How to Photography Guide, Aerial Photography
SUMMIT Mount Cook.
PRECARIOUS Plateau Hut Aoraki Mount Cook
This blog resulted from the preparation I needed to complete to photograph from an open-door helicopter during a sunrise flight over Aoraki Mount Cook National Park.  You’ll want to be well-prepared both for the flight and for capturing the stunning New Zealand landscape. Here are some tips on how to prepare for the shoot and the best photography techniques to use:
Preparation:
​​Gear:
  • Full-frame camera: A full-frame camera will give you great detail and dynamic range. Make sure your camera is fully charged, and you’ve got spare batteries on hand (cold temps can drain them faster).
  • Wide-angle lens: A 16-35mm or 24-70mm f/4 or f/2.8 is ideal for capturing wide vistas, especially with sweeping mountain views. A fast aperture will help in low light.
  • Telephoto lens (optional): A 70-200mm can allow you to zoom in on specific features, like glaciers or peaks, for more intimate shots. 
Top Tip: Your helicopter flight will most likely be 30-60 minutes depending on your budget and you don’t want to be wasting time changing lenses while mid-flight – my ultimate recommendation is to choose before you fly if the flight is short – in my case I used the Sony 24-70mm f/2.8 as it allowed for wide vistas and some zoom capability for closer shots of the mountain peaks.
  • UV or Polarizing filter: A polarizer helps reduce reflections on water and enhances the sky, especially during the soft light of sunrise.
  • Lens hood: Helps protect your lens from wind and any spray from the rotor blades.
  • Strap or tether: In case you want to take your hands off the camera momentarily or if you’re concerned about it slipping - a wrist strap is safer than a neck-strap, however, I had my camera tripod mounted with legs withdrawn and a neck-strap worked well in my situation.
Top Tip: Mount your camera on a tripod and have all settings loaded in the camera before take-off – the tripod gives you a stem to hold on too with a gloved hand and this means you can rotate your camera from portrait to landscape with ease. Alternatively use camera friendly gloves for ease of camera operation using both hands gloved.
WESTERN SLOPES Head of Franz Joseph Glacier.
ACCUMULATION ZONE Franz Joseph Glacier.
  • Remote control:   Have one in your jacket pocket switched on, ready to activate.
Top Tip: Use one gloved hand to hold the tripod stem near the camera body and the other ungloved hand in your jacket pocket ready to activate the remote for each shot – it will be cold up there but this method means you have full control of the camera’s angle while having a free hand to activate the remote and to adjust settings when needed (before returning your ungloved hand to the jacket pocket) – hopefully you get my drift on this – it’s a method that works.
  • Microfiber cloth: For wiping down your lens if the helicopter's airflow causes any condensation.
Attire:
  • Warm clothing: Even if it’s summer, it can be quite cold in a helicopter, especially at sunrise. Layers, including gloves that allow for camera handling, are recommended or use the method described under the Remote Control section above.
  • Secure all loose items: The wind can be strong, so ensure any loose items, including your camera strap, are securely fastened.
Flight Details:
  • Confirm the timing: Sunrise flight times are crucial, as the soft light is only available for a short period. Double-check the exact departure time and the expected time for golden hour.
​Helicopter Safety:
  • Communicate with the pilot: Let the pilot know your photography plan and ensure there is no miscommunication – this way you’ll have every chance to capture the shots you want
  • Understanding the flight path: Knowing where you’re going and what you’ll be flying over (Aoraki, the glaciers, surrounding mountains) will help you anticipate shots.
PEAKS ABOVE CLOUD Southern Alps.
HANGON Impending Avalanche Mount Cook
SHROUDED VALLEYS Southern Alps.
Photography Tips During the Flight:
SAFETY FIRST
Helicopter Safety
  • Wear a safety harness at all times.
  • No lens caps, loose accessories, or bags without tethers—they can fly out.
  • Use lens straps or hand straps, and neck straps (if secure)
  • Don’t lean out aggressively—let the pilot maneuver for the shot.
  • Communicate clearly with the pilot about the kind of shots you're aiming for (angles, locations, altitude).
​Camera Settings for Alpine Sunrise:
  • ISO: Keep your ISO as low as possible (ISO 100-400) for the cleanest image, but you may need to increase it slightly depending on how dark it is during early morning.
Top Tip: ISO is your first choice adjustment to enable the shutter speed to be kept at a minimum of 1/1000s – vibrations from the helicopter are the issue that will cause image blur and ISO together with aperture adjustments are the solution – adjust ISO first and only use aperture adjustment if the ISO is tracking too high to achieve correct histogram exposure. Try to keep the ISO below settings that will create noise in your image.  Check your own camera online for recommendations. I have a Sony A7CR and ISO of up to 1600 will produce images of good quality in sunrise alpine conditions - for my flight I rarely had to take the ISO above 800.
  • Manual Mode and Aperture: Set your aperture to around f/8 or f/11 for wide depth of field.
