Typical Late Autumn Weather Time-Lapse

Lots of fog coming and going all day long.

I knew when I woke up yesterday morning that it was going to be a foggy day. How could I tell? I looked out my window and didn’t see a single light anywhere. The fog was all around me, blocking out the thousands of lights down in Wenatchee that keep my home from getting dark at night as well as closer in lights in at my neighbors’ homes. It was pitch black dark.

But with fog and low clouds moving around, it would be a good day for a time-lapse.

The Equipment

I went down into the garage and rummaged around in a box full of old camera equipment until I found my Canon PowerShot G5. This was my first “serious” digital camera, which I bought back at the end of 2003 for aerial photography. (Back then, I had the crazy idea that my future wasband was capable of taking satisfactory photos from the helicopter to meet the needs of aerial photo clients. That turned out to be a very expensive exercise in futility.) With 5 megapixel resolution, it was a big deal — all my digital cameras up to that point had shot in 2.1 megapixels or less. I even took it with me to Supai, the Havasupai village at the bottom of the Grand Canyon, when I went on an Arizona Highways photo excursion in April 2004.

So yes, the camera is old. At least by today’s standards.

But I don’t throw anything useful away. Even when I got better digital cameras — like the Nikon D80 I bought in 2007 and the Nikon D7000 I use now — I kept the old Canon.

Years ago, I bought a Pclix intervalometer for it and started using it as a dedicated time-lapse camera. An intervalometer, in case you don’t know, is a device or camera feature that tells the camera to shoot an image periodically per your specifications. That and a tripod are the two things you need to make time-lapse movie images. You then use an app on your computer (or smartphone, I suppose) to compile those images into a movie.

G5 and Pclix
Shown here: my Canon G5 with optical cable taped on, Pclix intervalometer, and the power supply for the camera, which is not USB.

The Pclix I have uses an optical trigger mechanism. That means it sends a beam of light down a fiberoptic cable. The light is seen by the old Canon G5 as if I’ve pointed a remote at it and it clicks the shutter. To get this to work, I used electrical tape to attach the business end of the optical cable to the G5’s remote sensor. Of course, the camera needs to be plugged into power — its old battery won’t hold a charge and, even if it did, it wouldn’t last all day. The Pclix runs on a pair of AAA batteries and I was very surprised to see that they still had enough juice to power it. But I guess an electronic timer and tiny beam of light don’t need much power.

When I dug out all this stuff yesterday morning, I was kind of surprised to find it all. (Note to self: putting things away really is a great strategy for making them easy to find in the future.) Although I still do time-lapses once in a while, I’ve been using my GoPro, which is a lot more compact and easy to set up. But my GoPros and my Nikon D7000, which has a built-in intervalometer, are all in Arizona, waiting for me to join them. The G5 was my only option.

Setting Up

I’ve always been interested in time-lapse movies. There’s nothing quite like them to show the movement of slow-moving things. You can see the ones on this blog by checking out the time-lapse tag.

Of course, the challenge is to set up a time-lapse camera before something interesting happens. I can’t tell you how many times I’ve tried to create a time-lapse of clouds on days that clouds never made an appearance. The good thing is, the images are all digital, so if a whole day shooting results in a dull time-lapse, I can just delete it all.

Yesterday’s challenge was pointing the camera in the right direction with the right zoom magnification. (This is one of the benefits of using the G5 instead of a GoPro: optical zoom.) It was barely light out and the fog was thick when I got it all set up. I was also concerned about focus; I let the camera’s autofocus feature take care of that, but when there’s no detail to lock in on, the camera can’t focus. So I suspect there are some focus issues with individual shots.

I let it run all day from the corner of my deck, plugged into one of the outlets there, with 1 shot every 15 seconds. That’s how the Pclix was set up. I’d lost the instructions and didn’t want to mess with reprogramming it.

The Results

I checked on the camera at about 3:30 PM and discovered that its tripod had fallen over. Oops. I brought it in and saw that the last shot taken was after 2 PM, so I did get most of the day.

I brought the camera up to my loft where my office is now. It took a while to find a cable that would connect the old camera to my computer — I knew there was no chance I’d find a card reader for the Compact Flash card (which isn’t compact at all by today’s standards). I worked some magic and got the images into my computer.

Then I ran them through an app that resized them and put the time in the corner.

Then I fired up QuickTime 7 Pro — which I’ve always used for time-lapses — and created a movie with 30 frames per second. So each second of this movie is 7-1/2 minutes of the day. Here it is:

What surprises me most is just how much of the day was foggy. Keep in mind that my home sits on a shelf about 800 feet above the river. In the winter, we often get inversions that fill the valley with fog. Sometimes I’m above it, sometimes I’m in it, and sometimes I’m below it. Yesterday, I was mostly in it and above it. At one point, I looked out my office window, which faces south towards the cliffs, and it was perfectly clear. Yet at the same time, the view through the camera was nearly completely fogged in.

