Take me to the Steps

To celebrate 20 years of Make:, we’re looking back at projects from our first issue. If you’ve ever wanted to take really bird’s eye view pictures with a film camera, here’s Kite Aerial Photography from Make: 01.

This article appeared in Make: Vol. 01.Subscribe to Make: for more great articles.

Kite aerial photography appeals to that part of me, perhaps of all of us, that would slip our earthly bonds and see the world from new heights. An aerial view offers a fresh perspective of familiar landscapes, and in doing so challenges our spatial sensibilities, our grasp of relationships.

Charles C. Benton

Have you ever wanted to take pictures from the sky?

Kite aerial photography (or KAP for short) bridges the gap between taking pictures from a ladder and taking them from an airplane. Within this elevation spectrum, you can capture landscapes, objects, architecture, and people in entirely new ways.

In the pages that follow, I’ll give you step-by-step instructions for building a very low-cost rig consisting of a camera cradle made of craft (popsicle) sticks and model airplane plywood, a shutter-button timer mechanism that uses rubber bands and Silly Putty, and a camera-stabilizing suspension.

Following the step-by-step section, I’ll recommend some kites and other equipment you can use for the project, and then run you through your first flight with the rig.

A day in the life of a kite aerial photographer

It’s a sunny Saturday morning in Berkeley, California. I check the Bay Area winds website and learn that a sea breeze is coming from the northwest. My kite aerial photography (KAP) gear is already packed and in the trunk of my VW Cabriolet. The remote control batteries are charged and ready to go. Around noon I head for the Aeroschellville airstrip north of San Francisco Bay. The owner of a Swift airplane wants me to take some photographs of his craft while it is parked on the ground, and he has secured permission from airport authorities to allow me to fly the kite at the airstrip. During the delightful, top-down drive north, I’m watching trees, water surfaces, and so on to get a sense of the wind.

After arriving at the airstrip, it takes less than a minute to clip the fuzzy tail to the kite’s harness and to clip the kite’s bridle to the kiteline. With a leather glove on the hand I use to hold the kiteline, I launch the kite, a Sutton Flowform 16, and spool out a quick 100 feet of line. Though the kite is behaving somewhat erratically, it has sufficient pull to lift the camera rig. It will be a challenge to avoid motion blur in the images. I would normally send the kite much higher before attaching the camera to see if I can find smoother air at 300 or 400 feet. But this strategy is not prudent at an airstrip, and besides, we would have to seek additional permissions.

Ground-level view of the camera rig flying below a Sutton Flowform 16 kite. The Picavet suspension lines are white in this image. The camera cradle is well balanced below the Picavet cross.

It’s time to rig the camera, so I clip the kiteline off to a carabiner tied to a post. From my KAP gear bag I pull out a Canon Rebel X, its 24mm lens, and my handbuilt, radio-controlled camera cradle. I spend a minute getting a fresh roll of film into the Canon and the lens-hood mounted on the lens. Then I complete a quick ground check of the remote control radio gear ­— used to control the orientation and shutter of the camera when it’s in the air — by powering up the receiver. Convinced the frequency is clear, I turn on my transmitter and check the camera cradle’s rotation functions.

Today’s windy conditions invite the inevitable question, “How do you establish a stable platform that you actually trust your camera to?” Even though the kite is quite active a hundred feet up, the movement at the Picavet is modest. This is partly due to the stretch of the Dacron line absorbing the load, but mostly it’s just the geometry of having the Picavet within 15 feet of the kiteline’s anchor point. When launching, I always attach the Picavet’s “hangups” in a position that places the Picavet’s cross just within reach — say about 8 feet above the ground. Even if the kite dives 50 feet, the camera will still be above ground level. So I proceed by attaching the camera cradle to the Picavet and making a final check of rig movement functions and the camera’s settings: auto-exposure mode, focus on automatic. 

Once the camera is hanging from the rig, I unclip the kiteline from the carabiner and gain a little working height by letting out kiteline. As stable as the launching arrangement is, I generally feel better when the camera is clear of the ground. With the camera rig about 30 feet above the ground, I work with the Swift owner to take a series of bird’s-eye view and oblique shots of the airplane with the camera gaining no more than 40 feet of altitude (as monitored by the IR laser rangefinder I keep in my vest). The owner helps me sight the camera cradle’s position downrange — something my twin sons usually attend to.

The camera cradle is bouncing around quite a bit in the gusty winds and my shutter speed is varying between 1⁄250 and 1⁄500 of a second (determined when the camera was on the ground). The trick in this situation is to patiently wait for the moments when the camera cradle becomes less active and shoot in these interludes. This I do, and when the rig is moving vigorously, I back away from the handsome Swift, lest something fail, and — bombs away. (I will knock on wood and say that in hundreds of flights, I’ve yet to drop anything.)

KAP aficionados often emblazon their gear with cloth club badges like the ones shown here.

After taking my last shot, I tie the kiteline off to the carabiner again and walk the kiteline down to retrieve the camera rig. With the kiteline under my armpit, I easily handle the Picavet without putting tension on its lines. After removing the camera cradle, the kiteline is released and the kite flies from the carabiner while I move the camera rig out of harm’s way (or, as I do on other occasions, change the film and then reattach).

