photographer's perspective, The

Photographers rarely step out from behind their cameras to become a part of the subject, but shooting the 1903 Wright Flyer was such a once-in-a-lifetime experience that I feel I have to comment. I hope you'll excuse me for interjecting these words into this article.

First, Orville and Wilbur Wright were from my hometown of Dayton, Ohio, and while growing up, I couldn't escape the history they had left behind. The wood for the airframe, for

instance, came from Requarth Lumber, which is still in business. The motor built by Charlie Taylor used gears made by Orlando Garrison, the grandfather of a friend I've known since kindergarten. So many elements were brought together by the genius of a couple of local boys who literally changed the world. And there I was-close enough to touch the original artifact.

As I started to set up my equipment, the powerful presence of the airplane couldn't be ignored; it literally filled the room. This wasn't an "object" I was photographing; it was 100 years of history, and I had less than five hours to interpret it as I saw it through my viewfinder. It was a daunting task, but one I eagerly anticipated.

Before arriving at the National Air and Space Museum, I had stud ied every photograph I could find of the airplane. It was as though I were examining a famous person's face and trying to understand what made it so identifiable so that I would be able to capture that on film. With the Ryer, there were so many details, angles and parts of its visible personality that had to be recorded and made into an overall portrait.

I shot the opening spread from exactly the same spot as Wilbur had been when he trotted beside the airplane for its first flight. The photo of that first takeoff is historic, but as I looked through the ground glass on my 4x5 camera, I knew I was seeing what Wilbur had seen. I wondered whether his thoughts extended to the massive impact those few seconds of flight would have on history.

I've never worked harder and I've never enjoyed myself more on any assignment. I'll savor this brush with true history for the rest of my life. -Dan Patterson

I will be forever thankful to Trish Graboski of the National Air and Space Museum's publication office, NASM Deputy Director Don Lopez and Garber Director Tom Allison who made this photo session possible. Also, thanks to Mary Mathews and the staff of Carillon Historical Park, Dayton, Ohio, who have taken loving care of the 1905 Wright Flyer III since Orville restored the airplane in the 1940s. Their valuable help and constant cooperation have made this work possible. These photos were made for "The Aviation Century" project and will be seen in the forthcoming series of books. Look for upcoming news on and availability of some of these images as limited-edition prints, signed and numbered, at www.flyinghistory.com.

Copyright Air Age Publishing Dec 2002
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