19 Stunning Lake Sunsets for You to Reflect On

Jason D. Little

Photographer Catherine Opie once referred to sunrise and sunset as “the biggest cliché in photography.” While Opie’s series of photos “Twelve Miles to the Horizon” deals with the very subjects — sunrise and sunset — that she deemed cliché, I think it’s safe to say that Opie succeeded in approaching sunrise and sunset in a slightly different way.

That’s the thing with clichés, especially those of an artistic nature — it may have been done before, but creating a compelling piece is rooted more in presentation, the “spin” the artist puts on it. And sometimes, it just doesn’t matter; there are some clichés we never tire of looking at. The colorful lake sunsets below may be cliché subject matter, but they are all so well done that it’s hard to not absorb the sense of tranquility they confer and temporarily lose yourself in their beauty.

Photo by MaxGag

Photo by Kevin Dooley

Photo by PapaPiper

Photo by Tony Fischer

Photo by みゆき

Photo by Morgan Paul

Photo by Tony Gladvin George

Photo by Mikey Jones

Photo by Kosala Bandara

Photo by liz west

Photo by blinking idiot

Photo by Richard Hurd

Photo by Andrea~S

Photo by Patrick Emerson

Photo by Steve Jurvetson

Photo by Arturo Donate

Photo by Alex

Photo by blinking idiot

Photo by David Williss

15 Film Photography Related Tumblr Blogs You Should Follow

15 Film Photography Related Tumblr Blogs You Should Follow

Tumblr is a microblogging platform and social networking website founded by David Karp in 2007. It has become one of the most popular social media sites as of late when it comes to photography. There are many photography blogs on Tumblr, but here we've pulled together a list of 15 Tumblr blogs related to film photography for you to add to your dashboard.

#mediumformat is a Tumblr blog of all things medium format and the like for appreciating this lovely form of photography. The blog is curated by California-based photographer Ani Lynn.

35mmers is a community created around the shared appreciation of 35mm film photography. If you would like to see some of your own work featured on the 35mmers website, then head over here to submit your work.

Analogue Sunrise is a daily photography Tumblr blog related to film photography. Each day photos are hand picked and featured on the blog from their Flickr group. Analogue Sunrise is found by photographer Derek Corneau circa 2010.

BelieveInFilm is the official Tumblr blog of BelieveInFilm.com - an international community of photographers doing awesome things with film photography, helping people find and use film cameras, share photos, share info in their film photography forum and promote film photography projects.

Film is God is a Tumblr blog dedicated to film photography and all things related. It allows its followers to submit their own photography through the blog and their Flickr group. Film is God has a goal to get more people to discover the wonders of analogue. The blog was started by Emily Savill in 2010.

I Still Shoot Film was created by American photographer Rachel Rebibo, is a photography blog dedicated to the art of film photography, sharing inspiring work from photographers around the globe. It also provides a wide array of learning resources, including how-to articles and product reviews. If you're interested in getting started with film, head on over to the Beginner's Guide to Film Photography.

If You Leave was started by London-based photographer Laurence Von Thomas as a place for contemporary photographers to submit their work. With photographs, most of film photography, of a wide variety of subjects and landscapes, the focus is more on the impact of a single image rather than a body of work from those submitting. By now, If You Leave has a following of more than 400K on Tumblr. "My biggest pasion has always been film, it's also my background and I think it shows in my work." - Thomas said in an interview.

In an instant is a daily photography blog showing the beauty of Polaroids. The blog is running by many contributors.

Lomography is the official Tumblr home of the Lomographic Society International. Follow this blog to enjoy fresh lomography snapshots from their community. The Lomographic Society International was founded in 1992 by a group of Viennese students after they discovered the Lomo LC-A camera created by LOMO PLC of Saint Petersburg, Russia.

Only Film Photography is curated by Daniel Espinoza since 2011. This blog is only dedicated to analog photography. If you are a film photography enthusiast, you can submit your best work to the blog here.

Polaroid SF is a photo-a-day instant photography project that stems from a deep-rooted love of all things San Francisco since 2011 by local photographers Bruce Scott and William Westley. They aim to create an analog love letter to San Francisco. "Everything you see is captured through the lenses of vintage Polaroid cameras, no digital enhancements necessary," they said.

Revolog features film photography which are using their own handmade film produces, special effect films for analog photographic cameras. Currently they have ten different effect films which are sold through the webshop. Revolog is founded by Michael Krebs and Hanna Pribitzer in 2010.

The Film Photography Diary is curated by French photographer Ousseynou Cissé. The aim of the magazine is to feed you with good photography, raw talent, simple and creative pieces of work.

The Holga Blog is a blog dedicated to the Holga family. Holgas are known for their vignetting, soft lenses, plastic bodies, and being "pieces of crap." This blog is curated by Adrian Gilliam and Renate Cloud.

The World Through Green Eyes is a blogzine based on the relationship between human and nature. This blogzine was created to give space for new Photographers, to let known their name to the world and to demonstrate their love for the Land. The World Through Green Eyes is for everyone who loves photography and Mother Nature, for everyone who loves to be wild.

And of course, don't forget to follow us on our Tumblr at im.shootingfilm.net. Do you follow any Tumblr blogs featured here? If you feel we've missed some great ones, let us know in the comments below...

Interview with Sheena She

Interview with Sheena She

Sheena She, also known as Queen Of Anti-Social is an analog enthusiast based-in NJ/NYC. She told us her 5 reasons why she's shooting film. And now, just take a look to the interview to know more about Sheena and her work.

Hi Sheena, can you tell us a little about yourself?
Hi Hmoong. Well I'm a creative female who runs a site called Chainsaws and Jelly. I feature artists - mainly independent and upcoming - and a few odds and ends. I'm a freelance make-up artist based in NJ/NYC and an analog enthusiast! I love creepy things and the simple life. And I moonlight here - queenofantisocial.tumblr.com

How did you start and how long have you been doing film photography?
I picked up film photography at a young age being the photographer for family gatherings and such. I grew up where film was dominant and digital wasn't around. I'd bring disposable cameras to school and document my week and it just never left me.

Can you tell us about your background in photography?
I don't have a background professionally in photography nor did I go to school. As with everything else I do - I am self taught. My teacher is myself and just observing other photographers, videos, and experimenting. I find it more fun and less of a hassle when I do things on my own.

What equipment do you use, is there a film you like best?
I use a few cameras on site but my go to: Konica C35, Polaroid Big Swinger / Super Shooter, and Minolta Freedom III. I don't have a favorite film but I do enjoy the results of Fuji Reala and Agfa Vista.

Who and what are some of your influences?
I'm influenced a lot with mother nature and it's beauty as cheesy as it sounds. Every time I walk outside - what I see is an instant photo. I enjoy dreamy and magic like visuals as well as emotions for influences. I hope someone out there understands what I mean. Haha.

I don't have a favorite photographer as I have many but Ellen Rogers has always been one of my favorites!

Any message for new film photographers? Or maybe a tip you would like to share?
Experiment and don't ever take it seriously - meaning, there is no perfect photo! Use your imagination...your eye - to create. I know many who love to use the highest cameras and the most expensive equipment. I've always believed it's not your camera - it's how you corporate everything in the photo. Shoot, shoot, shoot and never stop shooting.

Sheena, thank you for the interview.
by Khánh Hmoong

STEVEN BROKAW PHOTOGRAPHY

Enjoy the 2 articles following this photo.  The Photographer is as good a writer as he is a Photographer.

Lustful Things...

Here's another excellent "blogger" blog I found called Film Photography Lust.  Read and enjoy the next few articles, then please pay a visit to this fellow Photographers Site.

Film Photography Lust

Lustful Things - That's Right I'm Talking About Film

Welcome to my new blog.  As a bit of introduction to both this blog and me let me first say “I’m Steve, and I’m a photographer”.  I’m not a photographer by trade, but by passion.  I’m a finance executive in my day job, and have been involved with various finance roles & positions in my 30+ professional years both in the USA and around the world.   However, I consider myself a photographer first.  I’ve been around photography my entire life.  My father was a photographer, so I’m a photographer. 

My focus for the past few years is editorial fashion, model / portrait photography and the occasional street photography.  As you can imagine, I shoot digital.  Nikon full frame cameras are my weapons of choice.  All of my published and paid gigs are digital centric.

HOWEVER, I still shoot film.  Why? Honestly, I don’t know.  I started out shooting film…obviously.  As a matter of fact I still have my first film SLR.  It’s a Canon TX purchased probably 40 or so years ago.  That bad boy still works.  Before and after I’ve shot all types of film cameras and all types of formats & film brands from 35, 110, 126, 120, disc, instant Polaroid, Kodak, Ilford, Fuji, & many more.   I’ve shot all types of film cameras from Polaroid, Brownie, Yashica, Mamiya, Minolta, point & shoots, Fuji, etc. etc.