With the camera tucked away, I walk the kiteline down again and remove the Picavet and then the hangups. These go back into their photographer’s vest storage pockets. Next the kite is hauled in (by walking the kiteline down in this case) and kite, tail, and kiteline are stowed away. A final scan around the flying site for scattered gear is followed by stowing the larger items, including the photographer’s vest, in the KAP gear bag. The session ends by taking a couple of ground-level context shots, thanking the Swift pilot, and exchanging business cards. The total time between hauling out the KAP gear bag and placing it back in the trunk is about 35 minutes. 

  • Beechcraft 18, Daytona Beach, Florida (Canon S400 Digital Elph) When scouting for subjects, I often look for juxtapositions that play well from my low-altitude vantage point. On seeing this derelict Beechcraft 18 mounted on a post above a miniature golf course, I had to stop and shoot. Taking the shot involved flying the rig blindly from the other side of a low-rise hotel.
  • Point Bonita Lighthouse, Marin County, California (Canon Rebel SLR w/ 15mm fisheye lens) Point Bonita guards the northern flank of the Golden Gate Straight. Its lighthouse is perched precariously low on the outermost rocks to keep it underneath the fog. The foundation outline of a former keeper assistant’s cottage is visible in the foreground. The barrel distortion of the rectilinear fisheye lens evokes the Earth’s curvature.
  • Pueblo Bonito, Chaco Canyon, New Mexico (Canon Rebel SLR w/ 24mm lens) Since my earliest studies in architecture, I have been en-thralled by the great pueblos of the Southwest and speculations about the ancient civilizations that built them. Flying above Pueblo Bonito was a particular treat.
  • Pigeon Point Lighthouse, San Mateo County, California (Canon Rebel SLR w/ 24mm lens) Dense fog marked my drive out to this lighthouse, threatening the inaugural flight of my single-lens, reflex KAP rig. Just as I arrived, the fog, visible in the photograph, pulled back a couple hundred yards and stayed politely out of my way.
  • Children’s Play Structure, San Francisco, California (Yashica T4) Viewed from the ground, this climbing structure appears as chaotic as the children it entertains. But from the air, its structure and organization read as clearly as an architectural blueprint. The exposure was taken under the diffuse light of a cloudy day, lending a soft quality to the shot. The Yashica T4 is an impressively capable point-and-shoot camera.
  • Moored Boats at the Berkeley Marina, Berkeley, California
    Moored Boats at the Berkeley Marina, Berkeley, California (Yashica T4) Many subjects reveal a different nature in plan view (looking straight down), and so it is with boats. One can’t help but wonder about the variety of boat shapes evident in this image — narrow beam vs. broad, blocky vs. sleek — and the reasoning behind each design. Murky water and boat shadows lend a tangible presence to San Francisco Bay’s surface.
  • The S.S. Jeremiah O’Brien, San Francisco, California (Canon Rebel SLR w/ 24mm lens) The Jeremiah O’Brien is one of two remaining Liberty Ships, an anachronistic supply vessel from World War II. It was lovingly restored to operating order by a group of veterans and enthusiasts. In my early days of kite flying, I once tangled a kite in the ship’s upper rigging. It was extricated by a willing and able septuagenarian to whom I remain grateful. Practice with those kites!
parts key

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Project Steps

Cutting

If you are making several rigs at once, it makes sense to batch-process them.

It’s a good idea to cut all the pieces to size and drill all the holes in one session. This will speed up the assembly process.

Refer to the list of materials for the dimensions of all parts. The wood pieces can be held and cut with a wood saw and an inexpensive miter box.

Drilling

Here are the drilled and cut components for several kits.

Tools: Drill (or better yet, a drill press); Drill bits: 1/16″, 3/32″, 7/64″, 1/8″, 9/64″, 1/4″, 5/16″, 5/32″, and 1/2″; Clamping jig

2a. Hardwood block for Picavet hanging bolt and arms.

The hub of the Picavet needs holes for the Picavet dowels and for the hanging bolt. (While I have not tried it, you may be able to substitute a Tinkertoy hub for this part.)

The 1¼” square block of hardwood [J] requires a 9/64″-diameter hole drilled through its center for the 8-32 Picavet hanging bolt [AE]. You then drill four ¼”-diameter holes in a pinwheel fashion for mounting the Picavet arms [G]. The holes should be deep enough to break through the intersecting perpendicular dowel hole, but note that they should not go completely through the block. I found a small clamping jig very useful in making these dowel holes with the drill press. 

2b. Brass tube for Silly Putty timer mechanism.

The small hole in the brass timer tube and protector cap will accommodate the timer pin that holds the rubber band. Clip the pointed end, not the head, of the finish nail.

Mount the vinyl screw-protector cap [AB] on the end of the brass 5/32″-diameter inner timer tube [K] and drill a 1/16″-diameter hole through the cap and tube, approximately 5/16″ from the end of the brass tube. This hole is for the clipped 1″ finish nail [D] that serves as a timer pin. Adjust the hole diameters if necessary.

 

2c. Plywood for cradle backplane. 

Drill a 1/8″-diameter thru-hole, ¼” in from the edge in each corner of the  model aircraft plywood backplane [L]. These holes are for the #8 sheet metal screws [W] that will mount the backplane to the vertical posts [N]. The backplane also receives three asymmetrically spaced 3/32″-diameter thru-holes for the rubber band pegs [F].

 

2d. Aluminum bracket that connects cradle to Picavet.

The aluminum bracket [M] is bent from an 8¼” section of 1/8″-thick x 3/4″-wide aluminum bar. Drill a ¼”-diameter hole 5/8″ from one end for the 1/4″-20 nylon bolt [AH] that will attach it to a cradle post [N]. At the other end, drill a series of six 9/64″-diameter holes for the 8-32 Picavet hanging bolt [AE] as shown.

