New

slet

ter

Fall 2013

NEWSLETTER 2 FALL 2013

contents

4 editorialOn Being Thankful...

6 recent workSince our last newsletter we’ve made photographs in Reno, Nashville, Lakeland, Oshkosh, and of course, all over Georgia.

14 gatefoldEnjoy this WACO amphibian…

16 new capabilitiesMedium-format digital

18 art showCome see our exhibition “Reaching High” at the Tellus Science Museum. Enjoy our audio interviews too...

22 update Surf on over to our new website…

27 folioThe Reno Air Races...

30 perspectiveWorking on assignment at the Reno Air Races for Smithsonian Air & Space magazine

33 finishing up…‘Tis the Season...for Holiday Sales!

copyright noticeThis newsletter was created by John Slemp to promote his aviation photography business, Aerographs. All reproduction rights are reserved, including copyright. All content is ©2012-2013 John Slemp. (404) 245-2411

Cover Image: Students of EAA 690’s Aviation Summer Camp let off some steam during a photo session this summer., in Lawrenceville, Georgia. Opposite Page: The first aircraft acquired by the Commemorative Air Force, this P-51D was photographed at Falcon Field in Peachtree City, Georgia. ©2013 John Slemp

NEWSLETTER 3 FALL 2013

NEWSLETTER 4 FALL 2013

We’ve come to yet another holiday season, where we are obligated to recognize, and remember, just what it is that we should be thankful for. I suppose that this time of year is as good as any, being that the Thanksgiving holiday was originally set for the time of year after the harvest, when one would presumably have barns and storehouses full of enough food to last through the winter.

Seems like an arbitrary date, now that our economy is no longer dominated by an agrarian calendar. And yet, with this particular holiday so well entrenched into our cyclical thinking, it is a good time to remember the year we’ve just passed through.

From a business aspect, this makes perfect sense, in that it allows us to take stock of how well (or poorly) we’ve done this year, to consider if there is enough bounty to share with our employees in the form of a year-end bonus, and to perhaps make a few plans for the coming year.

As a small business owner, this happens on a more personal level, and I daresay, throughout the year. Why you may ask? It has to do with the nature of being a small operation, and of course being self-employed.

Unlike many large companies that have huge, well-entrenched manufacturing, sales, marketing, and distribution operations, a “freelance” (I hate that word) photographer only has him/herself to fall back on. We are always being evaluated based upon our latest images, who we’ve shot for lately, and for how much money.

You are considered “successful” if you have high visibility clients, make enough money to

support yourself and your business, and win the occasional award. But like any business, this success requires constant effort to keep the doors open and the lights on.

This is probably as it should be, as it is a definite motivator. Photographers these days must be good great at a wide variety of skills, well beyond just being able to make a solid image. All of the above mentioned large-company activities must also be completed in my company, albeit at a “macro” level. I have come to accept this, and indeed relish the challenge of doing it well.

So as I go about the daily routine of taking care of clients, finding new ones, upgrading my equipment and skill sets, creating new images, and just trying to keep it all together, I am Thankful for the clients I do have. It’s an unspoken agreement we have. They continue to trust me to create images for them, and I get to reap the economic benefits of that trust.

I always try to keep this in mind. It is sometimes a tenuous existence, and yet I wouldn’t trade it for anything. I truly value my clients, and hope they know it. This is a good thing to be reminded of...at any time of year.

If I haven’t said it lately, “Thanks!”

editorialOn Being Thankful...

Recent Clients: Women in Aviation International, Terrafugia, Avfuel, Airfare America, Smithsonian Air & Space magazine, Aviation for Women magazine, Georgia magazine, Epps Aviation, Graphix, and the Tellus Science Museum.

NEWSLETTER 5 FALL 2013

Velocity XL RG, photographed on a late summer afternoon at Briscoe Field (LZU) in Lawrenceville, Georgia.

NEWSLETTER 6 FALL 2013

recent work

NEWSLETTER 7 FALL 2013

NEWSLETTER 8 FALL 2013

NEWSLETTER 9 FALL 2013

NEWSLETTER 10 FALL 2013

NEWSLETTER 11 FALL 2013

NEWSLETTER 12 FALL 2013

NEWSLETTER 13 FALL 2013

NEWSLETTER 14 FALL 2013

GATEFO

LD

1937 WACO ZKS-6, owned by Carl Buck of Longmont, Colorado.

Created at the SeaPlane Base during AirVenture

2013, in Oshkosh, Wisconsin.

NEWSLETTER 15 FALL 2013

NEWSLETTER 16 FALL 2013

When it comes to new cameras, I generally don’t get too excited any more. I wouldn’t call it being “jaded” as much as being experienced in knowing what a particular piece of gear can do. Not unlike aircraft, different cameras and lenses are used for different photographic missions, depending on the desired outcome.

I’m often overheard telling amateurs that “it’s not about the stuff.” Many folks think that if one obtains the next bigger lens, or a higher resolution digital body, their photography will magically improve. Untold millions are spent during the annual Christmas splurge by well-meaning spouses, parents, and relatives in the hope of scratching that photographic itch.

