CIVIL AIR PATROL U.S.
Introduction The text sets forth the academic preparation and operational tasks required for the Airborne Photographer and Videography Information Technology Specialist positions, and supplemental training for qualified SAR/DR Mission Pilots that concentrates on the unique aspects of imaging (photography or video) missions.
Third Crewmember A third crewmember is needed to act as a log keeper and assist the crew in other imaging-related tasks. Any qualified Mission Pilot, Observer or Scanner can be trained to perform these duties. Operating the Satellite Digital Imaging System (SDIS) is covered in a separate course and associated Task Guides. However, the skills and knowledge needed to take the photos that are transmitted by SDIS are covered in this text.
How to Use this Text As a reference text this document contains more material than is needed to qualify. Objectives are listed at the beginning of each chapter. These objectives match a task in the applicable Task Guide for each crew position; the applicable tasks and the guides to which they belong are listed in brackets next to the Objective. For example, [AP-P-001] next to an Objective shows that the related task can be found in Airborne Photographer Task Guide AP-P-001.
Task Guides Airborne Photographer tasks: AP-P-001 Discuss Digital Camera Features AP-P-002 Select Camera Settings AP-P-003 Keep Camera and Accessories Mission Ready AP-P-004 Describe Imaging Patterns and Communications AP-P-005 Discuss Factors Affecting the Success of Imaging Sorties AP-O-001 Compose an Photo AP-O-002 Transfer Photos to a Computer and View the Photos AP-O-003 Send Photos to the Customer AP-O-004 Prepare for an Imaging Sortie AP-O-005 Conduct an Imaging Sortie VIT Specialist tasks: VIT-P-001
References 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. viii The following CAP Regulations (CAPR): a. 60-1, CAP Flight Management, 5/13/10. b. 60-3, CAP Emergency Services Training and Operational Missions, 8/17/09. Adobe Photoshop & Photoshop Elements User Guides (www.adobe.com) ArcSoft PhotoStudio (www.arcsoft.com/en-us/index.
Table of Contents 1. Digital Cameras ______________________________________ 1 OBJECTIVES: _____________________________________________________ 1 2. 1.1 Basic Components _________________________________________ 3 1.2 Batteries _________________________________________________ 7 1.3 Media Cards ______________________________________________ 8 1.
5. Computer Requirements ______________________________ 51 OBJECTIVES: ____________________________________________________ 51 6. 5.1 Hardware ________________________________________________ 52 5.2 Special Software __________________________________________ 54 5.3 Accessories ______________________________________________ 54 Transferring, Organizing and Renaming Photos __________ 57 OBJECTIVES: ____________________________________________________ 57 7. 6.
10. Between Missions: Keeping the Camera and Accessories Mission Ready_________________________________________ 109 OBJECTIVES: ___________________________________________________ 110 11. 10.1 Batteries _______________________________________________ 111 10.2 Lenses and LCD/Viewfinder ________________________________ 111 10.3 Filters __________________________________________________ 113 10.
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Chapter 1. Digital Cameras 1 Airborne Photographers have to know the camera and how to use it, so they can concentrate on planning, framing and taking aerial photos that will meet mission objectives. When you are flying is not the time to be fiddling with the camera.
4. Discuss the purpose of formatting a media card and when this should be done. [AP-P-001] Format a media card in the camera. [VIT-P-001] 5. Describe actions to avoid so that you won’t accidentally corrupt a memory card. Demonstrate the proper way to remove and insert a media card into a camera and a media card reader. [AP Task P-001; VIT-P-001] 6. Briefly describe the difference between lossless and lossy compression. [AP Task P-001; VIT-P-001] 7.
1.1 Basic Components "Pixel" stands for picture element. A single pixel is the basic building block of a digital image. A photograph composed of more pixels will have more detail than one made from fewer pixels. Digital camera capture levels are rated by megapixel (one megapixel equals one million pixels). For example, the Kodak DC290 is a 3-megapixel camera and the Nikon D200 is a 10.2-megapixel camera, when set to the highest pixel resolution (more on this later).
when digital zoom is necessary to get a photo of a distant object, the truth is that it does not create as good an image as can be recorded optically. Don’t use digital zoom! Turn if off (if your camera has a setting for this), or be careful not to activate it when you zoom. Focal Length Focal length is a measurement of the magnifying power of a lens, or the distance (in ‘mm’) between the lens and the focal plane (the area upon which the lens is focusing).
Note: Some lenses don’t produce even edge-to-edge sharpness across their range, so experiment with your lens to determine if there is any falloff in sharpness at particular focal lengths. Vignetting Add-on lenses such as a telephoto lens can help improve your photos. However, because these lenses are long they may cause vignetting. Vignetting is what happens when the lens barrel itself gets into a picture, causing the frame to lose its square shape.
Time stamp in lower right-hand corner Watermark in lower left-hand corner B. LCD Screen Instead of a Viewfinder Many cameras also let you use (and some only have) the LCD screen to frame a shot while avoiding the “parallax error.” Unlike the typical optical viewfinder it is 100% accurate (what you see is what you’ll capture). If framing is critical, you can use this feature.
when you use the viewfinder you may not be able to see the full frame if you have to put your glasses on to look through it. Diopter correction is a feature that allows you to focus the image in the optical viewfinder, usually by means of a knob, slider, or dial located next to the viewfinder. This feature is normally only found on larger cameras, like the D200. Part of mission preparation includes setting up the camera, and this includes setting the diopter correction.
Single-use lithium iron disulfide batteries make excellent backup batteries because they maintain their charge for years. Use rechargeable lithium ion battery packs for normal use. 1.2.2 Lithium Ion The most common rechargeable battery used in cameras is the Nickel Metal Hydride (NiMH) battery. They are not quite as powerful as lithium ion, but cost less. These batteries don’t reach their full level of performance until they’ve been charged several times.
have two memory cards for your camera. Using two cards instead of one gives you more flexibility; you give the card you just used to the mission staff, load the fresh card into your camera, and launch on your next sortie while the staff processes your photos. Fortunately, memory cards are not very expensive. For low megapixel cameras, two 64MB cards should be sufficient for your needs; for large megapixel cameras such as the D200, you should have two 2GB cards (at least).
Format a card only after transferring your photos to a hard drive or other storage device and then checking them. Additionally, you should regularly format your memory cards to help prevent them from becoming corrupted. 1.3.3 Media Card Corruption To understand how media cards can lose data, you need to understand how photos are written to media cards and how this information is organized and stored on the cards.
• Opening, deleting, renaming or moving files on the card while its contents are open on a computer • Using a memory card which has not been formatted in the camera, or using a memory card from one camera in a different camera without first formatting it in the new camera • Formatting a card in a computer instead of the camera • Inserting a second memory card into a card reader before closing and removing the first, when viewing photos on the card from a computer • Taking photos when camera batteri
For CAP purposes, we need to realize whether or not our photos have been compressed. If they were compressed, we need to know by how much so we can determine if they still meet our customers' needs. 1.4.1 Compression Lossless compression is similar to what WinZip or PKZip does. For instance, if you compress a document into a ZIP file and later extract and open the document, the content will be identical to the original. No information is lost in the process.
browsers. It is most commonly used within file formats such as TIF (described below). You may also see the terms “EXIF” (also “exif” or “Exif”) or “non-exif” used in conjunction with JPF (e.g., a non-exif JPEG). The Exchangeable Image File (EXIF) format is an international specification that lets imaging companies encode information into the headers or application segments of a JPEG file; this information includes shutter speed, aperture, and the date and time the photo was captured.
