Date: Wed, 2 Jun 1993 20:24:30 -1000 From: rock@netcom.com (Anne Rock) Message-Id: Organization: NETCOM On-line Communication Services (408 241-9760 guest) Subject: Kite aerial photography (long) Several months ago, there was a small exchange about kite aerial photography. At the time I didn't have the time to contribute to the thread. Kite aerial photography (kap) is my primary kite interest. I'm not a great kiteflyer (tops on my list for improvement), or especially knowledgeable about photography.....I classify myself as an advanced beginner in kite aerial photography: I have taken my first pictures. The outline for this article is: Cameras Kites Control methods Rigs/Cradles/Suspension system Miscellaneous/Tips/Safety Resources In the first 4 sections are descriptions of what is commonly used, based on what I've seen and read about, with some information on my current system. No doubt there's some bias in places, and I don't think I know everything. Chin up, Anne Rock 2420 Ninth Street Berkeley, CA 94710 USA 510-848-7335 rock@netcom.com Cameras I'll start with cameras because that's the piece of equipment that will have the most affect on the rest of the system. Essentially anything goes. I recently attended a meeting of the Kite Aerial Photographers Worldwide Association (KAPWA) in Germany, and one of the participants planned to lift his medium format Rollei -- you should see the cage he's built around the camera to protect it in case of a crash! Some use point-and-shoot cameras. Advantages are very low weight and low cost (both for initial purchase and in case of replacement), as well as very good quality. I have a Canon EOS 630, which I chose for several reasons. I had sold an older manual Leica and lenses, and wanted a camera for both general use and aerial photography (I didn't want to carry 2 cameras when traveling). The 630 was the type of camera I wanted for general use, and it offered cable release (with the purchase of a separate grip and a special cable to connect the mechanical cable release to the electronic camera), which not many cameras have these days; building a system that used cable release rather than an arm that pressed on the shutter release seemed easier to my husband Steve, who constructed the system for me (I made the kite). Cameras that I know others are using include Olympus AF-1, Samsung Slim, Nikon F 301, Ricoh KR-10M, Minolta X-300, Ricoh Shotmaster (known as FF-9 in Europe). The opinion of several of the advanced kap'ers at the German meeting was that which camera one used was not the critical factor: the skill of the person doing the kite aerial photography is more important. The EOS 630 is fairly heavy, and especially so because I usually use a 35-135 zoom (which I don't zoom while it's flying--this is a lens purchased more for general purpose....and because at the time I didn't realize how limiting the weight of the camera would be); on my list of what I'd like to buy is a 35mm lens, which will drop 8 oz from the weight of the system, a significant reduction. I'm also planning on getting a point- and-shoot camera so that I can fly in an even wider range of conditions. With a really light camera (some p&s cameras are 6 oz without film and battery) and rig, and a large enough kite, you can create enough wind by walking backwards to take aerial photos. Some items to think about: shutter speed (you want a camera with a fairly fast shutter speed to slow down the jiggle--many p&s have 1/250 as top speed, a few more 1/500, and at least one 1/700); range of DX ratings; timers and interval timers; weight; automatic film advance; auto exposure. Mark Cottrell's book has a useful, although a bit outdated, discussion on cameras; see Resources. Video: I've seen several pictures of rigs with video cameras but the only footage I've seen is some I took a couple of years ago. Looking at it provided the opportunity to feel very seasick in the privacy of one's house. Every time there was a change in wind speed, the kite, and therefore the video camera, would go up or down. Suggestions welcome. Film: I use ASA100, 200, and 400 film. Wolfgang Bieck is working his way down to ASA 50, maybe even 25. If film speed is important to you and you are thinking of a p&s camera, check the DX range: some are quite limited. Kites Although most kite flyers think first of parafoils when thinking of kites that can provide a lot of lift, very few kite aerial photographers use parafoils for lifting their cameras. The rokkaku is perhaps the most popular, along with deltas, multiflares, Peter Lynn Tri-D box, winged triangular box, Cody. The size of the kite depends on the weight of the camera system and expected wind conditions. An article by Yves Rameaux (Spring 1993 issue of Kite Lines) about a trip to Ireland listed 5 kites: 2 sizes of delta, 2 sizes of rokkaku, and a Tri-D box. I've been flying with a rokkaku made from a plan developed by Nop Velthuizen which appeared in the Dutch book "Fotograferende Vliegers" by Nop and Gerard van der Loo, and in the 1990 #2 issue of the Dutch kite magazine "Vliegers." If you really want a description, I'll add it, but don't think it is necessary here. The kite is heavily reinforced and has one size larger spars than usual, "for Berkeley winds," but I recently flew it (without camera) in 20-30 mph (gusts to 40+) winds in the Owens Valley (east side of the Sierra Nevada), and while I'd never seen the