I guess I still shoot film because I enjoy it.  I have a lust for film & photography.

I’m not a film or digital photography snob.  I’m completely equal opportunity & bilingual.  I hate those in the community that say stupid things about the purity of film, the “spray & pray” nature of digital, the “get out of the stone age”, etc., etc.  Photography is photography.  Who cares how it’s created as long as you are capturing an event or moment in time.  Be it film or digital.

I will admit the workflow with film is more complex, costly and time consuming than digital. You also do not get immediate feedback unless you shoot instant film.  However, I still shoot film.

OK, enough about me.  What about this blog you ask?  I have a separate blog and portfolio site for my model work at Steven Brokaw Photography.  You can check me out there.  I wanted to separate my film writing into a different channel because the tone & vibe of the blog will be different.  This blog will be about film.  It will cover whatever I want to discuss at the moment.  I'll do camera reviews, talk about experiences, hype my latest camera find, share thoughts on film, occasionally bitch about something, highlight another photographer or blog, talk about a shoot or a concept.  You get the idea, anything and everything concerning film.  I do not expect this blog to become a camera review site, nor will my discussions get too technical.   That’s not my bag.

So here we go.  Sit back and enjoy the ride together.  So with that, my I introduce my Film Photography Lust Project, FPL for short.

Film Photography Lust

Canon TX - My First SLR

So you wanted to be a stud as a young photographer back in the 70"s?  Of course you wanted to be.  But Steve, how did YOU do it?   Me, I got a top notch film SLR right after I graduated from high school.  By then I was seriously into photography.  I had some really cheap film cameras in high school, but then I finally bought a solid SLR, the Canon TX.  Although this was a consumer grade SLR, for a young guy it was the bomb.  No one in my group of friends had anything this cool.  Yep, a stud.

Joking aside, the Canon TX was a solid SLR.  A tank.  Extremely basic with only a simple light meter.  Other than that the TX is fully manual.  I "think" I bought it in 1975.  Canon produced the TX between 1975 to 1979.  It came with a Canon FD 50mm f/1.8 as a kit.  A perfect standard lens.  I have no clue how much I paid for it, or if my Dad gave me some $$$ for the camera.  I used it constantly for years.  Not sure when I stopped using it, but I found it about a year ago in an old box of camera equipment in my store room.  Time to use it again.

I shot it for the first time in years this month.  I used a roll of Ilford XP2 400 for the test.  I also decided to buy a Canon FD 35mm f/3.5 lens at Roberts Camera so I could get something wider.  A nice lens, but not very bright.  

The Canon TX is a manual focus 35mm SLR.  There is a split circle in the viewfinder that is used for focusing.  You simply line the top and bottom portions of the circle together and then it's in focus.  The speed goes from B to 1/500 max.  Not really very speedy.  ASA range from 25 - 1600.  The camera has a hotshot and a maximum flash sync speed of 1/60.  There is also a PC connection for flashes or for syncing strobes.  There is a match-needle light meter.  On the right side of the viewfinder there is a needle that moves up & down based on the light.  You simply turn the aperture ring to an aperture so the little circle lines up with the needle.  It requires a 1.35V battery.  The camera gives you a really solid "clunk" every time you push the shutter release button.  Not stealthy at all.  Here's the back and insides

The back.  Viewfinder is clean & bright

Internals are really clean & seals tight

I loaded the camera with the appropriate battery, but the meter doesn't work.  Therefore, for the shoot I used the sunny 16 rule.  I was playing it by ear.

OK, here are the results.  With the Ilford film (remember I'm estimating the settings) only the photos in sunny condition came out with little / no noise.  I also took several images under cloudy conditions & low light.  Tons of noise, with some coming out unusable.   Again, this is probably my guessing the settings versus the camera / film.  Next time I'll use my Sekonic light meter.

Bottomline, this camera is a tank.  A good, basic camera.  It can be used without a battery, but it's better if the light meter works.  What I like about this camera is that it was my first SLR, and fundamentally it still works.  I probably won't use it much in the future because I have better cameras.    Maybe try a roll of color film?  However, it will hang out on my display shelf because it was my first.  

Here are some of the photos.  