B. RAW Unlike JPEG and TIF, RAW is not an abbreviation but literally means “raw” as in “unprocessed.” Most digital cameras are designed to rapidly convert the raw picture data into finished JPEG or TIF files. Most also include a raw format setting, which switches off in-camera processing and instead writes the image data directly to the card, with minimal or no photo processing whatsoever.
C. TIF or TIFF TIF (Tagged Image File) format was developed specifically for saving photos from scanners, frame grabbers, and paint/photo-retouching programs. It is probably the most versatile, reliable, and widely supported bit-mapped format and is great for photos you intend to print. It includes a number of compression schemes and is not tied to specific scanners, printers, or computer display hardware. However, TIF files are so large that you may only be able to fit a very few on your media card.
F. Native Files Native files are proprietary formats specific to particular graphics programs. 16 • The PICT format is native to the Macintosh. It is great for presentations, screen displays, and video work. • EPS (Encapsulated PostScript) files are the standard format for storing high-resolution PostScript illustrations. The EPS format allows both Mac and Windows users to save bit-mapped screen representations of screen images. These previews, however, don’t travel well across platforms.
Chapter 2. Exposure and Settings 2 Airborne Photographers have to know the camera settings and how to set or change them, so they can ensure the camera is properly set up for the mission and quickly adjust to on-scene conditions. When you are flying is not the time to learn how to change a camera setting.
4. Discuss the effects of shutter delay (lag), and the use of continuous (burst) shooting modes. Demonstrate how to set and use single-frame and continuous shooting modes on a camera. [AP-P-002; VIT-P-002] 5. Discuss image resolution and quality, and what settings are best for most CAP imaging missions. Demonstrate how to set resolution and quality on a camera. [AP-P-002; VIT-P-002] 6. Discuss the information contained in a photo’s histogram.
2.1 ISO, Shutter Speed, and Aperture Airborne Photographers have to know the camera settings and how to set or change them, so they can ensure the camera is properly set up for the mission and quickly adjust to on-scene conditions. When you are flying is not the time to learn how to change a camera setting.
100: For extra sensitivity with little, if any, reduced image quality 200: For cloudy and overcast days, these settings produce acceptable image quality with some visible noise >400: For indoor photography whether or not a flash is used. These settings are useful for "stop-action" and sports photographs, but produce high to very high noise. Note Many cameras store your last ISO setting, even if you turn it off. Always check the ISO setting before leaving for a mission! 2.1.
The size (diameter) of a lens’s aperture at any given moment is called the fstop (also f/stop or f/number), which is expressed in several different ways: f8, f/8, f-8, and 1:8. A lower f-stop number (f2.8) opens the aperture and admits more light onto the camera sensor, while higher f-stop numbers (f11) make the camera's aperture smaller so less light hits the sensor.
foreground; you do this by adjusting the aperture/shutter or by using the Aperture Priority mode (discussed below). 2.2 Metering System The metering system in a digital camera measures the amount of light in the scene and calculates the exposure value based on the selected (or default) metering mode. Automatic exposure is a standard feature in all digital cameras; all you have to do is select the metering mode, point the camera and press the shutter release.
locked, even if you move the camera. Pressing the shutter release the rest of the way causes the camera to take the picture. On most cameras, when you hold the shutter button halfway a steady ‘Ready’ or ‘In-Focus’ light or symbol next to the viewfinder illuminates. If you get a blinking (or different colored) ‘Warning’ light rather than a steady ‘Ready’ light it can indicate one of two things: 1) there is insufficient light (e.g.
• The subject contains many fine details, such as a field containing patches of snow or light-colored soil or rock In these cases, you may need to use Manual focus or use focus-lock to focus on another subject at the same distance and then recompose the image. 2.4.2 Program The Program (P) mode is similar to the automatic mode. Although the camera selects aperture and shutter speed, you can modify some of the camera’s selections by turning a dial or pressing a button.
shutter speed while sand or snow modes compensate for very bright backgrounds which would otherwise underexpose your image. When used appropriately, these scene modes work well for what they are designed to do, but aren’t very useful for CAP missions. 2.4.6 Shutter Delay (Lag) and Shooting Modes You will notice that, after pressing the shutter release, there is a delay before you can take another picture (usually denoted by a flashing light next to the viewfinder).
Sometimes you take a photo of a black image, but upon review you notice the camera rendered it more grayish. By underexposing the photo, you can restore the blacks in the image. Conversely, if you take a photo of something white (such as snow) and it appears grayish in the photo, you can overexpose the image to restore the whites.
when compared to outdoor light, ordinary light bulbs appear more yellow, candlelight appears redder, and fluorescent lights appear greener. If your camera is balanced for one kind of light source (e.g., daylight) and you photograph a scene illuminated by tungsten light, the photo won’t reflect the true colors in the scene. Fortunately your camera has a way to adjust for these different light sources. The white balance setting on your camera allows you to specify the color temperature of the scene.
NOTE: You can change white balance in almost any photo editing program. As a rule, you select “Color Balance” and change color temperature by moving the ‘Cyan/Red’ slider one way and the ‘Yellow/Blue’ slider an equal amount the other way until the photo looks right. To change green/magenta bias with fluorescent and metal-halide lighting, simply move the ‘Green/Magenta’ slider until the photo looks right. 2.
Nikon D200 Resolution Setting Large Medium Small Resulting size 4.8 megapixels (3872 x 2592) 2.7 megapixels (2896 x 1944) 1.2 megapixels (1936 x 1296) 2.6.2 Quality The quality setting indicates how much the picture is compressed to save space on the memory card. The pictures are normally captured in a JPEG file format, except for the “Uncompressed” quality setting which captures the picture in an uncompressed TIF file format.
• ‘JPEG Normal’ images are compressed at a ratio of ~1:8 • ‘JPEG Basic’ images are compressed at a ratio of ~1:16 Additionally, the D200 will allow you to record two copies of an image at the same time: RAW + JPEG Fine, RAW + JPEG Normal, etc. 2.6.3 Resolution and Quality Settings The following tables give you an idea of how the different combinations of resolution and quality settings effect file size (and thus how many pictures you can fit on a memory card).
This table shows the D200 recording to a 1GB card: Resolution setting Uncompressed Quality setting NEF (RAW) File size (MB) 15.8 # of Photos 60 Large (3,872 x 2,592) Medium (2,896 x 1,944) Small (1,936 x 1,296) JPEG Fine JPEG Fine JPEG Fine 4.8 2.7 1.2 167 294 650 L M S JPEG Normal JPEG Normal JPEG Normal 2.4 1.4 0.63 332 578 1200 L M S JPEG Basic JPEG Basic JPEG Basic 1.2 0.7 0.
immediately after a shot is taken, or later when single frames are being reviewed. Note: If your camera has a histogram feature, review the manual so that you will interpret it correctly. Some cameras show the histogram ‘upside down’ when compared to the histograms shown in this text; however, the weighting (e.g., left side = dark) is usually the same. The histogram is a simple graph that displays where all of the brightness levels contained in the scene are found, from the darkest to the brightest.
