us army photography course ss0517-5 - tactical documentation photography

8/14/2019 US Army Photography Course SS0517-5 - Tactical Documentation Photography

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SUBCOURSE EDITION

SS0517 5

TACTICAL DOCUMENTATION

PHOTOGRAPHY


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US ARMY STILL PHOTOGRAPHIC SPECIALIST

MOS 84B SKILL LEVELS 1 and 2

AUTHORSHIP RESPONSIBILITY:

SSG Leslie Kronberg

Audiovisual/Calibration Division

Lowry AFB, CO

TACTICAL DOCUMENTATION

PHOTOGRAPHY

SUBCOURSE NO. SS 0517-5

U.S. Army Signal Center and Fort Gordon

Fort Gordon, Georgia

EDITION 5

3 CREDIT HOURS

REVIEWED: 1988

GENERAL

The Tactical Documentation Photography subcourse part of the Still Photographic

Specialist MOS 84B Skill Level 1 course, is designed to teach the knowledge

necessary for performing tasks related to types and techniques of tactical

documentation photography. The subcourse is presented in two lessons, each

lesson corresponding to a terminal objective as indicated below.

Lesson 1: PERFORM TACTICAL DOCUMENTATION PHOTOGRAPHY

TASK: Describe the types and techniques of tactical documentation

photography.

CONDITIONS: Given information about terms relating to types of tactical

documentation photography and techniques for shooting a series of

photographs, panoramas and flash recording photography.

STANDARDS: Demonstrate competency of the task skills and knowledge by

responding to the multiple choice test covering methods of

operational record photography.

(This objective supports STP Task 113-578-1018, Perform Operational Record

Photography.)

Lesson 2: PERFORM AERIAL DOCUMENTATION PHOTOGRAPHY

TASK: Describe the techniques used in aerial documentation photography.

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CONDITIONS: Given information about techniques used in pinpoint obliques,

horizontal and vertical photography, types of film used in aerial

documentation photography and step used in planning an aerial

mission.

STANDARD: Demonstrate competency of the task skills and knowledge by

responding to the multiple choice test covering techniques used

in aerial documentation photography.

(This objective supports STP Task 113-578-1018, Perform Operational RecordPhotography.)

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TABLE OF CONTENTS

SECTION PAGE

TITLE PAGE ........................................................... i

TABLE OF CONTENTS .................................................... iii

INTRODUCTION TO TACTICAL DOCUMENTATION PHOTOGRAPHY ................... v

Lesson 1: PERFORM OPERATIONAL RECORD PHOTOGRAPHY .................... 1

Learning Event 1: Define Terms Related to

Tactical Documentation Photography .............................. 1

Learning Event 2: Describe Types and Techniques

of Tactical Documentation ....................................... 4

Practice Exercise ............................................... 19

Answers to Practice Exercise..................................... 22

Lesson 2: PERFORM AERIAL DOCUMENTATION PHOTOGRAPHY .................. 23

Learning Event 1: Explain What is Meant by

Aerial Documentation Photography ................................ 23

Learning Event 2: Explain the Uses and Capa-

bilities of Aerial Documentation Photography .................... 31

Practice Exercise ............................................... 38

Answers to Practice Exercise .................................... 40

FINAL EXAMINATION .................................................... 41

Whenever pronouns or other references denoting gender appear in this document,

they are written to refer to either male or female unless otherwise indicated.

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THIS PAGE INTENTIONALLY LEFT BLANK

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INTRODUCTION TO PERFORM TACTICAL

DOCUMENTATION PHOTOGRAPHY

These two lessons on Tactical Documentation Photography are designed to teach you

the methods of photographic tactical documentation within your unit. Army visual

information units are becoming more tactically oriented and will require

efficient documentation procedures. Most of this documentation will be performedin the field. Your ability to support the Army with usable combat documentation

may well spell the difference between mission failure or mission accomplishment.

The term "visual information" is replacing "audiovisual" in the tactical Army.

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* * * IMPORTANT NOTICE * * *

THE PASSING SCORE FOR ALL ACCP MATERIAL IS NOW 70%.

PLEASE DISREGARD ALL REFERENCES TO THE 75% REQUIREMENT.


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LESSON 1

PERFORM TACTICAL DOCUMENTATION PHOTOGRAPHY

TASK

Describe the types and techniques of tactical documentation photography.

CONDITIONS

Given information about terms relating to types of tactical documentation

photography and techniques for shooting a series of photographs, panoramics, and

flash recording photography.

STANDARDS

Demonstrate competency of the task skills and knowledge by responding to the

multiple choice test covering methods of operational record photography.

REFERENCES

None

Learning Event 1:

DEFINE TERMS RELATED TO TACTICAL DOCUMENTATION PHOTOGRAPHY

1. Introduction.

a. Tactical documentation photography provides the local commander up to the

Joint Chiefs of Staff with a visual record of official military operations and

activities (including combat) which will be used for intelligence, training,

conduct of operations, briefings, command information, public affairs, and

historical purposes.

(1) Combat documentation is performed by visual information teams to

provide still photography, motion media (television or motion picture), and audio

documentation; photographic laboratory services; video and audio editing and

duplication services; graphic illustration; visual information product files,

distribution and presentation; and visual information equipment maintenance and

repair.

(2) Commanders of Theater Army and corps are provided audiovisual and

graphics documentation teams to support tactical documentation missions

throughout the theater of operations.

b. Visual information activities support command and Army missions, and US

national objectives.

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c. Combat documentation teams will be engaged in still and motion media

operations on day one of any battle. In some cases the documentation may start

24 hours before hostilities begin.

2. Tactical documentation covers the following:

a. Battlefield documentation, which extends from forward of the FLOT to

Corps, consists of the following types of media coverage:

(1) Document military operations from day one of the battle and audio

information of immediate value to commanders and their staffs for use in

planning, conducting and evaluating combat, combat support, and combat service

effectiveness.

(2) Document military operations to furnish HQDA staff, training

developer, and military historians with combat and doctrinal material in the

forms of visual, audio, and graphics information for evaluation, developmental

and historical purposes.

(3) Document friendly positions before, during and after the battle. This

includes providing front and reverse panoramics, camouflage discipline, andfields of fire.

(4) Opposing forces (OPFOR) positions should also be documented; if

possible, to detect camouflage and possible avenues of approach.