Having said that, off I go and purchase what argueably is one of the best camera systems in existence. Being ever the cautious consumer, it was purchased “used”, and it still cost more than any car I’ve ever owned. And yet, having seen the resulting images, it seems to be money well spent.

So what made me go off the deep end and jump into this increasingly deep digital pool? While it’s an unabashed grab at more pixels per image (360 mb, at 16 bits...for those who know what that means), it also offers a few other benefits that a smaller camera cannot.

When I began my career, I fell in love with “the look” that a medium and large format camera delivered. It turns out that the larger the box (camera), the less depth of field it delivers, for a given aperture. This shallow area of focus

is a physical property that I understand intuitively, but don’t ask me to explain the science behind it. I do know how to make it work in an image though. It’s absolutely magical, and allows for “selective focus” on a face (or object) that isolates it like nothing else can.

Additionally, the leaf shutter lenses will synchronize at speeds up to 1/1600th of a second. Why is this important? It allows one to “underexpose” a daylight background while using strobes outdoors, thereby holding much more detail than is otherwise possible, and creating more drama in skies. Done properly, it can be extrememly alluring. When used with strobe, it also freezes motion much better than just about any small camera can.

Another benefit is the smooth tonal transitions from highlight to shadow, and the amount of information in the shadows. Digital “noise” is greatly reduced as well.

Did I mention that the files are huge too? This allows for extremely high quality prints of just about any size, not to mention much greater resolution and clarity for printed trade show displays, publications, and of course for the web.

One other characteristic is that it “feels” like a serious tool. It encourages one to use it in a deliberate manner, and when anyone sees it, they know right away that this is no “ordinary” camera. I look forward to creating beautiful images with it for many years to come.

F

new capabilites

Medium-Format Digital...

NEWSLETTER 17 FALL 2013

The inset image is shown at 100% resolution, and is a detail from the larger image below. It is about 5% of the total image.

NEWSLETTER 18 FALL 2013

museums

Showing at the Tellus Science Museum...

Just about every photographer dreams of showing their work in a large gallery, with endless crowds of adoring fans making glowing remarks about the work, all the while hurridly buying the book and prints that go along with the show.

In reality, this only happens to a very few well-established and recognized people on the planet. Nonetheless, I must say that this spring it was a thrill to be invited to exhibit at the Smithsonian affiliated Tellus Science Museum in Cartersville, Georgia. The state’s second-largest museum, their efforts focus on science education, and so we designed Reaching High with that in mind. The idea was to have aviation images that showed a progession of design developments, driven by efficiency and

innovation, from the Wright Flyer, all the way up to the locally manufactured Lockheed-Martin F-22 Raptor. The show opened on 1 June, and runs through the 30th of November, 2013.

In addition to the 16 images, 11 interviews were recorded with people who had either flown the aircraft in the images, or who had historical knowledge of them. They can be heard on the Aerographs Blog, but be cautioned, once you start, you may not want to stop.

Among others, listen to a P-51 pilot who flew on D-Day, a corporate pilot who recently restored a Curtiss “Jenny” to flying condition, and a fellow who is simply giddy about efforts to restore a Ford Tri-Motor. It will be time well spent...

NEWSLETTER 19 FALL 2013

Cockpit of a recently restored Curtiss JN-4D “Jenny.

NEWSLETTER 20 FALL 2013

In conjunction with Reaching High, local Atlanta artist Pat McNeely created 11 wonderful caricatures of the aircraft in the exhibition. Pat McNeely is a graphic design graduate of Georgia State University and enjoys a 24 year career in television broadcast design. He has worked with major brands such as CNN, TBS, TNT, Cartoon Network, Cartoon Network Latin America, NBA, Braves, History Channel, Ford, KIA and many more. Pat has earned numerous design and director awards including a Southeastern Emmy, PROMAX/ BDA Golds, the One Show Golden Pencil Award and others.

Pat's design skills have won him a couple of national contests as well, the Georgia Sea Turtle Center logo contest in Jekyll Island, Ga. and the Purina/Beneful Dream Dog Park Design contest , which opened in his hometown of Johns Creek, Ga. in the summer of 2010.Pat also enjoys drawing and painting. He and his family have teamed up to participate in many local area arts festivals. Products with this artwork are available, and benefit the Bright Ring Foundation’s mission of benefitting artists worldwide. Thanks very much Pat!

NEWSLETTER 21 FALL 2013

ON ASSIGNMENT: THE LINDBERGH FOUNDATION

NEWSLETTER 22 FALL 2013

update

The New Aerographs Website...

Recently a lot of time was spent on updating our website, so that now the portfolio, blog, and e-commerce are now all consolidated in one site. Many more images are now available for your perusal, with the capacity to quickly add new work, as it becomes available.

We are pleased to announce that John had an image selected as a Runner-Up in the “Detail” category of the Private Jet Photo Competition. Overall, 15 images were selected out of several hundred entries. Our selected image of a Challenger 605 is pictured below...

NEWSLETTER 23 FALL 2013

The Terrafugia prototype, photographed on it’s first flight at Oshkosh. Summer 2013.