 

2e. Hardwood blocks that serve as left and right cradle posts.

Drill a 1/8″ hole in the right cradle post for the shutter lever screw [AF]. Drill a 1/4″-diameter hole through its side for the aluminum bracket [M]. The hole needs to be countersunk with a 1/2″-diameter bit. The upper front of the left post also requires two 7/64″-diameter holes for mounting the horseshoe tack [H].

 

2f. Backside of cradle posts.

Drill two 1/8″-diameter holes in both posts for the backplane mounting screws [W]. Drill 1/4″-diameter holes through each post, centered 1/4″ from the front and the bottom for the brass outer timer tube [B]. 

2g. Horseshoe tack and timer release pin.

The horseshoe tack and finish nail should have their sharp points removed. I found a supply of these electrical cable tacks that come with a nice blue, plastic coating – how elegant.

One last step in the materials preparation is to remove the sharp points from the horseshoe tack [H], which is used as a pivot for the short shutter lever [Q] [R], and from the finish nail [D], used as a release pin for the inner timer tube [K]. I did this with a grinder, but diagonal metal cutters and a file would work as well.

Note: Some additional drilling will be necessary in Step 7: Adding the Shutter Levers.

Now that all the parts have been cut to size and drilled, you can begin assembly. You’ll be flying a camera in no time. 

Preparation

Materials (optional): Acrylic paints, water-based sealer

Tools (optional): Paintbrush

 

3a. Gather all components.

It is always a good idea to review the entire instruction set and kit components before starting a project.

Start by finding a nice clean surface (I use an inexpensive sheet of poster board) and lay out the materials. Identify each item using the photo in the Set Up section as a guide, and verify that your kit is complete.

 

3b. Decide whether you will apply a finish to the wooden components of the rig.

All of the kit’s wooden parts are candidates for paint. The craft sticks, dowels, and posts shown here are already painted.

If you intend to do so, now is a good time. I think the rig looks great with a bit of color. I use water-diluted acrylic paints to stain the kit’s wood components. Once the stain is dry, I seal it with a coat or two of water-based sealer. I used Liquitex acrylic paint, diluted one part paint to two parts water, followed by water-based Varathane. 

Gluing

Materials: White glue or 5-Minute Epoxy, craft sticks (for mixing epoxy), four or so paper clamps

Tools:  Hammer, needle-nose pliers (or large tweezers)

The next step is gathering the components that require gluing. While many joints in the kit are candidates for glue, there are four for which it is mandatory: 1) adding pegs [F] to the cradle backplane [L], 2) installing the plug [E] in the outer timer tube [B], 3) assembling the long shutter lever [S] [T], and 4) assembling the short shutter lever [Q] [R].

It is often sufficient to “press fit” the remaining joints (join them without glue), but if any union seems loose, a little glue may be in order. While wood-on-wood joints work well with conventional white glue (Elmer’s), this type of glue takes a while to set. If you are in a hurry or are building the cradle in a single session, then a two-part epoxy (5-Minute Epoxy) works well. Installing the plug [E] in the outer timer tube [B] requires a thicker glue and 5-Minute Epoxy works well here. The following instructions assume you are using 5-Minute Epoxy and should allow you to glue all joints from a single batch of mixed epoxy.

 

4a. Plug outer timer tube.

The timer tube plug will be glued inside the outer timer tube. Silly Putty will fill the remaining space in the tube.

Plug one end of the outer timer tube [B] with the 3″ hardwood dowel [E]. The plug will be a loose fit in the outer timer tube and will require thick glue to secure it.

 

4b. Prepare long shutter lever.

When gluing these sticks, you want to make sure that glue is spread evenly on both sides of the inner stick.

Position the parts for the long shutter lever [S] [T] as shown, with the shorter craft stick [S] in the middle. Place a mark ¾” in from the rounded end of the inner stick [S] to ensure accurate placement of the other sticks when gluing. 

 

4c. Repeat for the short shutter lever.

Note the different alignment for the short shutter level.

This lever uses craft sticks [Q] and [R]. These are aligned differently than those in the long shutter lever. In this case, just align the rounded ends of the sticks with the shorter stick in the middle.

 

4d. Set up pegs and backplane.

The three middle holes will hold small pegs for anchoring rubber bands.

Position the plywood backplane [L] on a sheet of paper. Place the three short segments of  3/16″-diameter dowel [F] as shown in this rear view.

 

4e. Mix epoxy.

Use a scrap of cardboard and a spare craft stick to mix the 5-Minute Epoxy.

Follow instructions on the glue tube. You’ll be placing the two glue components on a disposable mixing surface and mixing them thoroughly with a spare craft stick.

 

4f. Seal plug.

The plug has now sealed off the end of the outer timer tube. This allows us to use less Silly Putty later.

After the glue is mixed, apply a liberal amount to the plug [E] for the outer timer tube [B] and push the plug inside the tube. The dowel’s end should be roughly flush with the tube’s end. Wipe off excess glue and set the assembly aside to cure.

 

4g. Glue levers.

The 5-Minute Epoxy cures quickly, so we will be able to proceed without much of a delay.

Apply glue to both sides of the inner stick of the long shutter lever [S], then position the outer sticks [T] (remembering to leave ¾” of the inner stick exposed). Clamp with paper clamps and wipe off excess glue. Repeat the process with the short shutter-lever components.

 

4h. Glue pegs.

I use a pair of needle-nose pliers to hold the pegs in position while I tap them in place with a hammer.

