From the open door of a helicopter, award-winning photographer presents breathtaking views and hidden treasures

journalist’s notes

interview subject

Donn Delson is a fine art photographer renowned for his large-scale aerial images captured from doorless helicopters at altitudes of up to 12,000 feet. At 75, he has spent over 300 hours in the sky, photographing unique perspectives across countries like Japan, Israel, and the United States. Represented by galleries in Los Angeles, Phoenix, and Philadelphia, Delson’s work appears in private, corporate, and commercial collections worldwide. His next solo exhibition will take place in January 2025 at Axiom Contemporary in Scottsdale, Arizona.

background information

Donn Delson seeks to reveal an artistic vision that often deceives the eye, reminiscent of trompe l’oeil. His fascination with patterns and symmetry pays homage to Bauhaus artists like Paul Klee, Mark Rothko, and Piet Mondrian. Delson primarily shoots with a Fujifilm GFX100 and a Nikon D850, producing large-scale images that capture incredible detail, with some prints measuring up to 122 cm wide. His Fuji is his go-to for daytime shots, while the Nikon excels in low light. Delson avoids drone photography, preferring the visceral connection of flying in a doorless helicopter at altitudes of up to 12,000 feet. The unique challenges of aerial photography, from turbulence to wind vibration, enhance his process rather than hinder it. Explore more of his work at donndelson.com.

LOS ANGELES, United States — I discovered photography a decade ago, and now, at 75, my work earned international recognition in galleries and art fairs. My photography captures sweeping panoramas of cities and landscapes, revealing familiar places from rare, inaccessible perspectives. These images transform well-known scenes into extraordinary, almost dreamlike experiences.

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From high school to helicopters: The story behind my aerial photography passion

My passion for photography traces back to a book I read in high school called The Once and Future King by T.H. White. In the novel, Merlin transforms young King Arthur into a goose, offering him a bird’s-eye view of the world. That concept sparked my love of flight and a desire to capture the world from new vantage points.

Photography became a part of my life early on. I shot for my school newspaper and sports teams, and this passion followed me through the years. After building a successful career, I sold my last company in 2010, an arts and entertainment business representing artists like Rihanna, Billy Joel, Alanis Morissette, Outkast, and Linkin Park. My wife and I then embraced a new chapter and began traveling.

While photographing landscapes in New Zealand, we decided to take a helicopter ride to see a glacier. The pilot noticed my camera skills and asked, “Want me to open the door for you?” I jumped at the chance, and as the door opened, the wind hit my face and the world stretched out beneath me. I captured The Remarkables – a set of mountains – and the glaciers below. In that moment, I felt as if I stepped into the pages of The Once and Future King.

The experience felt so magical and reignited my love for aerial photography, inspiring me to capture the world in a way that shows its unity, free from boundaries and constraints—a perspective that continues to shape my work today.

When I returned to Los Angeles, I began exploring the possibility of chartering helicopters to capture aerial photos. What started as a hobby quickly turned into a new career. I now photograph cities and landscapes from heights of up to 12,000 feet.

Aerial photography as Trompe l’Oeil

I constantly search for new ways of seeing. From the air, everything takes on a dramatically different perspective. Familiar scenes transform into something new and unexpected. My work connects to the French concept of trompe l’oeil, where artists trick the eye by creating hyper-realistic paintings. Similarly, in my photos, what you first perceive often isn’t what it seems. I invite the viewer into a visual game where you study the image closely, like in my iconic shot of the Xylophones. You soon realize it is something entirely different.

Much of my whimsical photography plays humorously with perception, challenging the viewer to look beyond the surface. I focus on symmetry, patterns, and textures, while also searching for stories within the landscapes I capture. If a scene takes my breath away while flying, I know it’s an image worth sharing.

One day, while flying over a parking lot filled with colorful rows of containers, I noticed how, from 10,000 feet, they resembled the bars of a xylophone. As I observed, a white semi-trailer moved between the rows. I quickly shouted to the pilot to adjust our position, and just in time, I captured the shot moments before the truck left the frame.

At first glance, most people assume the image shows shelving or a xylophone. Then they notice the white truck in the center and feel momentarily confused, asking, “How can there be a truck?” Upon closer inspection, they realize the “bars” are containers. This playful deception forms the core of my Points of View collection. Each image is named for what it appears to be at first glance, only to reveal itself as something entirely different upon closer examination.

Aerial photography reveals hidden beauty

When preparing for a shoot, I do basic research on the area. I glance at Google Earth to get a rough idea of the landscape. But truth be told, I do not spend hours on it. Something about the research does not click with me. Most of the time, what I capture from the air, I discover by chance, almost by accident. Many of the photographs I end up sharing, I stumble upon unexpectedly while flying. I rarely know exactly what I will find, and my collections often include images I never planned to see.

While many artists create in studios, my creativity comes alive in the sky. I suppose you could call the helicopter my studio. I direct the pilot to the areas I want to explore, and the flight gives me moments to absorb everything. Whether I photograph beaches, harbors, city centers, or landfills, I always search for symmetry, vibrant colors, or scenes not quite what they seem. While physically and creatively intense, magic exists in this work.

When I spot something with potential, I adjust the altitude to find the ideal height. I assess the best angle for the shot, and we loop around for a second pass. I consider the sun’s position. Are the shadows enhancing or distracting from the image? Is this the right time of day, or even the right season, to capture what I see? Each shot becomes a balance of spontaneity and careful planning, making it all so rewarding.

