lift at a local hotel close the site. This would be done first. Unfortunately, my previous vantage point was not going to be available. We could use an empty floor but I wasn’t keen on shooting through tinted double glazing! Shooting from the street at a longer range may be the only option.

However a trade solution was made. The hotel for the first job would let us use their roof for a few pictures of their job. A fair trade. Not quite as good a location as the first but certainly a fair one. The weather was looking very promising, at least initially. Clear skies and low winds and the temperature wasn’t too far be-low freezing. We could have a show! Now to get it done quickly as worse weather was due in later in the day and the Sunday looked distinctly unwelcoming!

The first job went off smoothly and I got set up on the hotel roof. The aircraft went off to refuel. All looked great. They returned and were straight in to the job. Again the first piece was difficult. However, this time it was a case of refining technique. The crew held the aircraft stable for many minutes while the initial bolts were secured. Finally the line could be seen to go slack as the

weight was transferred to the tower and the final attachments made. This amount of hovering with the heaviest load had taken a toll on fuel burn so it was straight off to refuel again. With progressively lighter pieces, the fuel load could be gradu-ally increased and endurance improved.

Now things started to go like clockwork. The tower crews were incredible. Three guys at the top would wrangle to piece in to place and install the initial bolts. They would then climb up and repeat the process with the next piece while more guys followed them up adding additional bolts to reinforce the joints.

We were coming up on the end of the permit period. I got a message that this would be the last lift of the day. More pieces still needed to go up but that would have to wait for tomor-row. I was planning on shooting from the ground the follow-ing day to vary the shots. On completion of the third lift, I packed up and headed to the base. Everyone was still there and told me that the permit was extended and we were going again. I grabbed the gear again and got set up just in time for the return of the aircraft. This time, they had enough fuel to run to completion and that is exactly what they did. The final pieces were lifted into place and the spire was complete if not covered. The weather was already turning so the extension of the permit had been a valuable gain.

Finally, after many months of planning and preparation, the job was done. My grateful thanks go to the teams at Construc-tion Helicopters and Installation Services for their help on this project, particularly Jim Russell and Jim Vogel.

Rob Edgcumbe has been photographing air-craft since he was a teen-ager growing up in the UK. His interest in all things aviation included gaining his pilot’s license while in High School and then took him through an aeronautical engineering education and into the aerodynamics department of the then British Aero-space Military Aircraft’s aerodynamics depart-

ment. Gradually, as his career has developed, it has taken him further away from the fun sides of engineering and into the commercial world. However, his interest in the subject has never diminished and photographing aircraft of all types re-mains a passion.

Rob now lives in Chicago although work commitments mean that he spends a lot of his time travelling around the US and occasionally to Europe. During these trips, his camera is never far away, always keen to take an opportunity to see and photo-graph something new and interesting.

ISnAP Sponsors (in alphabetical order):

Air & Space Smithsonian

http://www.airspacemag.com

Aircraft Owners & Pilots Associationhttp://www.aopa.org

Boeinghttp://www.boeing.com

Canon USA

http://www.usa.canon.com

Delkin Deviceshttp://www.delkin.com

Lockheed Martin Aeronautics Companyhttp://www.lockheedmartin.com

Nikon USAhttp://www.nikonusa.com

Events of Interest June 2009

01 Jun Oostwold Air Show 2009 Oostwold Airport, Oostwold, Netherlands 05-07 Jun Meeting de l’air Cazaux, France

06-07 Jun Meeting Aérien de l’EA-ALAT et l’EFA Le Luc / Le Cannet, France

13-14 Jun Meeting de l’air Tours-St.Symphorien, France

14 Jun Cosford Air ShowRAF Cosford, Shropshire, UK

15-21 Jun Paris Air Show 2009Le Bourget, France

19-20 Jun Koninklijke Luchtmacht Open Dagen Volkel AB, Netherlands

20 Jun Walney Air ShowWalney Island, Cumbria, UK 21 Jun Ursel Avia ShowUrsel, Belgium21 JunKemble Air DayKemble, Gloucestershire, UK 26-28 JunMeeting AérienReims, France

27-28 Jun Biggin Hill International Air Fair http://www.bigginhillairfair.co.uk/ Biggin Hill Airport, Kent, UK

July 2009 03-05 Jul Goodwood Festival of Speed Goodwood, West Sussex, UK

04-05 Jul Waddington International Air Show RAF Waddington, Lincolnshire, UK

11 Jul Yeovilton International Air DayRNAS Yeovilton, Somerset, UK

11-12 Jul Duxford Flying Legends Air ShowDuxford, Cambridgeshire, UK

17-19 Jul Jackson Hot Air JubileeJackson County Airport, Jackson, MI, USA

17-19 Jul Tannkosh 2009 Fly-inTannheim, Germany 18-19 Jul Royal International Air TattooRAF Fairford, Gloucestershire, UK

23-24 Jul Lowestoft Seafront Air Festival Lowestoft, Suffolk, UK

25-26 Jul Sunderland International Airshow Sunderland, Tyne & Wear, UK

25-26 JulWindermere AirshowWindermere, Cumbria, UK

26 Jul Kirkbride Open Day and Fly-InKirkbride Airfield, Cumbria, UK

27 Jul / 02 Aug EAA Air Venture 2009http://www.airventure.org Wittman Regional Airport, Oshkosh, WI, USA

29 Jul RNAS Culdrose Air Day RNAS Culdrose, Cornwall, UK

http://aviationphotographers.org

MembershipSince 2001, ISAP has grown to over 400 members representing

some twenty countries. We have successfully filed and received a 501 (c) (3) as a tax-exempt status. Our new “official” name is now International Society for Aviation Photography, Inc.

