Helicopter over San Diego

Stepping on the scale, I looked at the person behind the desk making a note on a clipboard. "You're going to be behind the pilot." I nodded and tossed loose items in a box for pickup after the flight. Within a few minutes, I was on a golf cart heading to a waiting MD500 helicopter. With my camera in hand and my workhorse 24-70L lens attached, I was eschewed towards my surprisingly small seat. My shoulder harness was buckled in by one of the flight crew, and I started fumbling with my camera settings to keep my mind off the nervousness. This was my first helicopter flight. For those who don't know me, I love aviation. It's endlessly fascinating. The cruel joke is that I am a nervous flier. The fact that my first helicopter flight was going to be doorless 4,000' above the Na'Pali coast in Kauai was paramount in my mind.

It was a strange sensation when there were no intense g-forces from acceleration to get into the sky. You first pop up a few feet off the ground, rotate, tilt forward slightly, and off you go. The nerves faded quickly. The chopper gained altitude, and I couldn't help but peer down over the skid to watch a Hawaiian Airlines A330 on the taxiway. It was a perspective I've never had. The nerves returned when the ground dropped away at Na'Pali, but I was focused on trying to capture some footage. I told myself that the motion stabilizer in Adobe Premiere would smooth out the footage in post, but it didn't.

After some jaw-dropping views of the island, we landed. Maybe it was the adrenaline, but I was ecstatic.

That flight was over 12 years ago, but I knew then how important it could be for my photographic work. Now, I cannot imagine not having access to a helicopter. I work with a fantastic helicopter service in San Diego, and I have lost track of how many times I've been up. There is no substitute for the speed and access that a helicopter can provide. Multiple properties all over the city? No problem. Challenging airspace? It's doable. High and low elevation? Check and check. And yes, all doorless.

My flying gear is streamlined, but it undoubtedly has a vibe. I carry dual cameras equipped with telephoto and mid-range lenses slung over my shoulders. I wear a safari-style shirt with buttons on the pockets to hold backup batteries and memory cards, and I wear sports pants with a zippered pocket for my phone. It's function over form. I save the style for client meetings and marketing materials.

For the actual helicopter, I usually fly on the Robinson R22. I cannot stress this enough. It is impossibly small. If you ever wanted to know what riding a dragonfly is like, this is it. The seat is large enough for 3/4ths of a butt, and your shoulder is nearly outside the chopper. The only thing keeping you inside is a car 3-point seatbelt and hope.

Though I have had the pleasure of flying with multiple pilots, my go-to is a talented helicopter flight instructor. Watching her control the aircraft is a masterclass of precision flying.

One of her favorite maneuvers, and incidentally the one I like the least, is the "Satellite shot." Have you ever wondered how those perfect property top-down shots are captured? Simple, the orbit of the helicopter is tightened over the property, and the bank angle is increased dramatically to get the skid out of the way for the photo. When this happens, there is nothing between me and Terra-Firma except a thousand feet of air. The seatbelt is just for show at this point, and the only thing keeping me in the helicopter is centripetal force as the G's push me into the seat. The first time we did a Satellite shot, I couldn't help but notice the pilot trying hard not to laugh afterward as I was rocking the thousand-yard stare. The other fun side effect of this stunt is motion sickness. As a fun tip, I recommend saving that specialty shot for the end.

So, the elephant in the room. What about drones? They're great and an essential tool in Architectural and Commercial Real Estate photography. I operate one regularly. Sometimes, it is the best tool for the job, but I prefer a helicopter. While easy to operate, drones are subject to many understandable limitations and regulations. These can sometimes lead to delays from the FAA or local municipal airport towers while waiting for approval. Then, you have to deal with the disapproving glares of passers-by and the inevitable Spanish Inquisition while trying to operate a small flying machine and capture great photos safely. People acknowledge a helicopter the same way they recognize a field of cattle while driving. "cow!" They look up and go about their day without giving it a second thought.

With clear communication and flight plans, I can avoid most timely delays in protected airspace. My pilot does the aviating, navigating, and communicating work while I focus solely on taking great aerial photos. I can also operate at much higher altitudes, which is fantastic for showing a regional market, freeway connectivity, or the surrounding landscape.

However, the best part is getting a brilliant perspective on a city—especially San Diego. Look magazine got it right back in 1972. It really is America's Finest City. Don't believe me? Take a doorless helicopter flight for an hour, and we can return to the conversation.

One of my favorite locations to fly over is downtown. I've photographed everywhere from 500' to 9,000' above the city. I've crossed directly above the center of San Diego International, cruised around the Coronado Bridge, and flown over Balboa Park at low altitude. The Balboa flight was only possible during the pandemic. San Diego Airport was not receiving many flights, so we received clearance to operate in the final approach window for the airport—something my pilot noted they had only ever done once.

If there is a shot that sums up my love for aerial work in San Diego, it's the one below. I was doing some high-elevation photography in Otay. It required chartering the Robinson R44 since the R22 could not operate above 9,400'. It was certainly higher than I am used to operating. Besides my usual flight outfit, I was also rocking a heavy jacket. With the doors off, it was frigid, to put it lightly. After completing the primary work, I asked the pilot if we could pass by downtown at altitude on the way north. She communicated briefly with ATC and nodded. In 10 minutes or so, we started approaching downtown. The afternoon light cascaded to the city's southwest, casting long shadows. It was not golden hour yet; however, the scene looked incredible. I could see Coronado, the Bridge, Point Loma, North Island, Shelter & Harbor Islands, SD International Airport, and the Lion's share of downtown. I dialed in the focus and exposure as best I could and rapidly fired the shutter till the buffer filled. I gave the camera a second and repeated the process as I leaned further and further out from the helicopter. I continued capturing till we were well past the city. To say I was stoked would be putting it lightly.

Alright, lesson time. Get in a chopper, bring your camera, and hold on tight. That's it—no other notes.