This histogram shows a good distribution of tones, from deep shadows on the left to bright highlights on the right. This indicates the image has a lot of contrast. [The following is courtesy of Vincent Bockaert, at 123di.com] Histograms are the key to understanding digital images. This 10 x 4 mosaic contains 40 tiles which we could sort by color and then stack up accordingly. The higher the pile, the more tiles of that color in the mosaic.
A digital image is basically a mosaic of square tiles or "pixels" of uniform color which are so tiny that it appears uniform and smooth. Instead of sorting them by color, we could sort these pixels into 256 levels of brightness from black (value 0) to white (value 255) with 254 gray levels in between. Just as we did manually for the mosaic, imaging software automatically sorted the pixels of the image below into 256 groups (levels) of "brightness" and stacked them up accordingly.
Typical Histogram examples: Correctly exposed image This is an example of a correctly exposed image with a "good" histogram. The smooth curve downwards ending in 255 shows that the subtle highlight detail in the clouds and waves is preserved. Likewise, the shadow area starts at 0 and builds up gradually. Underexposed image The histogram indicates there are a lot of pixels with value 0 or close to 0, which is an indication of "clipped shadows". Some shadow detail is lost.
Image with too much contrast This image has both clipped shadows and highlights. The dynamic range of the scene is larger than the dynamic range of the camera. Image with too little contrast This image only contains mid tones and lacks contrast, resulting in a hazy image.
Chapter 3. Composition 3 Airborne Photographers have to know basic composition in order to understand the framing requirements of aerial photo or video imaging. Composition concerns how you arrange a subject in a picture and how you translate what your eyes see into a digital image. The key to composition is remembering that a digital camera doesn’t “see” the same way that you do.
3.1 Isolate the Focal Point The focal point is the main subject of a photo, such as a downed aircraft in a field or a breach in a levy. It is the main point that the viewer’s eye will be drawn to when looking at the picture. This is why it is so important to know exactly what the customer wants to see in the photos you will be taking on a particular sortie. If you don’t know what you are supposed to be taking a picture of, it will be difficult or impossible to emphasize the right element in your photos.
If you need to place the horizon in the photo to establish perspective, never let the sky take up more than the top one-third of the image (note that this also satisfies the rule of thirds). And try to keep the horizon straight in the photo. You can correct for a slightly angled horizon in your editing software, but each time you rotate the photo you degrade the photo slightly. Filling the frame is very important when taking a digital photo.
Three factors contribute to the depth of field available to you for any picture: • The aperture of your lens is the first major factor affecting depth of field. The smaller the aperture (higher the f-number), the greater the depth of field will be. • Focal length is a measure of your lens’s ability to magnify a scene. The more you magnify your subject, the less depth of field you have available. If you zoom in with a telephoto lens the depth of field drops dramatically.
Chapter 4. Camcorders 4 Airborne Photographers should study this chapter if they have to take video using a digital camcorder. The Videography Information Technology (VIT) Specialist needs to know how to set up and maintain camcorders in order to better understand what the camera can and cannot do, and help train Airborne Photographer trainees on camcorder use and care. Camcorders come in two basic types, analog or digital, either of which is fine for CAP purposes.
4.1 Basic Terms and Features 4.1.1 Lens and Zoom Unlike digital cameras, camcorders normally just list the zoom power. For example, the Optura20 has a 16x optical (320x digital) zoom lens; behind this lens is a 1/4" CCD with 1.33 million pixels (690,000 pixels for videos and 1.23 million for still photos). [Note that when you are saving stills to a memory card, the zoom drops slightly (e.g., from 16x to 15X on the Optura20).
4.1.6 Image Stabilization Camcorders with an image stabilization feature helps to reduce (but not completely eliminate) camera shake that is most noticeable on telephoto photos. This will give you noticeably better results when recording from aircraft. The two most common types of image stabilization in use are: • Electronic Image Stabilization (EIS) uses one of two methods to reduce shake.
4.1.9 Still Photos and Short Movies Most digital camcorders let you take still photos. This is a handy feature if you need to take “snap photos” from your tape to e-mail, print small (4" x 6") prints, or view on a computer. In addition to still photos, you can also record short movies to the camcorder’s memory card. On the Optura20, you can choose between 320 x 240 and 160 x 120 resolutions, with each movie being limited to 10 and 30 seconds, respectively.
different to any of the existing formats in that it records an MPEG2 file, with a maximum recording time of 60 minutes. MicroMV tapes are more expensive than DV, and the MPEG-2 video produced by MicroMV camcorders is not compatible with many video editing software applications. 4.2.6 3” DVD Some camcorders use 3-inch Mini DVD-R and DVD-RAM discs instead of digital videotape.
4.4 Connecting to the Aircraft Audio System (Intercom) It is essential to have a means of providing a running audio commentary of what you are filming with the camcorder. A couple of methods are discussed below. 4.4.1 Adapter Cable An adapter cable, plugged into the aircraft’s intercom system via your headset, will feed your commentary onto the video. If this accessory is not available with your camcorder, you can make one using parts available at most audio stores.
4.5 Techniques Take a close look at a number of recent-model video camcorders and you’ll notice that although many vary in their outward appearance, they have remarkably similar functions. Every compact cam is designed for hand-held usage, as well as having a zoom lens. Most of them will allow the user to override automatic functions like focus, exposure and white balance, too.
at parties or at air shows. However, since CAP is limited to at least 1000' AGL (and often higher if the airspace is restricted or crowded), knowing how to zoom correctly may be the only way to capture the desired level of detail. It’s a good idea to treat the video camcorder very much like a still camera; look at the scene, select the shot, frame it and then hit the record button. If you need to zoom, adjust the zoom until the image is “shaky” and then back off until the image becomes stable.
4.6 Getting the Video to the Customer Although video from a camcorder can be downloaded into a computer, the file is very large, making it difficult to transmit to a customer over the internet. As a result, most video is currently delivered to the customer via messenger or mail. With the advent of greater bandwidth and on-line storage sites, it is becoming more likely that we will be able to make videos available to our customers on-line.
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Chapter 5. Computer Requirements 5 The Videography Information Technology (VIT) Specialist needs to know computer set up, operation and maintenance in order to ensure support for video imaging missions. The VIT Specialist should also know how to install and maintain software and accessories. The Specialist will also help train other personnel on basic computer tasks. Transferring, storing, viewing, and editing photos impose certain demands upon a computer.
5.1 Hardware 5.1.1 Monitor As a minimum, use a 17" color monitor set for 24-bit color. As long as you use a late model, it doesn’t matter if you go with a CRT or LCD screen. 5.1.2 RAM Digital image editing makes demands on your computer's RAM. As an absolute minimum, you need 256 MB if you’re running Microsoft Windows XP; however, upgrading to 512 MB or 1 GB will allow you to edit photos must faster, even on a slower processor.
5.1.5 Hard Drive Even a two-gigabyte drive will fill up rapidly. Fortunately large hard drives are inexpensive, so choose at least 40 GB with at least 15 GB of free space. If you plan to do a lot of photography and editing, go for 80-100 GB. If you do not have a large hard drive, consider an external USB hard drive.
