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Tag Archives: Mid America Flight Museum
It was our first shoot of the week for the Mid America Flight Museum. Departing Mt. Pleasant Airport almost one year to the day, the sun could not rise soon enough to cut through the chill of the Texas air.
Matt Bongers was at the control of the O-1 Bird Dog we were using as a photo ship when Scott Glover and Kelly Mahon joined up on our wing in the 1929 Curtiss-Wright Robin and a 1928 Curtiss-Wright Travel Air 4000 respectively. We did a few solo shoots first before having them join up together. The biggest challenge being the incredible amount of snot one can produce in the freezing air. Pretty sure no one will ever buy my camera now.
But I digress; Scott, Kelly and Matt quickly acclimated to the formation positioning, changes and lingo putting me at ease knowing the rest of the week will go smoothly. Once the sun began to peek over the light fog, steam also began to rise over Lake Bob Sandlin. Through the camera, it looked great, but my focus was on the two aircraft and how to get them to line up.
You see, my Obsessive/Compulsive Disorder (OCD) seems to be getting worse as I age. Two different aircraft types typically result in two different angles of attack (AOA). An angle of attack refers to the perceived pitch of the aircraft. Some aircraft types have a perceived higher or lower AOA due to the placement of the wing, fuselage design, center of balance, etc. When formating two completely different aircraft, it’s not uncommon for the AOA to be different between the two. And that’s where my OCD comes in.
When it came to editing the resulting images, the solo shots were great! Everyone did a spectacular job. But when it came to selecting two-ship images to edit, nothing was calling to me. My OCD was kicking in big time due to the difference in AOA and what appeared to be an awkward formation.
Kelly Mahon wasn’t having any of that. He wanted to see formation shots so I compromised. I found an image that seemed surreal and majestic even though to me it was imperfect. The wings didn’t line up, it looks as though the aircraft are headed in slightly different directions, it just didn’t speak to me. Regardless, my issues shouldn’t get in the way of pilots and aircraft owners taking joy in their accomplishments. And let’s face it, flying these 80+ year-old aircraft in formation on a freezing morning is no easy task. They deserve every ounce of recognition for what they do!
So, I put my OCD aside and tried to approach it from another perspective. As someone who loves history and even going so far as to recreate historic moments, that was what I saw. The more I finessed the image, the more respect I had for our early aviators. This became a brief glimpse into the early days of aviation when pilots arose before dawn and began their cross-country journeys low over the countryside. They didn’t always fly in perfect formation, as a matter of fact, they hardly ever flew perfect formation. It was about getting from point A to point B and enjoying the smaller points in between.
To me, this image became more about drawing an end to the birth of aviation and ushering in the 1930’s with air racing, endurance and speed, improving commercial travel and making this world a little smaller. I didn’t feel it at first, but this has become my tribute to the pioneers of aviation; a good compromise!
Thank you to Scott Glover, Kelly Mahon and Matt Bongers from the Mid America Flight Museum for allowing me to document their collection. And thank you to Aviation Week Space Technology for awarding me 2016 Best of Show for this image.
About thirty feet away, a freshly restored P-51 Mustang was coming to life after a four-year restoration by Airmotive Specialties in Salinas, CA. The Mustang, a former air racer once owned by Lefty Gardner, was having her legs stretched by Eliot Cross as an historic resemblance to WWII Ace, Charles E. ‘Chuck’ Weaver’s aircraft. Knowing both Lefty’s and Weaver’s history, standing alongside this aircraft was simply magical.
It was about that time my phone rang; how I heard it over the roar of the Mustang’s Rolls Royce engine, I’ll never know. On the other end was good friend, Scott Glover of the Mid America Flight Museum in Mt. Pleasant, TX.
“Wanna Photograph Air Force One?” He asked.
Only a few weeks earlier I had heard about the purchase and intent to restore the first Air Force One, a Lockheed Constellation named Columbine II that had become President Dwight D. Eisenhower’s personal transport. Needless to say, I was beyond excited to have been asked to document such an historic moment.
The aircraft was purchased as part of a lot of five Lockheed Constellations which were to eventually be heavily modified for low-level, high-acrage crop spraying. Three of the acquired Constellations were converted, one was used for parts and the fifth aircraft was denied certification by the FAA due to incorrect landing gear. Apparently the military chose to replace Columbine II’s stock landing gear with that of the more robust L-1049 variant and the FAA didn’t like that. Due to the cost of replacing the landing gear, the aircraft sat in the Arizona desert.