Bright, but cloudy day

Back Alley behind Roberts Camera.  Fairly bright

In mild shadows and close to dusk

Bright day, but completely in shade

I'm Steve

Steve

I Still Shoot Film Too (Also)

Breaking the Rules

I blogged about this before but I suppose it merits mentioning again, especially considering the photo above taken with the Pentax ZX-L  on CVS 400 color film. Shooting into the sun was something I was always told you’re not supposed to do. I remember all the Kodak film boxes that came with instructions on how to use your Kodak film and even the old camera manuals always that said to make sure the sun was behind you, “over your shoulder” when you took a picture! 

Of course, that’s just one of many “rules” we are free to break in the name of creativity. The point is, while rules are designed to generally give pleasing results in most situations, sometimes breaking the rules allows for dramatic effects that can also be pleasing.

In the photo above I was able to balance the back lighting enough to allow the beautiful color of the flowers to come through in contrast to the darker shadows and the bright streaks of green grass illuminated by the sun for what I consider a strikingly beautiful image.

…and of course, since I was shooting film I had no way of knowing what I would end up with for weeks until I finished the roll and had it processed and scanned.

I would like to say that I knew exactly what I was doing and how it would come out but the fact that I took several shots of this scene would indicate otherwise. I did however have a general idea of what effect I was going for the rest of was a combination of skill luck and faith – just one of the many things that keeps shooting with film exciting!

What I'm Shooting Film With

July 27, 2014

For me, film has come back in a big way.  Slowly but surely I started adding film cameras back in to my arsenal.  One of the first cameras I brought back was the Nikon FE.  To this camera I added the motor drive which gave it that very cool retro sound.  I must confess: it wasn't just for that.  Having got used to the bulk of a DSLR that has a grip on it, it filled my ample hands much better than without it.

Besides the standard 50mm lens I also added a 135mm f2.8 lens.  This is similar to the camera I used when film was the standard - the Nikon FM.  The difference between handling a film camera and digital camera is like reading on a tablet or Kindle as opposed to a real book.  There's something just wonderfully tactile about the whole experience.  When I would pull out this camera and explained to my subject matter that I wanted to shoot a few frames of film they were intrigued.  It brought something about in them that was different than if I had continued shooting with my digital camera.  You could see it in the images.

When I was shooting only film I loved my medium format camera.  These cameras used 120 film and created a 6x6cm negative.  My medium format camera of choice was a Bronica SQ-A.  I loved that format of film and the versatility it offered, but I didn't want to make a large investment in my experiments with film.  So, for less money I found a camera that would give me that format again - the Yashica Mat 124.

 But what I wanted was a little more control and versatility in my medium format images.  My Bronica definitely gave that too me, but even when I had that camera I always wanted to experience the bigger negative of cameras like the Mamiya RB67.  So, this is the last one I've added to the line up.  I've shot and processed a few rolls with it and I must say - I'm in love!

I will be incorporating images from these cameras, especially the Mamiya, into my photography from now on.  There's just nothing like it.  As well I'm having a lot of fun with old Polaroid cameras like the 440 and the 600.

Lately I'm staring to feel like I can't satisfy my lust for these film camera beauties.  And, since the prices have come down a lot today, I hope to add one more to the armoury and that's a large format camera. This is the next one I have eye on.

by: Brian Tremblay

Engagement Session

Realizing I'm not the only blogger online, I enjoy scouring the internet to find other Photography Blogs.  Today I had the good fortune of discovering Aliza Rae.  To see more of her work just "google" Aliza Rae Photography".  For now, here's a sample of her photographic ability with a young couple.

Schlitz Audubon Nature Center Engagement Session

Posted on July 25, 2014

These two were just a treat to photograph.  Our spring here in Wisconsin was pretty late, and having scheduled this session months in advance, we had no idea how mother nature was going to behave.  The day of our shoot the weather was perfect, although the blooms were a few weeks behind, I have to say that I really like the way the mostly bare and brown branches lend such a neutral background to the images.  Here are a few of my favorite images from our session.


 

Capturing Images With Film Not a Digital Camera, A Pioneer of UAS

• by Rob Thompson
• View Blog

We like to think what we are doing is new, however some folks have been pioneering the way for us for a long time. People like Bert Wagner of Advanced Aerials can remember a time he would use film to capture images and then run to the 1 hour photo to have them developed. Only when the film was developed did they find out if they got the shot or if they had to go back and re-shoot. This article I am linking to is from 1998 Rotary Modeler Magazine about Bert's quest to provide aerial imagery for civilians. This is a fascinating read and a step back into to time on how the original pioneers operated aerial imagery on model helicopters.
Original Article with Photographs link here
Developing the "Hornet"

This article is by Bert Wagner of Advanced Aerials, and was edited by Malinda Brent. It has been reprinted with permission from The March/April 1998 Issue of Rotory Modeler Magazine. Many thanks to Bert Wagner as well as Mike Mas of Rotory. A television and a recliner huddled in the corner are the only items remaining in my living room that indicate it used to be a place for rest and relaxation. A couch used to occupy the space where the three and half foot tall Formica-topped work bench sits, bearing the tools of my avocation, pieces of twisted aluminum tubes of adhesive glue, metal lubricant and miscellaneous nuts, screws, bearings and bolts.

