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Ponder this for a minute. An unlimited flying at only 400mph is covering 586 feet per Second. So, even with a relatively fast shutter speed of 1/100, the aircraft will have moved almost six feet in the time the shutter is open. Slower shutter speeds for "prop blur" increases the distance traveled. Here's some other examples.
400mph - 586 ft/second
1/80 - 7.3 ft
1/60 - 9.8 ft
480mph - 704 ft/sec
1/100 - 7.04 ft
1/80 - 8.8 ft
1/60 - 11.7 ft
I don't have depth of field stats at hand for various lfocal length and f-stops combinations, but my theory is that in most head-on or 3/4 head on shots, there is going to be only a certain section of the airplane that has it's movement captured entirely within the depth of field zone during the exposure - that's the part of the plane that will be the sharpest, all other factors notwithstanding. I'm not taking into account panning techique - I'm sure this will widen that sharpness zone, similar to image motion compensation in aerial mapping cameras.
Conversley, panning and shooting an aicraft that is flying at a constant radius from the camera (such as during a turn around a pylon), will at times give you a sharper capture over the entire aircraft, because it's moivng parallel to the depth of field, not through it.
So, if I were out on a pylon and wanted to capture the most detail in combination with showing off as much of the aircraft as possible, I' pull back away from the pylon to the inside of the course, consistent with safety.
I'd agree with most of that, Mike. However, the side-on, banking shots of racers going around the pylon, whilst easier to achieve, don't have the same 'in yer face' drama of Victor's compressed, long lens near-head-on shots.
I'd agree with most of that, Mike. However, the side-on, banking shots of racers going around the pylon, whilst easier to achieve, don't have the same 'in yer face' drama of Victor's compressed, long lens near-head-on shots.
Just differetn styles, I suppose. there's room for both.
What type of shutter do the digital SLR's have? I know from my 35mm days that focal plane (vertical and horizontal plane) and iris shutters each contributed their "uniqueness" to my pictures.
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