Both of my grandfathers were formerly servicemen of the U.S. Navy and what has trickled down to me was an exposure to numerous military aircraft and ships deployed throughout history. I would come across these vehicles on my visits to military bases, in history documentaries and especially at air shows attended with family. A great opportunity to see them in action is at San Francisco’s Fleet Week, which I photographed this past weekend. It is a week in San Francisco when all of these vehicles come out in full display, topped off with air shows by the U.S. Navy’s Blue Angels and other aircraft.
Shooting Conditions
I will admit that the weather was not kind to the schedule of aerial displays when I went to photograph. High winds did cancel some aircraft appearances this year and it made the 4-hour wait at Crissy Field an especially cold one (but you should always bundle up when shooting in San Francisco anyways). So compared to the performances of previous years, there was more downtime until the Blue Angels finally took for the skies. To keep ourselves occupied during this downtime, myself and the other photographers packed around me turned to shooting the nearby pelicans and kite surfers as they went up and down the bay. At least somebody was enjoying the weather.
Composing
Steps away from the Crissy Field Center, my two main points of interest were the Golden Gate Bridge and Alcatraz Island. Tracking focus and anticipation of the action are very critical here to get the shot that you want of aircraft that are flying hundreds of miles an hour through the air and in every which direction. Very often will you get shots of aircraft with a clean backdrop of blue sky and clouds. But when it comes to shooting more contextual shots of the aircraft with the points of interest mentioned, I found that it helps to first quickly compose the shot around the point of interest then allow the aircraft to pass through it. Results may vary as it is never really known what their flight path will be at any given time.
Gear
The longer the focal length here, the better. The maximum focal length that I had available to me at this time was 200mm and I recommend that as the bare minimum from my vantage point of Crissy Field. Cropping in post-production was required for a handful of images but despite this, I was able to grab wider, more contextual shots instead of only tight details of the aircraft.
Tight shots, no context:
Wide shots, with context:
Conclusion
It was overall a great time pushing my camera’s tracking features and hearing the loud screaming of the Blue Angels breaking the sound barrier right over my head. Bring ear plugs if you need to.