5.2 Special Software Windows XP and Vista/7 contain most of the software needed for aerial imaging missions, such as a basic image viewer and an e-mail program. However, a good photo editing software program is needed for advanced work. Examples of this software are discussed in Chapter 7. DeLorme Topo USA is also a good program to have to support mission planning. Install a good file compression program such as WinZip or PKZip.
5.3.5 Camera/Camcorder Accessories The following are needed to maintain cameras and camcorders mission ready. They are discussed in other chapters of the text. • Batteries for the camera and portable GPS, if applicable (stored properly; removed from camera/camcorder when not in use) • Battery chargers • Media cards (at least two per camera) • Camcorder audio adapter 5.3.6 Surge Protection/Backup Power Supply Surge protectors can protect your computer against minor power spikes or surges.
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Chapter 6. Transferring, Organizing and Renaming Photos 6 Airborne Photographers must know how to transfer their photos onto a computer and review photos on a monitor to ensure mission objectives were met. The Videography Information Technology (VIT) Specialist must be able to transfer photos, organize the photos in mission folders, and rename the photos for ease of identification and retrieval. The VIT Specialist also needs to know how to backup and archive mission photos. OBJECTIVES: 1.
6.1 Transferring Photos into a Computer There are two ways to transfer photos from most digital cameras onto a computer: attaching the camera directly to the computer (also known as tethering) or using a memory card reader. 6.1.1 Tethering Most digital cameras provide a USB cable connection that offers a fast way to transfer your photos (e.g., the D200 USB 2.0 cable can transfer images at about 5.3 MB/sec.). However, tethering ties up the camera and can deplete the camera’s batteries.
This window appears the first time you connect your camera (after you have installed Canon’s camera software). You can begin the transfer from the camera or computer. The photos are loaded into the browser of the software that came with the camera.
Note: Most digital cameras show up as a removable drive in Explorer, so you can just click the drive letter to open the drive. Your pictures will probably be in a sub-folder rather than in the root of the drive. Drag the photos onto the applicable ‘Unedited Photos” sub-folder on your hard drive to copy them. 6.1.
Play and should follow the instructions to install your camera manually. [Note: If the wizard doesn’t appear as soon as you connect your camera, you can open it by selecting Start > Control Panel > Scanners and Cameras and then selecting your camera.] If you’re using a memory card reader, simply insert your card into the proper slot and the wizard will start: 1. If the wizard asks which action you would like to perform, select “Always do the selected action.” 2.
6.2.2 Capturing Photos using an Photo Editing Program If you have an photo editing program installed on your computer it will step you through the process of transferring photos from your camera or the camera’s media card (using a media card reader). In this example we have a Dazzle 6-in-1 USB Card Reader connected to one of our computer’s USB ports and we are using Adobe Photoshop Elements: 1.
5. Select where (what folder) you want to send the photos. To the right under “Location” you see that Elements has listed a default folder (C:\...\2005-12-23-1125-47); to change this select “Browse” and navigate to the folder you want. You may create a subfolder at this time. Elements gives you the choice to name it using the Date and Time of Import (default), or you can name the subfolder by checking “New Name” under “Create Subfolder Using.
4. Next, create a sub-folder in the mission folder you just created and name it ‘Unedited Photos’ or ‘Original Photos’. Do this each time you create a mission folder. 5. Import your photos into the ‘Unedited Photos’ sub-folder. This will be your set of untouched photos, and will serve as a backup in case you make a mistake during editing or need to go back to the original, untouched photo for any reason. 6. Next, copy (not transfer) the photos from the ‘Unedited Photos’ sub-folder into the mission folder.
ground (this task is usually performed by a Videography Information Technology Specialist). Refer to http://cap.ttar.org/imageprocessor/ to download the image processor and Excel template picture spreadsheet, and for instructions on how to use the program. WMIRS The Web Mission Information Reporting System (WMIRS) provides an easy method of uploading photos from a mission. The program watermarks the photo using information you enter while uploading the photo (details in Chapter 8).
6.5 Naming Photos It can be challenging to find that one photo that you need, when you need it. By renaming your files you make it easier to find a photo. When you shoot a digital photo the camera assigns it a file name, but the file name is not very descriptive; most cameras give photos sequential alphanumerical file names, such as P0000100 - P0000120.
6.5.2 Batch Renaming In Windows you can easily rename whole series of photos using a process called “batch renaming”: [Most other photo browsers and editors can batch rename.] 1. Click Start, and then click ‘My Pictures’ or whatever folder where you've saved the pictures. 2. Switch the view to “Thumbnails” by clicking the ‘Views’ button on the toolbar. 3.
6.6 Backup and Archive Photos Back up and protect your photos by burning them to a CD or DVD (for CAP purposes, a CD burner is a valuable and inexpensive asset), or copy them to an external hard drive or thumb drive. If the customer doesn’t get (or deletes) your upload/e-mail or they lose an photo, you can always retrieve the photo from the archived file. USB thumb (flash) drives have become so inexpensive (e.g., < $12 for 4 GB and < $30 for 16 GB) that they make an excellent backup drive.
Chapter 7. Viewing and Editing Photos 7 Airborne Photographers must know how to review photos on a monitor to ensure mission objectives were met. OBJECTIVES: 1. Discuss how to browse photos on a computer. Demonstrate browsing photos using a browser and/or editing program. [AP-O-002] 2. Discuss the importance of saving un-edited photos before editing and not saving the photo as a JPEG until you’ve completed editing. [VIT-O-003] 3. Describe the sequence for editing CAP photos. [VIT-O-003] 4.
7.1 Browsing Photos Over time you can accumulate hundreds of pictures on your computer’s hard drive, so it is important to keep them organized so you can find a picture you (or a customer) is looking for. That is why we discussed organizing mission photos into folders and carefully naming your photos in the previous chapter. However, it is handy to be able to find and view photos quickly, such as when you want to collect a set of photos that demonstrate how to photograph tornado damage.
Windows XP also includes the “Windows Picture and Fax Viewer” (Photo Viewer in 7). This simple program automatically opens when you double-click on an image (e.g., from My Pictures or Windows Explorer) and allows you to scroll through a group of photos (or view them in a slide show), magnify an image for a closer look, rotate photos, and delete, print or save photos.
Like the Windows Picture and Fax Viewer, most other browsers will let you zoom in to check details (usually a magnifying glass symbol, as seen above). This feature is what most Airborne Photographers will use to review their mission photos to ensure they meet all mission objectives. You will also be looking for proper framing, proper focus, and color and contrast. Again, be sure to review your photos before deleting them from your camera’s media card.
Additionally, most cameras, camcorders, printers and scanners include basic browser and/or editing programs. Most are easy to use and allow you to quickly review photos on your hard drive (as well as download them directly from a digital camera) as moderate-sized thumbnails. They will normally enable you to rename photos, set up new folders, group photos into categories and do some simple processing. Most include many options for printing, including multiple photos on a page and album pages.
editing, try and limit changes to cropping, adjusting brightness and/or contrast (the difference in brightness between light and dark areas), resizing, and annotation (adding text and/or symbols). There are several low-cost (< $100) photo editing programs, the best of which are Adobe Photoshop Elements and Jasc Paint Shop Pro. Also, GIMP is a very good free editing program (www.gimp.org).