kite bow so much, it took the wind just fine. It's obviously too heavy a kite for my usual flying conditions. A successful kap session is probably measured in ounces, and there are ounces to be pared in all parts of my system. (The rokkaku that Michel Dusariez, president of KAPWA, flew in Germany had zero reinforcements.) I recently made a genki to use in lighter wind conditions, but haven't flown it with the camera and don't know if I will. I think reducing the weight of my system (lighter lens, lighter camera, lighter kite, etc.) will be more advantageous. My kite flying ability (or lack thereof) is the limiting factor right now. I took greater risks when I first started lifting the camera because I was very eager to get some photos; I'm more conservative now about when I lift the camera. Sport Kites. I've seen a few photos (ads in magazines) taken with cameras lifted by and attached to sport kites. Probably an excellent way to quickly get a camera aloft when using the camera timer. Control Methods Most control = most weight = most expense. For those of us who like to control as much as possible, there's radio control, such as used for model airplanes/boats/cars. With a 4-channel system you can rotate and tilt the camera and activate the shutter at will. That means lifting 3 servos, receiver and battery. To reduce weight, some have a system without an r/c tilt option; the tilt is adjustable and is set when the rig is on the ground. If you buy radio control, you should get the aircraft frequency. Also, be aware that not all countries use the same frequency for model airplanes (in Germany, the U.S. model aircraft frequency is used by police/security). Other common options for shutter release are a camera timer which usually gives you only 10 seconds (some p&s cameras have double timers); a camera intervalometer, which can be set to take a series of pictures at predetermined intervals (all the same, such as every 1, 10, or 30 minutes); a user-installed timer with a switch/arm that presses on the shutter release; a rotating system of pegs and reduction gears that takes a picture every x rotations. Some open the camera body and run wires to the shutter release contacts; others pay the camera manufacturer to do it. Some/all of the Ricoh Shotmaster/FF-9 cameras have a remote control jack for shutter release, one reason this camera is popular with kap'ers. There's a trend among some European kap'ers toward very light systems. This allows them to fly smaller kites, in more difficult places, in a wider range of conditions. Set the tilt (and rotation, if possible) on the ground, have an intervalometer on the camera, and, if there's space, walk around with rig so you get some different views. Rigs/Cradles/Suspension Systems Aluminum bar is the most common material for the framework of the rig; other materials are wood, duraluminum, composites (fiberglass/graphite/etc). Some rigs have enclosures for the radio control components; others have the parts fastened all over the framework, with wires running every which way (this is what my current system looks like). My system has 2 pairs of gears (Delrin; others use model car wheels, etc.), one for rotation and one for tilt; some systems eliminate the gears (the gears increase the range of motion of the servo -- the servo may only move 45 degrees, but with the right gear ratio, the movement is increased to 180 or 360 degrees). It is possible to modify the servo internally to increase the range of motion; a back issue of KAPWA News covered this (I don't know the issue number). Common fastening of camera to framework is a screw in the tripod hole. My camera is fastened by velcro at the bottom (adhesive-backed velcro, industrial strength) and by metal strips, screwed to the framework, that slip into the flash shoe at the top. Good minimum safety backup is an extra connection (line, nylon wire tie, etc.) between camera and rig in case the primary fastening(s) fail; a few tie the camera to the main flying line in case of failure anywhere in the system. Most kap'ers attach the system to the flying line with a piece of aluminum bar or channel, or wood strip, about 12-15" long, with 2 "knobs," one at each end, to wrap the flying line around (this strip is parallel to the flying line). A tube (fiberglass, alum), often 4-8' in length, is suspended from this piece and connected to the camera rig. The theory on the long length is that the movement at the end of a long pendulum is less noticeable than that at the end of a short pendulum. Picavet suspension. First described in 1912 in an article by Pierre Picavet. Take 2 strips of wood/aluminum/whatever, 12-35" long (the original article suggested 71 centimeters; I've seen ones as short as 12"), overlap and fasten to each other at the centers, at a right angle. At the outer four ends, on the upper side, fasten a small pulley or eye bolt. The camera rig is attached to the underside of this device. Take a length of line (original length was 18 meters/54 feet) and "thread" through the four pulleys, via 2 attachments (upper and lower) at the kite line. The sequence is (number the pulleys 1-4, with 2 and 4 on the strip parallel to the kite line, and 1 and 3 on the strip at a right angle to the kite line): Start at lower attachement to kite line, drop down to pulley 1, up to upper attachment, down to pulley 4, up to lower attachment, down to pulley 2, up to upper attachment, down