ISnAP May 2015

SPECIAL

AIR -TO-AIR

PHOTO ISSUE

Ultimate Dream Shoot Sneak PreviewScott Slocum

The Second Best Photo Platform for Air-to Air Photography-CV-2B Caribou

Shooting Is The Easy Part-Discussing safety doing air-to-air photography

Photos of Akroville-Location for Saturday’s flying event

Meet Our MembersDavid LaCombe • Mark Chiolis • Philip Johnson

The Classic Fighters Omaka Airshow 2015John Freedman

All Red Star Pilots Desert LightningRobert Turchick

Shootin’ In The USA Jan-Arie van der Linden

Sometimes It’s Not The BackgroundMike Collins

Smoke On…Go!Justin de Reuck

Catching AirAir to air images from ISAP members around the world Demo Team Schedules

FRONT COVER PHOTO: John FreedmanThe Vintage Aviator Limited Fokker Dr.1 Triplane moves in behind the Airco DH.5 during a media flight to promote the Classic Fighters Omaka airshow. Shot from a Bell Jet Ranger early in the morning.

Camera: Nikon D800 Lens: Nikon 28-300mm f3.5-4.5Focal Length: 105mm Shutter Speed: 1/100 Aperture: f5.3 ISO: 200Mode: Shutter Priority Format: RAW Post Processing: Processed with Nikon Capture NX2

BACK COVER: José M. Ramos-NavarreteBoeing EA-18G Growler Electronic Attack Squadron 209 (VAQ-209)

Camera: Nikon D7100 Lens: Nikkor 16-85mm AF-SFocal Length: 40mm Shutter Speed: 1/1250 Aperture: f/4.8 ISO: 100Format: RAW Post Processing: Nikon Capture NX2 + Photoshop CS5

ISAP’s goal is to bring together our members who share a love of aviation, and want to preserve its history through their images. Through our organization, members can seek to enhance their artistic quality, advance technical knowledge, and improve safety for all areas of aviation photography while fostering professionalism, high ethical stan-dards, and camaraderie.

ISAP continues to help our members to better their photography skills, workflow, and set up resources to help with business questions that our members have. Updates are being made to the ISAP website and member portfolio section, and we are showcasing ISAP members’ images and accomplishments on our social media pages.

Update or add your portfolio to the ISAP website. ISAP has received a lot of comments on our portfolio section and a few of our members have been contacted for job opportunities and image usage because of these portfolios.

In this issue we are continuing to highlight ISAP members. I’m sure you will enjoy learning how your fellow ISAP members got started, as well as seeing some of their images and learning some tips. Remember that ISnAP is your publication to share your images, stories and tips with other members and the public. We look forward to each member sharing his or her stories with all of us.

Enjoy this issue of ISnAP!

Sincerely, Larry Grace, PresidentKevin Hong, ISnAP EditorInternational Society for Aviation Photographywww.aviationphoto.org • www.facebook.com/[email protected]

WELCOME TO THEMAY 2015 ISSUE OF ISNAP!

Chris

Ebd

on

Philip JohnsonMichael Tessler

Simon FitallDavid LaCombeJohn Ringquist

Claes AxstalRob Moser

Christopher MossPatrick GouldMatt Savage

Jan-Arie van der LindenShawn MaloneDouglas Glover

Evan Peers

Michael WelchSteven Serdikoff

James B RobinsonKenneth Dono

Jo HunterAndrew Smolenski

Charles (Craig) Swancy

Glenn BlooreBill Standerfer

Moreno FilosciaScott SlingsbyJohn A OlsonJames MooreKent Hughes

w e l c o m e n e w a n d r e t u r n i n g i s a p m e m b e r s

The ISnAP is a periodic publication of the International Society for Aviation Photography and is used to communicate news, functions, convention information, and other information of interest on the local, regional, and national scenes. The views and opinions expressed in this magazine are those of the authors and should not be construed as the views or opinions of the International Society for Aviation Photography.

Jim

Wils

on

How often do you go shoot an airshow, only to find yourself in the wrong location, with backlit subjects—or both? That’s not going to happen May 22 and May 23, 2015, in Dallas. Join members of the International Society for International Photography for ISAP’s first-ever Ultimate Access Dream Shoot—an exclusive, private event just for aviation photographers. This is not a traditional ISAP symposium. This shorter, two-day event, being offered in cooperation with the Cavanaugh Flight Museum, emphasizes hands-on techniques. The ISAP Ultimate Access Dream Shoot includes a day of exclusive access to the museum’s aircraft—exterior, interior, ramp and sunset shots. A 35-foot lift will be available for high-angle shots. Scott Slocum and one of his Bombshell models will be on hand for an instructional session with a World War II fighter. The other day provides turning props and the sweet smell of smoke oil as we photograph full-on aerobatics and thundering warbirds—not in the city, but at a very photogenic private airstrip in rural North Texas. Here you will be able to shoot a variety of fighters, other vintage military aircraft, and aerobatic airplanes as they make high-speed passes and perform low-level aerobatics. Expect old-style barnstorming, as well as short-field landing and takeoff demonstrations. $445 - Registration Fee for ISAP Members

$545 - Registration Fee for Non ISAP Members

PAYMENT IS DUE AT THE TIME OF REGISTRATION

This includes aircraft availability both days, bus transportation to the private airstrip, and two meals—including a catered barbecue dinner at the private airstrip.

Registered participants in ISAP’s Ultimate Access Dream Shoot have the opportunity to participate in three different options for air-to-air photo missions. These are offered by, and payment will be made to, the Cavanaugh Air Museum.

OPTIONS:• Air to air of a P-51, P-40 and FG1D (or comparable aircraft), shooting from a de Havilland CV-2B Caribou ($1,200 per person, minimum 6 participants)

• Air to air of a Stearman, Travel Air and Sukhoi (or comparable aircraft), shooting from a de Havilland DHC-4 Caribou ($700 per person, minimum 6 participants)

In addition, there is an option for a private air to air session with aviation photographer Scott Slocum, shooting from a Beech Bonanza A36 ($1,400 per person, two participants maximum)

May 22 - May 23, 2015PARTICIPATION IN THIS UNIQUE

EVENT IS lIMITED!

© Lyle Jansma

Hotel AccommodationsThe host hotel for the event will be the Spring Hill Suites Dallas Addison/Quorum Drive, a Marriott property, located just south of Addison Airport at 15255 Quorum Dr., Addison, Texas 75001—less than five minutes from the Cavanaugh Flight Museum. The room rate of $69 per night (approxi-mately $78, including taxes), for a single or double suite, includes Internet access and a complimentary hot breakfast each morning. This room rate is available from May 21 through May 24.