Following are some cropping tips (examples are from Photoshop Elements): • Don’t mess with success. If you’ve successfully framed the photo at the time it was taken, don’t automatically feel the need to trim more. Often, leaving the photo just as it was captured by the camera is the best crop of all. However, if you do want to trim you just open the photo in your photo editing program. In the example we want to crop the photo so the aircraft strut is no longer in the photo.
Another benefit of using the adjustment handles is that it shows you the exact center of the selected image (usually a + symbol like in the example). The center symbol moves as you move the borders; this allows you to emphasize an object or area by centering it in the cropped photo. You may want to cut away certain parts of the photo to arrive at a precise image size when creating online photo prints, especially if an image is larger than the intended print size (e.g., a 5.
This adjustment is best done with the person who took the photo present, as it quickly enables you to make the photo match the colors and contrasts the Photographer observed at the scene. As we discussed in Chapter 2, there's no such thing as a good or bad histogram. However, a histogram that shows a large flat area on either end of the graph is most likely in need of some adjustment (see the example below).
The three dragable triangles below the histogram work as follows: • Dragging the left (black) triangle to the right darkens the shadows • Dragging the right (white) triangle to the left lightens the shadows • Dragging the middle triangle (gamma) to the left or right lightens or darkens the image The two dragable triangles below the Output Levels grayscale bar also adjust the image, having almost the opposite effect of the triangles above.
Dragging the left (black) triangle to the right darkens the shadows and makes the image noticeably sharper: Technically, everything to the left of the new ‘black’ point is now considered black. Notice that the middle slider (gamma point) has automatically moved to the right to preserve the relationship between black, midpoint and white. Also notice that the right side has not changed.
without substantially affecting the highlights and shadows, where simply brightening the image with a brightness slider tends to wash out the dark regions and increase the intensity of the highlights. Using the middle slider can often bring more detail out of a shadowy area, and you won’t have to worry about your blacks or whites turning gray. Correcting Color Cast Most Levels controls provide another way to set black and white points and neutralize color casts.
your editing program’s automatic features in the rare cases where they will be useful. Just don’t overdo it; each adjustment involves data loss. The automatic enhancement features of an photo editing program can fix many problems quickly. Auto enhancement functions of one type or another are included in nearly every photo editing application. There's no harm in trying them often, as the “Undo” function allows you to reverse the last editing action you performed.
printed as well, then consider a more restrained approach, as you may find that the vivid color you saw on your monitor takes on an unnatural, overdone appearance when printed. • Auto focus. This feature really works in some cases. • Sharpen. Easier to use than a function like Photoshop's Unsharp Mask, the standard “Sharpen” command in many photo editors gives a quick-and-dirty boost to your photo's detail, and may well make it look right for viewing on the Web or in an on-screen slide show.
and metadata display for RAW photos from most Canon and Nikon digital cameras on Windows XP. Browsers are built into most raw conversion programs (e.g., Photoshop, Photoshop Elements, or the program supplied with your camera such as Nikon Capture NX), so you can browse and compare thumbnails of your photos just as you do with JPEG photos. All cameras store a low-resolution JPEG preview of the RAW file inside the file itself, and many applications can show this preview.
7.2.1.3 Add Text or Symbols Most editing applications let you insert text or graphic symbols on a photo. Normally this done with a “Type” tool found in the program’s toolbox or on the toolbar. You can insert text horizontally or vertically, and control the font, style, size and color. Many programs also allow you to insert symbols such as arrows, circles, and squares.
Resize You can reduce file size using the 'resize' feature found in most photo editing software. Plus, many programs give you the opportunity to reduce file size during the “Save”' or “Save As” functions. Many editing programs also show you the file size (and sometimes the transfer rate) of the result you have selected when you use “Save As”. This is a very handy feature.
In the example, the original image was 1796 pixels in width and 968 pixels in height and the document was 25 inches wide and 13.44 inches high. Once you entered 600 pixels in the pixel dimension width box, the program automatically adjusted the other dimensions to maintain the proper aspect ratio. Now the document is less than 8.5" x 5" which will easily display on a monitor. [Note: You can accomplish the same result by reducing the document dimensions, say 8.5" or 4" in width to get an 8.
Chapter 8. Send Photos to the Customer 8 Airborne Photographers have to know how to send photos to a customer using e-mail, and how to transfer photos to a USB thumb drive. The Videography Information Technology (VIT) Specialist must know all the methods available to send photos and video to the customer, including electronic and by messenger. OBJECTIVES: 1. Discuss how to send photos by e-mail, including potential problems with large files and anti-spam software. Send a photo via e-mail.
8.1 Sending Photos by E-Mail Sending and receiving photos by e-mail can be challenging. Internet Service Providers (ISPs) limit the size of individual files and attachments to 1 or 2 GB (you can usually assume the limit is 1 GB) or if they do make it through the recipient may have problems viewing them, especially if they are using an older computer. [See the discussion on the WinZip Courier service at the end of this section for a means of delivering files up to 100 MB.
“Send To” and then select “Mail Recipient” from the list. When you release the mouse key Windows will open a message box giving you two options: If you want to sent the photos as is, select “Keep the original sizes” and click “OK.” All that’s left to do is to enter your customer’s e-mail address and hit Send. If the customer just wants to view the photos on a computer screen or monitor, leave the default “Make all my pictures smaller” selected and click “OK.
Note the “Attach” section of the e-mail: the photo was reduced from its original 3 MB (above) to 69.4 KB (below). Sending the reduced-size photos is a good way to send many large-size photos to the customer for a quick assessment. You can then follow up by sending the photos in their original size for a detailed assessment. Another easy way to perform this task is by selecting “E-mail this file” from the “File and Folder Tasks” section of Explorer (left-side of the screen, below).
8.1.2 WinZip Courier Service WinZip Courier (http://winzip.yousendit.com) has a free service that allows you to send files up to 100 MB in size. These files can be downloaded by the person or organization you send them to for up to seven days. There is a limit of 1 GB per month for this free service.
If you need to send multiple files, you can subscribe to the Plus service for $4.99 per month. This increases the file size limit to 2 GB with a monthly limit of 40 GB, allows up to 200 downloads per file, backs up your files, and gives recipients up to 14 days to download the files. 8.2 Sending Photos by File Transfer Protocol File Transfer Protocol (FTP) is a standard way of sending and receiving files between your computer and any other computer on the Internet that supports FTP.
The next step is to send the photos: a. A new window appears containing your local PC directories and files and also the connected site's directories and files. b. At this point you can transfer photos from your system to the FTP site, or retrieve photos from the FTP site and drag them to your system. c. Navigate to the location where you want to put the image/file (either on your system or the FTP site). d. Navigate to the desired photo. e.
a. Enter the site’s URL in your browser and then enter a Username and Password provided by Mission Base Staff. The site displays a list of current missions. b. When you select mission 07-T-3600 you are sent to the upload page. c. 94 Simply fill in the blocks, browse to your photo, and submit the photo for upload.