One-by-one, dip the short pegs [F] in the glue and place them in the asymmetrical holes in the backplane [L]. I position them with a pair of needle-nose pliers. A light tap with a hammer is usually sufficient to press them into the holes. Make sure that they are flush with the front side of the backplane.

 

4i. Inspect work.

Here’s the finished product, showing the pegs projecting out from the rear of the backplane. The pegs are flush with the front side of the backplane. The remaining holes (two on each side) are for mounting the backplane on the vertical posts. 

A Pressing Engagement

Materials: White glue

Tools: Woodworking vise or bar clamp, ruler

Now that the mandatory gluing is complete, we can make the next round of connections. The joints in these sections can be made in two different ways: they can be glued or they can be “press fit” if the match between the opening and the component is tight enough. So try the joints described in this section for a preliminary fit. If the pieces fit snugly, a press fit is probably sufficient. If they are loose, then use glue. (If the connections in step 5b are loose, hold off on the glue until step 6b.)

We will begin the press-fit process by first connecting the brass outer timer tube [B] to the two vertical posts [N] (pay attention to the orientation of the tube’s plugged end), and we’ll finish with assembling the cross for the Picavet suspension by joining the Picavet cross arms [G] to the Picavet hub [J].

Both vertical posts [N] have a ¼”-diameter lateral hole through the bottom front to hold the brass outer timer tube [B]. Unlike the left-hand post, the right-hand post (as seen from the front of the rig) has a hole sideways through its center for the bracket mounting bolts. Unlike the right-hand post, the left-hand post has two small holes through the top front for mounting the horseshoe tack [H]. Take some time to get these posts oriented correctly and life will be blissful.

 

5a. Position posts and tube.

Make sure the plug end of the outer timer tube is oriented toward the right post (the post with the large hole in the middle).

This view shows the vertical posts from the back side as indicated by the two upward-facing, predrilled holes for mounting the backplane on each post. Note that holes for the brass outer timer tube are located near the table’s surface. Note also that the right post (seen on the left because we are viewing from behind) is oriented so that the large side of the middle hole is facing inward.

 

5b. Press tube into posts.

Lack access to a woodworking vise? A short bar clamp can provide the same function. Make sure the components are lined up well before
applying the pressure.

I used my woodworking vise to press the brass outer tube into its corresponding openings in the vertical posts. Check orientations of the components before pressing. The fit between tube and opening in some kits may be a bit loose. In this case you will not require a vise but may require a little epoxy. Mount the backplane (see next section) before using the epoxy.

 

5c. Position parts that form the Picavet cross.

Make sure that drilling debris is cleared from the arm holes before the arms are inserted. I use a small nail to clear out shavings.

Arrange the hardwood center hub [J] and the four hardwood dowel arms [G], lining them up with the holes they’ll be pressed into.

 

5d. Insert dowels into hub.

A closer view of the center hub. The ¼” dowel arms fit into the holes in a pinwheel fashion.

As each arm is inserted, note that it will eventually rest against the inserted arm adjacent to it. For instance, the end of dowel A in the photograph will rest against the side of dowel B after insertion. Similarly, the end of dowel B will rest against the side of dowel C. Therefore, do not press a dowel completely in until its adjacent dowel is at least partially in place.

 

5e. Press-fit dowels into hub.

Each Picavet arm should project from the center hub approximately 4¼ inches. Check with a ruler and adjust as necessary.

Again I used my woodworking vise to press the Picavet arms into their holes in the center hub. The fit was sufficiently tight that I could not have done this by hand. Glue was not required.

If your dowels slide in more easily, just place them by hand and then secure them with a little wood glue.

 

5f. Alternative.

Bar clamps are commonly found in wood shops.

A bar clamp offers an alternate means for pressing the arms into place. As with the woodworking vise, line your parts up straight and gently press them together.

 

5g. Place the Picavet cross aside temporarily.

Remember, if your parts do not fit snugly, add a bit of white glue to tighten things up, and allow it to cure overnight. Or use Epoxy if you’re moving quickly.

We will finish fitting it out later. The Picavet cross should be light and strong. 

Adding Components to the Cradle

Materials: Epoxy

Tools: Phillips-head screwdriver

Now that the glue for the backplane pegs has cured, we can start assembling the camera cradle itself. These steps should go pretty quickly. As in the previous sequence, take care that the vertical posts and backplane are oriented correctly. The backplane should have pegs projecting from the top rear of the rig, and these pegs appear to be a bit more toward the right-hand side when viewed from the rear.

 

6a. Place the backplane [L] over the two vertical posts (now joined by the brass outer timer tube [B]).

The backplane is screwed to the back of the vertical posts without glue. Note that the pegs for the rubber bands are facing away from the posts. This properly places them at the rear of the cradle.

Align the backplane’s predrilled holes with their complements in the vertical posts. Note that you may have to work the posts a little closer together or further apart to align the holes. Find the four #8 sheet metal screws [W] that join the backplane to the posts.

 

6b. Secure backplane to vertical posts with screws.

If the brass tube was a loose fit in step 5b, now is the time to secure it with a bit of glue (before screwing the backplane to the posts).

 

6c. Position small cradle parts.

These small parts will be mounted on the cradle.

Locate the horseshoe tack [H], aluminum bracket [M], and ¼”-20 nylon bolt and wing nut [AH]. Place them in position relative to the cradle.

 

6d. Place bracket on cradle.

The nylon bolt head should fit nicely into its ½”-diameter countersink.