(5) Document battlefield damage of friendly force equipment to provide

operational tacticians and logisticians immediate information to develop

effective countermeasures.

(6) Document battlefield damage to local civilian property for use by

Civil Affairs in settling claims.

(7) Document battlefield damage of OPFOR equipment to provide operational

tacticians and logisticians immediate information on effectiveness of friendly

weapons and tactics and to provide information for long-range research and

development activities.

(8) Document field medical procedures to furnish visual information of

immediate value.

(9) Document initial battle engagements of new weapons and support systems

and revised tactics to provide HQDA staff commanders and their staffs at all

levels, and combat, doctrinal, material and training developers, visual

information for validation of new equipment and doctrine.

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(10) Provide visual documentation of captured opposing force supplies,

material, equipment, personnel and documents for commanders and their staff at

all levels for use in planning, conducting and evaluating combat, combat support

and combat service support activities. This material may be of immediate

importance to the Intelligence, psychological operations, (PSYOPS), Military

Police and Public Affairs communities and will be ultimately used by military

historians.

(11) Provide on the scene close-in terrain analysis, documentation for

operational traffic supportability planning and barrier location andidentification.

b. Aerial spot imagery is used to provide still coverage of friendly and

OPFOR positions to augment intelligence photography.

3. Tactical documentation in the Corps consists of the following:

a. Support PSYOPS by providing documentation of enemy prisoners of war

(EPW), including morale, welfare and condition of clothing and equipment and the

effect of battle on the civil population.

b. Support military police by providing documentation of:

(1) EPW identification and enclosure construction.

(2) EPW morale and welfare.

(3) Adequacy of control procedures.

(4) Document plans and procedures for the rear battle which includes

camouflage discipline, fields of fire and reverse panoramics.

(5) Audiovisual support for investigation as required.

c. Support military intelligence with documentation of damaged OPFOR or

friendly equipment.

d. Audiovisual cellular teams will augment public affairs units when

required.

4. Documentation support is provided by documentation processing and

distribution teams and multimedia maintenance teams. These teams provide:

a. Still and motion picture film processing, video and audio recording,

editing and duplication services to commanders at all levels.

b. Processing captured OPFOR motion picture, still photography, audio andvideo products.

5. Use of personal equipment or supplies.

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NOTE: Army photographers on official assignment, except

when off duty, are not permitted to engage in photography

for personal retention or for any other purpose not

directly related to official Army activities. It must be

understood that when by choice or agreement, personally

owned equipment or supplies, camera or film are used during

an official assignment, all photographic material exposed

while on that assignment will be turned into a DA

photographic facility as property of the Department of theArmy.

Learning Event 2:

DESCRIBE TYPES AND TECHNIQUES OF TACTICAL DOCUMENTATION PHOTOGRAPHY

1. Ground Documentation.

a. Tactical ground photography records terrain features and tactical

activities, actions, and objects. Its most immediate application is to assist

local intelligence and operations personnel and of combat units.

b. The effectiveness of Army documentation in tactical ground photography is

dependent upon an understanding of the tactical problems. Needed is a thorough

knowledge of all photographic means to satisfy requirements, and an ability to

adapt to unusual processing and dissemination problems.

c. The following are types of documentation that can be used to provide

single ground photographs, a series of photographs, comparative photographs and

frontal and reverse panoramics.

(1) Location of probable location of OPFOR positions.

(2) Signs of improvements in positions.

(3) Camouflage discipline of both OPFOR and friendly forces.

(4) Terrain photography to show avenues of approach, barriers, and fields

of fire.

(5) Detailed coverage of river crossing sites.

(6) Trafficability of roads to be used in offensive and retrograde

operations.

(7) Pertinent tactical details recorded during reconnaissance missions.

(8) Documentation of captured enemy positions.

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Figure 1-1. Tactical ground photograph

(9) Detailed documentation of the effectiveness of friendly artillery,

mortar, and rockets on captured enemy positions, equipment, and weapons.

(10) Pictorial documentation of troops in tactical operations.

(11) Comparative photographs of suspect areas or enemy installations,

positions, or strong points within sight of friendly observation posts.

(12) Location of targets for countermortar, harassing and interdiction

fires.

(13) Determination of local changes in the enemy defensive dispositions.

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(14) Analysis of damage to friendly defenses by enemy fire.

(15) Analysis of terrain features, such as types of vegetation in specific

areas.

(16) Damage assessment coverage of enemy installations during advance.

(17) Detailed coverage of enemy positions, strong points and installations

during an advance.

(18) Location of targets for counterbattery, harassing and interdiction

fires, and those appropriate for attack by nuclear weapons.

2. Terrain Documentation.

a. Natural terrain features. Requests for terrain coverage are usually

concerned with landmarks, general topography, major stream routes, critical

slopes, stream crossings, type of field boundaries, swamps, marshes, and various

kinds of terrain obstacles.

(1) Photographic requirements consist primarily of panoramics. However,

closeups will often provide valuable information on the types of soils, degree oferosion, condition of beaches, and similar details of tactical importance.

(2) This coverage is further supplemented by distant views to tie in

landmarks, and medium views to locate and relate landmarks to the overall

landscape.

b. Man-made features. Man-made features are installations and facilities

that might become military targets. Types of man-made features are cities,

harbors, bridges, tunnels, dams, locks, reservoirs, transfer and transshipping

facilities, and weather and observation stations.

(1) Pictorial documentation concentrates on site locations, relation to

basic servicing net, structural features, road width, clearances, and similar

aspects of each kind of terrain detail.

(2) Photography is accomplished from distant viewpoints to disclose the

area and approaches.

(3) Medium views and close-ups show structure and detail. For extensive

targets, panoramics are essential.

c. Flora. Flora generally consists of underbrush, grasses, trees, or swamp

and marsh plants. Of primary interest are the location, size, shape, structure,

density, branching habit and other vital features of the principle type of flora

of a given region.

(1) In areas where vegetation is a real obstacle in terms of

military tactics, complete pictorial documentation of these conditions

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is desirable. Where vegetation is dense, stereo photographs are preferred.

(2) Stereo pair separate plants from background and simplify analytical

study. Distant views give a clear idea of the vegetation coverage of the area.

3. Photography of Soil Types.

a. General. Pictorial documentation of various types of soil within a

specified area, indicating rock outcrops and positive or negative conditionsrelating to trafficability, is an important supplement to terrain photography.