to pulley 3, up to lower attachment; join ends of line so you have a big loop. Several people are using this system, with minor variations in dimensions, with considerable success. I've just made one, but haven't flown with it yet. / 2 / upper / attachment / 1 _________________________ 3 / / / lower / 4 attachment lower upper attachment attachment | | ground <________________________________________> kite \ / kite line \ / \ / \ / multiple lines \ / multiple lines running from running from lower \ / upper attachment to rig attachment to rig \ / \ / camera rig/ crosspiece with 4 pulleys Flexible tube. Craig Wilson uses a short (10"?) length of thick (17 mm/ 2/3") tubing for the vertical pendulum. He takes great photos, has had 40 photos published in various commercial publications since 6/91, and specializes in photos taken between 45 and 90 feet, thus getting a view and detail that airplane aerial photography generally cannot. Some rigs are adjustable, able to accommodate cameras of different sizes and weights, so balance and center of gravity is correct for each. Miscellaneous/Tips/Safety Flying line vibration. A neat vibration dampening idea I picked up in Germany uses two muffler hangers (look like big thick o-rings), one just "above" the rig toward the kite, and the other below the rig. You need a short piece of dowel or fiberglass tube to fasten to the line. Bend the hanger into a u-shape over the line, stick the dowel under the line and over both sides of the hanger. Really makes a difference. Some of the European kap'ers sometimes fly on kevlar line, for strength and for protection from other kite lines that might cut theirs. I'm sympathetic (no flames, please)..... R/C channels. If you don't know if anyone else in the area is flying on your channel, turn the receiver on first and see if anything moves. How much pull is the kite generating? You begin to get a feel for whether the pull is enough to lift your rig, but some carry a small scale (like fisherpeople use) to clip into the line to actually measure the pull. Beware inexpensive scales in blister packs; if you buy one, ask to open the blister pack and check it out (next time I'm going to take a cloth bag and a couple of small weights to the store). Line control. Typically I get the kite above the worst ground turbulence, attach the rig, let out more line. For control and safety, because I often am flying alone, I used to put loops/knots in the line so I could let out the next section while still having the line clipped in to a carabiner. There's a piece of climbing hardware called a figure 8 descender (looks like a figure 8) that has not only eliminated the knots, but also gives me the ability to control the line much better as I'm letting it out (I couldn't have flown the kite in Owens Valley without this) (it is the most common rappel and belay device). Batteries and chargers. Always carry an extra camera battery. If you're using r/c, consider an extra battery pack for your transmitter and extra batteries for the receiver and/or a field charger. Extra special toys. There are miniature video cameras and transmitters that (along with a receiver and tv) let you see what your camera sees, or takes video with minimal weight (add VCR to the ground equipment). No, I don't have these. Viewfinder cover. For through-the-lens viewfinders, it is best to cover the viewfinder when your eye won't be covering it when a picture is taken. Light can get in and affect the exposure (on an early roll, all the pictures taken with the viewfinder facing a low-in-the-sky sun were underexposed, all others ok). I put a piece of duct tape over the viewfinder. Autofocus jitters. I had enormous problems early on: the system worked with test pictures, holding the rig at head height, but I when I lifted the rig and clicked off picture after picture, all too often I'd bring down the camera to find only a few pictures had actually been taken. My husband reworked the cable release system, even replacing the cable with a "professional" model. Finally, one of my flying friends, John Takeuchi, suggested that the camera almost never considered the picture to be in focus and that I slide the automatic/manual switch on the lens to manual. Magic. If you've read everything this far, you're probably thinking a lighter simpler camera is the way to go. Me too, sometimes. Safety. Partly for safety, partly because I don't fly well, I often don't fly when there are lots of other flyers around (I might fly in this situation more often if I had a dedicated helper). While I would be sorry to ruin my camera, the nightmare is dropping it on someone. Each time I fly, I check the kite's seams, bridle and bow lines, split rings to make sure lines aren't working their way out, spars. I check all the screws, nuts, nylon ties on the rig. I try to inspect the flying line as it's going out or as I roll it up. I don't know, yet, where the weak link is. AKA (American Kitefliers Association) now offers liability insurance, which kicks in after any personal liability insurance you may have. If you can't think of any other reason to join AKA, the insurance might be a good one. Policy applies only in U.S. Call 1-800-AKA-2550 for info, to join. $20/year. The voice on the phone will be that of Brooks Leffler, a kite aerial photographer. Which way is my camera pointed? Some add two fiberglass tubes to the rig, one to indicate the rotation