To reserve at this exclusive rate, go to http://tinyurl.com/m7dtdx2or call Marriott Reservations toll-free at 888-287-9400 and identify yourself as part of the International Society for Aviation Photography group staying at the Spring Hill Suites Dallas Addison/Quorum Drive.To guarantee this rate, reserve by Thursday, May 7, 2015.

Any additional questions email ISAP at: [email protected]: 2015 Ultimate Access Dream Shoot

TO REGISTER FOR THE EVENT GO TO THE LINKaviationphoto.org/2015-isap-ultimate-access-dream-shoot

Non ISAP members who join ISAP to take advantage of the discounted price for members should not expect instant access. Please wait 3 - 4 business days for an email with the access code for ISAP members.

Registered participants will receive additional information via email as the event gets closer.

To learn more about International Society for Aviation Photography (ISAP) or to become a member visit their website or Facebook page at:www.aviationphoto.org • https://www.facebook.com/ISAPorg

SNEAK PREVIEW OF THE

UlTIMATE DREAM SHOOT

2015

The Second Best Photo Platform for Air-to Air Photography-CV-2B Caribou

Shooting Is The Easy Part-Discussing safety doing air-to-air photography

Photos of Akroville-Location for Saturday’s flying event

Scot

t Slo

cum

I know, the first question is what’s the best? The tail position of the B-25 with the gun and tail assembly removed is without question the best for me. However, you only really have room for one, possibly two in that position. What about the C-130? It can be great platform as well, however unless you have a deal with the military, the opportunities are rare to shoot from them. Also, I have found that there is a lot of wind vibration and quite a bit of smoke and heat distortion you have to shoot around.

The CV-2B Caribou (C-7 Air Force) is the second best platform I have ever shot from. The Cavanaugh Flight Museum has the only flying example left in the US and it’s completely operational with its rear door down for shooting out of the back, and with the side doors off, for shooting perpendicular. Because it’s a cargo and jump platform, you can have up to 6 photographers staged in the back shooting out of the door at one time, all tethered to a static line so they can move around yet feel secure they won’t fall out. One of my favorite cover images was taken the first time I ever shot out of the Caribou. We had the opportunity to capture a C-47 and C-117 together to promote the then new “Cargo Heritage Flight” for the cover of Warbird Digest. I brought kneepads and my 70-200 lens and was pleasantly surprised on the view from with the back door open. While ultimately the shot was vertical, with the wings cut off, the B roll shots included show how even with the constraints of the doorway walls, it is plenty wide enough to capture and aircraft as large as the C-117.

For the “Ultimate Access” air to air photo missions we have lined up this coming May 22nd, the Caribou will be the photo platform for shooting the subject aircraft the museum have lined up for participants. Can you imagine how beautiful the Brat III, all polished P-51 Mustang will look floating just out the back door for a head on shot? Or seeing the classic gull wing shape of the corsair? What makes this even more of a special event is that this Caribou is a combat veteran and will be crewed by the very person who crewed it while at Vietnam, Bob Schrader otherwise known as “Caribou Bob.” Bob can tell you the story of each of the 21 bullet whole patches still seen on the aircraft as well as describe what it was like to operate the aircraft in short, dirt strips while in country. In addition, the Caribou will be apart of the fly-in on the 23rd demonstrating its short field takeoff and landing techniques.

The Caribou was designed for multiple roles and served magnificently throughout its carrier with the Army and Airforce. Thanks to the Cavanaugh Flight Museum and donations from the public, she is still serving by demonstrating to new generations what air power has done to preserve our freedom.

THE SECOND BEST PHOTO PLATFORMFOR AIR-TO-AIR PHOTOGRAPHYStory and Photos by Scott Slocum

Scot

t Slo

cum

by Scott Slocum

Shooting iS the eaSy partSo after seeing a video of two skydiving aircraft collide mid-air in which both planes were destroyed and the only reason anyone survived was because they had parachutes… I am compelled to write about something that has been on my mind for the past couple of years.

This incident dramatically illustrates how quickly things can go to shit when you’re flying two aircraft together in the same sky. While I will surly be roasted by other photographers for saying something, I cannot be silent about a trend I am seeing out there regarding the AIR TO AIR and Aviation photography classes popping up around the country. If you are a photographer looking into spending the money for one of these classes, I urge you to ask some questions about who is conducting the school. Just because the instructor is a well-known nature photographer for example, does not mean that person is qualified to teach you how to be safe and proficient in planning, briefing and shooting an air-to-air mission.

It’s no different than handing a photographer scuba gear and with no diving experience, telling them to go capture images of sharks. You would definitely want a truly qualified person to teach you how to dive, handle being around sharks as well as the best way to capture via equipment, lighting, position etc. Air to air shooting is no different except the stakes are even higher in the fact you have multiple lives in your hands.

I get asked to give pointers on air to air shooting and that’s fine but in know way am I signing someone off to go conduct there own air to air mission with out years in training. The shooting is the easy part! The ability, knowledge and situational awareness to conduct photo mission safely is the part I see taken for granted. So please ask: a What qualification does the in-structor have to be teaching you air-to-air photography? Who are the pilots involved and do they have the proper formation training? If the instructor does not have at least 8 to 10 years of planning, and executing air to air missions, I cant see how that person has the experience to truly teach a student the ins and outs of air to air photo missions.

My perception is that photographers will depart the weekend course having taken some great images not realizing how much the pilots had to do with the success of the mission and try to duplicate the same results on there own with poor or even fatal results. The sky is big, but not for air to air. Even if the class is for the photographer to get good images for the experience of air to air shooting without the thought of doing it themselves, need to ask the same questions! I think a good

test is if the instructor insists on shooting (possibly even taking the best shooting spots from the paying student) instead of watching out for the big picture on the flight. Anyway, the bottom line is...do not be afraid to ask about the person(s) you are placing your life in the hands of and please be careful, Its easy to get lulled into the safety of the situation when there’s a beautiful warbird floating next to you.

Scot

t Slo

cum

akroville

M E E T O U R M E M B E R S In

ternational Society

Aviation Photography©

M E E T O U R M E M B E R S

Dave LaCombeAs a lifetime admirer of aviation history and aircraft, I welcome this opportunity share my passion with you. In my youth, I joined the Civil Air Patrol on the advice of a friend who was also a member. It was then that I began a real interest in military aviation. I still recall my first flight in a Cessna. The flight lasted only a few minutes, but the experience introduced me to legends of flight and an appreciation of the vast sky.

