GUIDE TO PHOTOGRAPHY FROM COMMERCIAL AIRCRAFT

• Document Type: CREST
• Collection: General CIA Records
• Document Number (FOIA) /ESDN (CREST): CIA-RDP80-01333A000300110004-0
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 8
• Document Creation Date: December 19, 2016
• Document Release Date: November 18, 1998
• Sequence Number: 4
• Content Type: REPORT

Approved For Release 2006/10/17: CIA-RDP80-01333AO00300110004-0
GUIDE TO PEOTOCRAPUY' FROM COMMBRC'IAL AIRCRAJT
1. This paper is intended to serve as a guide in taking pictures
of terrain areas from commercial a irerafft with 35mm cameras. It is
assumed that photography will be taken overtly by legal travelers who
have little experience In this field.
2. Preferred Seatir Position - In any aircraft the idea] position
is in the pilot or copilots seat - but who has access? An unobstructed
view of the ground should be considered - regardless of where the
window seat is. Propeller arcs and engine exhausts are to be avoided.
Cameras.- T h e c a m e r a should be of g o o d quality a fitted with
a first quality "fast" lens (f2 f3.5) and be capable of a minimam of
1/500 second shutter speed. The camera and its accessories should be
equivalent to the position and rank of the user - this to avoid
attention
Film - A good general purpose film; combining speed and a
mode to grain pattern, is E. Kodak - PLUS - X - PAN. This film is
factory rated at ASA 80 but can be exposed at an Exposure Index of
1.60 wit?ut altering the processing procedure. When light conditions
are good - Adox KB17 (German) with an E.I. of 32, or E. Kodak
Panato c -X film (ASA 25) are excellent choices.
5. Filters - Raze is a1 ys a problem in air-to-ground photography.
e of a haze filter (also called a minus blur), or a K2 (yellow)
or ah G (orange) filter should be considered. If a or G filter is
used, the exposures mast be increased by one and two "stops" respectfully.
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6. Shutter apse, - Photography from aircraft should utilize
a wide aperture (suggest a "half stop" do u from maxinwm) and the
highest possible shutter speed - dependent upon the exposure required.
Where possible, lens and shutter speed settings should be determined
with the aid of an exposure meter prior to take off. Readings should
be as average of dirt, grass and concrete. If the flight is long
a substitute reading can be taken directly from the palm of your hand
during flight - holding your hand as close to the window as possible.
In using Plus X Pen and a K2 filter on a clear day an approximate
setting combination will be:
Focus ? I 'Y (Cko
Leans Aperture - f4 (closed from f3-3)
Shutter Speed - 1/500 second
NOTE: If, at the time a specific area of interest is seen cloud
shadow is a vent, slow the shutter speed to 1/200 second.
7. Techniques of E sia - In all aircraft it will be necessary
to shoot through glass or plastic or both. The surface of the port
should be wiped clean and avoid shooting through visible defects, i.e.,
bubbles, scratches, and striations. The lens should be held close to,
and parallel to, the window pane as is feasible - this to minimize
flare and reflections. Alwaays be sure that the lens clears the bottom
frame lice et the port. Hold the camera firmly in both hands with
the arms braced against the chest. Take a deep breath as you take
your position and then, while sighting, release your breath just
S E C R E T
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before the exposure is made. This procedure helps to etlm nate
camera mgt. To minimize the transmission of atrcraft vibration
to the cameras sit on the forward edge of the seats part or the weight
smarted an the balls of the feet, and no other part of the bray
touching the aircraft. When shooting from a stending position, as
would bey~necessarr in. a lavatory., the lei should be slightly apart
and the knees. flexed to absorb sudden movement.
8: Whenever possible - two or more exposures should be taken
of each target. This will produce ettreosoopic pairs and permit
Ratio of the target in three di ension. Care should be exercised
in not including excessive qty sky and water.