Of course, this has motivated me to do some more time-lapses. Maybe I’ll produce a few in Arizona when I head down there for the winter. But I think I’ll leave my clunky G5 setup home.

Aerial Photography: Helicopter vs. Drone

Picking the right tool for the job.

I’ve been thinking a lot lately about aerial photography work with helicopters and drones and thought I’d take a few moments to share my thoughts and conclusions. If you think one or the other is the perfect aerial photography platform, think again and read on.

My Helicopter Aerial Photo Experience

I’m a commercial helicopter pilot and have been one for about 17 years now. Of the modest 3,600 or so hours I’ve spent flying, a lot of it has been on aerial photography missions:

    Airplane over Horseshoe BendOne of my favorite clients, Mike Reyfman, shot this photo of Horseshoe Bend near Lake Powell from about 3000 feet up. Note the tour plane, which was probably flying about 1,000 feet over the “shoe.”

  • Fine art photo flights over Horseshoe Bend, Lake Powell, Monument Valley, Canyonlands National Park, and the Four Corners area near Shiprock, New Mexico. (I’ve probably spent more hours with photographers over Lake Powell, mostly from 2006 to 2011, than any other commercial helicopter pilot. At one point, I could identify every point along the lake from an aerial photo.)
  • High speed desert racing photo flights at the Parker 425 in Parker, AZ.
  • High speed boat racing photo flights at Lake Havasu in Arizona.
  • Bike racing photo flights in the Lake Wenatchee and Leavenworth areas of Washington.
  • Automotive promotional photo flights over proving ground test tracks in Arizona.
  • Architectural and construction photo flights in major cities like Phoenix and Las Vegas as well as remote areas such as Burro Creek in Arizona.
  • Geographical photo flights along the Wenatchee and Columbia Rivers, Lake Chelan, and Stehekin in Washington, Colorado River in Utah, and Salt River in Arizona.
  • Agricultural photo flights in the Quincy, George, and Wenatchee Valley areas of Washington.
  • Wildlife photo flights over the Navajo Reservation and Verde River Valleys in Arizona.
  • Nighttime panoramic photo flights over a crowded football stadium at night in the flight path of Phoenix Sky Harbor airport.
  • 360° panorama photo flights over Lake Powell, Horseshoe Bend, Goosenecks, and Bryce Canyon National Park.
  • Air-to-Air photo shoots with everything from another helicopter to the world’s largest biplane to a 747 outfitted for firefighting.

Each mission had a different purpose, a different focus (pardon the pun). Each required a different kind of flying, from 4,000-foot (AGL) hovers to low-level, high-speed chases in obstacle-rich environments. Some required top speed level flying just to catch a target, others required tight, often difficult maneuvers in a choreographed dance with the target. In each case, my helicopter and I were the tools the photographer used to get the shots he needed. The photographer provided instructions and I positioned us where we needed to be.

Desert Racing TruckThere’s nothing quite like chasing trucks through the desert with a helicopter.

I love aerial photo work, especially the challenging high-speed work I did over desert race courses. There’s nothing that can give me a buzz more than chasing a trophy truck down a twisty dirt track 80 feet off the ground at 80 miles per hour, so close I can hear his passing horn when he comes up on a competitor.

My Drone Aerial Photo Experience

As I’ve written elsewhere in this blog, I was not happy when I started losing aerial photo work to drones. I fought back for a while but, as technological improvements in both the flying and photo capabilities of drones made amazing results easier to achieve, I eventually got on board. I bought my first drone last winter and got my commercial drone pilot certificate soon afterward. (Yes, if you can’t beat them, join them.)

Here’s some footage from a recent practice flight around my home.

I don’t have nearly as much drone photo experience as I do helicopter photo experience, but I’m learning more every time I go out for a flight. I’ve been doing practice flights around my neighborhood, picking photo targets and flying around them for video fly-by shots and still images. I’ve also been taking my drone out to new locations to practice in target areas I find interesting. This winter, I’ll be using my drone to take photos of campsites out in the desert, as well as my activities on various Arizona lakes and rivers. Practice makes perfect and I’d like to get as good at drone photography as I am flying my helicopter on photo missions.

The Best Tool

I have, however, already come up against the limitations of drone photography, primarily related to speed, altitude, and operating temperature. I figured I’d list a few kinds of photo missions and explain which tool I’d pick and why.