I’m a native New Yorker and have lived also in Florida and Louisiana. Inspired by my CAP experience, I choose a career in public service – working as paramedic and firefighter for 20 years. Those roles taught me a lot about people. I learned what it meant to experience a vast array of emotion and believe that has shaped me as a person. Dealing with the stressors of public safety work, I dabbled in Photography as a creative outlet. Photographing aircraft combined two interests, and a serious hobby was born. Countless excursions to photograph aircraft helped evolve the hobby into a part-time profession.

Like many photographers, my skills were initially self-acquired through lots of trial and error. Today, there are so many resources available to learn foundational skills and advanced concepts. Workshops, online tutorials and a small group of peers help me to continuously grow as a photographer. Still, nothing beats hands-on practice and lots of it.

Currently, I am the Marketing Director for a global healthcare simulation company. We help healthcare teams improve safety through simulating patient scenarios much like an air crew would practice in a flight simulator. I’m also a photographer specializing in aviation, architecture and cityscapes. Living near New York City I have an incredible array of subjects to photograph. I recently joined New York on Air – a custom assignment and licensing agency specializing in aerial visuals.

When starting out I followed the advice of a product specialist and chose a Nikon 35mm film camera as my platform. Over years, I remained loyal to the brand. Now, the majority of my gear is Nikon – switching to another platform would be complicated. I use full and crop sensor bodies with a 70-200mm lens as part of my basic kit. A 2X teleconverter is always in my bag as well. I also use a 24-70mm lens when shooting static displays. This year, I want to experiment with super-telephoto glass. Thankfully, renting gear is an option. I’m also planning to try a gyro-stabilizer for air-to-air work in low light conditions.

Do you prefer shooting RAW or JPG and why? Do you prefer Photoshop, Lightroom, or some other program for image processing, and why?

I prefer to shoot in RAW as it provides so many options for the post-production tweaking of images. I use Lightroom for the majority of edits and save Photoshop when heavy lifting is required. So far, I’ve resisted the use of HDR techniques – I try hard to have really clean images. If the image needs extreme post-production work it typically will get cut in the editing process and I’ll reshoot the image if possible. Unfortunately, so many of our opportunities to capture rare birds come and go quickly. If we flub the shot, software won’t be able to fix bad technical capture of the image. This is why I place so much emphasis on planning and re-hearsing the shot in advance. I have a funny story where I was recently trying to capture a helicopter’s rotor as a perfect disk. Lighting condi-tions were expected to rapidly change. So, I setup a reciprocating fan to simulate the rotor – even though the RPM of the fan was considerably slower than the helicopter, I practiced rapidly changing camera settings while shooting so that I didn’t have to take my eye off the subject. The experience reminds me of the wisdom of Louis Pasteur when he said “chance favors the prepared mind.”

I’m new to ISAP. Now that I am exploring the member benefits I wish I had joined much earlier. I learned about the Society while searching the web for air-to-air tutorials. The resources for members look fantastic. I especially look forward to attending an ISAP event to meet other mem-bers. The Ultimate Access Dream Shoot looks incredible. I have plans to attend a local air show at that time. Hopefully, the event will be a success and offered again.

I absolutely enjoy sharing my experience with other photographers. Ev-ery day is an opportunity to help others and to pay forward the gifts that others have shared with us. I appreciate when photographers take time to teach me. I’ve found that the majority of photographers will happily offer a tip or tell a story that is so helpful to put things into perspective. The social part of photography continuously amazes me.

My advice to photographers new to aviation is to try a little bit of every-thing. Air shows and museums are plentiful. Get out and start shooting. Reflect on your work. Meet people. Don’t be afraid to ask questions. Study others work and find a mentor. There will be setbacks and disappoints, but the journey is amazing. Lastly, stay humble. We’re photographers who capture the work of the real stars – our military and civilian pilots who are in the daily arena…often at risk for making the ultimate sacrifice in the service of others.

M E E T T H E M E M B E R S

Mark ChiolisI’m currently based in Burbank California which allows me the opportunity to easily travel to key destinations while being close to main west coast aviation bases such as Chino, Van Nuys, Mojave, Edwards, Camarillo and of course Burbank, previously home to the Lockheed Skunk Works.

I consider myself semipro as I’ve sold both photos and video for aviation and non-aviation projects. I started shooting B&W with Triax and Pan-X for the middle school newspaper and yearbook and continued on to having a darkroom in my parents bathroom for both printing and developing of print and slide film. Back in “those days” I was using Nikormat FTN and Nikormat EL cameras and being very careful about pushing that shutter button as there was time and cost involved in seeing each shot. My early training in photography was thanks to 2 newspaper/yearbook instructors who were excellent photographers, and I remember borrowing their Brooks Institute courses by mail and doing all of the exercises each time a new one arrived. Over the years I’ve taken a few classes on lighting and digital photography but most of my learning has come by doing. Besides shooting for school projects, Airplanes were one of my favorite subjects as I started flying lessons at age 12 and would spend time at the airport helping to work on planes or just hanging out there and taking in the atmosphere in between flying lessons.

Currently I’m using a Nikon D300 with an 18-200 and a 300mm lens for those longer shots, but looking to upgrade to a newer system with a full frame sensor and higher frame rate capture. While aviation still photography is one of my big passions I have also spent a great deal of time shooting aviation video. In 1989 I was working to sell cameras to the video production company that had the contract for the Reno Air Races. Since they wouldn’t set up an appointment for me to demonstrate the camera to them I offered them my services as a videographer, together with the camera, as an additional crew member and to provide them all of the material I shot at no charge to them. While they didn’t purchase the camera, they brought me back as part of the crew each year for the next 10+ years and there I made many good friends in the aviation and air race circles. For many years our camera team was the one out on the runway during the launches of the Formula 1 and BiPlane classes, providing a very unique shooting position as the airshow performers would be doing their routine above our head during the staging. Having Bob Hoover in the Shrike Commander making low passes above was a

thrilling feeling. While there have been many highlights to date, includ-ing, having a Harrier give me a direct overhead blast while landing as I was standing mere feet off the runway, flying in the B-24 “Diamond Lil” in formation with the B-29 “Fifi” while both airplanes flew the Reno race course in formation and then headed for a pass in downtown Reno, every time I spend a race shooting from one of the pylons, spending an entire day privately touring the Kennedy Space Center and capturing stills of all the current and previous launch pads, shooting video and stills of a shuttle launch and landing, I think my favorite project was sitting down with every living Unlimited Air Race winner for 1-2 hours each and having them talk about how they got into racing, what drove them to race and their thoughts on how to live life to the fullest. This project turned into “Chasing Reno Gold” which allowed me to produce a video during the ill-fated 2011 races following the crash of Jimmy Leeward and the Galloping Ghost. I was the last one to interview pilot Jimmy Leeward out on the ramp, together with Tiger DeStefani, shortly before he climbed into the cockpit for his last race. That interview was never shown and I’m still not sure if I will release it.

