The previous article outlined what KAP is and how it works. Now, we expand on that by presenting a step-by-step description of a typical KAP session. As we’ve already mentioned there are a wide variety of techniques used for KAP. For clarity, though, this article will present only one approach. Later articles will describe the full diversity of KAP technique.
Most KAP sessions begin with at least a little planning. If I’m visiting an area I’ve never flow at before, I like to check it out on Google Earth. It’s important to make sure there’s enough space that’s clear of trees, power lines, roads and buildings. The subject itself doesn’t have to be in a clear area. If I can launch in one spot and then walk to a better one with the kite flying that can work, too. While studying the map, I like to note the relationship between the subject and other nearby landmarks. If I can visualize the angle of the sun, I can try to imagine what the photos will capture from different camera positions. And if I have some idea of the wind direction, I can figure out where I need to stand to put the camera in the right place.
Speaking of wind, a check of the wind forecast, is in order. That give me a hint as to which kite I’m likely to be using. I have many kites of different sizes and designs. Each one works best in a certain wind range so having several options means I’m more likely successfully lift the camera.
Before I leave the house, I usually check all my equipment to make sure I have everything I need. Arriving at the site without a key piece of gear is frustrating and sometimes embarrassing. Having an equipment checklist isn’t a bad idea. It’s also important to make sure all I have all the batteries I need and that the rechargeable ones are ready to use.
If the equipment’s a go, I’m ready to head out to the field.
When I arrive at my KAP destination, I first like to walk around and get my bearings. Often things aren’t quite as I imagined them on Google Earth. And the wind doesn’t always (ever!) do quite what the forecast predicted. Hopefully there aren’t any obstacles that can’t be overcome with a little patience, though.
The next step is to prepare the gear near the chosen launch area. The KAP rig gets unpacked and assembled, the camera is mounted in it, and it gets a quick test before I set it aside. I like to have something to anchor the kite to, in case I need it, and I use a short loop of rope with a caribiner on it. This needs to be attached to something solid in the launch area before I actually set up the kite. A few other pieces of personal gear, like gloves, come out of the bag at this time, too.
I know that once I launch the kite, I’ll have my hands full most of the time. This is why I need to make sure everything else is set up before the kite comes out.
Now it’s time to get a kite in the air. But which kite? From experience, I know what range of wind each of my kites needs. So based on how much wind I’m seeing, I’ll pick the kite that I think will work best. Usually the wind is stronger at higher altitudes than it is on the ground. And if the wind forecast was for increasing winds, I know I’ll need to plan to deal with that. When doing KAP, it’s best to use a kite with just enough lift to carry the rig. Too little power and the line will droop until the rig rests back on the ground. Too much power, though, can make the kite unstable. So I usually start by selecting the smallest kite I think I can get away with. I’ll fly that first and see how it does.
I put the kite together, attach it to the flying line, put on my gloves and then launch the kite. I can’t stress enough how important the gloves are. The kite will easily cut hands and fingers when it inevitably slips. Like most kite fliers I’ve learned a few tricks that help get the kite from the ground to the air. So if the wind is there, I soon have a kite in the air providing a steady pull on my line.
It’s almost time to hang the camera on the line. But first I like to watch the kite for at least five minutes. Is the wind going to be steady or will it start and stop? Will it shift direction? Is there going to be turbulence caused by other objects in the area. It’s best to learn these things before the camera goes up.
If everything looks good with the kite, it’s finally time to attach the camera rig. There are two attachment points between the rig and the kite line. (This rig uses a suspension design called a Picavet.) And in order to make those connections, I’ll need both hands so I first tie off the kite line to the anchor point I set up earlier. With the kite tied off, I take the line in one hand and walk toward the kite, pulling down 10 or 15 feet of line. At this point I wrap the kite line around the hook that forms the first attachment point to the rig. A few feet farther up the kite line, I wrap the kite line around the second hook.
Now the KAP rig is hanging from the kite line. It’s finally time to turn on the camera, turn on the rig and watch the automatic control system start shooting pictures. Satisfied that the camera and rig are working, I walk back to the anchor point, still keeping one hand on the line. As the line slips through my gloved hand, the kite takes up the weight of the rig and the camera rises up above my head.
If I’ve judged the wind right and chosen the right kite, the camera will be hanging gracefully now, just above head level. With a slight sense of relief, I untie the kite line from the anchor and take the winder into my hand. I don’t like having the kite anchored for any length of time. So now I’m flying the kite with my own hand again and I’m ready to let it take the camera up.