Fast-forward to March 18, 2016, nearly a year after that initial phone call, when the diligent work of Dynamic Aviation, with the assistance of the Mid America Flight Museum, came to fruition and Columbine II took to the skies once more.
For the rest of us, that was our cue to head to Marana, AZ, and begin the next phase. She was to embark on a cross-country trip to Bridgewater, VA, where she would undergo a thorough restoration and become a flying museum piece.
When I arrived in Marana, I was able to see first-hand the amount of work the two teams had put into getting the nearly 70-year old aircraft flying. Structurally, the aircraft is like new, but the years still took its toll on the aging aircraft and like most things her age, everything needed to proceed slowly and with extra caution.
The crew moved all of the aircraft closer to the runway the night before departure. On the apron sat Karl Stoltzfus’ King Air chase aircraft as well as his new pride and joy, Columbine II, in addition to Mid America Flight Museum’s immaculate B-25 ‘God and Country’, which would become the platform from which the flight would be documented.
The key word used throughout our briefing process and conversation was, ‘document’. Sure, I had high hopes of in-your-face dramatic formation positioning, precise lighting, stunning prop blur and every other image a photographer strives for when going on a photo mission. But, this was not that…it was not a photoshoot.
Typically, when flying with another aircraft being photographed, I’ll position them by asking for minute movements in relation to the photo platform; 5 feet forward…10 feet down…10 feet back, etc. The challenge lies with the subject aircraft’s pilot making fine adjustments to the throttle and yoke in order to accomplish those positions. Doing these types of maneuvers in a partially restored aircraft which still needs the input of a flight engineer in addition to the pilot and co-pilot, would put unnecessary strain on the already aging mechanics of this special aircraft.
Sitting in the back of the B-25, the Connie approached slowly and cautiously over the course of nearly an hour. As pilot, Lockie Christler; co-pilot, Scott McDonald and Flight Engineers, Tom Woodward and Tim Coons inched the aircraft closer to the B-25, I was able to provide some basic suggestions like, more to left, more to the right, stack high, stack low and scissor. Precise positioning was out of the question as was a change in our heading. Basically, what you see is what you get, and I was perfectly happy with that!
One of the biggest technical challenges was the focal length of the lens vs. the shutter speed required to get motion in the propellors. Most of the air-to-air work was shot with a Nikon D810 and 70-200 f/2.8, mainly used at the long end. Rule of thumb, (prop-blur aside) is that the shutter speed should be equivalent to the focal length being used, so at 200mm my shutter speed should have been no slower than 1/200 sec. to insure sharp images.
That simply wasn’t going to happen. The RPM of Columbine II’s radial engines were significantly slower than that of a P-51 or aerobatic Extra 300. In order to get full rotation of the three-bladed assembly, a shutter speed of 1/40 was needed. In the freezing cold tail of windy B-25, the Kenyon Labs gyro saved the day. Had it not been for the improved stabilization of the gyro, many of the images would have been unusable.
Over the course of the 4.5hr flight to Mt. Pleasant, TX, I was able to get in some Yoga courtesy of crawling over the bomb bay and under the flight deck to get to the nose. Although it had probably been some ten years since I’ve had to do that, it was a stunning reminder of what these 20-something year olds were faced with on a daily basis flying B-25’s into combat zones during WWII. The big difference, we didn’t have anyone shooting at us and the temperature at 9500ft was far more bearable than their high-altitude missions.
With Scott Glover at the controls of the B-25 and Matt Bongers sitting right seat, they managed to position the twin-engine bomber to reveal the Constellation’s beautiful lines from the rear-quarter view. Add the sprawling American countryside to the equation and you have your photoshoot-esque images of an American icon coming back to life.
The complete restoration is estimated to take 3-4 years and will take place in Bridgeport, VA. Once finished, Columbine II will be the only civilian-owned Air Force One and will travel across the country educating people on the history of presidential aircraft as well as how Columbine II changed the course of history regarding all aircraft that would eventually transport the President of the United States.
Special thanks to Karl Stoltzfus and his incredible crew at Dynamic Aviation for making the impossible possible along with his aircrew, Lockie Christler, Scott McDonald, Tom Woodward and Tim Coons. Without the incredible friendship and enthusiasm of Scott Glover and his crew at Mid America Flight Museum; Matt Bongers, Gregg Williams, Erik Johnston, Frank Glover, Jr., Linda Cortelyou and many others, I wouldn’t have anything to write about. Thank you for this incredible opportunity!