The eye up above: Getting started with aerial photography

By Darran Leal | 17 March 2026

Whether you are shooting through an aircraft window, or flying with the doors off, aerial photography offers remarkable opportunities for great photos.

But it’s also a genre with plenty of challenges, and these are often compounded by the fact you typically won’t have very long in the air, and you need to get everything right first time.

These challenges mean aerial photography is often described as difficult, yet I’ve always thought it doesn’t have to be if you understand a few basic principles.

Most photographers will inevitably take their first aerial images out the window of a flight as their plane descends. These photos can add a lot to a travel project or family album, but they are also a reminder that aerial photography is more accessible than you may initially think.

At the same time, I have seen complete beginners capture award-worthy images from a doors-off flight over Shark Bay in WA using only a smartphone.

Being in the right place at the right time helps of course, but timing and technique matter more.

Sony A7R V, FE 70-200mm F2.8 GM OSS II lens @ 72mm. 1/1000s @ f5.6, ISO 500.

Planning and flights

Firstly, for the sake of brevity this article doesn’t cover drones, but they remain the cheapest and most accessible entry into aerial photography. In this article I’m mainly talking about doors-off flights, as they offer unmatched clarity and the thrill of the open air.

Some Australian locations, including Lake Eyre, Shark Bay and Purnululu, offer them as standard. Others require a special charter or do not allow them at all, which makes pre-trip research important.

Once you gain experience, you will learn to choose suitable altitudes and consider the timing of your flight. Ask yourself whether first light, low tide or a specific season will offer the strongest colour and texture for your images.

The Tadpoles are just one of the unique landscapes in Shark Bay (Western Australia) that you can only truly see from the air. The shot was made easier as we had control of direct and height with the pilot. Sony A7R Mark V, FE 24-70mm F2.8 GM II lens @ 24mm. 1/3200s @ f5.6, ISO 400.

Most of us can afford one flight at a location, but if possible, try for two. The first teaches you the landscape. The second lets you refine timing and composition.

Seat choice varies with aircraft. In a helicopter I often prefer the rear centre because it gives access to both sides. Most fixed winged flights with doors off are one side only doors off.

Sony A7R V, FE 70-200mm F2.8 GM OSS II lens @ 151mm. 1/2000s @ f5.6, ISO 500.

The reality is no choice is perfect and much of the success of your flight will come down to your pilot and clear communication with them before your flight about what you’re seeking. Remember, if your needs are very specific, consider a private charter.

Before you take off, check everything twice. Ensure batteries are charged and you have spares, your memory cards have space and are in your camera and you have any accessories you need – a polariser can be useful to cut glare in both water and through windows.

While doors-off flights are what you really want, I’m always surprised by how many good images I’ve captured through glass. Aircraft windows are made from layers of stretched acrylic, such as Lexan or Plexiglas, chosen for clarity and strength. The main drawback of this is older aircraft with scratched panels, but even then, a bit of editing in post can help clean scratches up.Here’s a simple method for capturing photos through glass: place a fingertip on the window and rest your lens a millimetre or two behind that finger to reduce reflections and vibration. When contrast is too harsh for the main camera, I often switch to my iPhone which manages contrast quite well.

What to look for

You’re up in the air – now what? Start by looking for patterns and textures. Things like rivers, coastlines, sand dunes, or forest canopies are often great subjects, and repeating shapes and textures within them will stand out from above.

I like to look for natural frames like river bends (see left), tree lines, or mountain ridges to contain and guide the viewer’s eye. I’m also naturally drawn to areas where light, shadows, or seasonal changes highlight contrast. Bright sand against deep water is a classic Australian example.

As well as your classic ‘zoomed in’ shots, it’s worth trying to include a few that tell a wider story, by including the wing tip or part of your helicopter in the frame. This helps convey scale and the vastness of a scene and can add to the wider series.

This old image from Namibia is one of my favourites. It was shot through the plexiglass window. The original raw result (above) is flat and hazy but Lightroom features like Contrast and Dehaze can do so much to recover information, even with old files. Canon 5D, EF24-105mm f/4L IS USM lens @ 47mm. 1/750s @ f5.6, ISO 100.

Processing

Once you have a strong aerial image, your choices around processing determine whether it becomes an accurate record or an artistic interpretation. Much modern aerial work is deliberately pushed to create bold colour and abstract patterns, and it’s a genre that really lends itself to this.

In Lightroom Classic I start by correcting the overall brightness and defining the midtones before adding creative edits.

I know, I know, this article isn’t about drones, but I’m still astounded by the great results I can get from one, even after a few years of flying. They remain the best way to get into aerial photography. DJI Air 3. 24mm. 1/500s @ f1.7, ISO 100.

Alaska. Sony A900, 16-35mm F2.8 ZA SSM lens @ 35mm. 1/1500s @ f4, ISO 400.

Dehaze and Clarity are powerful tools for enhancing texture and reducing atmospheric haze, especially over water or landscapes, while increasing Vibrance and Saturation makes patterns and features pop. Just try not to overdo these two sliders.

Finally, I will always correct lens distortion, and especially so if using a wide-angle lens, as these can curve horizons.

A before and after, looking down at Lady Elliot island. I wanted to keep the plane's strut in to give a sense of context to the shot.

Key starting points

Camera

Any camera can work. Shoot in raw, and use image stabilisation if you have it.

Lens

A range of roughly 20 to 200mm is generally suitable. A wider lens allows you to capture sweeping landscapes, cityscapes, or coastlines, and emphasise scale and patterns.

A longer lens is ideal for isolating details, distant subjects, or compressing perspective. My current favourite is the Sony 20–70mm f4 lens for its flexibility and compact size. My son Frazer carries two bodies, usually one with a 24–70mm and one with a 70–200mm.

Settings

Use any mode you understand well, as movement from the aircraft is the main challenge, and you’ll need a fast shutter speed to overcome motion blur from aircraft vibration.

For years I used Aperture Priority, ISO 400 and f5.6. My current default is Manual, 1/1000s, f5.6 and Auto ISO. In rough conditions I increase shutter speed to 1/2000s, and in low light I’ll open the aperture to help my shutter speed.

Everything is effectively at infinity, so either single-shot or continuous autofocus works well. I often use multi-point AF for low-contrast subjects like water.

The Joy of Aerial Perspectives

What I love most about aerial photography is it enriches my understanding of a landscape, and the creative challenges that come from it are always fun. It’s not for everyone of course, but if it’s for you, it’s an amazing way to see the world with your camera. ❂

About the author: Professional photographer and guide Darran Leal started his professional photography career in 1980 as the photographer on Norfolk Island.

His commercial shoots started in 1984 and continue to this day. He has also written and self published six books and has images in over 200 books world wide. He has written over 300 articles for around 20 magazines.

With over 400 successful photo tours/workshop and seminars worldwide and counting, Australian-born Darran’s lifetime loves are travel and outdoor photography. He combines these with vast experience in delivering global photo tours, workshops and seminars. See more at worldphotoadventures.com