Features to be emphasized are:

(1) Details of soil and rock texture.

(2) Soil firmness or lack of firmness.

(3) Terrain slope.

b. Coverage. Appropriate documentation is accomplished through medium and

close-up views, both single frame and stereoscopic. Stereo pairs are produced to

show rock outcrops and soil conditions. Soil texture can be indicated byphotographing a handful of soil.

c. Trafficability. Documentation photography, both aerial and ground, can

be used to determine trafficability. For example, the tracks of a vehicle with

varying loads can be photographed on a representative road or cross-country area

for purposes of comparison. The impressions made by the wheels will indicate

wheel-bearing characteristics of that type road or soil. A ruler should be

included in each photograph to illustrate the depth of the impression. The

amount of loading carried by the vehicle must be stated on the data control sheet

of every photograph.

d. Supporting documentation. Close-up photographs can be supported by one

or more long shots to establish the location of the pictorial target with respect

to pertinent environmental terrain features.

4. Panoramic Terrain Photography.

a. Panoramics are a series of overlapping photographs carefully matched and

joined to form a composite wide-angle view of selected terrain of targets. There

are two basic types of panoramics, varying in respect to image detail and to

method of production.

(1) The first and most common, known as swing panoramic, involves the

selection of an ideal viewpoint and the exposure of a series of still negatives

by rotating the camera on its tripod after each exposure to provide a series ofoverlapping images.

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(2) The second, known as a moving panoramic, requires production of

individual exposures from camera viewpoints that are generally parallel to the

terrain feature and separated by the same distance. Figure 1-2 illustrates the

technique for a swing panoramic and figure 1-3 shows procedures for a moving

panoramic.

b. Engineers find aerial views and swing panoramics especially useful for

construction planning. Tactical commanders have many uses for panoramics, a few

of which are listed below.

(1) Terrain identification for assault troops.

(2) Spotting enemy positions.

(3) Map orientation and updating.

(4) Identification of coordinates in artillery fire control centers and

observation posts.

(5) Orientation of new personnel to enemy and friendly areas.

(6) Liaison with adjacent units.

(7) Reverse panoramics: That is, panoramas of our own position as seen

through the eyes of the enemy, to check friendly cover, concealment and

camouflage, as well as to determine possible avenues of enemy approach.

Figure 1-2. Procedures for a swing panoramic

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c. Usually wide-angle, normal and telephoto lenses are used to achieve

desired coverage of an area. However, occasions do arise when the subject

extends beyond the field of view of a wide-angle lens. In such cases, several

exposures are taken of the subject in such manner that they can later be fitted

together to produce the desired coverage.

d. In "swing" panoramic, an ideal viewpoint is selected from which can be

seen the entire area to be included in the completed panoramic. The camera is

set firmly on a tripod, and a series of exposures is made of the target, swinging

the camera from left to right, beginning at the left end of the target and makingsuccessive exposures until the right end of the target has been photographed.

e. The "swing" panoramic procedure must incorporate a 50 percent overlap

between exposures. In practice, the photographer follows these steps:

(1) Place the extreme left of the target in the exact center of the

viewfinder and make an exposure.

(2) Swing the camera, without moving the lens up or down, until the object

which occupied the center of the viewfinder in the first photo is now at the left

edge of the viewfinder.

(3) Now make exposure #2, then swing the camera to the right again, until

the object which occupied the exact center of photo #2 lies at the left edge of

the viewfinder for exposure #3.

(4) This procedure is repeated until the right end of the target is dead

center in the viewfinder, at which time the final exposure is made (fig 1-3).

f. The other type of panoramic is termed a "moving" panoramic and is useful

when foreground obstructions exist or if the area is too narrow, making it

impossible to view the target successfully by use of the "swing" panoramic

technique. Here, too, the camera is placed firmly on a tripod and a series of

exposures made. But the difference is the fact that the camera is pointed in

exactly the same compass direction for each of the exposures. The photographer

takes exposures at equally spaced points, traveling along an axis exactly

parallel to the target being photographed. (fig 1-4).

g. Just as with the "swing" technique, the "moving" technique must

incorporate a 50 percent overlap between exposures. In practice, the

photographer shooting a "moving" pan does the following (fig 1-4):

(1) The photographer sets the camera up directly across from the left end

of the target, so the lens-board is parallel to the subject being photographed in

the exact center of the viewfinder. The photographer then makes exposure #1.

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Figure 1-3. Procedures for a moving panoramic

Figure 1-4. Sequence for "moving" panoramic

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(2) The photographer then picks up the camera and tripod and moves to a

point nearer the center of the subject, maintaining the distance from the

subject, traveling along an imaginary line, parallel to the subject. The

photographer finds a spot where he can get the object which occupied the center

of the viewfinder in #1 to lie at the left edge of the viewfinder. Once this has

been done, the photographer takes the second exposure.

(3) The photographer continues the procedure until the right end of the

target is centered in the viewfinder, then makes the final exposure. Throughout

the above procedure, the lens-board must be parallel to the subject.

h. In both swing and moving panoramics, the photographer must do the

following:

(1) Overlap 50 percent between exposures.

(2) Keep the camera level from one exposure to the next.

(3) Exposure in all photos must be consistent so as to result in a uniform

appearance. Should lighting conditions change while a panoramic is being made,

the photographer will compensate with shutter speeds rather than apertures since

different apertures will result in variations of depth of field.

(4) Focus must remain the same throughout a strip, for variations in focus

will result in variations in image size and the prints will not match. F/16 or

smaller apertures should be used. Hyperfocal distance should be used if there

are foreground objects, but infinite focus is satisfactory if the foreground is

unimportant.

(5) The sky, ideally, should be free of clouds which cast detail obscuring

shadows over the subject. Filters may be used to penetrate haze.

i. Emphasis must be placed on the necessity for a 50 percent (fig 1-5)

overlap. In assembling the prints of a panoramic, the laboratory specialist will

cut off and throw away 25 percent of the picture's right side, leaving only 50

percent in the photo's center with which he will assemble the strip. The reason

for this seeming waste lies in the fact that the greater distortion lies at the

outer edges of the photo. Were the lab technician to utilize these edges he

would be unable to find satisfactory matching points. If the negatives have been

made with all the above points in mind, assembly of the prints can be done as

explained in the following paragraph.

j. All the prints are arranged side by side and overlapped 50 percent,

so they will appear the same way as they look through the camera viewfinder.