Align the aluminum bracket with the mounting hole in the cradle’s right-hand post, and push the nylon bolt through the post and the bracket with its threads pointing outward.

 

6e. Secure bracket on cradle with wing nut.

The wing nut will allow you to quickly adjust the camera’s tilt relative to the horizon before sending it up for a shot.

Just attach the nylon wing nut and the bracket is secured to the cradle. How’s that for a short step?

 

6f. Press the horseshoe tack [H] into place.

Use the two holes predrilled in the front face of the left-hand post. Ideally, the tack will have a snug friction fit with the holes. I have found it convenient to remove this part on occasion, so if you use glue, use it sparingly.

 

6g. Finished sub-assembly.

This sequence should have taken you all of three minutes. The next step is a little more challenging: configuring and mounting the double-shutter lever system.

Adding the Shutter Levers

Tools: Drill press or hand drill, pencil, needle-nose pliers, sandpaper, screwdriver

Now it is time to assemble and mount our shutter-release system, beginning with the levers. When we last encountered these pieces (in step 4g), they were just a few craft sticks glued together. They are now about to become a nicely articulated, compound-lever shutter-release system. This step will involve a bit of minor drilling.

 

7a. Drill mounting hole in long shutter lever.

Craft sticks are a bit prone to splitting when drilled, so take these drilling steps nice and slow.

Find the long shutter lever and identify the end that has the middle craft stick projecting ¾” from the two that sandwich it. Drill a hole at this end of the lever with a  1/8″-diameter bit. This will be the mounting hole for the pivot end of the lever.

 

7b. Assemble levers.

This view shows the two lever assemblies from the bottom.

Now find the short shutter lever and nest its “gapped” end within the similar end of the long shutter lever. You will need to leave a small gap, as shown in the figure, to allow clearance for the hinge to move. Mark the position of the hinge line with pencil.

 

7c. Drill hinge-pin and rubber band hole.

Use a block of scrap wood when drilling thru-holes.

Drill a 7/64″-diameter hole for the 4-40 bolt that serves as a hinge pin [AC]. While we are drilling, change to a  5/32″-diameter bit and make a hole at the outer end of the short shutter lever. This will hold the rubber band that connects that lever to the Silly Putty timer. 

 

7d. Collect lever hardware.

Now, rummage through the parts bag and find the 5/8″-long 4-40 bolt [AC], which serves as the hinge, and its lock nut. While you are looking, also find the ¾” sheet metal screw [AF] and 1/8″ nylon spacer [AG] that will be used to mount the pivot end of the long shutter lever.

 

7e. Hinge shutter-lever arms together with 4-40 bolt.

Since we want these parts to move back and forth around the hinge, make sure you do not tighten the assembly too much. This is why we are using a lock nut.

Use needle-nose pliers (or any nut immobilizer of your choice) and a screwdriver. Slip the assembled shutter levers through the horseshoe tack on the left vertical post. 

 

7f. Attach lever to cradle post.

Secure the pivot end to the right post using the #8 sheet metal screw [AF]. The 1/8″ nylon spacer goes between the lever and the vertical post. We want this connection to move as well, so do not over-tighten. Do not allow the long shutter lever to project past the outer edge of the right post as this will interfere with the angle bracket. This is a trial fitting. You will remove the levers later to mount the shutter nubbin [P].

Installing the Inner Timer Tube

Tools: Glue gun

The next steps are pretty easy. We will assemble the inner-tube portion of the timer mechanism, stuff the outer timer tube with Silly Putty, and squish the two together.

 

8a. Collect timer hardware.

The holes are drilled approximately 5/16″ from the end of the tube.

Locate and align the inner timer tube [K], the plastic cap (screw protector) [AB], and the clipped 1″ finish nail [D]. While you are at it, grab the Silly Putty [AA] and tamping dowel [AJ], too.

 

8b. Place cap on tube.

Note that the end of the finish nail has been clipped off.

The inner timer tube [K] and the plastic cap [AB] have holes that align when the cap is placed on the tube. Once the holes are aligned you can install the finish nail [D] through the hole (going in either direction). I put a quick squirt of hot glue inside the end of the inner timer tube with the drilled hole as insurance against the pin falling out.

 

8c. Stuff outer timer tube with Silly Putty.

You will notice later that the Silly Putty leaks out of the outer timer tube over time. Don’t fret. It took a full year before I needed to add more Silly Putty to replace the leakage.

Find the little blob of Silly Putty [AA] and the short length of 3/16″ dowel [AJ] to use as a tamper. Roll a bit of Silly Putty into a line and drop it into the outer timer tube. Repeat until the tube appears full.

Then use the dowel as a tamper to press the Silly Putty deeper into the tube. Add more Silly Putty and tamp into place. Repeat until the timer half of the tube is full.

 

8d. Insert inner timer tube into the Silly Putty that fills the outer timer tube.

This really is a step you should take slowly. The Silly Putty’s viscous nature that makes this slow is the same property that makes the timer work.

This will go slowly, perhaps taking a couple of minutes, so be patient. Just apply modest, consistent pressure and the inner timer tube will slide all the way in until it is stopped by the outer timer tube’s plug [E]. It does not matter which direction the inner timer tube’s finish nail is facing.

Mounting the Camera and Adjusting the Timer Components

Materials: Epoxy

Tools: Drill, pencil, pliers, screwdriver

Now that the timer is assembled, we can set about making a few minor adjustments to fit the cradle to the camera. The instructions for the shutter-lever assembly up to this point have assumed we are using a Kodak MAX single-use camera. It is pretty easy, however, to adapt the cradle to other camera geometries.

