The momentary chill of the Sierra night runs from the rising sun cresting over the sage. Silhouettes of a bygone era begin to take form as the light level grows. The sounds of metal grinding against metal, protesting from working so early in the morning can be heard behind us. The aroma of coffee starts to linger in the air and voices soon follow. Moments later the smell of av gas replaces the rich smell of coffee and the voices are replaced with the turning over of engines as props bite the air. Let the races begin!

Twice a year the sky over Stead Airport in North Valley comes alive with the sights and sounds of the Reno Air Race. Everything from brand new kit hot rods called Formula 1s to vintage warbirds like the P51 and P40, take to the air. What's at stake is money and more importantly, reputations. And there to capture all the fun are photographers. In June at PRS (Pylon Race School), 25 of the best aviation photographers are gathered to create the photographs to be used in part for the Sept race show guide and possibly the show poster the following year. While the rookie pilots learn the course, the photographers learn the new pilots and planes and make the clicks. And in this mix I was thrown in a year ago and man, it's great!

The Gear
The camera gear is a big part of photographic success at the races. You have two basic schools of thought here, the short and the long of it. The short camp relies on the 70-200 or 100-400 to capture their images. They mainly go for the plane with the pylon shot. It is not easy to get so these are real pros going after that.

Then there is the long camp working with the 200-400 or 500mm lens. While you can get the plane with the pylon shot being in the right position, this camp goes after the more 'romantic' aviation shot incorporating backgrounds. Both camps do it all handheld; there isn't a single tripod or pogo stick to be found out on the course.

When it comes to camera bodies, you'll find a camera store of variety. I rely on the Nikon D3 with the buffer upgrade. Shooting Raw files, the 50 frame buffer provides a bigger range of photographic possibilities. Working hand in hand with this are the dual slots of the D3 loaded with two Lexar 16GB Pro cards.

And that's it on the course. You keep it simple since you are always moving.

Always Moving?
The actual race course constantly changes depending on the class racing. The smaller planes, the Sports, race the inner course and the bigger planes like the Unlimiteds and Jets race the outer course. And then there is the Super Sports, which start on the outer course and finish on the inner course. All of this means lots of moving from pylon to pylon in mass. With safety in mind, between races we move as a group to the pylon that will grant us the best photographic possibilities.

We move in other ways as well. Depending on the line the planes take around the pylon, which changes lap to lap, you move to get the best angle on the speeding bullets heading down your throat. This movement takes into consideration not only the plane, but also planes and background. You find yourself constantly moving around the sage brush to make the best possible click.

Then there is the panning. Sharpness doesn't come from the lens, but the ability to keep the film plane moving with the plane and the lens focuses. Panning is the only way you can get a sharp image. It's funny to look at where you've been standing after a race to see the pit around you from your constant spinning as you pan.

Panning in case you're not up on the technique is moving the camera in pace with the subject. You rotate at the waist, following the subject and firing when you like what you see in the viewfinder. The trick, actually the technique is to keep panning with the subject until the camera is no longer firing, the shutter has finished. This technique is key and the only way you'll get a sharp image. With panning under your belt, it's time to make the polished photograph.

The Elements of the Art
There are two secrets to this that were passed on to me I want to pass on to you. The main one is shutter speed. You want the props (on the prop driven planes) to be blurred, not frozen as if the plane were parked. It's a basic principle, same as getting blurred water shots, speed of the subject vs. speed of the shutter. In this case with prop going nearly supersonic speed requires a shutter speed of no more than 1/250 or you'll freeze it. I personally like to keep the shutter speed in the 1/180 range. The only way to keep that shutter speed in that range is going to Shutter Speed priority.

When the Jets are flying, shutter speed isn't important so back to Aperture Priority and a much faster shutter speed. Autofocus can be handled in many different ways and each photographer seems to have their preferred method. Personally, I rely on Nikon's AAA - Auto Area Autofocus. This is my second season, third event using it and it rocks! Along with panning and the 200-400VR (my lens of choice) I'm nailing the focus I demand of my images. And with that, it's time to make the clicks.

I personally love clouds in the background so I position myself in a place where, if there are any in the sky, they are in the background. When that doesn't work, I try to get more than one plane in the photo using the second plane to add visual depth. If that doesn't work, I tend to get bored photographing single planes.

It might seem impossible to be thinking about where in the frame you're going to place a 500mph subject, but it's important. I rarely have the camera plum to the earth when shooting. I'm constantly turning the body to make the plane "plum" in the viewfinder and with that, composing accordingly. My goal is to bring a romantic angle to the flight path and plane. So position in the frame is often in concert with its angle, all of this while panning with the plane speeding by.

Haul 'til you Fall
You start before sunup on the flight line taking static shots. You spend the rest of the daylight in the sage panning and panning and panning and you end the day back on the flight line. And for the next four days you'll be doing the same basic routine. There is nothing better!

Aviation photography is a specialty few know exists. Even fewer have given it a spin. But when you combine the romance of warplanes along with the thrill of photography, it's an intoxicating mix that sucks up many a photographer. If you wonder if you could be next, take in an air show with your camera, it might leave you and your photography higher than you've ever been before.

Moose Peterson Bio

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