In addition to shooting 10+ years for Skyfire Video from 1989 – 2000 I worked with RARA to independently produce 3 additional race videos over the last few years. The 2010 “Let’s Go to the Reno Air Races” is target at kids of all ages who love airplanes. I wanted something that showcased all of the beautiful planes from Reno in all aspects of flight from starting to taxiing, taking off, landing and of course racing. In 2011 RARA had decided not to produce a start to finish video with the high-lights of the event so I decided that with a 2 person crew, a few GoPro’s in strategic locations and some assistance from the RARA Podcast team I could do a video that covered backgrounds, interviews and the races. It was a big job but I never got the opportunity that year due to the crash. Still wanting to do a video, Chasing Reno Gold was born and I spent the next 9 months chasing all of the pilots down to get interview time with them. In 2012 with the races back on after the crash RARA still had no plans to do a video so fellow cinematographer, photography instructor, and NASA employee, Walt Lindblom and I jumped into completing a start to finish video on the 2012 races called Reno 2012: The Return of Air Rac-ing. We spent the first 2 days getting interviews with the key pilots and class presidents on background for each race and then with Walt shoot-ing each race from start to finish from the tower, a couple of key GoPro cameras in planes and myself grabbing interviews with each winner we had a video. I knew that this would likely be the last time I would tackle this project from start to finish I wanted to make it something to remem-ber, so every medal race is included in its entirety as well as interviews with each of the winners and all of the airshow performers and inter-views with them as well. I don’t think either of us got more than about 4 hours sleep each night between transferring and backing up video and prepping the equipment for the next day but it was a once in a lifetime opportunity and one I will always remember. For video capture we used 3 GoPro’s that moved around, a Grass Valley Infinity with a 22x Broadcast Zoom lens, so that the race planes could be followed the entire course from the top of the tower, and a Prosumer Canon for the interviews so I could do that on my own and be quick and mobile. I don’t know how we did it but both Walt and I managed to shoot a number of stills that year while getting 6-8 hours of video each race day as well.


Most of my stills with the D300 are shot with the highest resolution JPEG, although I will do raw once in a while for a specific project. I manage these with Nikon View and Capture NX with some work in Lightroom and I’ve used Photoshop in the past as well. For the video work I’m currently using a Grass Valley EDIUS version 6.5 and working with 25, 50, and 100Mbit JPEG and AVC-I video files. I like the Nikon software as I’m familiar with it and it provides good results as most of my stills get only a minor amount of work after the fact, as they are being posted to the website for PR on the videos. I use the EDIUS for the same reason, it was easy to learn and I am able to put almost any video format on the timeline and it just drops in and becomes part of the project without any transcoding or conversion.

In January 2013 I had the pleasure of working with Mr. Larry Grace on the Living Legends of Aviation dinner event and Larry and I discussed photography (of course) and we also talked about his work and back-ground and the conversation led to ISnAP. After doing a little research I was very impressed with the organization and the work of the member-ship. After applying I was accepted and very happy to be a member of this great group. I worked the LLOA once again in 2014 and look forward

to joining Larry again in the future on this event. I was excited to read about the upcoming ISnAP event in May but unfortunately am not able to get to Texas at that time for this. Maybe we can work something in the future out of Chino, Van Nuys or another Southern California airport. In addition to ISnAP I have been an Associate Member of the American Society of Cinematographers (ASC) for the last 7 years.

I continue to look upon photography and videography as an on-going learning experience for both myself and others I work with. Whether it’s taking a new course, reading a new how-to book, watching an expert video, or just experimenting with a new project that you’ve not attempt-ed previously, these are all great ways to continue learning about our craft and expanding our working knowledge and abilities. As a Board Member of the HPA (Hollywood Professional Alliance, previously the Hollywood Post Alliance) one of the goals of our group is working to bring in younger members and help them into the different craft trades and to provide educational opportunities to help build their skills level and advance their proficiencies as they move through the educational system and into the working world.

Philip JohnsonSo I caught the photography bug sometime around ’79 or ’80 when I bought my Pentax K1000 with 50mm kit lens. Once I got to high school I started using the photo lab to develop film. That was the coolest thing to put that exposed piece of paper in the developer and see the image appear. By the time I got to college I just didn’t have the extra income for photography so it had to go on hold.

So I got back into photography around ’98 and decided to go with the Canon system. There mid-level lenses were less expensive then Nikon’s. I got myself involved with a local camera club and have been enjoying photography ever since. I’ve always had a fascination with planes and since I knew I could never get a pilot’s license I did the next best thing, photograph the plane and the people that fly them.

Since I was in a camera club I started searching the internet to find if there were any groups that did aviation photography. That’s when I find ISAP in 2009. I joined and was at my first symposium in Las Vegas in 2010. Getting the chance to be at Nellis Air Force Base was a great experience. I’ve been to every ISAP symposium since and have always come away learning something new.


Taken with a Canon 10D and 300mm f/4 lens + 1.4 teleconverter at the 2003 AirVenture Oshkosh, WI

Taken with a Canon 1DMKIII and 70-200 f/2.8II lens at the Aviation Military Museum in Virginia Beach, VA 2012

Taken with a Canon 1DMKIIN and 28-70 f/2.8 lens on a flight on Aluminum Overcast at the 2008 AirVenture.

Taken with a Canon 1DMKIII and 28-70 f/2.8 lens at the 2012 Commemorative Air Force AIRSHO in Midland, TX. This was one attempt at HDR.

Taken with a Canon 1DMKIII and 300 f/2.8 + 2.0 teleconverter at the 2012 Commemorative Air Force AIRSHO in Midland, TX.

Taken with a Canon 1DMKIII and 300 f/2.8 + 1.4 teleconverter at the 2012 Commemorative Air Force AIRSHO in Midland, TX.