The edge of the upper print will now register with the scene in the

lower print. Overlapping edges are then lightly tacked down with an

adhesive which can later be removed without damage to the print. Both

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prints are then cut through down a line midway between the overlapping edges (25

percent is cut off each edge). Now when the prints are matched edge to edge, the

two sides of the join will register perfectly and be almost invisible (fig 1-5).

Figure 1-5. Panoramic

5. There are many different techniques used in shooting panoramics. Panoramics

are normally shot with the photographer facing enemy territory. These are called

frontal panoramics. Occasionally a photographer will be called upon to make a

"reverse" panoramic.

a. A reverse panoramic is exactly the same as in shooting "frontal"

panoramics, but the photographer depicts the friendly territory as it would

appear to the enemy. This will enable commanders to spot weaknesses in their

defense, failures in camouflage, possible approach routes, etc.

b. The photographer may also be called upon to make a "complete" or 360-

degree panoramic. This must be done by use of the "swing" technique, and has theadvantage of producing a set of prints which can be measured in degrees of arc

representing specific measurements. Bearings between any two points on the

assembled 360-degree panoramic can be approximated, and if North is known,

relative bearings become true bearings. This type of panoramic can be laid out

so that when its two ends are joined, the interpreter can stand in one spot and

be surrounded by the strip just as if he were actually on the scene, looking

about himself.

c. Large military targets often require pictorial coverage in addition to

that provided by a simple panoramic. Sidelapping is identical with overlapping

except that it occurs either above or below the horizontal theme of the

panoramic. Through sidelapping an important military terrain feature can beeffectively recorded. The completed panoramic employing sidelapping is far more

valuable then a standard panoramic (fig 1-6).

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Figure 1-6. Panoramic showing effective sidelapping

d. Another specialized technique involves the use of infrared film for

panoramics. Infrared may be used in any of the panoramic techniques listed, and

in many cases is shot along with panoramic emulsions to provide interpreters with

comparative views. Infrared has the advantage of detecting camouflage, since it

reproduces all living vegetation as white and all inanimate objects not covered

with special camouflage paint in shades of grey and black. It is also excellent

for penetrating haze, and therefore results in prints having more detail than

other emulsions.

e. Filters are used in shooting virtually all panoramics, in order to

increase detail by cutting haze. All filters which subtract blue from the

visible spectrum are used in this type photography, since haze is made up

primarily of blue radiations. No filter, of course, will penetrate fog, mist, or

smoke.

f. Because of considerable reduction in scale, panoramics and overall

terrain photographs lack minute details. Therefore, photographers must, in many

cases, supplement panoramics and overall terrain images with large-scale,

detailed, close-up, pictorial records. The number of photographs required and

the amount of detail to be included depend entirely on photographic assignments.

g. Panoramic photography under combat conditions must be modified

in certain respects from what has already been covered. Often, use of

a tripod will not be possible, and although hand-held photos will not

match as well as those shot from a stable support, any photos which get

back to friendly areas are better than nothing. A documentation photographer

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should raise his head from cover only long enough to make his exposure and should

raise his camera only at irregular intervals. A change in camera position might

prove necessary, but prints will not match well on a swing panoramic should the

photographer be forced to change locations.

h. With all the disadvantages of shooting and assembling panoramics, the

Army continues to consider them one of the more important aspects of photography.

The reason behind this lies in the many uses to which panoramics are put by the

military. Some of these include: spotting enemy positions; map identification

and orientation; liaison with adjacent units; terrain identification for assaulttroops; observing terrain changes caused by enemy construction, new emplacements,

seasonal variations and damage caused by friendly action.

i. The panoramic is one of the most used techniques in tactical ground

photography.

6. Proper Use of a Tripod. The correct use of the tripod plays an important

role in obtaining a good panoramic. Applying the following procedures in using a

tripod can help in obtaining the best of results.

a. Check the tripod.

(1) Legs slide freely.

(2) Legs lock properly.

(3) Legs spread and can be extended fully.

b. Attach camera with tripod legs fully extended and spread; tripod should

hold about 10 pounds of weight.

(1) Position tripod in center of area to be photographed.

(2) Ensure tripod is level and camera is level on tripod.

(3) View area through the viewfinder or ground glass of camera.

7. Tripod Adapter. When shooting panoramics, especially with a camera that has

a bellows, such as the 4 by 5-inch view camera, it is important to use an adapter

on the tripod. This adapter, (fig 1-7), allows the optical center of the lens to

remain directly over the rotating axis of the tripod. You cannot obtain a

matched panoramic unless the optical center of the lens remains over the rotating

axis of the tripod. The adapter should be made from metal stock. A hole is

drilled to accept the tripod screw instead of the camera. It is necessary to

obtain an additional tripod screw to attach the extra tripod screw. The camera

can be moved back and forth on the adapter until the lens is directly over the

rotating axis of the tripod.

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Figure 1-7. Tripod adapter

8. Comparative Photography.

a. Any photographer who has tried to duplicate or reshoot a landscape

photograph knows that an exact duplication of the scene is next to impossible.

Factors entering into the difficulty of such an attempt include seasonal and

climatic variations, lighting differences depending on the time of day and/or

natural or man-made changes in vegetation and landmarks. Two photos taken within

minutes of one another will appear different upon close examination...photos

taken hours apart will be so different that even a casual observer will note

their dissimilarities.

(1) Knowing that such a difference will occur in two photos of the samescene, the Army photographer does all within his power to exaggerate this effect.

Such exaggerated differences result in a class of photographs which the Army

terms "comparative photography."

(2) By definition, comparative photographs are merely two photos taken

with a time lapse between exposures, the amount of time elapsed depending on the

results desired. The amount of elapsed time might be days, weeks or even months.

However, it might be no more than the few seconds required for the photographer

to change over from a panoramic to an infrared emulsion or from a skylight to a G

(yellow) filter.

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(3) Although peacetime applications of comparative photography techniques

are numerous, their major application comes in combat, where the primary purpose

of such photographs is to show tactical changes in enemy positions, strengths and

weaknesses.

b. Comparative photography techniques.

(1) Before-and-after-action. The simplest of the comparative techniques

requires only that the photographer get coverage of an enemy sector or

emplacement both before and after friendly forces have attacked it. Suchpictures will show graphically the extent of damage to the enemy and whether the

attack has "softened" the enemy enough to permit the advance of friendly troops.