and the other the tilt of the camera. Useful when the camera is 3-400 feet up. Resources (sorry I don't have non-U.S. equivalents) KAPWA (Kite Aerial Photographers Worldwide Association). Publishes a quarterly journal in two sections: news/general interest articles and technique. Each issue has all articles in both French and English (and it is now being translated into Japanese, published separately). There are 1 or 2 full page color photos in each issue, printed on lightweight paper, as well as numerous b/w photos, good reproduction. A number of articles are over my head as I don't know much about electronics. Highly recommended. Emphasis is on sharing information. Membership/subscription runs on calendar year, so if you join mid-year, you'll receive back issues. Michel Dusariez, 14, avenue Capitaine Piret, 1150 Brussels, Belgium. 32 2 513 21 46, Fax 32 2 512 68 29. Easiest way to transfer funds is to send your credit card number with expiration date. Cost is approx US $30 per year. Pins and patches available. Tower Hobbies. One of the big mailorder R/C companies. $3.00 for the 300-page catalog. 1-800-637-4989 (orders), 1-800-637-6050 (orders with assistance). P.O. Box 9078, Champaign, IL 61826-9078. Northeast Sailplane Products. 802-658-9482. Source for my field charger, at the recommendation of model glider pilot friends. Tower carries field chargers, too. Small Parts Inc. Engineering Findings ... components, materials, and selected tools. Source for Delrin gears. P.O. Box 4650, Miami Lakes, FL 33014-0650. 305-557-8222, Fax 800-423-9009. Catalog free. SuperCircuits. The brochure says "affordable microvideo products." Both b/w and color micro video cameras; transmitters; ATV downcoverter kit. Videos on using r/c airplanes and helicopters for aerial photography using the products SuperCircuits sells (I haven't seen any of these). Austin, TX. 512-335-9777. Weight of the video cameras is 3.5 to 4.5 ounces. Popular Photography magazine. May 1993 issue has a summary of 79 point- and-shoot cameras. "Kite Aerial Photography" by Mark Cottrell. Copyright 1987. A useful book, although a few parts are beginning to be a bit dated. It summarizes systems Mark built and used over a 9 years' period. Covers suspension system, camera, cradle, remote control system; has plans for a 30 sq foot parafoil, a large delta, Peter Lynn Tri-D. It won't tell how to put together a r/c system down to every detail. 44 pages. Available in U.S. through the Kite Lines bookstore. US $10.95 "Kites. A Practical Handbook" by Ron Moulton and Pat Lloyd. Copyright 1992. 16-page chapter on kite aerial photography, with good photos and drawings. Good coverage, mostly based on the system and work of Tom Pratt of Great Britain. If you want to see pictures of a few rigs, drawings of systems, etc., and don't want to buy lots of back issues of KAPWA, this is probably the best source (see magazines/future articles listed below). 253 pages, Kite Lines bookstore. US $27.95 American Kite magazine, Summer 1993, Volume 6 Number 2. Four pages of photos by Michel Dusariez and a one-page article "How to Take Your Own Photographs" by Brooks Leffler. Brooks says that Kite Lines (the next issue?) will have an article on kap, featuring photos by Craig Wilson of Wisconsin; and that he is writing an article on kap for the July issue of Kiting, the AKA journal. "Fotograferende Vliegers" by Nop Velthuizen and Gerard van der Loo. Out-of-print? book in Dutch. Sport and Design Drachen magazine, April-June 1993 issue. Five pages of pictures (aerial and details of system) and article by Wolfgang Bieck. Some of the details are of the Picavet system mentioned under "Suspension." In German. Drachen magazine. The issue is out-of-print; I think it was July/August 1991 (I don't have it). Article and photos by Michael Haugrund. In German. = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = Date: Thu, 3 Jun 1993 04:04:51 -1000 From: alfa@werple.apana.org.au (Glenn Durden) Message-Id: <1ul0e3$433@werple.apana.org.au> Organization: werple public-access unix, Melbourne Subject: Re: Kite aerial photography (long) rock@netcom.com (Anne Rock) writes: >Several months ago, there was a small exchange about kite aerial >photography. At the time I didn't have the time to contribute to the >thread. Wow... must have missed it. I tried k.a.p myself a year ago. Mainly because the camera arrangement that I had was a little too heavy for a model rocket. (read rec.models.rockets for more on this). So, I guessed I'd wander down to the local kite shop and ask what kite was best/hints/ideas..etc... Damn fools had never heard of the idea of k.a.p. So, off my own bat, I put together this setup: Kite: Homemade big delta - about 10 foot across the base. Camera: the cheapest plastic thing I could find that had a motor wind. Triggering mechanism: A radio control setup. Only used 1 channel for triggering the shutter. Results: First roll of film was a failure. The antenna, which I had left hanging straight down, I THOUGHT was out of view, but it ended up in most shots. :-( Plus, I'd forgotten about the camera moving, and blurring the pics. :-( Second roll of film went great! None of the mistakes of the above, and a friend has even asked me if I can take photos of his farm for him. :-) P.S. The camera/radio control was all enclosed in a plastic ice cream container for protection. = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =