The six horses which pull the caisson through the quiet lanes of Arlington National Cemetery are matched gray or black. They are paired into three teams – the lead team is in front, the swing team follows, and nearest the caisson is the wheel team. Although all six animals are saddled, only those on the left have mounted riders. This is a tradition which began in the early horse-drawn artillery days when one horse of each team was mounted while the other carried provisions and feed.

Continue ReadingThe six horses which pull the caisson through the quiet lanes of Arlington National Cemetery are matched gray or black. They are paired into three teams – the lead team is in front, the swing team follows, and nearest the caisson is the wheel team. Although all six animals are saddled, only those on the left have mounted riders. This is a tradition which began in the early horse-drawn artillery days when one horse of each team was mounted while the other carried provisions and feed.

No iphone videos here. Our team at @arlingtonmedia captures the service of your loved one including at least four professional broadcast-quality 4K ultra-high-definition Sony cameras, professional videographer stabilizers and equipment. Dual photography cameras, dual backup recording card slots, and professional sound equipment. Instead of showing up with an iphone, a point and shoot, or a handful of GoPros, we take your service seriously and provide top quality, photojournalistic coverage on par with National Geographic, in honor of your loved one and their service.

Continue ReadingNo iphone videos here. Our team at @arlingtonmedia captures the service of your loved one including at least four professional broadcast-quality 4K ultra-high-definition Sony cameras, professional videographer stabilizers and equipment. Dual photography cameras, dual backup recording card slots, and professional sound equipment. Instead of showing up with an iphone, a point and shoot, or a handful of GoPros, we take your service seriously and provide top quality, photojournalistic coverage on par with National Geographic, in honor of your loved one and their service.

While we preserve the anonymity of family members and attendees on social media out of discretion and respect, our private galleries are filled with images of loved ones, dear family, and friends. We choose to keep these images out of social media and our advertisements, however, we understand that capturing your role and the moments and emotions of that day are highly important. Our team does its best to capture the entire story, including you. To find out more about our artistic process, please reach out to contact@arlington.media

Continue ReadingWhile we preserve the anonymity of family members and attendees on social media out of discretion and respect, our private galleries are filled with images of loved ones, dear family, and friends. We choose to keep these images out of social media and our advertisements, however, we understand that capturing your role and the moments and emotions of that day are highly important. Our team does its best to capture the entire story, including you. To find out more about our artistic process, please reach out to contact@arlington.media

Airman First Class Karpowicz was the tail gunner of a B-26C Invader bomber with the 13th Bomber Squadron, 3rd Bomber Group out of Kunsan Air Force Base (K-8), South Korea. Born in Milwaukee, WIsconsin on August 28, 1931, he lived in Crivitz, Wisconsin, and graduated from High School in Crivitz in 1950. On the evening of May 17, 1953, his B-26C Invader (tail number 44-35882) departed from Kunsan Air Base with a crew of four airmen. The briefed mission was a night interdiction operation targeting main supply routes known as Red 3, 5 and 6. The flight plan covered routes from Pyongyang to Chaeryong, Sinwon-ni, Pyongsa, and Hungsu-ri to Kaesong. Approximately one hour before midnight, the Invader was diverted to north of Sinmak, targeting several enemy trucks in the area. Once in target range, the right engine took anti-aircraft artillery and went down. The pilot jettisoned the bomb load, as smoke filled the cockpit. After seeing that the engine burned off and the wing was bending from the heat, the pilot ordered the crew to bail out and evacuate. As the pilot and navigator descended, they observed the aircraft crash and burst into flames. On May 18, the pilot and the navigator were rescued, but all efforts to locate the gunner and the bombardier were unsuccessful. Following their rescue, the pilot and navigator stated that they did not see any signs of the two missing men, of which Airman First Class Karpowicz was one. This flyover and memorial service were at Arlington National Cemetery on August 6th, 2021 with full military honors. Arlington media was honored to capture the flyover for this Missing in Action service and memorial.

