Dispatches from the sky: Donn Delson

You’ve had quite a few careers so far. What were they?
My career journey has been quite varied and progressive. In 1969, I published Philadelphia’s first weekly arts and entertainment newspaper. I then moved into purchasing media for new movie releases for theatres in Philadelphia and later at 20th Century Fox in Los Angeles, working on films like Star Wars, the Empire Strikes Back, and Alien. As an entrepreneur, my career spanned the next 30 years in television and film production, personalized giftware, and advertising specialties. This led to the founding and building of a worldwide music merchandising company for major artists, such as Rihanna, Billy Joel, Sheryl Crow, Alanis Morissette, and Linkin Park. When I sold my merchandising company in 2010, I transitioned into professional photography, which evolved into large-scale, limited-edition, fine art photography.

What originally motivated you to pursue fine art aerial photography?
When I retired in 2010, I chose to pursue my passion for photography professionally. Initially, I focused on landscape, industrial laser, and long-exposure photography. The pivotal moment came during a trip to Queenstown, New Zealand, in 2015. I had the opportunity to shoot from a “doors-off “helicopter, and I was immediately captivated by the view, the creative challenges, and the elevated perspective.

My pieces often have whimsical titles based on what they resemble from above, even if they aren’t directly related to the actual subject below. This creative process, combined with the enthusiastic reception of my work, has been incredibly fulfilling. Producing my work on a large scale, from sizes beginning at 81 cm x 121 cm up to 4 x 6 m, gives viewers the opportunity to step into the image and share the thrilling experience of flying, all while keeping their feet firmly planted on the ground.

How do you decide what you’re going to photograph before you’re up in the sky? Are you combing Google Maps, or is it only once high up in the sky and looking down you spot something worthy of photographing? 
It’s funny but most of it is serendipitous. Deciding what to photograph involves a combination of preflight planning and in-the-moment inspiration. I have used tools like Google maps and satellite imagery to assist me in potential locations, but only to a minimal degree. Most of my process is based on the actual flight and the serendipity of finding something that is striking and appealing to me. Once I’m up in the sky the landscape reveals itself in ways that are impossible to fully anticipate from maps or satellite imagery. I look for patterns, textures, symmetry, colour, and unique interactions between natural and urban elements. The dynamic interplay of infrastructure, architecture, and human movement often reveals itself only when I’m hovering above, allowing me to capture scenes that are both unexpected and visually arresting.

We were hovering over the British Museum for a while… what caught your eye there?
London’s eclectic blend of historical and modern architecture is a visual feast from any perspective, but from above, it reveals an entirely new world of symmetry, patterns, and textures. One particularly memorable moment on my last trip to London was flying over the British Museum. As the sun illuminated the beautiful, teal-green glass of the dome, the interplay of light and structure was breathtaking and inspired one of my favourite images, titled The Crown Jewel. The museum’s architectural, elegance, combined with the vibrant colour of the sun on the dome and the unique vantage point, made for an unforgettable shot.

The Crown Jewel according to Delson, is the roof of the British Museum.

Have you shown your work to any architects? What has their reaction been like?
I’ve been fortunate to collaborate with some outstanding architects. My work resonates well with those looking for large-scale fine art to enhance the common areas of their commercial projects. Reaction from architects has been overwhelmingly positive. They appreciate my aerial photographs’ unique perspectives and how those images can transform spaces, adding depth, intrigue, and a sense of scale that aligns beautifully with architectural design.

Thinking of cities from this perspective, what has surprised you from this vantage point? Has there been anything you’ve learned only since going in the helicopter and looking down? What’s been the biggest surprise?
One of the most surprising insights for my area of fine art photography is the relation of how surprisingly interconnected and patterned urban landscapes are from above. Cities often resemble intricate tapestries with infrastructure, transportation networks, and architectural elements forming a cohesive almost organic whole. I’ve been particularly struck by the way man-made structures mimic natural forms, highways snake through urban centres like rivers, and rooftops create a patchwork akin to geological formations.

A major surprise for me has been the sheer scale and complexity of urban sprawl, which is felt everyday by those of us who live in cities, but not really seen at ground level. Looking out and down from the doorless helicopter, the flow, the clustering of buildings, and the juxtaposition of different urban zones from high above, intrigues me artistically but has also deepened my appreciation for urban planning or not, and the ways that cities evolve and function.

Feathered Web from the ‘Points of View’ collection looks down onto parked lorry containers at the London Port Authority’s Tilbury Docks in Essex.

Photos from the ‘Points of View’ series feature (from left to right): Turntables, Googly Eyes, Headdress, Pinball, Red Lock District, Sandbox, Tonka Symphony and Xylophone.

What is your favourite city to photograph?
There are many places around the world that appeal to me, and London holds a special place in my heart when it comes to aerial photography. The city’s rich tapestry of historical and modern architecture creates a visually stunning mosaic from above. The contrast between iconic landmarks like the Tower Bridge, the Gherkin, and the Shard, against the backdrop of the river Thames, offers wonderful opportunities for capturing compelling artistic images. The city’s vibrant energy coupled with its blend of old and new, makes each flight over London unique. The ever-changing light and weather conditions adds a layer of complexity, as well as beauty, making it one of my favourites.

Delson’s next solo show is scheduled for January 2025 at Axiom Contemporary in Scotsdale, Arizona.