The fireplace mantle provides a perch to keep the Hornet - the l9-pound helicopter that is the product of and reason for the industry that mattered more than anything else in my world for the last three years. My marriage and financial security were sacrificed on the altar of my mission, my passion to create the radio controlled helicopter that takes superior aerial photographs.

Despite the hard times and the long road, I wouldn't trade a minute of the journey - a quest to combine remote controlled flying and photography to create a unique product. It was nearly four years ago when I was taking photos of a bridge under construction in Loudon County, Virginia that the inadequacy of ground-level photography hit me. I could either shoot from under the bridge in progress looking up or from the bridge looking across. To me, as a photographer who is always seeking a unique way to see a subject, these two options just weren't creative enough. It was a perspective everyone could have. The construction company who hired me was happy enough with the photos, but I wasn't.

"The inadequacy of ground-level photography hit me"

So I set out to find an eye in the sky. I first tried a tethered helium-filled balloon, which had to have at least a nine-foot diameter to carry my camera gear and accompanying electronics. Storage was a problem because of the balloon's size, but deflating it to bring it inside and reinflating it later wasn't cost-effective due to the high cost of helium. Wind also decreased the payload, interfering with lifting capabilities. And it was difficult to shoot straight down anyway. That's when I started looking into helicopters.

But getting information was difficult; people didn't seem to want to give up their secrets. I bought an instructional videotape but it was nothing more than a promotional selling the helicopter's electronics. And it told me nothing about how to take photographs using a helicopter. It just showed other people doing it.

As a radio-controlled enthusiast since I was a child, I decided I would just have to figure it out for myself. When I was seven, a next-door neighbor gave me an old fashioned airplane using rubber band powered servos. I couldn't fly it but I was intrigued by it. When I was 21 years old, I finally had enough to buy a $600 remote controlled airplane, radio and starting equipment. It survived one brief, but spectacular flight.

But eventually I taught myself how to fly. Now convinced I needed a helicopter, I put the word out to family and friends. The following Christmas, 1993, I got my wish, a MFA Sport 500. It was a fixed pitched helicopter that used a radio-controlled airplane engine and radio. Too impatient to wait for better weather, I spent the winter teaching myself how to fly it in a parking garage with 10-feet ceilings. The noise, smoke and height limitations made flying nearly impossible but I couldn't wait for the spring.

When warmer weather finally came along, I moved my practice field outside and continued to improve, teaching myself forward flight. But I got cocky, trying to fly beyond my abilities and crashed the helicopter. Every time a gift-giving occasion came along I'd be asking for another helicopter. My wife, Claudia, always asked, "Why do you need another one?" And I would say "Well, why do you need another lipstick?" But she didn't understand, so after a while I stopped asking.

"I started to realize the money-making potential in this type of aerial photography"

I quickly learned I could get more control from a helicopter with collective pitch, like full-sized helicopters use. I borrowed $2,500 to buy a model Gas X CELL and a Futaba Super Seven radio transmitter and accompanying electronics gear. As my interest grew, I started to realize the money-making potential in this type of aerial photography. Flying at altitudes from a few hundred feet to the ground, a small helicopter with a camera mounted on the craft could take pictures far superior in detail and perspective than a full-size airplane or helicopter for a fraction of the cost.

I thought of asking Claudia to invest, helping me realize the dream that was slowly and painfully but surely becoming a reality. But the debts mounted as I became more and more preoccupied with building this helicopter. When I would scrape up enough to buy another piece of equipment she would ask, "Do you know how many bills we could have paid for that?" I knew she was right but I had to keep on going.

I spent the summer of 1994 practicing hovering. Then I decided to bolt my $1,100 camera onto the helicopter. Always the voice of reason, my wife was skeptical. "What if it crashes?" she asked. My first photo taken from the helicopter was an out-of focus shot of curb and gutter taken at a construction site about a half-mile from my house in Manassas, Va. I was ecstatic, sharing the picture with polite but puzzled friends who had no idea what it represented to me.