Taken with a Canon 1DMKIII and 70-200 f/2.8II + 1.4 teleconverter at the 2013 AirVenture Oshkosh, WI

FREE 15” LAPTOP CASE WITH PURCHASE OF THINK TANK ROLLER

Our friends at Think Tank Photo have announced a special offer that runs through March 31, 2015. Purchase any new rolling camera bag directly from Think Tank Photo, mail in the rebate form downloadable from their website, and they will send you a 15” laptop case for free! Think Tank’s rolling camera bags are renowned for being designed for airline travel, enhanced security and durability, while being backed by the best cus-tomer service in the industry. As my friend, in addition to receiving the free laptop, when you check out of their shopping cart you will be asked what other Think Tank item you would like to receive for free with your

order. Enjoy!

http://www.thinktankphoto.com/categories/rolling-camera-bags.aspx?code=CC-326

The Think Tank Roller Camera Bag can easily roll down the aisle and fit in the overhead bin on board a Southwest 737-800 aircraft.

Rolling Camera Bags

THE CLASSIC FIGHTERSOMAKA AIRSHOW 2015Story and photos by John Freedman

The Classic Fighters Omaka airshow is held every second Easter weekend in Blenheim New Zealand. It features an amazing collection of WW I and WW II aircraft, set in a picture perfect setting of flowing hills and vineyards.

The lighting is great; starting over your left shoulder and ending over the right, add that to the close flying it really is the perfect show. Every show has something new, this year was eight Fokker Dr.1 Triples, three Spitfires, a bomb drop from the AVRO Anson and a flying V-1.

Almost every warbird in New Zealand attends the show; two Yak-3s, two P-40s, a Mustang, a TBM, and the only flying Commonwealth Corsair. There was plenty of trainers, with Texans, Yak-52s and Nanchangs filling the sky during the finale.

Where this show really stands out is the Great War segment, with Fokker Dr.1s, Fokker D.VII, D.VIII, Pfalz DIII, and allied aircraft, Airco DH.5, Nieuport 11s, Sopwith Pup and Camel. Whilst the dogfights rage in the sky, there is two WW I replica tanks, and period dressed troops in a ground battle.

Classic Fighters is my favorite show, the combination of WW I and WW II aircraft, plus the ground show really makes it unique. Add the lighting and the great people that run it, and you have a brilliant weekend. So plan your trip down under to attend the next show, Easter 2017, see you there!!

John

Fre

edm

an

These are shots from my recent days at the All Red Star Pilots Desert Lightning event held at Deer Valley airport (DVT) North of Phoenix, AZ. My camera setup for A2A is Canon’s 1Dx and 70-200 f2.8L II. All shutter speeds are between 1/60 and 1/125

I use ISO 100 and shutter priority mode. I also use a Singh Ray|variable ND filter to control the aperture. Without it the aperture creeps up and I end up cleaning dirt spots which the 1Dx is notorious for. It also gives the lens the opportunity to work in it’s sweet spot between f5 and f10. One thing about my lens choice…I sometimes use my 24-70 f2.8II which doesn’t have IS. What I found was carrying both in the cockpit I was shooting each at around 70mm when flying with the RPA. Obviously I chose the lens with IS. Plus it allows me to get the close up “hero” shots and when the formations break for landing I can get the belly shot easily.

These photos were taken from a mix of “camera ships” including the B-25 Executive Sweet, a T-6, a couple of T-34’s and a Nanchang CJ-6. Some were taken through the canopies and others there was no obstruction.

Processing the photos which are all shot RAW happens in Lightroom. Then they get sent through a few of the NIK plug-ins in Photoshop.

A little about the event and the organization…the RPA is made up of some extremely talented and credentialed pilots. At a different event I flew with TWO former USAF Thunderbirds pilots! To say they know how to fly formation is a bit of an understatement! There are several Navy Fighter Weapons School graduates and I recently learned one of the pilots was actually a founding member of “Top Gun”! Crazy stuff! Desert Lightning is an event centered around training for the Desert Thunder event which will be held later this year. The focus is on tactical formation flying, initial threat response, bombing missions, and proper communication during simulated combat missions. Briefings were held each morning for the entire group and then individual briefings for each flight. This being a training event, the missions got progressively tougher with the eventual addition of the “Red Air” aggressors to deal with and a full-on bomb run complete with forward air control calling us to the target! One sortie included the B-25 with four escorts defending against Red Air. It was a truly surreal experience sitting behind a .50 cal watching planes dart in and out of my sights. I chose to shoot them with my Canon though!

Story by Robert Turchick Photos by Robert Turchick and Jay Beckman

all red Star pilotS deSert lightning

Robe

rt Tu

rchi

ck

Jay

Beck

man

For me, an absolute warbird nut, given the chance to join an air to air shoot was the opportunity of a life time and fulfilling a life long dream.This opportunity was given to me by Jim Wilson, a Texas based photog-rapher. I met Jim through the Fred Miranda forum where he started a threat called Mustang air to air. The P-51 Mustang is one of my all time favored World War II fighter. After posting some of my own work Jim asked if I would like it to join the ISAP organization. At the time I didn’t know ISAP so Jim provided me with some information I could check out. I liked what I saw and decided to join ISAP.

Jim also pointed out that they were organizing a convention in Las Vegas where he and a part of the forum group would come together for a little meet at the ISAP convention. In March of 2010 at the convention Jim told us that there was an opportunity to join him on a Air to Air flight during the 2010 Alliance Fort Worth Airshow. That really sparked my interest at the time. Jim used the B-25 as a photo ship so I could kill two birds with one stone, flying in a B-25 and be giving the chance to take a crack at some air to air photography. After checking if there were sufficient funds I had given Jim the green light.

After arriving in Fort Worth on October 2010, I joined up with Mark McGrath, a Glasgow based photographer who also joined Jim on the photo flight. Jim provided us with access to the flight-line before the show so we could watch pre show rehearsals and arrivals. We were given the chance to join him between the active runways to witness and photograph the arrival of the F-22 Raptor demo team. Something I would never forget and very intimidating to see that fighter come by so close.

I have to say at first I had asked for the Friday flight with the Cessna T-37C and the T-38 Talon. But when Jim took some of us into a hangar to see some of the planes who were going to participate in the show I saw the Bruce Winters P-51D Happy Jack’s Go Buggy parked there so I said to Jim “Wouldn’t it be cool if that one could join us on the flight.”Jim said maybe I can arrange something and after some time he came back to me and told me that the mustang would join up together with an A-26 Invader and a AD5 Skyraider so I promptly asked if I could switch from the Friday to the Saturday flight which was luckily approved for me by Jim.