The constant vibrations from the helicopter’s rotors mean I typically shoot with shutter speeds of up to 1/2000 second during the day. If the wind cooperates, we hover in place to minimize movement while I take the shot.

12,000 feet of exhilaration: doorless helicopter views

Night flights bring their own set of challenges. I widen the aperture to allow more light in. To reduce noise, I lower the ISO as much as possible, slow the shutter speed, and stabilize the camera with a handheld gyroscope to minimize shake. Focus and clarity become critical, and I only know if a shot is suitable for enlargement once I review it on my studio monitor.

Flying without doors allows me to lean out or down, capturing sharp, clear images of scenes that inspire me. The unexpected discoveries of symmetrical patterns and textures, whether man-made or natural, vibrant or muted, often evoke a deep sense of balance, harmony, and peace.

Riding in a doorless helicopter at altitudes up to 12,000 feet electrifies me. These flights become a creative playground, turning my work into a form of play. A few unforgettable moments come to mind when I think of aerial photography, including the first time I flew directly over Times Square at dusk. I walked through the square countless times on the ground but seeing it from an open helicopter door at over 1,300 feet, just as the sun set and the lights came on, felt like pure magic.

The colors, shapes, and sizes of the crowd created an almost dreamlike scene. It reminded me of Mondrian’s artwork, with twinkling lights forming a living, breathing composition of color and geometry. I became so mesmerized by the people, lights, and vibrant hues I nearly forgot to press the shutter. Eventually, I captured the moment and affectionately named the image Broadway Boogie Woogie.

Aerial wonders: capturing rainbows and solitude from above

During my last two weeks of photo shoots over the Hawaiian Islands, I experienced something rare and magical. Early one morning, while flying at full speed over Molokai in light rain, I found myself in the middle of a rare double circular rainbow. Luckily, my photographer friend in the front seat captured a video of me photographing the rainbow’s center.

On the ground, we usually only see the top half of a rainbow due to the horizon, imagining the pot of gold at its end. From 3,000 feet up, I found the treasure chest itself physically inside the rainbow for a few fleeting moments. I enjoyed the gift of capturing it on video.

Another memorable moment happened while flying over a beach in La Jolla, Southern California. I spotted waves surging over the coral and thought, “What a beautiful image” I snapped the photo without realizing a girl walked alone through the breaking waves. Back home, I noticed her. I titled the image Solitude.

Every time I look at that photograph, I wonder who the girl was, walking alone in the surf. If I met her, I would have given her the picture as a gift—a quiet moment captured forever in time.

Twenty-seven reporters soar to new heights over London discovering astonishing aerial views

I took 27 reporters up to experience what I do, and most never felt anything like it before. Initially, they felt both excited and intimidated, clearly nervous about what lay ahead. When we landed, they beamed with huge smiles, telling me it became one of the most joyful experiences of their lives. They barely believed how different the world looked from above, reveling in the architecture, the blend of old and new, and the patterns, both man-made and natural. It completely transformed their perception of the city they thought they knew so well. For them, it became a remarkable discovery.

I traveled to Japan because cherry blossoms captivate me. I saw countless beautiful photos of them from the ground but never from the air. First, I flew to Tokyo and then to Kyoto. On our way back to the helicopter base during one of our trips, I noticed a purple patch in the distance, standing out against the gray and brown land and the blue ocean. I told the pilot, “I want to see what that is.”

As we flew closer, it felt impossible to believe what I saw—magnificent fields of cherry trees stretched out below us, blooming in shades of pink, purple, and white. I named the image Abacus after the way the cherry blossoms appeared carefully arranged, resembling the beads of that tool.

This image stands as yet another example of a fortuitous, fortunate sighting. Had I not turned my head to the right, looked down, and spotted that violet hue, I may have missed this incredible shot. Now, it holds a special place in my dream case collection.

Enhancing immersion: layers and textures in my photography

Last November, I traveled back to Japan to capture the vibrant fall colors. However, as I flew over the mountains west of Tokyo, the colors disappointed me. They looked dull and far less vibrant than I imagined. Frustration crept in as I scanned the landscape for something to capture.

Soon, I shifted my mindset. Flying over those mountains, even without the perfect shot, still felt like a privilege. I felt lucky to witness this scenery from such a unique vantage point. As we continued, I turned to see Mount Fuji, a mountain often hidden by clouds. Suddenly, battling disappointment, the clouds began to part.

Only a ring of clouds remained around its base. Mount Fuji stood clearly before me in all its glory. I quickly seized the moment and captured the shot. The image showcased every curve and trail of the mountain, a gift from nature just when I needed it most. I enlarge my images to massive scales because I want viewers to feel as though they are up there with me, flying in the doorless helicopter. It’s about sharing the experience; bringing them into the journey, not just the photograph.

Lately, I started experimenting with techniques to add depth. In some images, like Yin-Yang, I laser cut them into layers: the ocean, the coral, and the bottom. This effect creates a sense of immersion, allowing viewers to feel the water’s swell and rise. I also started working with backlit fabrics to add yet another dimension, allowing even larger full-wall-size images. This fresh approach excites me because it pushes my art beyond photography, creating an immersive, visual experience.

All photos courtesy of Donn Delson Team.