Low-level, Low-Speed Operations

This is pretty much a no-brainer: when you’re operating below 200 feet at speeds of less than 20 miles per hour, a drone is probably going to be the better tool for the job. Yes, a helicopter can fly that low and that slow, but it’s far more likely to cause a disruption.

My best example of this is an aerial photo job I did for a local video production company. Believe it or not, they got the Wenatchee Symphony Orchestra to set up and play at dawn in a local park. The park had lots of tall evergreen trees and the orchestra was set up in a clearing. I had to get the videographer low enough for his closeups. The first time we passed, the helicopter’s downwash blew the sheet music off half the stands. (Oops!) A drone would have been a much better tool for this particular mission — and I actually said so during the flight.

Of course, blowing things around isn’t the only issue a low-flying helicopter can cause. It can also be a distraction to people on the ground. One of the flights I did for the same video company was a flight down Wenatchee Avenue not much higher than the highest buildings in the area. I had to fly sideways since the videographer was shooting out a side door. Although we got the job done, I think a drone could have done it better: it could have flown lower without distracting or disturbing drivers and pedestrians. The fight was short — we got the footage in less than 30 seconds — but a drone could have done the same thing without anyone on the ground even noticing it.

Better Choice: Drone

Low-Level, High Speed Operations

Of course, when you add speed, the drone simply can’t do the job. Consider my work chasing vehicles on land or over water. I’m usually flying at 50 miles per hour or more. (Seriously: on some of the boat shoots, I could not keep up; those things are fast.) I know that my drone’s top speed is about 22 miles per hour; even if a drone could go faster, could it keep up? I doubt it. And what happens when it gets out of range of the operator and his controller?

Better Choice: Helicopter

High Altitude Operations

While too many drone pilots seem to ignore drone altitude restrictions, they do exist and violating them is a good way to get into hot water with the FAA. Of course, trouble is a lot better than the possible alternative: flying into the path of another aircraft and causing a crash. As a helicopter pilot with no minimum altitude, I’m terrified that this might happen to me.

In the U.S., the FAA has established a maximum altitude for drones of 400 feet. Although it may be possible to get a waiver for a specific mission, it can take up to 90 days to get that waiver. How often do you know what you need to shoot 90 days in advance?

Helicopters, on the other hand, don’t have any altitude restrictions — other than those related to the helicopter’s performance capabilities. I’ve done photo flights where I had to hover at 9000 feet above sea level. Even if a drone could get up there, without a waiver it would not be legal.

Better choice: Helicopter

Operations Where Drones Aren’t Allowed

One of the things that really bugs me as a drone pilot is the number of places where drone operations are simply not allowed.

Some of them make sense — after all, do you really want to step up to the rim of the Grand Canyon and see a cluster of drones buzzing around in your view? Or attend an outdoor concert with drones flying back and forth over your head?

Meanwhile, drone restrictions in other places seem to make little or no sense. There are parts of Death Valley, for example, that are so remote they have few (if any) visitors and no wildlife. Why not let someone use a drone to take a few great photos that show off the barren wildness of the terrain?

Whatever.

The point is, there are places you can’t take a drone and, oddly enough, you can still take a helicopter. While flight over the Grand Canyon might be off-limits below 14,500 feet in most places, there are many national parks and other places where drone flights are prohibited but there are no restrictions on helicopter operations.

Let me be clear here: Most national parks are charted and pilots are requested to maintain at least 2,000 feet above the highest terrain in the area. Note the use of the word requested. I’ve written about this before. Although it is legal to fly lower in these areas, it’s not something you should do if you can avoid it. If you become a nuisance, you will be cited and will likely have to fight the FAA to keep your certificate. That’s why a lot of commercial pilots simply say no. Also, if people keep flying low-level through these areas, the FAA will make it illegal.

Until then — well, get those shots with a helicopter because without a waiver, you won’t get them legally with a drone.

Better Choice: Helicopter

As for flying low-level over crowds, that’s just plain stupid. Don’t do it with any aircraft, no matter what size it is.

Operation in Extreme Temperatures

All drones have operating temperature limitations, often due to battery capabilities. My drone, for example, will only operate in temperatures between 32°F and 104°F (0°C to 40°C).

My helicopter, however, doesn’t have any temperature limitations specified in the pilot operating handbook — although many people will argue that since performance charts aren’t available below -20°C or above 40°C, flight at those temperatures isn’t allowed. Newsflash: I’ve seen in-flight OAT temperatures of 112°F (45°C) in my helicopter and it still flew. I’ve also flown it when the outside temperature was about -10°F (-23°C) — the hardest part was getting it started; when it finally warmed up, it flew fine. (Unfortunately, it was a door-off photo flight; I don’t think I’ve ever been so cold in my life.)

The point is, if you need to do the shoot in very hot or very cold conditions, you might have to use a helicopter — or wait until conditions change.