The same techniques have, of course, innumerable other applications such as

before-and-after medical or dental photography, before-and-after construction

photography, etc.

(2) Time-lapse. Although all comparative photography must by definition

require two or more prints for comparison, possessing dissimilarities usually

obtained by shooting the photos at different times, there is a special class of

comparative photographs known as "time-lapse" photos. Although this term is

commonly used for such things as "speeding up the action" on cinematography

(i.e., the opening of a flower), the Army uses the term to identify two or morephotos, taken at intervals of days or months, which depict changes in enemy

positions or strengths resulting from "buildups" or "withdrawals." Often the unit

photographer is assigned to take these photos on a regular basis so that a day-

to-day check is kept on enemy fortifications. Such comparative photos will often

reveal whether the enemy is massing for an attack or preparing for defense, and

foreknowledge of enemy intentions is invaluable to friendly forces.

(3) Flash recording photography. A field commander is often faced with

the problem of where to direct his firepower in order to make it most effective

and a comparative photography technique called flash recording is made to order

for his purposes. Basically the technique merely makes use of "muzzle flash",

the instantaneous burst of light which occurs when a weapon is fired at night,

recording these "flashes" photographically. There are, however, various

procedures for performing the technique. Among them are:

(a) Night exposure. Exposure of the film is begun at dusk, when there

is sufficient light to allow a fairly short exposure and yet enough darkness to

enable the flashes to stand out against a dark background. Polaroid film has

proven itself ideal for such work, not only because of the rapidity of processing

but also because of its extremely high emulsion speeds.

(b) Daylight and night exposure. In this method, a partial exposure

is given the film during the daylight hours, with the camera mounted on a

tripod. The film is then given a second exposure at night, usually a

time exposure, to record the muzzle flashes. This technique has the advantageof giving a record of both the flashes and a good image of the

terrain unobtainable with a night exposure technique alone (fig 1-8). Its

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disadvantage, of course, is that the camera must remain on the tripod until both

exposures are made and prevents the use of the equipment for other purposes in

the interim. Polaroid film may also be used to good advantage in the day-night

technique. A Polaroid print is made during the daylight hours or at dusk. Then

from the same camera position, Polaroid transparencies may then be used as

overlays on the print to pinpoint enemy fire. Such imaginative use of Polaroid

materials shows again the many uses to which this versatile process may be put.

(c) Supplementary techniques. It is not always necessary for the

photographer to wait for changes in order to make comparative photographs...thecameraman can himself initiate changes which will vastly aid photo-interpreters.

To do so he has to avail himself of such well-known techniques as infrared film

and filters. No lengthy explanation of infrared or filter theory will be covered

here. Knowing that infrared will lighten vegetation and that filters may be used

selectively to either darken or lighten any color, the tactical photographer will

immediately see that both techniques may be applied to almost any phase of ground

tactical photography. Note is taken of infrared and filters at this time only

because photos made with either device are usually accompanied by another photo

of the same subject made on panoramic film without a filter. Infrared

panoramics, etc. are often required, but unless the nonfiltered panoramic photos

accompany the infrared--enabling comparison--commanders can glean little

knowledge from them.

Figure 1-8. Night flash recording photography

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9. Equipment Photography.

a. Photographs are often required for Material Deficiency Reports (MDR),

Equipment Improvement Recommendations (EIR), and captured enemy equipment.

(1) MDR. When a piece of equipment is deficient and is too large or too

much time and money would be wasted sending the piece of equipment back to the

manufacturer, MDR in the form of photographs and captions explaining what the

deficiency might be are sent to the manufacturer. In this procedure, maintenance

would be able to fix the equipment faster and at a less costly rate.

(2) EIR. When equipment needs improvement or the improvement has already

been completed, EIR photographs with captions are sent off to the manufacturer or

to a higher echelon.

b. In shooting such pictures, the photographer will first shoot four basic

views...one three-quarter view, showing three slides of the equipment, and then

three other photos, each of which shows only one of the three sides depicted in

the three-quarter view. If he has additional time and/or film, he then will

shoot other three-quarter views and the sides not shown in the original four

photos. He may also shoot close-ups of some particular area on the equipment,

such as nameplates, intricate machinery, etc.

10. Series Photos.

a. Simply stated, series photos are merely a group of exposures which,

having been taken one after another with a very short time lapse in between,

arrest or stop action so that the action can be studied and analyzed. For

example: A team of men in the act of launching a grenade against a tank, shown

setting up and arming their weapon. The photographer makes an exposure each time

the team performs a different task, i.e., loading a grenade into the launcher,

taking aim, firing the grenade, etc. Effects of the action--such as the

destruction of the tank--can also be photographed as part of the series.

b. There are dozens of uses to which series photos can be put, including

behind-the-lines study by time-motion personnel to determine wasted action; or

analysis by designers to determine how improvements in handling ease of the

weapon might be brought about.

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LESSON 1

PRACTICE EXERCISE

1. What is the main purpose of tactical photography?

2. What are the two types of tactical photography?

3. Photographs of natural terrain features, man-made features and flora

constitute what type of documentation?

4. Study of camouflage discipline, liaison with adjacent units, and

construction planning are some uses of what type of tactical photography?

5. What is comparative photography?

6. What makes the "flash" in flash recording photography?

7. What is MDR photography? Explain its use.

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8. What is a panoramic photograph?

9. What are the two types of panoramic photographs?

10. How much overlap is there between frames of a panoramic?

11. If the lighting conditions change while shooting a panoramic, how is the

exposure corrected?

12. What can a photographer use to penetrate haze?

13. What is a reverse panoramic?

14. How can infrared film be valuable in tactical photography?

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15. In comparative photography, the Army photographer is trying to exaggerate

what?

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ANSWERS TO PRACTICE EXERCISE

1. To provide the commander and his staff with visual record of official

military operations and activities.

2. Ground and air.

3. Terrain documentation.

4. Panoramic photography.

5. Two or more photographs taken over a period of time.

6. Muzzle flashes.

7. Material Deficiency Report photography is used to report defective equipment

when it is too large or expensive to move.

8. A series of overlapping photographs, matched and joined to form a composite

wide-angle view of a subject or terrain.

9. Frontal and reverse.

10. 50% 10%.

11. Only the shutter speed should be changed.

12. Filters or infrared film.

13. A panoramic photograph taken of the friendly positions from the enemy's

point of view.