SHOOTIN’ IN THE USAby Jan-Arie van der Linden, The Netherlands

So the Saturday came around and during the day I wasn’t really nervous but when the five o clock meeting time came up I was very nervous. For this trip I had rented a Canon 5D Mark II and loaned a 24-105mm from a friend so I had my own Canon 1D Mark II with a 100-400 and the 5D with the 24-105 to play with.

Before we entered the B-25 we had a talk Concerning Flight Safety and various other things. We were introduced to the B-25 pilot Scott “Gunny” Perdue, a former USAF F-15 Strike Eagle Fighter pilot, how cool is that.

After entering the B-25, we started up and I thought of the people who used this type of plane in anger and it was very weird for me in a way that it was possible for me to take a pleasure flight in it. We took off with the A-26 and Sky Raider in trail. First up was the A-26 Invader Hard to Get and I have to say that name ringed a bell but I couldn’t put my finger on it.

Later I found out that the A-26 was owned by a Dutchman and I saw that one in Europe. It was very cool to see the A-26 from the back of the B-25. Then the P-51 joined up from the side and I was smiling from ear to ear, in a way it was even a little emotional to see that famous fighter up close and personal.

Next was the AD5 Skyraider, also a very intimidating airplane to see flying with that enormous engine and prop so close to the B-25. We also got company from a L-39 jet trainer flown by Jim’s friend Glenn with Jim’s son JR in the back that was also very cool to see.

A funny note on the side was that during the flight I ripped my trousers so they gave me the call sign Ripper I thought that was very funny indeed. I was very fortunate to be given this opportunity and it was worth every dollar. I’ll do it again in a heartbeat. Special thanks go out to Jim and Gunny for making a dream come true.

Jan-

Arie

van

der

Lin

den

Sometimes It’s NotThe Background.

Story and photos by Mike Collins

Most of the time when we shoot air to air, the objective is a glamour shot of the aircraft over a picturesque background. But sometimes the background makes all the difference in telling the story of an airplane.

When I learned of Matt Quy in spring 2011, he was planning to fly his PT-13 Stearman, Spirit of Tuskegee, to the Smithsonian. After he and his wife, Tina, bought the airplane as a wreck, they discovered that it had been used in 1944 and 1945 to train Tuskegee Airmen at Moton Field in Tuskegee, Ala. I called Matt, introduced myself, told him I’d like to do a story on the airplane—and asked if he had considered visiting Tuskegee on the way from California to Washington. “Yes,” was his reply, “right after Oshkosh.”

So I met Matt in Alabama, with the primary purpose of making this photo of the Stearman trainer above its first Army station, Tuskegee Army Airfield (now a national historic site administered by the National Park Service), and its restored hangar complex.

Like most shoots, there were challenges. We had to let a rainshower move through. And a still photographer and videographer from the Smithsonian wanted air-to-air, as well. They’d never shot air to air, so I gave them some primers and helped them through their briefing. Then it was my turn. The sky was still a bit hazy from the rain, which actually may have helped the overflight shot. Before we landed, however, the sun came out and we reveled in the light. Some of the other images from that day are “prettier pictures,” but none tells the story of a Tuskegee Stearman’s homecoming.

Later, the airplane was temporarily displayed in the National Air and Space Museum’s Udvar-Hazy Center at Washington Dulles International Airport. I believe it was moved recently to the National Museum of African American History and Culture, which will be its final resting place. The new museum opens to the public in 2016.

Sometimes It’s NotThe Background.

Mik

e Co

llins

For the fourth consecutive year I was contracted to shoot the official South African Air Show Book “Smoke On…Go”. The book has always prided itself on a high standard of photography as a selling point of the book is to display images that are generally not shot at air shows but rather makes use of air to air images.

Each year so far Creative Space Media, the company that is respon-sible for designing, compiling and printing the book, flies me up from Cape Town to Gauteng for a week of flying air to air sorties back to back. It’s just ridiculous that someone is willing to pay me good money to spend my days flying hop after hop talking air to air images of all sorts of aircraft from RV-7’s to Warbirds.

Admittedly, it’s actually a lot harder work than what it sounds like. I’m up every morning before sunrise, driving to the required airfield for the day, pulling aircraft out of hangars, taking off doors, removing seats, organizing briefings and talking about my ideas for the shoot with all involved….

Then it’s time to fly…each sorties lasts about an hour as I’m often chas-ing nice backdrops and the good light. As soon as I land it’s time to meet up with the pilot for the next sortie. Before I look again, lunch time has come and gone and I haven’t had a chance to eat something yet. Now and again I get someone to run off to the airfield canteen and grab me a bite as I’m jumping into another photoship…this year I was literally eating a pizza while taxiing out.

SMOKE ON…GO!by Justin de Reuck

After the day is done and we have three or four sorties under the belt, it’s time to hit the airfield pub and have some food, a few beers, chat to all the pilots about the day and share a few laughs.

Then it’s off to the hotel where I need to start downloading cards, charging batteries, getting everything into Lightroom and start the sorting and post processing. I try and get an early night but it’s not always possible. The next morning rinse, wash and repeat…

This year I had fly an early morning sortie, drive to the airport, and catch a commercial jet down to a coastal town called Port Elizabeth, where I then had to hire a car and drive down to a privately owned airfield where a Hawker Sea Fury and a P-51D Mustang were standing

on the apron ready for their shoot. My camera ship for that shoot was a T-6 Texan (or Harvard as we refer to them here in South Africa). Just another busy day…but always worth it.

Camera ships vary from C210’s to Piper Cubs, From Saratogas to T-28’s…all in all I get to fly in all sorts of aircraft and my subjects are just as diverse. It is hard work, but I love it and wouldn’t swap it for anything else in the world.