 

9a. Attach rubber bands to timer tube.

The outer timer tube serves as structure, camera support, hitching rail, and timer mechanism.

Start by taking a couple of #31 rubber bands [U] and hitching them to the brass outer timer tube as shown in the image. Just run the rubber band around the tube and then back through itself.

 

9b. Attach camera to cradle.

ou might notice at this stage that the Silly Putty has rebounded a bit. Just rub off the excess and push the inner timer tube back in. It will stabilize after a few such iterations.
I keep a couple of empty cameras on hand for setting up the cradles. Processing labs will generally give you a couple of used ones for free.

Take your camera and fasten it to the cradle using the two rubber bands. I allow the bands to cross over each other as they go over the camera, and then secure them to the pegs at the top of the backplane. 

 

9c. Adjust shutter lever location.

This step determines the location of the shutter
nubbin relative to the front and back of the camera.

Examine the relationship between the camera’s shutter button and the long shutter lever. If the center gap of the long shutter lever is centered over the shutter button, you are in good shape. If an adjustment is required, you can shift this center gap by changing the size of the nylon spacer [AG] or mounting the shutter nubbin [P] on one of the outer faces of the shutter lever.

 

9d. Position shutter nubbin.

Note that you can also adjust the position of the camera slightly to the left or the right of the cradle to aid in aligning the shutter nubbin.

Find the shutter nubbin [P], made from a craft stick remnant, and place it in the center gap of the long shutter lever. Adjust its position to the left or right of the cradle until it’s over the center of the camera’s shutter button. Mark the nubbin’s position on the long shutter lever and the long shutter lever’s position on the nubbin with a pencil.

 

9e. Attach shutter nubbin to lever.

If you prefer, you can glue the shutter nubbin in place rather than bolt it. Use a clamp until the glue sets.

Once the shutter nubbin location is established, remove the shutter-lever assembly from the cradle and drill a 7/64″-diameter hole for the 4-40 bolt [AD] that secures the shutter nubbin to the lever arms.

Use your pencil-mark guides to make sure the two parts are correctly aligned. Install the bolt, tighten it enough to secure the shutter nubbin, and remount the shutter-lever assembly on the cradle.

 

9f. Install a third #31 rubber band on the outer timer tube “hitching rail” and remount the camera. Route this compression band past the front of the camera, over the shutter nubbin, and secure it on a backplane peg. Install a fourth #31 rubber band on the end of the short shutter lever. Just poke it through the 5/32″-diameter hole and loop it through itself. This tension band will connect to the Silly Putty timer.

The tension rubber band powers the Silly Putty timer and serves as a release linkage. The compression rubber band drives the shutter release nubbin into the shutter button once the tension rubber band is released.

9g. It is time to test your Silly Putty timer. (Insert sound of drum roll here.) Follow these steps:

i) Place a test camera in the cradle.

ii) Turn the release pin on the inner timer tube to a position level with the ground or slightly downward.

iii) Pull the short shutter lever downward and slip the tension/linkage rubber band over the timer tube pin.

iv) Make sure the shutter nubbin is now raised clear of the shutter button.

v) Cock the camera by advancing its thumbwheel film advance.

vi) Wait patiently while the timer release pin rotates slowly to face upward. This can take a long time when the Silly Putty is freshly installed. 

vii) When the shutter fires, you can dance the jig of joy and hug your neighbors. Ta da!

If the Silly Putty just seems too stiff, try rotating the inner timer tube around its long axis for a few turns and then repeat in the reverse direction. After you get the timer working, try using a watch to determine how far you must turn the timer tube pin to produce a one-minute shutter delay.

The initial tuning of your timer is largely an exercise in balance. You can adjust forces in the system. For instance, stretching a rubber band a few times will loosen it and lessen its driving force. Putting an extra turn of rubber band at a connection point will effectively shorten it and increase its driving force. Make adjustments of this sort until the short shutter lever causes the shutter nubbin to hover just above the shutter button when the system is cocked. When the tension band slips the timer pin, the compression band should have ample force to fire the shutter.

Completing the Picavet Suspension

Tools: Matches or lighter, scissors, pliers

The rig is almost complete. Now we need to work on the Picavet cross that we pressed/glued together in step 5. This involves attaching a metal ring to each end of the cross, making two kiteline hangers for our connection to the kiteline, and finally, threading the Picavet suspension line back and forth to connect the cross to the hangers.

 

10a. Attach rings to Picavet.

The friction fit of the vinyl tube holds the metal ring in place nicely.

Find the six 5/8″-diameter metal rings [V], the short sections of ¼” vinyl tube [C], and the length of Dacron line [A]. Cut four 8″-long and one 24″-long lengths of line from your braided Dacron stock [A]. Attach each 8″ length of line to its own metal ring using a Lark’s Head knot. Now, attach a ring to the end of each Picavet arm by running the tails of the Lark’s Head through the vinyl tube and then sliding the tube over the end of the dowel.

 

10b. Secure the Lark’s Head tails.

The ring should be snug with the arm, but with enough play to rotate 90 degrees or so.

Knot them on the top of the Picavet arm, crossing the tails over one another, and knotting again on the bottom of the arm. After the knot is secure, you can trim the excess tails and singe the line ends to prevent fraying.

 

10c. Install Picavet hardware to the Picavet hub [J].

This wing nut is used to (pre)aim the camera in different directions.