NEWSLETTER 24 FALL 2013

NEWSLETTER 25 FALL 2013

NEWSLETTER 26 FALL 2013

Images of a Cirrus Vision Inspired SR22T, created as part of a self-assignment this summer at Atlanta’s DeKalb Peachtree Airport (PDK).

NEWSLETTER 27 FALL 2013

folio...

Rounding a pylon at the Reno Air Races.

NEWSLETTER 28 FALL 2013

NEWSLETTER 29 FALL 2013

A bit of humor in the pits at Reno.

Abstract of a UH-1 “Huey” helicopter rotor blade, created

during the early morning light at the Reno Air Races, Reno-Stead

Airport, Reno, Nevada.

NEWSLETTER 30 FALL 2013

As I get further down this road of creating images for the aviation community, I have come to develop a personal “bucket list” of people, places, and aircraft I’d like to photograph some day.

Last fall, Caroline Sheen, the photo editor of the Smithsonian Air & Space magazine, was kind enough to secure a photo pass to the Reno Air Races for me, and I went out for the first time.

Having never attended the event before, I didn’t quite know what to expect, so I spoke with several photographer friends prior to traveling west, and they filled me in.

One of the constants I heard was “you gotta go out to the pylons!”...so that became a short-term goal while I was there. One of the other events I was really interested in was the NAHI, or National Aviation Heritage Invitational. Caroline had mentioned that usually several truly spectacular aircraft arrive to participate in this prestigious event...and she was right.

One of my favorites was the Ford Tri-Motor, which in the early morning light was magical. Another was a Ryan ST that looked vaguely familiar, and upon closer examination I found that I had photographed the very same plane several years earlier in Georgia, just after it’s restoration. Still some of my favorite images…

I’d have to say though, that the highlight of the weekend (besides shooting at the pylons…) was the opportunity to create a portrait of Bob Hoover and Steve Hinton for Air & Space.

Caroline sent a text on Saturday afternoon telling me of a job that she needed done...a portrait. But she didn’t let on who the subject was, until later that afternoon. When she did tell me, she asked that I not mention it to anyone, lest there be a potential crush of other photographers show up at shoot time.

As it turned out, the session was moved back to the next morning, due to Bob’s schedule. At dinner that evening with several friends, Bob inevitably came up in conversation, and all I could do was sit on my hands...pretty funny when I thought about it later.

The next morning at 0730 I met Caroline and a couple of her aquaintances, who had agreed to help with the job. Turned out they were both long-time contributors to Air & Space, and were just superb to work with.

After securing the obligatory lime-green vests, and being told (again) of the new ramp safety procedures, we made our way over to the T-33 pace plane, for an initial asessment of the lighting situation. Apparently Bob and Steve are the only two ever to have flown the pace plane.

The high desert sky was devoid of any clouds , and so the sun, even at 0900 was already climbing well over the horizon. That pretty much ruled out shooting on the sunny side of the aircraft, as it would have guaranteed that both men would be squinting mightily into the bright light, never a good thing for a portrait.

perspectiveGreat Americans...

NEWSLETTER 31 FALL 2013

NEWSLETTER 32 FALL 2013

So I opted for the shady side of the aircraft. I had brought along a small 200 watt-second, battery powered strobe, a small softbox, and a small light stand. We quickly set that up, and using a wireless sync, and my on-camera flash for fill light, we did a few test shots. The sunshine provided a perfect “rim” light, in that it illuminated the edges of their clothing, and Bob’s trademark hat. With the lighting setup determined, we made a few test shots. They looked fine, so we were all set.

Bob and Steve showed up promptly at 0900, and in 5 minutes and 38 seconds, we made 47 images. There were verticals and horizontals, and several position changes in that short period of time. Not knowing exactly how the image(s) were to be placed in the layout, it was prudent to offer up as many options as possible.

Steve was actually pretty antsy, as he had to go fly as soon as we were finished, so I worked quickly. In the end, it played out

beautifully, and upon downloading the images a short time later in the media center, I was happy to report to Caroline that all was well.

It was a year later that the image would be published, in the September 2013 issue. In that time the images were “under embargo”, meaning I couldn’t show ‘em. That’s often the way this business works, so it should come as no surprise that there are times when I’ll create an image, and yet I can’t publicly show them, sometimes not until years later. Such is the case with another image that I’ve held onto for almost 4 years now…, which will be out soon.

Anyway, I’m sure by now that most everyone in aviation has a “Bob Hoover” story, so I can’t say that I have really anything new to add to that legacy. But I can say that it was a real pleasure to have photographed both Bob and Steve. I can only hope that my bucket list continues to be fulfilled...and occasionally renewed.

NEWSLETTER 33 FALL 2013

NEWSLETTER 34 FALL 2013

Holiday Sale...

(404) 245-2411www.aerographs.com

If you’ve read this far, you are to be commended...and rewarded. To that end, we are having a Christmas Sale! Enter the code “holiday2013” on checkout, and 20% will automatically be deducted off any print order. No minimum order, no limit on uses. However, all good things must end, so the sale concludes on 5 January, 2014. HAPPY HOLIDAYS to everyone from Aerographs!