14. Infrared film can penetrate haze and show camouflage.

15. The difference between two or more photographs.

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LESSON 2

PERFORM AERIAL DOCUMENTATION PHOTOGRAPHY

TASK

Describe the techniques and planning steps used in aerial documentation

photography.

CONDITIONS

Given information about aerial documentation photography.

STANDARDS

Demonstrate competency of the task skills and knowledge by responding to the

multiple choice test covering material on aerial documentation photography.

REFERENCES

None

Learning Event 1:DEFINE THE PURPOSE AND ADVANTAGES/DISADVANTAGES OF AERIAL DOCUMENTATION

PHOTOGRAPHY

1. Introduction. Aerial photography, provided by Army Aviation is supplemented

by Army photographers with hand-operated cameras, extends coverage beyond the

limits of ground photography. The principle purpose of aerial photography is to

get detailed pictorial documentation, tailored for specific requirements, in a

minimum of time. Resulting negatives, transparencies and prints augment aerial

photography produced by the Air Force and Army surveillance organizations.

2. Aerial Documentation Photography.

a. Most of the aerial photography is shot by the Air Force. The Air Force

uses large sophisticated aircraft flying at fast speeds and very high altitude.

The Army flies at low altitudes and in slower aircraft, at present the OV-1

Mohawk, which uses sophisticated reconnaissance and surveillance equipment. Army

photographers supplement this type of photography. The techniques and type of

aircraft and cameras used will be discussed in this lesson.

b. Aerial documentation photographs--called pinpoint photographs, are

intended for soonest possible interpretation and used by units engaged in the

fast-shifting day-to-day maneuvers of modern warfare. This type of photography

is of paramount importance to tactical commanders, and it is in this aspect of

aerial photography that the Army excells. The ADP is sometimes used with ground

photography.

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c. As with all aerial documentation-type photography, speed is the

determining factor in deciding the value of the product. Photos which, once

taken, cannot be placed in the proper hands within a matter of hours, quickly

lose their tactical importance. Units and agencies requiring air photos of

specific areas and objects route their requests through G2, G3, S2 or S3. The

following chart itemizes some uses to which photos are put at regimental,

division and corps levels (table 2-1).

Table 2-1. Uses for photographs

d. The using or perhaps the requesting agency will specify the type of

information needed in the photos as well as the desired scale and the number of

prints required. Units below division level usually require oblique photos,

while larger units require vertical strips and stereo pairs, (stereo pairs are

usually shot by the Air Force).

e. G-2, S-2, or S-3 inscreening all requests coming through him, will first

consider whether the information requested is on file, having been already shot

at an earlier time. If not, several factors will enter into his decision whether

to utilize Army documentation photography or to instead send the request on to

the Air Force. Some such factors are:

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(1) Whether the mission is within the capability of Army aviation.

(2) Whether the time deadline could be better met by Army or Air Force

coverage.

(3) Whether the normal scale of Air Force coverage would be adequate

instead of the much larger scale of Army coverage.

(4) Mission priority.

3. Army tactical air photography has a number of unusual capabilities which it

does not share with Air Force coverage. Some of these capabilities, which will

also be weighed in making a decision, are as follows:

a. Local pilots and photographers assigned to the local (organic) unit who

are fully aware of the mission, the terrain of the area, and the target, are

used.

b. Local or organic photo interpreters are used, soldiers familiar with the

terrain of the area.

c. Low altitude missions are possible for all the reasons previouslymentioned. This permits coverage on a large scale which increases detail in the

pictures, enabling interpreters to spot small objects such as pillboxes, bunkers,

artillery pieces, road blocks, etc.

d. The negatives produced are local, that is they are not usually sent to a

rear area, making it possible to pull additional prints from them if necessary.

At times they are sent to the rear area or sent to a higher level for evaluation.

e. The Army system will function regardless of weather conditions. Missions

can be flown between rainstorms and under cloud formation, whereas the Air Force

craft may have difficulty getting below the clouds.

f. Certain disadvantages or limitations are also inherent in the system,

however. Among these are:

(1) Ability of Army aircraft to hover over enemy terrain. Because of the

low altitude and speed of the operation, the aircraft are more easily hit by

enemy fire.

(2) Deep penetration into enemy areas is something Army photographers and

air crews are unprepared to do under normal conditions.

g. Should the G-2, S-2, or S-3, after considering all of the above, decide

to utilize Army aircraft, crews and photographers, the request will come through

channels until it reaches the military photographic agency who will carry out themission. This, of course, is where you come in.

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h. Planning is extremely important in aerial mission, and a joint briefing

may be held with the photographer, the requester, the pilot, G-2 and a photo

interpreter present. Together they will go over the photo request. The request

should show the scale desired, number of prints, period during which the work is

to be done, a map of the area to be photographed and the type of photos needed.

Requests should also include a statement of the desired objective, area of

coverage and whether approaches and surrounding terrain are to be included in the

coverage.

(1) The pilot and photographers should get together and determine theflight plan, number of passes to be made, altitude, etc.

(2) In short, planning should be done on the ground, not after the

aircraft is airborne.

4. Planning an Aerial Photo Mission.

a. Army aerial photographic missions are flown to obtain information about

enemy defenses or activities. Aerial photographs can show weaknesses in our own

defenses and aid in the planning of our actions.

b. To get the most from an aerial photographic mission you must carefullyplan each step. The duration of the flight is usually short, and seconds are

important, especially over enemy territory. You may not be able to reshoot the

mission, so your first attempt must be successful. Thus, you must plan the

mission carefully before the flight.

c. Map reading skills are very important to an aerial photographer. You

should know exactly what course the aircraft will fly. You should have a map

showing the target, and what should be shot. Know where the target is on the

map. The pilot will usually tell you when you are in the area, and point out the

target, but sometimes he may be too busy just flying the aircraft. You, as the

photographer must know what you want and how to get it.

d. Be prepared to shoot anything that may seem out of the ordinary. Keep

your eyes open and stay alert. Remember, you are the reason this aircraft is

here.

e. To plan an aerial photographic mission, you must define the final

product, then determine the camera system, equipment, and materials required, and

determine the flight pattern.

5. Define the Final Product.

a. Before performing any aerial photographing, you need a goal. The goal of

an aerial photographic mission is pictures--pictures that meet the needs of the

requester. When you plan an aerial photographic mission, describing the finalprints by writing out the answer will aid you in your planning.

