The View From Above

With 16 years of intermittent involvement with TIGHAR’s Earhart Project and 5 trips with the group to Nikumaroro as they conducted their field work, the underlying technology of documentary film making has gone through dramatic shifts in that period of time. The first year I worked with TIGHAR the A camera was Betacam SP format and the B cameras were a Sony PD 150 and a Canon DV camera. Subsequent trips in 2007, 2010, 2012, and 2015 saw the shift to file based cameras (2007) which has continued through the present. Between 2007 and 2010 the camera technology shifted from 720P to 1080P as the base recording format, storage capacities exploded which allowed virtually unlimited shooting. The advancements in digital stills camera tech allowed expanded use of time- lapse photography and finally Go Pro cameras provided a way to work both above and below the water line in creative ways.

The biggest and most exciting development was the emergence of small GPS stabilized UAV’s that finally freed the camera from being stuck on the ground with the land team as they hacked their way through spider webs, mounds of live and dead scaevola. Having a view from above adds a compelling dimension to the documentary photography possible with the Earhart Project. This was first demonstrated in 2001 when the scout helicopter from a tuna boat randomly showed up and landed on the island. We were able to capitalize on that moment and get a ride in the aircraft filming a complete overview of the island.

In 2015 having  small UAVs made documenting  the work of the land team easier and better, showing the scope and context of the island in ways that I had never been able to do prior to this time. While having aerial capability is a huge advantage, the technology is not perfect. In the time shooting that year there was a massive solar storm in progress which affected GPS dramatically in a negative way. UAV operation was impacted by random erratic aircraft behavior which resulted in numerous aborted flight and the loss of one aircraft in the ocean after a flyaway event. Even with that unfortunate event, the dimension that having an aerial view in this documentary project has been immensely positive.

 

The First Thing

There came a day just after I started my new job oh so long ago, at the cable  studio that my boss told me to get the company vehicle and drive into the east village in NYC  to a certain address and pick up Allen Ginsberg then bring him back to the studio. Having done that, the next thing I was to do was grab the camera and video deck, I don’t recall what it was but maybe it was a Sony 3/4″  U- matic, then go shoot this interview with Mr Ginsberg. We actually had a studio but that day our guest liked the vibe outside better than the studio so we hiked up the hill behind the offices and shot his interview there. The host, whose name I’ve long forgotten was an English professor at William Patterson College at the time. I barely knew what I was doing but some how I managed to record picture and sound that day. I had hung out a bit with Ginsberg in college and was really excited when this day just fell in my lap.