Assemble the 8-32 bolt, washer, and wing nut [AE], which will secure the Picavet to the cradle’s aluminum bracket [M]. The wing nut is on the bottom side of the cross.

 

10d. Make Picavet hangers.

When the kiteline is wrapped four or five turns around the wire, even slight tension on the kiteline will hold the wire firmly in place.

Take the two 4″-long pieces of aluminum wire [I] and bend them as shown with a pair of pliers. One end is turned upward a bit while the other is formed into a downward-facing loop that captures the remaining metal rings [V].

 

10e. Add suspension lines to the Picavet.

To thread the suspension line, I just place the cross and kiteline attachments on a clean surface and work the line through the sequence. When the threading is complete, tie the tail end of the line to the front end (a Sheet Bend knot works well).

Take the remaining 24″ of the braided Dacron line [A] and thread it through the metal rings on the cross and kite attachment clips. The threading sequence is:

A1 – 1 – B1 – R – 4 – A2 – R – 2 – B2 – 3 – A1

The letters A and B refer to the attachment clips, the numbers 1 through 4 the ends of the cross, and the letter R a small 3/8″-diameter metal ring [X] used to constrain the center lines of the Picavet where they cross.

 

10f. Tie up suspension lines.

An image of the completed Picavet with its suspension lines daisy chained.

As you will undoubtedly discover, the Picavet suspension lines are prone to tangle when the cross is not hanging from the kite. When storing and moving the Picavet, it is wise to daisy-chain the Picavet lines together. The suspension lines unzip from this series of loops quickly when deploying the rig.

After completing the chain you can cinch (tighten) the last loop to lock the chain in place.

While hard to explain, the Daisy Chain knot is easy to tie. Here is a photo of the suspension lines while I was tying a daisy chain.

 

10g. Mount the aluminum support bracket [M] in place on the right side of the cradle.

Balancing the camera cradle in this fashion makes it less likely that the horizon will be tilted in your photographs.

Use a finger to balance the cradle so the camera tilts neither to the left nor the right. The hole above your finger in the upper surface of the support bracket is the one you should use for mounting the Picavet cross using the bolt and wing nut [AE].

Constructing and Adding Exposure Telltale

Tools: Drill

The final construction step is assembling and connecting the “advanced Ping-Pong ball exposure-event indication system,” or exposure telltale. When the tension band is released, the telltale is dropped, letting you know the shot has been taken.

 

11a. Assemble telltale components.

Find the Ping-Pong ball [O], glass or plastic bead [Z], and toothpick [Y]. These are combined with a 24″-length of Dacron line to make the telltale. 

 

11b. Drill a 1/8” hole through the Ping-Pong ball.

Attach the telltale system by tying it to the inner timer tube where it projects from the left-hand post.

 

Thread the Dacron line through this hole and tie a knot that prevents it from slipping back through. Slip the glass or plastic bead on the line and position it 2″ or so from the Ping-Pong ball. Wedge the bead in place with the toothpick and snap off the excess length of the toothpick.

 

11c. Compare your rig to the photograph.

When completed, the entire rig should look like this.

Congratulations. It’s now time to take your project on a test flight!

Safety Considerations

Wear gloves. I always wear a leather glove to protect my kiteline-holding hand. (I am right-handed, so it is a right-hand glove.) In three years, I have been through about 10 gloves. Watching the abuse they take and their eventual modes of failure provides compelling evidence to continue the practice.

Supervise kids. Be careful not to let a child fly a large kite without supervision. Kids often want to pull on the kiteline; I let them do this only while I hold onto the reel.

Develop knowledge of the local winds and weather. In the San Francisco Bay Area, we have wind patterns that vary with topography, season, and time of day. Often the wind builds up toward a small-craft warning in the summer afternoons. If you have a large kite up when the wind builds in, then getting it down can be unintuitively dramatic (voice of experience here). Spend some time observing winds at your KAP site. Ask folks who have developed experience at the site. If you are unfamiliar with a setting, then be cautious. You might consider flying a small kite for a while just to get a feel for the winds.

In the Bay Area, we have a stable atmosphere and few cumulous clouds. Lightning is rare for us, but not so elsewhere. If electrical storms occur where you fly, avoid kite flying during their presence. Don’t push your luck with atmospheric electricity; we know better today.

Protect yourself from the sun. One of the nicer aspects of flying kites is the time spent outdoors. Be prudent with the sun, however, as it can cause serious injury and lead to disease in the skin and eyes. Protective clothing, sunscreen, sunglasses, and moderation are in order.

Have the means to anchor the kite. If the wind does fill in, it is useful to have a means of securing the kiteline to an anchor (e.g., lamppost, tree, fence, bench, car). I carry a climber’s strap and carabiner for this purpose. Slip the strap around the anchor and the kiteline on the carabiner with a clove hitch, and the inanimate anchor is under stress, not you. 

Practice small before flying large. I started with small kites and gained hundreds of hours of practice before flying large kites. It is much easier to learn the vagaries of a kite and the wind with a 16-square-foot kite and 100-pound line than with their larger brethren.

Avoid flying near people and property. In general, do not fly where a kite mishap could cause injury to people or damage to vehicles and ground structures. The most straightforward way to avoid striking people or things is not to fly near them. Most of my early KAP outings were to rural or seashore settings where I had consistent wind and plenty of room. At times, your kite and rig will seem stable. Experience will help you judge whether to trust this apparent stability. 