9. Data - In order to extract the mwdmm intorn tion from the
negatives, cert data must acct the film.
a. 1 anufa Curer., model and focal length of each
lens used.
b. If the negative is not available the print should
be "black bordered". Do not crop.
C. The dates times and place of departure - and dates
? A
times and place of arrival - includes all stops should be
recorded,
d. Date and eamet C+ of each photogroh att 4.
Items a and b are required for mew ar at pro a; a and d to
deter `,ne the geographical position of the site. Any additional in.
formation Observed by the photog ,pher should be reported - or submitted.
This could be maps, flight schedules, color of smoke etc.
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10. Extensive practice coot be. ovemphasized. Y of the
techniques and pro cedurses can be practical on the ground. The goal
for achieve ,t should be that stage there little thought Is required
for setts and operating the camera. All attention can then he
devoted to ground observance.
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GROUND PHOTO
to Record the make, model and serial number of camera (for
calibration shots).
2. Take calibration shots-?R.R. tracks--camera horizontal and
vertical.
3. Record focal length and serial number of lens.
Mark each roll of film, and, if possible,, each exposure number
(for reference).
5. Record date, time and camera pointing direction.,
6. Under some circumstances, record the latitude and longitude.
7. Take one or more "long shots" of target area to show relationship
to general area.
SQ Take medium shots showing strategic parts of target-guard shacks,
power lines,, fences and gates, transformers, parking areas,
R.R. tracks (move closes or use telephoto lens).
9. A partial panorama series should be made when possible, with an
overlap of 30 to 4% for each succeeding photo.
100 Stereo pairs can be made with an ordinary camera by using a ratio
1:100 i.e? for every 100 feet of distance o there should be
1 foot between camera positions for each shot.
11 Stereo pairs can be made from a moving train or vehicle by
shooting rapidly.
12. At industrial sites, note color of amoke, amen, color and
size of nearby raw material piles.
3.3, Type and marking on R.R. cars, tankers, coal, oil, etc.
140 Individuals accessability to target-closest distance possible.
15. Casing report prior to photo coverage is often essential if
time w/camera is to be short.
16o From above information, determine the type of camera and lenses
necessary.
17. If negative cannot be made available m print entire negative to
show border area.
18. The desired print is flat, has little contrast,, but excellent
shadow detail.
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A. Background:
1. Educational or IQ level?
2a Previous training or experience?
a. How was training or experience acquired? Why? Personal.
interest or-other reasons? Was camera used on trips?
3. How long straining or briefing did you have?
4a Who was the instructor?
5. What c'mere were you instructed in?
6. What lens did it have?
7. What film-were you instructed in?
8. Was the film your choice or were you asked to use a cortaip
film?
9. What meter were you instructed in?
C O N F I D E N T I A L
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B. Post Trip Questionnaire:
to What camera did you use?
2e Nov fast was the lens maximum aperture?
3. What meter did you use?
h. What film did you use?
5. Was this the c mera, lens, meter and film you were trained in?
6. Why were you trained in the above?
7. What light and weather conditions did you encounter?
8. If you used the slow film, did you find it a handicap?
9? To what degree?
10. How many opportunities did you possibly miss because of light
conditions beyond the range of slow film?
13, Could you have prevented misses with a faster film or lens?
12. Now much faster film? Lens?
13. What ASA rating did you assign you film? Did you report this for
each roll?
iii. Was your camera mechanically checked before your trip?
15. Were there restrictions, on what you could photograph?
16. Did you observe any surveillance either open or hidden?
17. Did you do your photo!traphy openly?
i8. ;,'as there curiosity about your equipment?
19. Could you have purchased equipment there? Film?
20. Did you have enough film?
Did you have film storage problems?
22. Did you have opportunities to copy documents?
C ONF I DENTI A L
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23o How valuable was your training?
214. Could you have benefitted with more training?
25. How much pore?
26. Training on what epeoifiaal]y? Equipment? Techniques?
27. If you were to make another trip what would you do that you
might not have done this time?
C O N F I D E N T I A L
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