The board also determined that ISAP membership will be viewed as a privilege. Accordingly, along with membership comes a responsibility to fellow members. The board has created three types of membership: Full-time professional, Part-time professional, and Associate. All member types will share, educate, and network with each other to continually improve the skills and knowledge base of ISAP as a whole. ISAP, it is hoped, will quickly become a professional organization held in high esteem by the aviation industry.

Membership Types• ProFull–FullTimeProfessionalPhotographers• ProPart–PartTimeProfessionalPhotographers• Assoc–AviationPhotographyEnthusiasts

Membership BenefitsBecoming an “active” member of ISAP by signing and com-

mitting to the Code of Ethics and paying your annual dues al-lows you to:

• Accessthe“membersonly”areaofthewebsite.• Present your Portfolio to prospective clients via the

ISAP Gallery.• Networkandmentorwithsomeofthefinestaviation

photographers in the world.• Carry the ISAPMembershipCardwhich is fast be-

coming a recognized “icon” in the industry.• ActiveMembershipisarequirementforattendanceto

the outstanding Annual Symposiums!

Code of EthicsEach member is required to sign a code of ethics, which states

I agree to abide by the ISAP Code of Ethics and pledge to honor the highest level of professionalism and conduct, with honesty and integrity at all times. I will familiarize myself with the rules and regulations of any facility that I visit and abide by them to uphold and dignify the reputation of ISAP and refrain from conduct that could harm any future opportunities for other ISAP members. I will treat others with courtesy and exercise good judgment in my actions. I agree to share my knowledge and skills with my fellow ISAP members to help increase the level of ISAP’s reputable knowledge base. If I breach any part of the ISAP Code of Ethics, my membership may be restricted or terminated by the Board of Directors.

Adult 1 Year, $35.00 For any questions or problems with your membership applica-

tion/renewal, please contact : av-membership@aviationphotographers.org

MarketplaceGot anything you want to sell or trade? Here’s your chance!

Just drop the editor a email at viggenja37@sbcglobal.net .

Airplane ID Winners!

Paul Reynolds came in with the first correct response identifying the craft as an Abrams P-1 Explorer. Hayman Tam, Marcel van Leeuwen and Greg Meland also nailed it.

The Abrams P-1 Explorer was an American, purpose-built aerial photography and survey platform that first flew during November of 1937. Designed by aerial survey pioneer Talbert Abrams, it was created to suit his needs for a stable, aerial photography platform. Originally powered by a 330 hp engine equipped with a two-bladed propeller it was later modified by Ronan & Kunzul and given a more powerful 450 hp engine with a three-bladed propeller. The increased horsepower (and weight) required braces to be added be-tween the wing and the fuselage. When the modifications were completed, the Abrams became a viable photo platform. Abrams had hopes that he would be able to sell a reasonable quantity in light of its improved capabilities. Unfortunately, World War II inter-rupted work on the Explorer, and the single completed aircraft was placed in storage for the duration of the war. In 1948 the Explorer was donated to the Smithsonian Institution’s National Air & Space Museum where it remains in storage as these words are written.

ISAP Board of DirectorsISAP Chairman of the Board – Jay Miller aerofax@sbcglobal.net ISAP Board Vice Chair – Chad Slattery chadslattery@earthlink.net ISAP Board Member - Paul Bowen bowen@airtoair.net ISAP Board Member - David Carlson dcarlson@cusa.cannon.com ISAP Board Member – Denny Lombard dennylombard@roadrunner.com ISAP Board Member - Russell Munson higheye@aol.com ISAP Board Member - Albert Ross alross@sbcglobal.net ISAP Board Member - Eric Schulzinger eric.schulzinger@lmco.com ISAP Board Member - Caroline Sheen csheen@si.edu ISAP Board Member - Katsuhiko Tokunaga tokunaga@dact.co.jp ISAP Membership Coordinator - Larry Grace lgrace@mm.comISAP Treasurer - Bonnie (Bartel) Kratz photobonnie@execpc.com ISAP Web Site Manager - Michele Peterson websupport@aviationphotographers.org ISAP Field Trip Coordinator - Richard VanderMuelen richardvm@aol.com ISAP Speaker Coordinator - Andy WolfeISnAP Editor - Frank Landrus viggenja37@sbcglobal.net

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Photo © by Jay Miller

June

200

9 ISnAP