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b. The requester tells what he needs and it is up to you as a photographer

to produce the most useful pictures possible. The first step toward top notch

results is good planning. To plan your assignment, get the following information

from the requester:

(1) What is the picture content? If the print is maplike, define the area

by stating its size, location, and boundaries. For example: an area, grid

coordinate 2623 on map sheet 6063 I; the area is bound by Pemberton-Wrightstown

road to the east, Rancoss Creek to the north, dirt road to the west, and by an

imaginary line just south of the airfield. If the print is a picture of anobject, describe the object and the view in this manner: "A four-story building

with a good view of the front (high oblique)."

(2) How soon does the requester need the pictures? A photomap is worthless

for tomorrow's trip if it takes a week to produce the map. Extreme urgency may

require you to use a diffusion transfer (Polaroid) system and material. When

there is no urgency, you might delay the flight until the weather conditions are

ideal for flying and photography.

(3) The type and location of the target. Small targets require either low

altitudes or long focal length lenses. Camouflaged objects can be seen with

infrared film. Emergency plans are different over targets in enemy and friendlyterritory. The location of the target may demand a specific type of aircraft of

a specific camera system.

(4) Will the prints be in black and white or color? You should make a note

if the picture is to be an infrared photograph.

(5) Will the prints be pinpoint pictures, or overall (wide area)?

(6) Will the views be vertical, high or low oblique, horizontal, or a

combination of these?

(7) How many exposures are required? An accurate tally may not be possible

at this point in your planning, but with experience you should be able to make a

good estimate.

(8) The type and amount of coverage. Fine detail requires a large-scale

reproduction. Vertical pictures are good for photomaps, while obliques and

horizontal pictures give a more natural view. Large land areas require many

exposures.

(9) The purpose and use of the final prints. Planning attack routes or

laying out campsites require photomaps and perhaps some obliques to show the

variations in elevation. To study the enemy's movement at night means using a

camera system that can take night pictures. Slides may be the best final product

for a briefing.

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c. The DA Form 3903, Training-Audiovisual Work Order (figs 2-1 and 2-2) is

designed to aid in your mission planning. A properly filled out 3903 should

answer most of the above questions. If the photographer has any questions about

the mission, they should contact the requester before the mission and clear them

up. With all this information, you will be able to plan the mission to best suit

the requester's needs.

Figure 2-1. DA Form 3903,

Training-Audiovisual Work Order (Example 1)

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Figure 2-2. DA Form 3903,

Training-Audiovisual Work Order (Example 2)

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6. Equipment.

a. The equipment used to shoot aerial photographs will depend on the type of

photographs needed. If a large number of photos or slides for a briefing are

needed, then a small or medium format system is best. Polaroid prints or the

need for a larger negative will require the use of a larger format press camera.

b. Usually, 35mm or medium format cameras are best suited for aerial work.

They are easy to handle in the relatively tight confines of an aircraft. They

also offer the advantage of interchangeable lenses, for shooting pinpoint photos.A wider variety of films are available for these formats as well.

c. If Polaroid photos are required, then a large format 4 by 5-inch camera

must be used. Care must be taken not to subject the fragile bellows of the

camera to the violent airstream outside the aircraft.

d. Occasionally, because of insufficient data, some detail of your planning

must be omitted until you reach the target. It is therefore a good idea to take

along a complete camera system, including a variety of lenses, filters, films,

etc. It is always better to have the equipment with you and not need it, than to

be unable to complete the mission because of a forgotten item of equipment.

e. Whatever camera system is used, it should be one that the photographer is

familiar with. A tactical aerial photographic documentation mission is not the

time or place to experiment with new techniques, equipment, or film.

7. Film.

a. Your choice of film will also depend on the type of mission, and final

product desired. As in general photography, you should use the slowest film

practical to achieve the desired result. There is a wide variety of film

materials available to allow you to produce almost any requested final product.

The following are some of the most commonly used.

(1) Kodak Tri-X-Pan. This is a fine grain, ASA/ISO 400 film of excellent

sharpness. It is a good general purpose black and white film.

(2) Kodak Plus-X-Pan. A fine grain, medium speed (ASA/ISO125) film.

Because of its grain and excellent sharpness, it can yield excellent

enlargements.

(3) Kodak High-Speed Infrared. When used with an 89A or a 25A red filter,

this film is best for detecting camouflage and penetrating haze. This film

requires special handling and processing techniques. Refer to the data sheet

with the film, and practice with the film before using it on a mission.

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(4) Kodak Ektachrome. A transparency (slide) film available in a variety

of film speeds from 100 to 3200.

(5) Kodak Vericolor or Kodacolor. Color negative materials for producing

color prints. Available in ASA/ISOs from 100 to 1000.

b. Film processing is an important part of the mission planning. Once a

mission is flown, you don't want the film ruined during processing! If special

or speed processing is required, be sure arrangements are made with the photofacility. Any special processing requirements should be noted in the Special

Instruction section of the DA Form 3903.

Learning Event 2:

DESCRIBE THE TECHNIQUES USED IN AERIAL DOCUMENTATION PHOTOGRAPHY

1. Techniques.

a. Grid coordinates are required pinpointing the location of targets, and

the photographer should have a working knowledge of them should it prove

necessary to refer to coordinates while in the air. They provide a quick,

precise means of establishing targets, and eliminate misunderstanding betweenpilot and photographer as to objectives.

b. After planning the flight with the pilot, the photographer exercises his

knowledge of techniques. The pilot's responsibilities lie in the realm of

getting the cameraman over the target area at the desired height and/or angle.

The rest is up to you. You may talk to the pilot through an intercom or by

prearranged hand signals to make additional passes over the target, go higher or

lower, bank, etc.

2. Types of Photos.

a. Once over the target area, exactly what types of photos will you be

required to shoot? Many of the techniques covered earlier under Army tactical

ground photography are similar to those of ADP after suitable modification.

b. Obliques.

(1) Oblique aerial photographs are made with the axis of the camera and

lens deflected from the perpendicular. They fall into one of two categories:

(a) High obliques, which include the horizon line in the picture area

(fig 2-3).

(b) Low obliques, which do not include the horizon line but do take in a

large area of terrain (fig 2-4).

(2) All obliques have the advantage of showing the terrain features

from a more natural viewpoint, that is as the scene might appear

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to an observer from atop a mountain or from the window of a commercial aircraft.