8.4 Upload Photos to WMIRS When enabled by mission command, the Web Mission Information Reporting System (WMIRS) provides an easy method of uploading mission images. The program automatically watermarks the images using information you enter before uploading the image. a. Log into WMIRS and select “Current Missions/Sorties.” b. Select the camera icon for the associated sortie. c. Mission images already uploaded will be displayed on a map or can be selected by date. d.
e. When you scroll down you can display the images by date; click on the image to enlarge. f. To upload a new image, select "Add Image." g. Fill in the image information and select "UPLOAD IMAGE.
h. The program automatically loads the image and displays it on the map and at the bottom of the page (arranged by date). i. Note the watermarks added to the top- and bottom-left of the image. 8.5 Share Photos using Google Docs ® ® If you have a Gmail account you can upload photos and share them via email invitation. a. Select "Documents" from the Gmail tool bar. b. Select the "Upload" button. c. Select and upload your photos. d. Select "Back to Google Docs" e.
8.6 Deliver Photos or Video via Messenger Sometimes the internet will not be working, but you still need to deliver your photos or video to a customer. a. Save the photos onto a USB thumb drive (also called flash or pen drives) and send that to the customer. Since the price of these devices is so low, you should consider keeping a couple 2G thumb drives for this purpose. If the customer doesn’t return them, you can claim them as an expense under “Comm/Other Cost Claimed” on the CAPF 108. b.
8.7 Digitizing 35mm Film Photos You may need to “digitize” photos taken with a 35mm film camera. There are a couple of ways to do this. 8.7.1 Transfer the Photos to a CD Several stores have services or kiosks that allow you to transfer 35mm film onto a CD. You can then transfer these onto your computer and send them over the internet, or deliver the CD by messenger. 8.7.2 Scan the Photos Another way to digitize 35mm film is to scan the prints into your computer.
Click ‘Preview’ (as was done in this example) and, if there is only one photo on the scanner platen, the wizard will automatically select it. You can drag the scanning boundaries to select and scan only a particular section of the image. You can put several photos on your scanner at once and choose the scanning area for each of them by hand. When you click ‘Scan’ the wizard asks for a group name and the file type you want (i.e., BMP, JPEG, TIF and PNG).
Today’s scanners support resolutions as high as 2800 dots per inch (dpi), but at that resolution you’ll waste time and space creating files that are hundreds of megabytes in size. Instead, set the photo’s physical dimensions (width and height) to exactly what you need (e.g., 1.5" x 2.5"), and then set the resolution per the chart below.
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Chapter 9. Printing Photos 9 Printer technology has advanced to the point where you can now print photos that look as good as those you get from a 35mm camera. And digital photos can be adjusted so they print out in just about any way you want. OBJECTIVES: This chapter is for reference only.
9.1 Printers and Image Resolution The two main types of printers are laser and inkjet. Laser printers are generally faster and cheaper (per print); however, all but the most expensive ones are better at printing text than they are at printing images. Inkjets are still the best choice for printing photos, even though they are slower and usually cost more per print. In this chapter we will discuss printing on inkjet printers. 9.1.
the Photo Printing Wizard by right-clicking on the photo and selecting ‘Print’. The wizard then takes you through the printing set-up, including a wide variety of layout options ranging from a contact sheet to one 8" x 10" photo or a sheet full of nine wallet-size photos. 9.1.3 Printing Services Printing kiosks now appear in stores such as Wal-Mart and Sam’s Club, drug and grocery stores, and in stores that used to have dedicated photo services such as One Hour Photo.
9.3 Resizing Getting an image to the right size and with the appropriate resolution (dpi) before you print it is an important step. Resizing and setting to the correct resolution within your photo editing program before printing the photo must be done for each photo that is printed. This is an important step before printing on inkjet printers and when using online photo print services.
Once you have the desired size, you can click ‘OK’ to accept these changes to the image. 9.4 Supplies Choosing the type of paper for printing your photos is often a cost-benefit decision. Use plain paper for working copies and everyday printing, and move up to specialty paper for your finished (deliverable) product. Photo paper is available in many weights and surface textures, and your choice of surface has a big impact on the look of the print.
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Chapter 10. Between Missions: Keeping the Camera and Accessories Mission Ready 10 The Airborne Photographer and the Videography Information Technology (VIT) Specialist both need to know how to properly store and maintain the camera/camcorder and accessories between missions, so they will be ready on short notice. You never know when you’ll be called for a video imaging mission, so you need to assume it will come at the most unexpected and inconvenient time.
OBJECTIVES: 1. Describe the contents of a typical mission camera/camcorder bag. [AP-P-003; VIT-P-004] 2. Describe the storage requirements of a camera /camcorder/GPS and its batteries, and discuss how to properly charge a battery. [AP-P-003; VIT-P-004] 3. Discuss how to clean a camera lens, LCD, and viewfinder. Clean a camera LCD screen and viewfinder. [AP-P-003; VIT-P-004] 4. Discuss the purpose and use of UV and polarizing filters. Fit, clean and remove a filter on a camera lens.
10.1 Batteries Most manufacturers suggest removing the camera (and portable GPS) batteries if the camera/GPS is not used for two weeks or longer. Even modern batteries can leak or corrode (especially when discharged), and sometimes small amounts of this material can coat the electric contacts, which can render the camera inoperative. Don’t mix fresh and used batteries in the camera, and don’t mix different kinds of batteries (e.g.
10.2.1 Cleaning the Lens The best way to ensure a clean lens is not to let it get dirty in the first place! Always keep a lens cover over the lens, and use the lens cap when the camera is not in use. Read your camera’s User Manual! Many recommend that you do not try to clean the lens but instead take it to a dealer or other professional. Most lenses are coated with a micro-thin anti-reflection coating. Although lens coatings are resilient, they are still relatively easy to permanently scratch.
frequently fogs up; this can be a real problem in cool climates when camera equipment is brought inside after being outside in the cold for some time. Even though moisture may be wiped off the lens, the lens may continue to fog up until its temperature equals the surrounding air. Condensation can also take place within a camera or camcorder and cause major problems.
autofocus cameras. To use a polarizer, attach it to the end of your lens and rotate it until the reflections are gone. For CAP purposes, polarizing filters are usually only helpful when you are shooting over or by water. You get a two-stop light penalty with a polarizer, and it may be difficult to get a fast enough shutter speed when using the polarizer.
Chapter 11. Preparing for an Imaging Sortie 11 The key to a successful imaging mission is preparation, planning, patience and practice! Airborne Photographers must know how to prepare for an imaging (photo or video) sortie. The great majority of our imaging missions are “fly back” missions, where we take photos or video, return to base, and then transmit the photos/video to our customer.
d. Effects of weather on an imaging sortie. e. The importance of the Photography Log. f. Special requirements for video sorties. Obtain a briefing for an imaging sortie that includes both the “Four Square” and “Bird’s Eye (Overview)” imaging patterns. [AP-O-004] 4. Using diagrams, describe the basic types of imaging flight patterns and when they are used. [AP-P-004] 5.
11.1 Briefings It is vital that the crew knows what the target is and what the customer wants, so make sure that the customer has described both in order to avoid confusion and cause the sortie to be re-flown because the results weren’t what the customer expected. For example, the customer may ask you to take pictures of a levee and, if there are any signs of flooding or seepage, to capture photos that show the extent of the leakage.