Just

in d

e Re

uck

Two Spanish Air Force Eurofighter Typhoons split during a recent air-to-air shoot. To setup this air-to-air shoot I neededto arrange everything. From airspace reservations to NOTAMS to a suitable aircraft that would allow me to shoot from.Canon 1D Mark IV, EF24-105 f/4L IS USM, 1/800 sec, f/6.3, ISO100Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

CATCHING

AIRAir-to-air images from

ISAP members around the world

Austrian Air Force SAAB105 climb above the Alps while one is breaking away.Canon 1D Mark IV, EF24-105 f/4L IS USM, 1/320, f/9.0 ISO 100

Cris

tian

Schr

ik

A United States Navy Reserve HH-60H from the HSC-84 is flying low over world heritage site “De Waddenzee”, the Netherlands,during low tide while participating in Special OPS exercise “Jackal Stone 2014”.Canon 1D Mark IV, EF70-200 f/2.8L IS II USM, 1/100, f/13, ISO 100Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

Turkish Air Force KT-1T Woongbe split into all directions during an air-to-air photo shoot.I was the first (foreign) photographer to perform an air-to-air photo-shoot with these aircraft.Canon 1D Mark IV, EF24-105 f/4L IS USM, 1/250, f/14, ISO 100Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

An Estonian Air Force L-39 banks right in a gap between clouds during an air-to-air shoot.Canon 1D Mark IV, EF24-105 f/4L IS USM, 1/400, f/11, ISO 100Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

This Polish MiG-29 Fulcrum was taken during a sunset air-to-air photo-shoot over Lithuania while executing a Baltic Air Patrol mission. Canon 1D Mark IV, EF70-200 f/2.8L IS II USM, 1/500, f/11, ISO 400Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

A Eurofighter Typhoon from the Italian Air Force, armed with two AIM-120 AMRAAM and two IRIS-T missiles is flyingabove Lithuania on a Baltic Air Policing mission. The image was taken out of the back of a Lithuanian Air Force C-27J.Canon 1D Mark IV, EF70-200 f/2.8L IS II USM, 1/800, f/5.6, ISO 200Postproduction in Adobe Lightroom, exported to Photoshop CC for some minor adjustments and the use of Nik Software.

Cris

tian

Schr

ik

Paul

Bow

en

Fran

k Cr

ébas

WWII Airborne Demonstration Team troopers jump from their C-47 ‘Boogie Baby’ at sunrise.

Gary

Dan

iels

Hazy sunrise shoot of an Aeronca L3B over Lake Lewisville, north of Dallas.

Gary

Dan

iels

Russian built Li-2 returning to the Aéroport de Cherbourg-Maupertus after the St. Marie du Mont 70th D-Day airborne commemoration jump on June 6. 2014.

Gary

Dan

iels

P-51’s Glamorous Glen III and Little Rebel over the Texas hill country near Fredericksburg, Texas.

Gary

Dan

iels

Steve Afeman in his 1944 SNJ with smoke on during dawn patrol.

Gary

Dan

iels

I have been flying with the United States Navy as a civilian photographer since 1997. I have had a chance to do some pretty amazing things. The real reward is not the experiences though. It’s been working and seeing my imagery appreciated by the men and women that fly these impressive aircraft day in and day out. They are my real customers, those that I am committed to ensure my work is the best I can produce. If they are happy, whichever publication or editor is the end user I know will be happy.

José

M. R

amos

-Nav

arre

te

These shots are my first AirVenture Air to Airs shot last summer-2014 in Oshkosh, WI. Cessna 210 skillfully flown by Bruce Moore and should be credited with many compositions. Photography coaching by Tyson Rininger.American Airliner: f5.6 1/640 400mm

Julie

A. W

egne

r

HDGA: f16 1/80 55mm

Julie

A. W

egne

r

Waco: f7.1 1/125 100mm

Julie

A. W

egne

r

Vought F4U-7 Corsair of the Erickson Aircraft Collection over the mountains of central Oregon. Photographed at the 2014 Madras A2AX.

Mat

t Boo

ty

Grumman J2F-6 Duck of the Erickson Aircraft Collection. Photographed at the 2014 Madras A2AX.

Mat

t Boo

ty

Grumman F8F Bearcat belonging to John Sessions’ Historic Flight Foundation over northern Washington State. Photographed from B-25 “Grumpy” during an air to air experience hosted by the Historic Flight Foundation.

Mat

t Boo

ty

Aerobatic pilot and performer Stefan Trishuck in his Ultimate 10-150 biplane over the Orgen countryside. Photographed at the 2014 Madras A2AX.

Mat

t Boo

ty

B-25J “In the Mood” over the waters of the Puget Sound. Photographed from B-25 “Grumpy” during an air to air experience hosted by the Historic Flight Foundation.

Mic

hael

A. M

aini

ero

Mik

e Gr

een

RV-07A shot from a Bonanza V35. Camera: Nikon D7000 Lens: 70-300 mm f/4.5-5.6 Settings: f/9.0 and shutter speed 1/80Post processing in LightRoom 3

Raph

ael L

opes

Pin

to B

resc

ia

Yak-52 shot from a Cessna C172. Camera: Nikon D7000 Lens: 70-200 mm f/2 Settings: f/16.0 and shutter speed 1/60Post processing in LightRoom 3

Raph

ael L

opes

Pin

to B

resc

ia

Piper L-4 Grasshopper shot from a Cessna C172. Camera: Nikon D7000 Lens: 70-200 mm f/2.8 Settings: f/6.3 and shutter speed 1/400Post processing in LightRoom 3

Raph

ael L

opes

Pin

to B

resc

ia

Aviat Pitts S-2B shot from a Cessna C172. Camera: Nikon D7000 Lens: 70-200 mm f/2.8 Settings: f/7.1 and shutter speed 1/400Post processing in LightRoom 3

Raph

ael L

opes

Pin

to B

resc

ia

Stev

e Zi

mm

erm

ann

Chris

Ebd

on

Rob Holland in his MXS-RH taken from Kevin Coleman’s Bonanza in Shreveport, LA, March 16, 2015. Nikon D750 and Nikon 24-120 f4 set at 120mm, 1/80th of a second @f10, ISO125, shutter priority, matrix metering.

Post processing: All of my images were RAWs. I’ve been using DxO Optics Pro 10 as my primary RAW processor. Almost all of the post shot processing was done in DxO, usually comprising some minor tonal adjustments, DxO’s stellar noise reduction (where needed), and some changes to micro contrast. With the D7100, more post processing was required to get the images to pop given the relatively lower perfor-mance of that camera’s sensor compared with the D750 and D800. The shots taken with the D750 and D800 have minimal processing: minor color vibrancy increase, very light sharpening of the output JPEG, and some adjustments to tonal balance. The first shot of Rob is almost SOC, which is testament to the quality of that sensor.

This image was taken around 6:30PM, so about an hour before sunset. We used a large lake as a backdrop. With the sun behind us, the water appeared black, providing a nice uncluttered background to highlight

the golden glow on the propeller. This was my first major shoot with the new D750 and while it gives up resolution to the D800 family, it has every bit the tonal range the D800s have (probably a tiny bit more) with exceptionally low noise. The autofocus performance is the best I’ve ever used.

