The Delicate Art of Reading Wind

The number one mission of a sniper is to deliver precision long range fire on key select targets and targets of opportunity. That very term ‘precision’ is what we as snipers and long range marksman love to key in on. We all know that by being as precise as possible in all aspects of long range shooting, we can give ourselves the best chance of achieving that first round hit on a target at unknown distance many hundreds of yards, or meters, away. The more precise we are in logging each round we fire, the more precise we are at measuring the target with our reticle, the more precise we are at dialing in our DOPE, the better we will be.

Now throw in the wind. Of all of the aspects that go into delivering long range precision fire on key select targets, wind is the least precise! This is the one area that is just about impossible to be systematic and precise about. This is the one area that truly becomes an art form. That is what this article is about, the art of reading wind. I really wish I could give you a formula or even some electronic device that could make you compensate for wind properly every time, but alas, there is no such thing…and I am okay with that.

There are plenty of calculations available in any one of the many ballistics software packages out there, including our own, that can calculate the wind deflection for any particular round at any wind velocity and even in any clock direction the wind is blowing. But those are just about worthless. When was the last time you saw the wind blow at a constant, unchanging speed? Or in a constant direction? If you answered never, you would be right, but that is all that those calculations can figure. The wind blows in many different directions and velocities along the bullet path and it simply cannot be computed as it is always different. Yes, sometimes it is more constant than others and so you might get similar results from one shot to the next, but even that is rare. Which means it is not much help when you are trying to deliver a SINGLE shot and get a SINGLE hit, the first time. That is where the real art form comes in. Competitive shooters often get a “sighter” round before the scoring starts, and even if not, you can alter your adjustments throughout a course of fire. But as snipers, we do not get that luxury, we have to get it right the first time.

So, lets talk about the art of calling wind. Like an artist, we have many colors on our pallet that we can look at to determine the best selection to use. One approach to finding the exact ‘color’ we want to use is to start close and then work out toward the target, and then mix the pallet to get your final color selection, or wind dope to dial into the scope.

Start by examining the prevailing wind conditions from your firing position and make your best estimate of what your adjustment would be for that engagement. The wind impact at your firing location has the most pronounced impact on the overall wind effect, so it is good to set your baseline there, not to mention it is the easiest wind to gauge. It is useful to practice estimating the wind speed without the aide of a wind meter that requires you holding it up as if you are telling the enemy where you are at. Use the common methods of smoke deflection (if there is any nearby), visual indicators, or just plain old wisdom and experience.

Once you have your baseline wind adjustment at your firing position, then start moving out toward the target. I usually go to about 2/3 of the way there and then examine. Look at the foliage there, either through your spotting scope or rifle scope. See what the wind is doing, see if it is any different than what it is doing at your firing location. The wind has a more pronounced effect at the shooters position, but the bullet is slowing down the further out it goes, so the effect can be more dramatic at further distances. Experienced shooters that have watched trace can testify to how much a bullet can curve in the wind after it passes that 2/3 mark on its way to the target. Based on what you observe, make any changes and adjustments to your base line number. 

Finally, examine the entire path to the target, looking for large objects that can channel the wind. Are there any ravines between you and the target? If so, they can act as funnels and will increase the wind speed and change the direction. Buildings in urban areas can do the same thing. Don’t believe me? Then you haven’t walked through the downtown of a city on a windy day and got a face full of wind when you walked around the corner of a building. Also take note if the bullet will be traveling along the slope of a hill. On calm days, wind will settle “down” the slope. On blustery days, it can go either way but that slope will alter the course of the wind. To help, think of wind as invisible water. Look at the bullet path from your shooting position to the target and think of how water would flow along that path…that is how the wind will be effected. If you are shooting over canyons or from elevated positions, the bullet path may be above the disturbances caused by ravines and objects below…which can actually make it even more difficult because you have all of your wind readings and indicators close to the ground which can be very different from 100 feet up. Its an art form.

In fact, the art form can include even more advanced methods such as watching for dark patches of foliage, it will heat up more on sunny days than lighter colors and will cause more disturbed air and possible updrafts. Or fish-tailing winds that get into a pattern of changing left to right and yes, you can time shots between gusts. It truly becomes an art form.

Like all true artists, the way to get better is to practice…and not just on calm days. If you want to become a master artist, then you need experience in all forms of painting. Same for becoming a master wind artist. Do not shy away from windy conditions. Embrace them. The wind truly separates the Men and Women from the Boys and Girls. You can practice even while not on the range. If you are out walking with the family in the forest or park, take the time to evaluate what the wind is doing. How the trees are blowing, noting the patterns of gusts. All of those things can be training tools…without costing a penny or taking any extra time. A good book to read about becoming a wind calling artist, is The Wind Book for Rifle Shooters. It is geared toward competitive shooting, but there are some tidbits that can be useful.

In the meantime…become the artist…master the wind.

Mel E.
Sniper Central