Better choice: Helicopter

Operations Over Long Distances

I once had a photo shoot that included dozens of target locations along a 30-mile stretch of the Wenatchee River, a 50-mile stretch of the Columbia River, and the remote lakeside town of Stehekin on Lake Chelan. In my helicopter, we were able to knock off every location on the list in a total of three hours.

None of the flying was very special. It was relatively low and slow stuff, with some slow circling around points of interest. In fact, all of the shots could have been made with a drone. But that drone would have had to be driven to each location and launched for a flight there. It would have taken many hours to get all the shots and, if light was important — as it was for this shoot — the drone pilot/photographer probably wouldn’t have been able to shoot more than two to four locations each day. Add to that a half-day ferry ride to Stehekin, an overnight stay for the best light, and the half-day return trip and the project could have taken up to a month to complete.

Yeah, it would have been cheaper to do it with a drone. But time is money.

Better choice: Helicopter

Not Quite What I Expected

Part 107 Explained
Want to become a commercial drone pilot? Start by learning all about the FAA’s Part 107. This book will help. Buy the ebook edition on Amazon or from Apple. Or buy the paperback edition on Amazon.

In writing this and thinking about the kinds of aerial photo flying I’ve done, I’m surprised at how few photo missions are better handled by a drone than a helicopter. It seems to me that drone aerial photo flights are pretty much limited to situations where the camera needs to fly low and slow. Anything else would probably exceed the capabilities of the drone or violate the law. That might be where a helicopter can get the job done.

Fortunately for commercial drone pilots, there are plenty of missions that require low and slow flight. So there will never be a shortage of work for them.

But what makes me very happy is the knowledge that drones will never fully replace manned aircraft — including helicopters — for aerial photo missions. After all, that’s the kind of flying I really like to do.

Personal Aerial Photography

A few thoughts from someone who has been doing it for a long time.

I’ve been doing aerial photography since I began flying helicopters, way back in the late 1990s. At first, it was a few digital images shot awkwardly with my left hand while my right hand was busy on the cyclic. Later, I went through a variety of different cameras mounted in and on the helicopter, some set to automatically shoot whatever was in front of them and others with limited control from inside the cockpit. I had a POV.1 camera in 2008, which I replaced with a GoPro Hero in 2010. Since then, I’ve had a variety of GoPros, right up to a GoPro 3+. (Even I get tired of throwing money at new versions of hardware.) I’ve created numerous still and video images from my helicopter, some of which still amaze me.

Great Salt Lake
This is one of my very favorite aerial photos: the north end of the Great Salt Lake, shot with a GoPro 3 mounted on the nose of my helicopter as I flew it south to Arizona last autumn. The camera was set to time-lapse mode, shooting one photo every minute. We were probably about 700 feet up here.

But the point of this discussion is this: I’ve been looking at the world from a different point of view for about 20 years now. It’s not the same point of view as an airliner cruising at 29,000 feet and 500 mph. And it’s not the point of view of a private plane cruising at 1,500 feet and 140 mph. It’s the point of view of a helicopter, usually cruising at an average of only 500 feet at 90 miles per hour, with the ability to stop, make sudden turns, or descend for a closer look.

Pilots get used to seeing the world from this different perspective. After a while, it isn’t anything special. We can get a feel for how different things might look from the air: a canyon, a river, a farm, a junkyard. That doesn’t mean it gets boring — it doesn’t. But it does mean that we don’t see anything special about it anymore.

Kind of sad, isn’t it?

That’s one of the reasons I like flying with first time passengers. I get a reminder of what it’s like to see things from a new perspective.

Part 107 Explained
Want to become a commercial drone pilot? Start by learning all about the FAA’s Part 107. This book will help. Buy the ebook edition on Amazon or from Apple. Or buy the paperback edition on Amazon.

But I was reminded again about the novelty of seeing everyday things from above when I watched a documentary on Lynda.com called “Flight Club: Drones and the Dawn of Personal Aerial Imaging.” Listening to the people explain how they felt when they saw these low-level aerial images really helped me understand just how amazing aerial photography is, especially to folks that don’t have a helicopter at their disposal — which, admittedly, is most people.

Folks who know me well know how anti-drone I was when they first started appearing on the scene a few years back. But what convinced me that they were serious photography tools is the quality of the images they produced and the ease at which an operator could get them. I dove into drone photography last winter with the purchase of a Mavic Pro and will be doing a lot more of it in the months to come.

If you are curious about drones for aerial photography, I highly recommend you spend 25 minutes or so watching the documentary I saw last night. I think you’ll enjoy it and learn a lot about why people are so excited about it.

If you do watch, let me know what you think.