Raising the camera is as simple as letting out more line. The line needs to be released smoothly and at a measured pace, though. If it’s payed out too fast, the line gets too much slack and the camera and rig will droop.
As the camera goes up, its weight has a noticeable effect on the kite line. Instead of making a smooth arc from my hand to the kite, the line is divided into two segments. The first rises up to the camera and the second continues on to the kite at a higher angle. The weight of the camera rig has created an elbow in the line. When the wind slackens, the camera droops and the angle in the elbow becomes more pronounced. It may settle into this lower position for a while until the wind returns. When it does, the tension in the line increases, the elbow straightens and the camera rises back up.
Today it looks like the wind is nice and stable. The camera is up to a useful altitude so we’re ready to start walking the kite into position to get the shot.
Once the kite and camera are flying well together, it’s time to think about composing some nice shots. This means putting the camera in the right position. It’s usually quite easy to walk around with the kite flying. It’s possible to get closer to the subject and walk into areas where it wouldn’t be possible to launch the kite. But in case the wind slacks off, its best to have some space upwind to walk into, just to keep the camera flying.
Walking with the kite can be difficult, though, if the kite is overpowered or underpowered. With too much wind, it can be a lot of work to pull the kite upwind. Also, walking upwind creates even more tension on the kite line and can cause a kite that’s on the edge to become unstable and fly toward the ground. So it can be difficult or even impossible to move upwind when the kite is overpowered.
When the kite is underpowered, the opposite problem crops up: it’s difficult to walk downwind. Walking that direction takes wind out of the kites sail, causing it to lose lift. If the camera is barely staying up to begin with, walking downwind can actually cause it to sag right to the ground.
But with the kite well matched to the wind conditions, it’s relatively easy to move from the launch area to the subject matter and back.
From the time the camera was launched, and the whole time I’m walking it around, the camera rig is shooting pictures. It has an automatic system that triggers the camera about every 5 seconds, changing the pan and tilt settings between shots. So, while I don’t have any direct control over what the camera is shooting, I know it will take pictures of everything in view every few minutes. So I work the camera into a position where I think it can see a well-composed scene. Then I let it sit there for a few minutes before moving on to another spot. Other KAP photographers actually use remote controls to aim and shoot the camera.
After a while, I’m satisfied that I have some interesting shots, so I return to the launch area and start reeling in line to bring the camera rig down. This part of the day can be a workout. Retrieving several hundred feet of kite line can be tiring, especially if the kite is pulling hard.
Eventually, the camera is back near the ground. I tie off the kite line once again and walk down the last few yards of line to reach the camera rig. The attachment hooks come off by simply unwinding the line that was wrapped around them. With the camera and rig free again, I set them aside then return my attention to the kite.
With the camera off the line now, I haul the kite the rest of the way back down to Earth.
After landing the kite, it’s time to pack everything up. It’s critically important to pack the kites and lines carefully. If they are put away with the sails neatly folded and lines properly stowed, they come right out of the bag ready to fly next time. Otherwise they twist and tangle into knots that are endlessly frustrating. It’s no fun starting a new KAP session by spending an hour trying to puzzle out a birds nest of lines that are supposed to form a kite bridle. The lines of the Picavet suspension are especially prone to tangling.
Finally, the field work is over and we can check out the results. It’s rare to have a KAP session that doesn’t yield several interesting shots. I like to sort out my favorites so I can find them easily in the future.
Since the KAP rig I use doesn’t allow me to compose the shots in real-time, I like to use panorama stitching software to virtually compose shots on my computer. By merging several shots that cover an interesting subject, I can usually produce the shot I had in mind, even though the camera never framed it up properly.
The shots I’m particularly proud of, I upload to Flickr, a photo sharing site. There is a Kite Aerial Photography group there that collects KAP photos from people all over the world. By adding my shots to the group, I know I’ll get a little recognition and possibly inspire other people to try this themselves. Getting feedback from other photographers always motivates me to keep doing this. It can be a lot of work, but the unique results are usually worth it.
The remaining sections of the beginner’s guide provide information to help people get started doing KAP. They present many different options on what sort of gear and techniques to use and try to help beginners select the options that best suit their ambitions. There are articles on control systems, rigs, kites and other gear. But the first key decision a beginner KAP photographer must make is what camera to use. So that will be the topic of the next article.