(3) However, oblique photos cannot be made to any scale, since the closer

to the camera the objects are, the larger scale they will be.

Figure 2-3. High oblique

Figure 2-4. Low oblique

c. Verticals.

(1) Vertical aerial photographs are made with the axis of the camera and

lens perpendicular to the earth, that is, with the lens pointed straight down at

the ground with the film parallel to the ground (fig 2-5).

(2) Vertical photos appear similar to a map and can be used to make

photo maps since they also have the capability of being made to scale.

Since they give a birds-eye view of all terrain and man-made features, an

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untrained viewer of the prints finds that he has difficulty identifying objects.

(3) Shadows are very important in looking at prints taken with the camera

in the vertical position. In viewing a vertical print, the shadows should fall

toward the viewer and the light source should be in about the same position as

the sun was when the picture was taken. If the prints are viewed with the

shadows falling away from the person viewing them, hills will often appear to be

valleys and valleys, hills.

Figure 2-5. Vertical photograph

d. Horizontals.

(1) Horizontal aerial documentation photos seem almost to have been taken

from a viewpoint on the ground with the lens axis parallel to the subject. They

can be taken only in mountainous terrain when the aircraft can fly below the

crest of the mountain (fig 2-6).

(2) Using this technique, profiles of ridges, slopes and approaches to

mountain crests, can be photographed, often enabling photo interpreters to see

under enemy camouflage.

e. Pinpoints.

(1) A pinpoint merely shows a small selected area in detail. Pinpoints

may be vertical, oblique, or horizontal. Their main value lies in the fact that

they enable interpreters to study the subject more closely.

(2) Pinpoints may be made in one of two ways, the aircraft approaches the

target at a low altitude or the photographer uses a telephoto lens.

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Figure 2-6. Horizontal photograph

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3. General Factors.

a. Certain rules may be laid down for the shooting of all air photos. Some

of these are:

(1) Selection of F/stop. The basic exposure: A bright sunny day with an

average subject would be F/16. Dark subjects might be heavily wooded areas,

while brilliant or bright subjects would be deserts or bodies of water.

(2) Clear, sunny days are desirable for all air photographs in order toget the greatest detail in the subject. Midmorning or midafternoon are the best

shooting times since the shadows from the subject will fall at good angles for

interpretation purposes. Shadows which are too long may actually obscure detail

or make interpretation confusing. If at all possible, the sun should be behind

and to one side of the camera.

(3) Selection of shutter speed. The fastest shutter speed possible under

the prevailing light conditions should be used. Since the camera will be focused

on infinity, depth of field is no problem, therefore small apertures should be

sacrificed to fast shutter speeds if necessary.

(4) These faster speeds are necessary for two reasons. Not only is theaircraft vibrating, causing camera movement, but the ground is also moving in

relation to the camera. The lower the aircraft's altitude, the faster the

relative ground movement and the greater chance of subject blur.

(5) Panning the camera is another technique to help reduce blurring of the

object due to aircraft movement.

(6) No portion of the camera or the photographer's body from the waist up

should come in contact with the aircraft, since the vibrations of the plane will

be carried through to the film plane.

(7) Selection of lenses. Normal lenses are best for most Signal Corps

type air photography. Wide angle lenses produce images that are too small for

practical use, and telephoto lenses, which do give larger images, increase

relative subject movement, making objects is on the ground appear to move even

faster than when viewed with a normal lens.

(8) Filters. It is a good practice to have a filter on the lens of the

aerial camera at all times, even if the day seems clear. Even on bright,

cloudless days, atmospheric haze is present. You, as the photographer, may not

detect it, but film emulsions, being more sensitive to blue, will pick up this

detail-obscuring haze.

(a) For black and white film, yellow filters will eliminate

some haze, depending upon their degree of saturation. A dark yellow(No. 15), the most often-used filter in aerial work, will cut more haze

than the light yellow (No. 6 or f) filters since the No. 15 will eliminate

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more of the blue light than the other two. A medium red (23A) filter will cut

through even a heavy haze.

(b) When using color film, AUV or haze filter must be used.

(c) When photographing water (river, lake, or ocean), a polarizing

filter can be used to reduce reflections on the water.

(9) Care must be taken at all times to avoid getting portions of the

aircraft itself into the picture area.

(10) The photographer and his equipment, must be strapped securely into the

aircraft. Never attempt to shoot without safety restraints.

b. Captions are equally as important in air photography as they are in any

other type of photography. DA Form 3315, Audiovisual Caption Book, (fig 2-7) is

used for collecting information while on the job taking photographs either ground

or aerial. Sufficient information must be obtained to enable the audiovisual

activity to prepare a complete and factual, final caption. Supplies of DA Form

3315 will be requisitioned through normal AG Publication channels.

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Figure 2-7. DA Form 3315, Audiovisual Caption Book

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PRACTICE EXERCISE

1. What type of aerial documentation photograph includes the horizon line?

2. What type of aerial documentation photographs are made with the camera axis

perpendicular to the ground?

3. Horizontal aerial photos can only be taken in what kind of terrain?

4. What are two ways in which pinpoint coverage can be obtained?

5. Rules which apply to exposure calculation in aerial photography differ fromthose used in ground photography.

True False

6. What form is used to write captions for a photo mission?

7. What film is best suited to shooting for a briefing?

8. What are two ways to reduce image blur when shooting aerial photographs?

9. What is the principle purpose of aerial documentary photography?

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10. What is the first step in planning an aerial photo mission?

11. What form should contain the information necessary to shoot an aerial photo

mission?

12. What type of film is used to detect camouflaged objects?

13. What type of aerial photograph gives a more natural view?

14. What is the most important factor in aerial photography?

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ANSWERS TO PRACTICE EXERCISES

1. High oblique.

2. Verticals.

3. Mountainous.

4. The aircraft can fly lower, or a telephoto lens may be used.

5. False.

6. DA Form 3315, Audiovisual Caption Book.

7. Ektachrome.

8. Shoot a high shutter speed or pan with the subject.

9. The principle purpose of aerial photography is to get detailed information,

tailored for specific requirements in a minimum of time.

10. Determine the final product.

11. DA Form 3903, Training-Audiovisual Work Order.

12. Infrared.

13. Oblique.

14. Speed.

us army photography course ss0517-5 - tactical documentation photography

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