SUBCOURSE EDITION

SS0517 5

TACTICAL DOCUMENTATION
PHOTOGRAPHY
 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 Record

Photography.)

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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

iv
 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 performed
in 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.

 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, and
fields 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 and
identification.

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 and

video 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 the
Army.

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 of
erosion, 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 conditions
relating 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 by
photographing 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 of
overlapping 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 making
successive 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 the
advantage 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 be
effectively 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 assault
troops; 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 same
scene, 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. Such
pictures 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 more
photos, 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 advantage
of 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

16
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...the
cameraman 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

17
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.

18
 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.

19
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?

20
15. In comparative photography, the Army photographer is trying to exaggerate
what?

21
 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.

22
 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.

23
 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:

24
 (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 previously
mentioned. 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 the
mission. This, of course, is where you come in.

25
 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 the
flight 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 carefully
plan 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 final
prints by writing out the answer will aid you in your planning.

26
 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 an
object, 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
altitudes or long focal length
infrared film. Emergency plans
territory. The location of the
a specific camera system.
of the target. Small targets require either low
lenses. Camouflaged objects can be seen with
are different over targets in enemy and friendly
target may demand a specific type of aircraft of

(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.

27
 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)

28
 Figure 2-2. DA Form 3903,
Training-Audiovisual Work Order (Example 2)

29
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.

30
 (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 photo
facility. 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 between
pilot 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

31
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

32
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.

33
Figure 2-6. Horizontal photograph

34
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 to
get 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 the
aircraft 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

35
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.

36
Figure 2-7. DA Form 3315, Audiovisual Caption Book

37
 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 from

those 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?

38
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?

39
 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.

40