Brooks' Photos

[evangilder]

No problem, Tim. I also have an online article about shooting static aircraft on my website
Van Gilder Aviation Photography, Static Aircraft

I haven't had time to write any more on techniques, but do want to write more like that one. But I have no problem offering tips and advice for free, but you get what you pay for.

[Aaron Brooks Wolters]

Thank you Evan for the advice. On the King Air shot I was confine to where I could stand for the shot. I do appreciate the advice greatly. Most of those I took on several different settings.

[Aaron Brooks Wolters]

Here are some more. I shoot anything that holds my interest so some of these may be uninteresting to some. Hope you enjoy

[RabidAlien]

On a cloudy day, try shooting those rigs as they're moving: if you've got a fairly long exposure (1/60 or so), focus on the rig and move the lense, keeping the rig centered. Slowly push the shutter, keeping the camera moving at a steady pace. With luck and practice, you'll get the truck in focus, with the rest of the background blurred out....shows motion, and focuses attention on the subject.

That bein said....when I get one that turns out right, I'll post it.

Also, for sunny days, consider puttin a polarizer on your lense. The skies will really pop out. Found that works well with sunsets, too, although you need a tripod as the polarizer cuts down on available light, making sunset shutter-speeds alot slower.

[Aaron Brooks Wolters]

They are moving. About 70 miles per hour on I-81! Thank you for the info. When I can scrounge up some more cash I will see about the polarizer. I only have two lenses at the moment, 18-55 and a 70-300 the first has lens stabilization the larger does not. Thanks Rabid Alien.

[109ROAMING]

Wow ,Cool shots mate!

[evangilder]

To be honest, I think stabilization is not all that it's cracked up to be. For my air-to-air work, it is nice to have a stabilized lens to counter aircraft vibration and movement, but I haven;t seen a huge benefit from it when standing stationary. My long lens (50-500) doesn't have stabilization and it still grabs great shots.

[Aaron Brooks Wolters]

Thanks Evan. I have noticed the same thing as far as the image stabilization. I can't see paying another 200 to 500 dollars for it. Most of what I'm posting now has been taken since July when I bought the camera. I'm still learning what I can and can't do with it. There is a lot I don't know about it(the camera) so I'm doing a lot of trial and error. I need to start a notebook to keep track of settings and conditions etc. but the weather is somewhat uncooperative know. Again, thank you for you input. Here are a few more to gander at.

[Geedee]

Hey Aaron, love that engine shot...just oozes hidden power (I cant wait till the next time I'm out in the States as I really, really miss that haunting sound of the railroad engines and those looooong mournefull blasts on the klaxons....send shivers down my spine...and back up again, just thinking about them !).

The problem I find with a long lens, is actually holding the ruddy thing still enough, even when panning, and then taking that picture. I have developed a rather unusual method of holding the camera that works very well....even when I unlimber my old 600 telephoto on a Pracktica SLR (the lens is a tad short of 2 feet in length and weighs a ton !). I'll see if I can get a few shots to show you my super secret way of holding a camera steady....now wheres my daughter with her camera ????

[evangilder]

For panning and shooting, I tend to tuck my elbows in and rest them against my ribcage. Then you twist as you pan, it seems awkward at first, but it really helps.

Aaron, I really like the way you composed the bridge shot. The leaves in the foreground provide a frame and give the photo some nice depth. You are getting the hang of it.

[Aaron Brooks Wolters]

Originally Posted by Geedee

Hey Aaron, love that engine shot...just oozes hidden power (I cant wait till the next time I'm out in the States as I really, really miss that haunting sound of the railroad engines and those looooong mournefull blasts on the klaxons....send shivers down my spine...and back up again, just thinking about them !).

The problem I find with a long lens, is actually holding the ruddy thing still enough, even when panning, and then taking that picture. I have developed a rather unusual method of holding the camera that works very well....even when I unlimber my old 600 telephoto on a Pracktica SLR (the lens is a tad short of 2 feet in length and weighs a ton !). I'll see if I can get a few shots to show you my super secret way of holding a camera steady....now wheres my daughter with her camera ????

Thanks geedee. I just wish I was around 60 or 70 years ago with this camera so I could shoot the large steam locos. If you like steam there is a video on You Tube you might like, type in Union Pacific Challenger and look for the 42 minute video. It was shot back in October of last year. I didn't think I could watch it for 42 minutes but time flies. Thanks again.Oh, and buy the way, the 40 Willys and the 62 Plymouth Fury are what I do for a liveng. We finished the Fury last summer and are still working on the Willys.

[Aaron Brooks Wolters]

Originally Posted by evangilder

For panning and shooting, I tend to tuck my elbows in and rest them against my ribcage. Then you twist as you pan, it seems awkward at first, but it really helps.

Aaron, I really like the way you composed the bridge shot. The leaves in the foreground provide a frame and give the photo some nice depth. You are getting the hang of it.

Sometimes I'm a little hasty when I shoot something and forget to look for a better angle but a lot of time like in the King Air shot I had no where else to stand. Most people would probably not taken the picture but I liked it. If I could have though I would have crossed the fence and waited for the fuel truck to leave and taken frontal 3/4 shot. I do somewhat understand about the thirds rule and try to use it as best I can but I still mess up sometimes. Thank you Evan.

[Geedee]

Woohoo...am I in luck or what !...found my daughter and her camera is charged....for once !.

You'll have to excuse the grey hair and tracksuit (havent got changed form my run yet...needed a beer !) but anyway, heres the pics showing how I hold a camera with a zoom / telephot. You'll see why I didnt try to describe how I do it.

Doing it this way, the lens is supported entirely on my left arm, leaving my right hand to control the camear and not support it. I find that I can pan high speed shots quite nicely with this method. I am right handed but this hold can be reversed for the 'gifted' few out there who are left handed.

I agree with Eric, you've got a good eye for shots !. Keep em coming. !.

[Aaron Brooks Wolters]

The sunset over the rails is a different setting from the first that I posted.

[Aaron Brooks Wolters]

Geedee, that looks really awkward and thank you very much. I tend to use the method Evan described. I tried using a tripod for those semi shots, it just doesn't work well. I was sitting rite next to the tracks when I shot that, made the engineer a little nervous.