Continue ReadingAirman First Class Karpowicz was the tail gunner of a B-26C Invader bomber with the 13th Bomber Squadron, 3rd Bomber Group out of Kunsan Air Force Base (K-8), South Korea. Born in Milwaukee, WIsconsin on August 28, 1931, he lived in Crivitz, Wisconsin, and graduated from High School in Crivitz in 1950. On the evening of May 17, 1953, his B-26C Invader (tail number 44-35882) departed from Kunsan Air Base with a crew of four airmen. The briefed mission was a night interdiction operation targeting main supply routes known as Red 3, 5 and 6. The flight plan covered routes from Pyongyang to Chaeryong, Sinwon-ni, Pyongsa, and Hungsu-ri to Kaesong. Approximately one hour before midnight, the Invader was diverted to north of Sinmak, targeting several enemy trucks in the area. Once in target range, the right engine took anti-aircraft artillery and went down. The pilot jettisoned the bomb load, as smoke filled the cockpit. After seeing that the engine burned off and the wing was bending from the heat, the pilot ordered the crew to bail out and evacuate. As the pilot and navigator descended, they observed the aircraft crash and burst into flames. On May 18, the pilot and the navigator were rescued, but all efforts to locate the gunner and the bombardier were unsuccessful. Following their rescue, the pilot and navigator stated that they did not see any signs of the two missing men, of which Airman First Class Karpowicz was one. This flyover and memorial service were at Arlington National Cemetery on August 6th, 2021 with full military honors. Arlington media was honored to capture the flyover for this Missing in Action service and memorial.

A bugler plays the lonesome call of Taps during a service covered by @arlingtonmedia The bugle call known as “Taps” dates from the American Civil War. In July 1862, while the Army of the Potomac camped near Harrison’s Landing, Virginia, Brigadier General Daniel Butterfield summoned Private Oliver Wilcox Norton, his brigade bugler, to his tent. Butterfield, who disliked the colorless “lights out” call then in use, whistled a different tune and asked the bugler to play it for him. After repeated trials, Norton played a 24-note call which suited the general. (According to some interpretations, Butterfield’s tune was a variation on an earlier bugle call, the “Scott Tattoo,” first published in 1835.) Butterfield then ordered that within his brigade, the new call would replace the regulation Army Taps. The next day, buglers from nearby brigades came to the camp of Butterfield’s brigade to ask about the new call. They liked the tune and copied the music. During the Civil War, its popularity spread throughout Union ranks, and even among some Confederate forces. Shortly after Butterfield composed the tune, Taps was first sounded at a military funeral for a Union cannoneer killed in action. The deceased soldier’s commanding officer believed that a bugle call would be less risky than the traditional three-rifle volley, which the enemy could misinterpret as an attack. In 1874, Butterfield’s Taps became the U.S. Army’s official bugle call. Taps has been used by the U.S. armed forces ever since — at the end of the day, during flag ceremonies and at military funerals. Whenever a service member is buried with military honors anywhere in the United States, the ceremony concludes with the three-rifle volley and the sounding of Taps on a trumpet or bugle. Melancholy yet serene, the call lingers in memory. The name “Taps” derives from the fact that the lights-out call was traditionally followed by three drum taps.

Continue ReadingA bugler plays the lonesome call of Taps during a service covered by @arlingtonmedia The bugle call known as “Taps” dates from the American Civil War. In July 1862, while the Army of the Potomac camped near Harrison’s Landing, Virginia, Brigadier General Daniel Butterfield summoned Private Oliver Wilcox Norton, his brigade bugler, to his tent. Butterfield, who disliked the colorless “lights out” call then in use, whistled a different tune and asked the bugler to play it for him. After repeated trials, Norton played a 24-note call which suited the general. (According to some interpretations, Butterfield’s tune was a variation on an earlier bugle call, the “Scott Tattoo,” first published in 1835.) Butterfield then ordered that within his brigade, the new call would replace the regulation Army Taps. The next day, buglers from nearby brigades came to the camp of Butterfield’s brigade to ask about the new call. They liked the tune and copied the music. During the Civil War, its popularity spread throughout Union ranks, and even among some Confederate forces. Shortly after Butterfield composed the tune, Taps was first sounded at a military funeral for a Union cannoneer killed in action. The deceased soldier’s commanding officer believed that a bugle call would be less risky than the traditional three-rifle volley, which the enemy could misinterpret as an attack. In 1874, Butterfield’s Taps became the U.S. Army’s official bugle call. Taps has been used by the U.S. armed forces ever since — at the end of the day, during flag ceremonies and at military funerals. Whenever a service member is buried with military honors anywhere in the United States, the ceremony concludes with the three-rifle volley and the sounding of Taps on a trumpet or bugle. Melancholy yet serene, the call lingers in memory. The name “Taps” derives from the fact that the lights-out call was traditionally followed by three drum taps.