"I knew I would have to get some sort of micro-video camera and downlink system"

Realizing the necessity of isolating the camera from the helicopter's engine vibration, I made my first gimbal, the bracket that tilted back and forth via electronic command. Of course, this function also gave me new options of perspective. It was right around this time that I teamed up with my first pilot, Peter Hirschburg because I realized that it would require two people to man the controls, one flying the helicopter and one operating the on-board camera. Together, we were getting closer. Out of two rolls of film, one or two photos would be usable, but they still weren't sellable quality. I knew I would have to get some sort of micro-video camera and downlink system.

With that $2,500 purchase, I went further into debt. And my wife walked out of the home we had purchased together two years ago. At that point, I seriously thought about giving it all up. But as she carted the sofa out of the living room, I realized that spot would make a perfect place for my workbench. Suddenly the equipment in the workshop that had been cramped into a back bedroom migrated into the living room.

We continued to work on vibration isolation to the point that our photographs started to improve. The shutter speed was between 2000th and 1000th of a second but limited in F-stop. Because of the vibrations, we were forced to use a fast film that didn't work on anything other than a sunny day. And with the camera six inches away from the engine, I knew we needed to improve vibration isolation. A few months later, with a new gimbal design that incorporated camera stabilization, we managed to lengthen shutter speed to between 500th and 1000th of a second.


By this time, we were able to start selling our aerial photos. But our ground-based viewing system, which consisted of an old television, severely limited my mobility as well as my ability to see the screen in the glare of the sun. A Sears tool belt and a camcorder viewfinder finally made us portable. And in July 1995, we started calling ourselves Advanced Aerials. It was winter 1996 that I met Jim Langley, right around the time Peter's wife had a baby and he decided to limit his involvement with the project.

Jim and I quickly discovered we shared the same mechanical aptitude and a keen interest in low-altitude photography using model helicopters. He was also willing to invest time into improving our abilities and equipment. At the same time, we continued to do jobs, taking photographs of golf courses, buildings and construction job sites. Six months later, the Thing we knew would happen sooner or later did happen-we crashed. We'd been having vibration problems earlier in the week and as we're photographing a golf course, the power supply to the on board controls shook loose and the helicopter went down.

"The craft dove into a retention pond"

From an altitude of 200 feet at about 40 miles an hour, the craft dove into a retention pond. Both of us stood there watching in horror as the graphite blades splashed into the water. The last I saw was the tail rotor still spinning, spitting up water. All I could do was yell "*&%$#@ !" We had just watched about $8,000 worth of equipment and the blood and sweat of years of effort lost. I spent the next three hours in 4 feet of sewer water at the spot where we saw it go down. But it must have drifted. We couldn't even find an oil slick to clue us in on its whereabouts. Finally, a few pieces of paint surfaced and we found the water soaked helicopter.

We managed to salvage the majority of the craft but the $1,100 35 mm camera was totaled. Most of the film and the electronic gear were usable. I thought it was all over. We got arrogant and that's what happens when you get too sure of yourself. But we have solved that. Now we do a pre-flight check that rivals full-scale aircraft. Despite his apprehensions, Jim decided to stick with it. With what we had left of the old helicopter and what we had to replace, we now had the equipment for two helicopters.

Then we started modifying the pan and tilt function and came up with a system that allowed us to record video on board. It wasn't exactly Hollywood, but it was good for video acquisition. Through word of mouth, through contacts in the hobby community, people expressed an interest in our gimbal design. With our new video capabilities, we were finally able to start sending out demos to interested people throughout the country. Because of my unsuccessful attempts to obtain information when I embarked on this journey, I want to share my knowledge with people who wanted to know.

Today, we are shooting film at a 60th of a second and recording on-board video. We call the helicopter prototype the Hornet because of the vehicle's yellow body and the engine's buzz-like sound. My goal is to start educating people about the capabilities of such a helicopter and create an industry. I would like to have a nationwide network of trained operators working with Advanced Aerials to respond to disasters for news organizations and insurance companies.

The possible number of commercial uses for this type of helicopter are endless. I also envision a unified professional organization whose members follow uniform safety guidelines. Anyone who would like more information is encouraged to write to us at 8909 Cherry Tree Lane, Manassas, Va., 20110 or www.advancedaerials.com.
The above address and information is not current
Please follow Bert Wagner (@a2usacustom)  on Twitter.
Please follow Rob Thompson (@learntoflyva) on Twitter