I do like portrait photography. Unfortunately, it's not an aspect of the profession that I get to practice too often, although I'd like to do more. There is something so incredibly powerful about seeing a subject's personality emerge from the facade people usually put up between them and the world. Of course, there is a bit of facade-building in any good portrait, but some part of the inner person shines through in the really memorable ones.
I shot this when Christie was 18 or 19. She and Mike came out for several weeks that summer and we got a chance to play at our friend Roy King's studio (Esperanza Studios) for a day. We did several costume changes and scenes, many with a bit of role-playing involved in the staging. But this one is one of my favorites because it catches Christie in a very pensive mood. I like to think something of her true self came through here; that it was not all acting in this shot. There is that old cliche' about still waters running deep. That is the feeling I get when I see this portrait of her.
I confess that this shot is a favorite of mine. I like the line up of Viper tails with their heat plumes flowing out of their exhaust nozzles, set off by the solitary walk by the airman in his "mouse ears" (ear protectors) as he performs his last chance inspections. It is an unsung job, but a critical one. In amongst the muted roars and heat of the F-16s, he and his team circle and examine the waiting beasts, the power of "go / no-go" in his hands - the human element in the mechanized zoo of modern aerospace. It is fascinating to watch.
As with the previous post, this was shot last October at Luke AFB, AZ.
One of the more coveted spots for the aviation photographer is the "end of runway" location known as "last chance." Last chance is the final groundcrew inspection area where all final "remove before flight" ribbons are pulled off the airplane and the weapons are unsafed (not necessarily armed, but the safety is removed so they can be armed then or later). The neat thing about last chance is the coordinated ballet of the groundcrews, the traditional salute by the crew chief to the pilot, and the sense that the airplanes are alive. In a very real sense they are: growling, screeching, menacing and full of raw, barely controlled power. It is a very visceral experience, especially if the planes line up and light their afterburners for take-off with you in a rear quarter position. Then you can not only see, hear, smell and taste the aircraft, but you can feel its power vibrate in your gut and chest. It is glorious!
This was shot last year at Luke AFB near Phoenix, Arizona, as one of the pre-convention events held by the F-4 Phantom II Society before the main event in Tucson. The Lockheed Martin (nee General Dynamics) F-16C "Fighting Falcon," more informally known as the Viper, is spooling up it's engine as it pulls away from last chance and taxis to the hammerhead at the end of the runway. The heat plume from the exhaust is visible as mirage-like distortions behind the airplane.
This is another instance of what is known as good timing and "situational awareness." Basically it's picking a good step-up and taking note of what is going on to make a good shot better. I knew the Lockheed C-130J would cross behind and above the F-22 Raptor. I just didn't know how high up the frame it would be. I estimated where I thought it would enter the image and waited. Sure enough, there it was and it made for a more interesting shot. One of the things I particularly like about it is the green glow off the F-22's HUD (Head Up Display). It adds a nice touch of color.
This picture was taken at the 2007 NAS Pt. Mugu open house.
There is nothing quite like take-off of a Boeing B-52 Stratofortress. This 1950's designed, eight-engined bomber has survived far longer than imaged, outliving three attempts to replace it. While better than they used to be, the smoke coming from those eight engines as they spool to a full power, maximum take-off is impressive. Just the thought of a wing launching all their planes during Minimum Interval Take-Offs (MITO) exercises during the Cold War, in which one after the other of these behemoths take off 12 seconds apart, is mind-boggling. It must've been something to see and hear in person - assuming you could see much after the first two or three aircraft rolled as the smoke must've obscured everything. I don't think I'd like to be the last ship in line. Between the zero visibility and turbulence from everyone else's aircraft, the pucker factor must've been high.
This shot was taken at the 2005 Edwards AFB open house.
On my 3 June post I had a shot of Yosemite Fall in winter. That February image showed mist in the valley and an ethereal ground fog. This particular shot was taken from about the same spot as the 3 June image, ironically on the same Memorial Day weekend as my 27 April post. It was a nice, warm day in the valley that morning, but as I recounted in April, a snowstorm closed Tioga Pass that night, so the weather was volatile.
In any event, the colors were gorgeous that day. Yes, the grass was really that color of green. It was amazingly vibrant; it almost hurt your eyes to look at it. With the wind blowing the water of the Upper Yosemite Fall and the blue of the sky nearly covered by clouds, it made for a very nice shot.
El Capitan is an incredible presence in Yosemite Valley. Imposing as it is from Inspiration Point, the closer you get to it the more massive and overwhelming it becomes. No wonder it is a magnet for rock climbers and dare-devils! But not me. I prefer my appreciation of El Capitan from a secure location - well, moderately secure.
This shot was taken at one of the last turnouts on the valley loop before the exits out of the valley. Here the Merced River reflects the deepening blue of the sky as the day reaches the Golden Hour. I'm out on the rocks by the river's edge. More secure than the face of El Capitan, but not as safe as solid ground or asphalt path. That's about as daring as I like to get. This is a favored location for many photographers. It's not hard to see why.
I do like portrait photography. Unfortunately, it's not an aspect of the profession that I get to practice too often, although I'd like to do more. There is something so incredibly powerful about seeing a subject's personality emerge from the facade people usually put up between them and the world. Of course, there is a bit of facade-building in any good portrait, but some part of the inner person shines through in the really memorable ones.