Take care with your mounting details. It is probably self evident that you have a lot riding on your mounting connections. Make certain that these connections are trustworthy before using them above people and property. The connector of the KAP cradle to the Picavet cross is a good example, as is the Picavet line itself. Failure of either will cause the dreaded “bombs away” scenario. Some KAPers run a safety tether between camera and kiteline.

Know your kite. Develop some experience with a kite before using it to lift cameras. My Sutton Flowform can collapse and drop under low velocity and turbulent conditions. When my Rokkaku thermals, it sometimes wants to invert (to my dismay) and fly itself into the ground. Learn the vagaries of your own kites and watch them for odd behavior. Check your bridles periodically as well. If a crash is inevitable, it sometimes helps to let the kiteline go slack before impact. Keep an eye on your gear for wear and tear.

Have room to back up. Select a flying site that allows you enough room to back out of trouble. If the wind fails momentarily, running upwind can create enough “breeze” to fly the kite and lift the rig, thus carrying you through the moment. I always want a clear area behind me when photographing people, and I say as much to folks hanging around me. At least once a month, I find myself dropping the transmitter and backing up (often while hauling in line) to keep the KAP rig in the air.

Be aware of airport locations. The FAA  restricts kites weighing more than five pounds from flying within a five-mile radius of any airport. While lighter kites are exempt from this requirement, it is prudent to know the location of nearby airports and to avoid flying in areas that align with their runways. This information is readily available on a map; look it up before you fly. I have flown my kites at small airports before, but only after receiving permission from the airport manager. Note that airplanes often neatly align with the runway as they approach to land, but their departures follow varied paths.

 

Conclusion

Choosing a Kite and Sending Up the Rig

With the rig complete, you are undoubtedly giddy in anticipation of a first flight. Here are some tips to make the most of it. 

Choosing a Kite

Most KAP photographs are taken using single-line kites, and there is an entertaining world of possibilities for you to choose from. There is much to appreciate in the steady lift of a workhorse kite, and like so much else in modern life, finding the ideal kite takes a bit of care. I recommend starting with a soft kite — that is, a kite that doesn’t have rigid struts. I’ve grown very fond of my soft kites, and if the wind allows, they are my first choice. They establish and hold their shape with air pressure, and lacking rigid spars, they are easy to set up and take down. They do like a steady breeze. The Sutton Flowform #16, which costs about $95, is a solid workhorse kite.

Sending Up the Rig

It is best to begin in an open, uncrowded setting with a steady breeze; a beach or large park works well. If you have not read the Safety Considerations section, do so before going out. Don’t forget to take, and use, a glove for handling the kiteline. Look upwind before you launch the kite. The landscape should be open in this direction to avoid turbulence and to give you room for maneuvering should the  wind lapse. After rigging and launching the kite, you should spool line out until the kite flies smoothly. This distance is usually 100 feet or so, but can vary with terrain and wind conditions. At this point, I just fly the kite for a while with the goal of understanding the site’s wind patterns. Are the winds steady or variable, strong or weak?

a. Attach rig to kite.

Ground-level view of the camera rig flying below a Sutton Flowform 16 kite. The Picavet suspension lines are white in this image. The camera cradle is well balanced below the Picavet cross.

If the winds are favorable, it is time to mount the Picavet suspension and camera cradle. Tether the kiteline to a friend or other anchor. Then attach the two aluminum wire hangers (10d) on the kiteline about five feet apart by wrapping the kiteline five or so times around the wire. Tension will then hold the attachments in place. Mount your camera in the camera cradle and attach the cradle’s aluminum bracket to the center hub of the Picavet cross. Check the camera cradle for balance — if it is leaning to one side or the other, you can shift the mounting holes. 

b. Set the Silly Putty timer, camera shutter, and Ping-Pong ball telltale.

With timer set and shutter cocked, the camera rig is sent skyward, by letting out kiteline.

(Remember to set the timer before cocking the camera.) We are getting close now. Think about the composition of your first shot and adjust the camera cradle’s direction and tilt using the wing nuts. Check to see if the camera is level with the horizon. If not, just adjust the position of the Picavet cross.  

c. Spool out more kiteline and watch your camera fly.

Once the camera is in position, you wait for the Ping-Pong ball to drop. You then retrieve the camera and repeat to your heart’s desire.

Once the desired camera height is achieved, you can walk the camera around a bit to fine-tune its position. It is now time for patience as you wait for the Ping-Pong ball to drop. Three minutes can be an incredibly long time! 

When the Ping-Pong ball drops, the timer has fired and your photograph is taken.

d. Reshoot.

Rather than pulling the kiteline in, you can walk the line down until you reach the camera. It can then be aimed again, the timer reset, and the shutter cocked for the next shot. Just let the line go when you’re finished, and the camera will head skyward again. Once you get the hang of it, this goes quite quickly. If you use this technique, you should be cautious not to interfere with a pedestrian or bicyclist.

Way to Go Pro

Most of my experience in KAP has been accrued with radio-controlled camera rigs carrying 35mm single-lens reflex cameras. A radio link (using an RC transmitter) allows the photographer to aim the camera and control the exact instant of photographic exposure. Furthermore, using a camera with motorized film-advance allows an entire roll of film to be taken without landing the camera. These capacities come with a price tag in the hundreds of dollars and add complexity to the venture.

  1. Video transmitter scavenged from a wireless X10 webcam.
  2. Picavet suspension made from old hard-disk-drive actuator arms.
  3. Model airplane remote-control receiver and servo.
  4. Plan rotation gears adapted from RC car parts.