Details you need include (the checklist is in Attachment 1): a. What and where is the target? Get the exact location of the target(s). Even though the customer just gives you a name or location (e.g., the “Lake Meredith” dam or the “southwest part of Pampa”), try to define the target location by at least two forms of navigational information such as Lat/Long and VOR radial/DME. Also ensure that you get a good verbal description of the target. b.
determine how large (or how many) media cards you will need for the sortie. f. What quality do they want (e.g., highest, medium or low)? This also helps you determine how large (or how many) media cards you will need for the sortie. g. Do they mind if you crop photos, if needed? This will help you determine if a particular photo you took is acceptable.
decimal points. [Note: Seconds are usually not included, but may be calculated in the same manner.] To convert from the decimal to the degree/minute format, just multiply the decimal by 60 (e.g., to convert 34.5 to degrees and minutes, multiply 60 by .5; the result would be written as 34° 30′). Don’t worry about performing the conversions during the sortie; they can be done once you’re back on the ground. Several converters can be found on the internet, such as the one at www.cosports.com/tools/gps_coords.
you have of getting the required photos; therefore, allow for plenty of time over the target. Then plan extra time to review the photos and reposition the aircraft to reshoot one photo. A good rule of thumb is to allow: • 5-10 minutes to assess the target after the ID pass • At least 15 minutes to fly an imaging pattern (the Bird’s Eye may take more time to determine the proper altitude for the shot) • 5 minutes to review the photos • 15 minutes to re-position the aircraft to re-shoot one of the photos.
Next, the Mission Pilot completes the flight planning and briefing portions of the CAPF 104): • Ensure your 'Route of Flight' clearly describes your intentions; include any fuel or rest stops • Double-check your estimated time enroute, fuel reserve and estimated fuel burn • Review your planning aids (marked-up charts and notes) for accuracy and legibility 11.2 Imaging Flight Patterns 11.2.
11.2.2 Basics Steps of an Imaging Pattern Aerial Imaging flight patterns are always flown at 1000' AGL or higher, and never at speeds below Vx. How the Mission Pilot maneuvers the aircraft into the proper position for each shot is very important. The approach to the pattern should be slow and stable, and the AP must be given enough time to analyze current conditions and set up for the photo or video imaging run.
11.2.3 Circling Imaging Flight Pattern Note: The AP should be looking north. The pattern shows an entry for aircraft shooting from the right side of the aircraft; for aircraft shooting from the left side, simply reverse the entries. Note: The circling portion of the pattern is shown at the CAP lowest allowable altitude (1000' AGL). Actual (higher) altitude depends upon customer needs and the AP’s discretion.
11.2.4 4-Square Imaging Flight Pattern This is a more stable variation to use in place of the circling pattern. Note: The pattern shows an entry for aircraft shooting from the right side of the aircraft. For aircraft shooting from the left side, enter at the lower left and exit at the lower left. Note: The pattern is usually flown to the cardinal points (i.e., north, south, east and west), but actual orientation depends upon the target layout and the AP’s discretion.
11.2.5 Bird’s Eye (Overview) Imaging Flight Pattern An imaging mission may require an overhead view (bird’s eye view) of a target such as an unimproved runway or infrastructure such as water treatment or power plants. These photos may also be used if the customer wants to geo-reference the target. The intent is to get a photo looking “straight down” on the target.
Basic steps: a. Fly the “ID Pass” to verify the target and note its coordinates. Examine the target and its surroundings, and decide how to frame your photos. Use this opportunity to determine if your altitude will allow you to frame the entire target area in one shot. Climb or descend as necessary to determine the correct altitude. Note: You may be tempted to turn the camera vertically in order to get the target area in one photo – don’t. This type of shot often truncates the ‘far’ side of the photo (i.e.
11.2.
An imaging mission may require photos of a target from a specific angle, most often 45 degrees. The diagram and table below shows how to obtain the proper angle. The customer may specify the altitude, and all the crew needs to do is consult the table to see how far from the target they need to be in order to establish a 45° angle. If the customer doesn’t specify the altitude, then the crew will have to determine what altitude/distance relationship is required to frame the target properly. Basic steps: a.
pilot must be aware these maneuvers may be necessary, and the AP must know how to direct the pilot. Keep the directions clear and simple: “Lift your wing” or “Move the strut forward” or “Left 10°” tells the pilot all she needs to know. The pilot also needs positive feedback, especially if you are shooting out of the right-side windows; use simple words such as “Good, good” to let the pilot know they’re on the right track and speed.
should plan for a transit time of one hour and allow at least 50 minutes for assessing the target, obtaining the photos, reviewing the photos, and possibly reshooting one photo. Instead, you decide upon a total sortie time of 1.5 hours (an artificial deadline), launching at 1100 and returning to base by 1230. Now everyone (crew and mission base staff) is locked into the 1.5 hour sortie.
• Set your digital camera to its highest contrast. Look at your histogram, if available; you'll be surprised at how it tends to bunch up in the middle (implying low contrast) even if things look normal to you while flying. If allowed by the customer you can use an photo editing program to increase contrast and cut through haze.
• Working condition of the camera and lens cap straps. • Photo Log, Recon Sketch Sheet, and Photo Pattern Planning sheets, along with a good clipboard. • Cleaning supplies. • If you’re using a camcorder, ensure you have the microphone adapter. • If you intend to stop away from mission base between sorties, take the battery charger along. • Seat cushion to improve your position when shooting through the rear left window’s photo window.
f. Disable (turn off) the flash. g. Disable (turn off) the AF-Assist Lamp. Usually located near the lens barrel, an Autofocus Assist Lamp assists focusing when taking photos in low-light conditions. When the shutter-release button is depressed halfway, a light beams from the camera to illuminate the area where the camera is focusing. However, the lamp’s short range is useless for taking photos from an aircraft.
11.6 Prepare the Aircraft • Clean the aircraft windows before you leave, and make sure you have cleaning supplies on board. This is for safety reasons, not photography purposes, as you should avoid shooting through windows. Windows are made of Plexiglas and are not flat. With telephoto lenses they often will cause distortion that makes the images wavy. • If you will be shooting out the right front window of the aircraft, remove the window holding screw.
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Chapter 12. Conducting an Imaging Sortie 12 The key to a successful imaging mission is preparation, planning, patience and practice! Airborne Photographers must know how to conduct an imaging sortie. You’ve spent lots of time planning the sortie and preparing your crew and equipment, so don’t jeopardize the success of the sortie by rushing to obtain the photos. It isn’t “We’ve got to get these pictures back ASAP,” but rather “We’ve got to get good pictures back ASAP.
12.1.1 Transit to the Target Area a. Once you’re out of busy airspace, relax the sterile cockpit rules but maintain situational awareness. b. Double-check navigational settings to be used in the search area. c. Review search area terrain and obstacles. d. Update in-flight weather and file a PIREP. e. Review methods to reduce fatigue or combat high altitude effects during the sortie. Note Don’t set the camera on the glare shield or on a seat in direct sunlight.
12.1.3 The ID Pass a. When you pass over the target, log the latitude and longitude and verify you have the right target. If you have DME, log the radial and distance. b. Enter the coordinates into the GPS as a ‘User Waypoint’, and display this waypoint in the navigation mode. This will give the Mission Pilot an additional means to ensure accurate distance from the target during passes. c. Examine the target, its surroundings, and lighting conditions.