Stev

en E

. Ser

diko

ff

Stev

en E

. Ser

diko

ffThe tricky thing about this shoot was sitting on the floor of the Cessna 182 next to the open door and visually fitting the formation into the space between the wing above and the wing strut footstep below. We’d originally intended a deep vertical stack, but the photo-ship made that shot impossible, so I positioned the aircraft into longer, flatter stack.

It takes time to get four very different airplanes into position, but with skilled pilots, eventually the formation pops into place. I’ve learned not to start heaping positioning commands on the pilots until they’ve had a chance to set themselves in formation and find the visual cues necessary to precisely hold position.

From left to right; Stephen Fiegel in an SNJ-5, Gene Soucy in his Grumman Showcat, Rob Holland in his MXS-RH, and Bill Stein is his Zivko Edge 540. Taken over Southeastern PA on August 24, 2014. Nikon D7100 and Nikon 16-85 f3.5-5.6 set at 48mm (full frame 72mm), 1/320th of a second @ f11, ISO400, shutter priority, matrix metering. The photo plane was the Misty Blues All Woman Skydiving Team’s Cessna 182 flown by Amy Kayote Miyajima.

Stev

en E

. Ser

diko

ffThis image was taken just before the break to land at the Raider’s home base in New Jersey. I used a higher shutter speed to compensate for the relatively bumpy ride – unlike a traditional photo flight, photo-shoots done from the rear seat of an aircraft in formation are not quite as smooth. Also, as a guest in the rear seat of someone else’s plane, it is important that you follow their instructions. Here, it was critical that I keep my lens hood away from the interior of the canopy

to keep from scratching it. In the tight space available, it was difficult to find a position from which to shoot that neither hit the inside of the canopy, nor interfered with the aircraft’s dual controls. But that’s the nature of this kind of photography – while getting the photos is important, being a safe and conscientious passenger is of far greater importance.

The Raiders Aerobatic Team (four Nanchang CJ-6s) taken from the rear seat of Raider Four over Medford Lakes, NJ, May 11, 2014. Nikon D800E and Sigma 24-105 f4 set at 24mm, 1/400th of a second at f6.3, ISO100, shutter priority, matrix metering.

The Blue Angels Solos (LCDR David “ELMO” Tickle and LT Mark “IROC” Tedrow), two F/A-18A Hornets, taken from Kevin Coleman’s Bonanza over Smyrna, TN, June 12, 2014. Nikon D7100 and Nikon 16-85 f3.5-5.6 set at 85mm (full frame 127mm), 1/500th of a second @ f7.1, ISO200, shutter priority, matrix metering.

The purpose of this flight was get an image of Rob Holland inverted over the solos in section high alpha, but while we were configuring the formation for the Blue Angels’ delicate transition to high alpha, the two solos formed up in tight formation on Kevin Coleman and I had a few minutes to shoot them alone. For a few shots, I tightened the composition so that the viewer was more acutely aware of the two pilots in the cockpits and less aware of the planes. I feel sometimes

the human element can get lost behind technology in aviation, so I was hoping to emphasize the people in the planes in this image. The one advantage to shooting jets is that you can use higher shutter speeds with no propellers to blur, although you then have to be cognizant of making sure you keep your aperture sufficiently closed down to provide enough depth of field.

Stev

en E

. Ser

diko

ff

Phil

Mak

anna

Kevi

n Ho

ng

Larr

y Gr

ace

Nikon D4 62mm 1/125 f16 ISO200

Larr

y Gr

ace

Nikon D300S 52mm 1/60 f20 ISO640

Larr

y Gr

ace

Nikon D200 135mm 1/200 f 5.6 ISO160

Larr

y Gr

ace

Nikon D300S 95mm 1/80 F14 ISO 200

Larr

y Gr

ace

Nikon D300S 145mm 1/80 f16 ISO 200

Larr

y Gr

ace

Nikon D300S 122mm 1/80 f18 ISO 200

Larr

y Gr

ace

Nikon D300S 56mm 1/500 f4.8 ISO 200

Jess

ica

Amba

ts

Tom

Paw

lesh

These images were made during a magazine photo shoot for an article I did on Star Helicopters and their plane spotting tours. Star Helicopters operates plane spotting tours over Los Angeles International Airport from nearby Hawthorne Airport. I spent a day with the crew of Star Helicopters photographing LAX from above and also received some dual flight instruction in the Robinson R-22 helicopter.

I had hoped to photograph one of helicopters over the Theme Building at LAX as a possible cover shot for the article. Everything worked out well that day, I not only got the cover shot and some great air to air images of airliners but got to fly the Robinson R-22 a little.

Tom

Paw

lesh

Jim

Wils

on

Bonn

ie K

ratz

Scot

t Slo

cum

Kevi

n Ho

ng

The Professionals Source

Professionals in the world of imaging rely on the professionals of B&H

for their equipment needs. We have experts ready to give courteous

service with a phone call, a click of the mouse or a personal visit.

Our SuperStore

http://www.bhphotovideo.com/find/HelpCenter/NYSuperStore08.

jsp?About_Us-The_Professionals_Source

pays tribute to the wealth of possibilities available for photography,

videography and other media industries. We make the wonders of

technology available through our complete lines of photo, video,

audio, lighting, pro accessories, computers, data storage, optics,

entertainment, projection and surveillance devices, to which we add a

wonderful, personal experience for professionals, hobbyists and

consumers alike.

History

We opened our original storefront in 1973. Our reputation for extensive

inventory and intelligent conversation about photography began

with our first customer. We grew from a small photography shop in

Manhattan’s Financial District to a major supplier of photo, video and

audio equipment on 17th Street, with customers returning again and

again for our low pricing and high reliability. The new millennium’s

explosion of affordable technology for pros and consumers alike

brought new lines of computers, home entertainment, and consumer

devices, as we moved to our SuperStore:

www.bhphotovideo.com/find/HelpCenter/NYSuperStore08.

jsp?About_Us-History on 34th Street and opened our cyber-doors at

www.bhphotovideo.com. We continue to expand to meet your needs

with showrooms, classes, educational and social media, and more.

www.aviationphoto.org

WWW.CANON.COM WWW.NIKON.COM

WWW.AOPA.ORG WWW.LOCKHEEDMARTIN.COM

WWW.DELKIN.COM WWW.REDRIVERPAPER.COM

WWW.THINKTANKPHOTO.COM

WWW.BHPHOTOVIDEO.COM WWW.FULLCOLOR.COM

ISnAP May 2015

Documents

Transcript of ISnAP May 2015