12.1.5 Preparing to Take Photos or Video a. Steady the camera or camcorder: b. Choose a comfortable, sustainable posture. If you’re sitting in the front right seat, slide the seat back so that you are centered in relation to the window (let your pilot know before you slide your seat backwards or forward). c. Keep your body from contacting the aircraft (i.e., don’t rest your forearm or elbow against the window frame). d. Use both hands.
Using the Zoom Optical zoom should be used sparingly, but it can be a tremendous help in composing a shot because you’ll rarely be in exactly the best location to take a photograph. Let the zoom improve your framing, either by bringing the target a little closer (optically) or backing off a bit. [Getting closer is the obvious attraction of any zoom, but zooming out can be very helpful by, for example, revealing a road that may be used by emergency vehicles to get to the scene].
distance and altitude, you will have to move further south and may have to increase your altitude. You may also use this opportunity to describe some of the video you will be shooting later, such as access and egress roads or flooded areas downstream of a dam or levee. It can also be helpful to point out major landmarks that can help ground teams as they arrive on the scene, and the condition of the roads leading to the target area.
• If time allows, you may check each shot as it appears on the camera’s LCD screen after each shot. However, since the display is usually set to come on for only a few seconds this may not be practical. Additionally, it may be so bright in the cabin that you can’t see the image on the LCD. In situations like disaster assessment, the time you spend reviewing each photo on the LCD screen can make you miss the next one.
12.6 Debrief 12.6.1 Transfer Photos Transfer your photos to a computer as soon as possible. Verify that the pictures were successfully and completely transferred by looking at each photo on a monitor before you erase the photos on the media card. Then determine if the photos meet all the mission objectives and requirements. Some mission bases will just have you give them the media card and Photo/ Log.
12.6.3 Check in with the Debriefing Officer • Tell how you did your job and what you saw • Usually starts with a review of the information you entered in the Debriefing section of the CAPF 104 • Review the photos (and Photo Logs) or video, comparing them against mission objectives and requirements • Answer all questions as best you can, and be very honest about conditions and your actions • If you are scheduled for another sortie, find someplace to rest.
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Attachment 1, Customer Imaging Request Checklist This checklist assists mission staff in obtaining all the information necessary to determine exactly what a customer wants, and enables the Airborne Photographer and Mission Pilot to know what information to expect (and need) during briefings CXLVII
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What and where is the target? Define the target location by at least two forms of navigational information (e.g., Lat/Long and VOR radial/DME) Also ensure that you get a good verbal description of the target. Note: If the crew will need to perform a damage assessment/survey in order to decide how to image the damage, at least try to define the general area or boundaries of the suspected damage.
What information do they want to accompany the photos (or be included in a video’s audio commentary)? Accompanying information may include: • Altitude (MSL or AGL, or both) • Latitude and Longitude • Time (local or Zulu) • Distance from target (nautical or statue miles) • Direction to target (e.g., looking South) • Angle to target (e.g., 45°) What photo format do they want? Do they want JPEG or an uncompressed photo (e.g.
Do they want you e-mail the photos? • What information do they want in the “Subject” and “Remarks” areas of the email? • What is the e-mail address of the customer or customers? • Do they want you to cc: or blind copy anyone? What are the addresses? • Do they need to enter your e-mail address in their “anti-spam” software so it isn’t blocked? • Do they want you to call before sending the photos? What is the phone number (plus a backup)? CLI
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Attachment 2, Imaging Sortie Checklist This is an imaging mission-specific checklist.
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1. Aircrew Assignment / Briefing A. Detailed briefing prior to each sortie; pay attention and ask questions B. Include entire aircrew, if space allows, but the Mission Pilot and AP must attend C.
2. Plan the Sortie A. The Airborne Photographer (AP) and Mission Pilot (MP) plan while the third crewmember listens (may be briefed later) 1) Determine if the weather over the target will meet customer specifications and/or needs 2) Determine type of imaging flight pattern(s) to be used and fill in data needed to fly the pattern(s) 3) Consider time over the target, with a margin to re-shoot as needed 4) If needed, plan time to perform a damage survey.
3. Inventory and Set Equipment A. Inventory Equipment 1) Camera/GPS batteries charged (including spares) 2) Memory cards with sufficient capacity, including spares (you may also include a 1 or 2GB USB flash memory drive for extra storage) 3) Filters (as needed).
C. Prepare the Aircraft 1) Clean the aircraft windows before you leave, and make sure you have cleaning supplies on board 2) If you will be shooting out the right front window of the aircraft, remove the window holding screw. Place the screw in a secure container. 3) Enter any waypoints into the GPS before takeoff 4) Set up the Audio Panel and Intercom. Check the operation of the intercom (all positions) and perform a communications check of the CAP FM radio from all positions.
B.
D. Prepare to Enter the Imaging Pattern 1) Fly at least 1000' AGL during daylight and at least 2000' AGL at night, and no slower than Vx 2) Ensure you’re flying slowly enough (~ 75-80 kts) to allow the AP to get several photos from each angle or side 3) Secure camera neck and/or wrist strap and hold or store lens cap 4) Check camcorder microphone cable connection to the intercom 5) Check that the camera/camcorder is on 6) Ready the Photo Log 7) Secure loose items in the cabin and open the window E.
H. After the Sortie 1) Remove all your equipment from the aircraft, if necessary 2) Clean the windows 3) If no more sorties will be flown in the aircraft, replace the aircraft window screw (and bushing or washer) and secure the aircraft 5. Debrief A.
C. Check in with Debriefing Officer 1) Tell how you did your job and what you saw 2) Usually starts with a review of the information you entered on the reverse of the CAPF 104 3) Review the photos or video (plus Photo Logs and sketches), comparing them against mission objectives and requirements 4) Answer all questions as best you can, and be very honest about conditions and your actions 5) If you are scheduled for another sortie, find someplace to rest.
Attachment 3, Circling Pattern Worksheet CLXIII
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Attachment 4, 4-Square Pattern Worksheet 1 CLXV
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Attachment 5, 4-Square Pattern Worksheet 2 CLXVII
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Attachment 6, Overview Pattern Worksheet CLXIX
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Attachment 7, 45º Pattern Worksheet CLXXI
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Index 4 D 45° Angle to Target Imaging Flight Pattern · 128 4-Square Imaging Flight Pattern · 125 Debriefing · 144 Depth of Field · 39 Depth Perception · 39 Digital zoom · 3 Digitize 35mm film · 99 Diopter correction · 7 A Add Text or Symbols · 84 Aircrew planning · 120 Aperture · 20, 21 Aperture Priority mode · 24 Automatic mode · 23 B Batteries · 7 Battery maintenance · 111 Bird’s Eye Imaging Flight Pattern · 126 Briefing aircrews · 120 Briefing staff · 120 Briefings · 117 Browsing images · 70 Burst m
J Q JPEG · 12 Quality setting · 29, 30 L R Lens filters · 113 Lossless compression · 12 Lossy compression · 12 RAW · 14, 82 Recording video with a camcorder · 141 Resize images · 85 Resolution · 28, 30 M S Manual mode · 24 Media cards · 8 Memory Card Reader · 60 Memory cards · See Media cards Metering system · 22 N Scene modes · 24 Send images by e-mail · 88 Shutter delay · 25 Shutter Priority mode · 24 Shutter speed · 20, 21 Success determination · 142 Success factors · 130 Naming images · 66 T