  • Shutter Speed: At sunrise, the light will still be low, so you’ll need a faster shutter speed to avoid motion blur—aim for at least 1/1000s or faster if you're capturing fast-moving scenery or the helicopter's rotor.
  • Focus: Use autofocus (Single Point AF or Zone AF): Because you’ll be moving quickly and the helicopter will be vibrating, autofocus is your best bet to lock onto the subject. Focus on a mid-ground element (a glacier ridge or valley) to ensure that both the foreground and background stay sharp.
  • Depth of Field: A slightly higher f-stop like f/8 or f/11 will keep more of the landscape in focus, from the foreground snow to the distant peaks.
  • Filters:Polarizer filter: Essential for reducing the glare from snow and ice, and for enhancing the contrast in the sky. It will also help make the snow look crisp and pure while darkening the sky to make it pop.
  • White Balance: Set your camera to Daylight to capture the warm tones of sunrise or adjust as needed. If you're shooting in RAW, you can adjust the white balance later.
  • Stabilisation - (IBIS) or lens stabilization systems are designed for low-frequency shake (like hand tremor). When they encounter constant mechanical vibration, the system can get “confused,” and instead of stabilizing, it may introduce blur or jitter. I switched mine off as I was shooting at 1/1000s+ shutter speeds but you may choose to leave yours on with these thoughts in mind -
Why You Might Leave It On
  • Modern systems (like Sony’s IBIS + OSS lenses) are much better than older ones. They often help at higher shutter speeds by reducing small bumps in your handholding.
  • At very fast shutter speeds (1/1000s+), stabilization has little effect anyway — motion is frozen, not smoothed.
  • Many aerial shooters actually leave IBIS on, because the A7CR doesn’t have an “auto-detect tripod/vehicle” mode, and it usually helps more than it hurts.​
  • Bottom line - check recommendations for your camera, and if in doubt, switch (IBIS) or lens stabilization off and shoot at fast shutter speeds.
MORNING CHILL Mueller Lake and Mount Sefton.
PLATEAU PRECIPICE Plateau Hut Aoraki Mount Cook.
DOMINANT Southern Alps and the West Coast
Practical Recommendation for Your Open-Door Sunrise Flight
  • Keep shutter fast (1/1000s or faster) — that’s your main defense against vibration.​
  • Shoot in RAW: Always shoot in RAW when you have the chance, especially during sunrise. This gives you more flexibility when editing in post-processing (you can recover more detail from shadows and highlights).
Keep the Helicopter in Mind:
  • Camera Shake: Helicopter vibrations and turbulence can cause blur in your images. To reduce this, shoot with a faster shutter speed and hold the camera steady. Do not brace yourself against any helicopter framing – this will expose you to vibration.
Top Tip: Use burst mode to increase chance of sharp frames.
  • Wind and Motion: If you're shooting out the door, be aware of strong gusts of wind, especially at higher altitudes. Keep your hands on the camera and avoid any sudden movements.
  • Framing: Since you’re shooting from an open door, you can compose shots without window reflections, but be mindful of the helicopter's structure, which may occasionally get in the frame.
​Lighting and Composition:
  • Golden Hour Light: Sunrise offers a soft, golden light that casts beautiful shadows and highlights, especially on the mountains and snow. Look for scenes that are lit from the side for dramatic shadows and texture on the landscape.
  • Backlighting: Position the sun behind a peak or a range of mountains to create silhouettes or rim lighting on ridgelines, which can add a sense of depth.
  • Framing: Use the natural elements (mountain ridges, clouds, rivers) to guide the viewer’s eye.
  • Overhead Shots: From the open door, you’ll have a unique chance to capture the aerial view of glaciers, valleys, and lakes. Get some overhead shots of the landscape, looking down at the patterns of snow and rock, which can create stunning geometric compositions.
Take Multiple Shots:
  • Take several photos with different settings (especially different exposure settings) to ensure you capture the best possible image under varying light conditions. Use your camera's exposure bracketing if needed.
 
Quick Helicopter Setup
Mode: Manual (M)
Shutter: 1/1000s or faster
Aperture: f/5.6–f/8
ISO: 400–1600 or Auto ISO (max 3200)
Focus Mode: AF-C (Continuous)
Drive Mode: Continuous High
File Format: RAW
Metering: Evaluative / Matrix
White Balance: Daylight or Auto
Stabilization: Off
MEANDERING Tasman River.
CRACKED Hochsetter Icefall Crevasses Mount Cook.
FIRST SUN Plateau Hut Aoraki Mount Cook.
Techniques for Photographing Glaciers, Snowy Peaks, and Valleys:
Look for Patterns and Textures in the Snow:
  • The surface of glaciers often have intricate patterns and crevasses. With the right light, you can get stunning shots of these formations.
  • Use diagonal lines: Glaciers often form natural lines that lead the viewer’s eye through the frame. These could be crevasses, ice ridges, or valley pathways.
  • Shoot the texture of the ice: If you’re able to fly closer to a glacier’s edge or over icefalls, try to capture the details—such as the smooth, glass-like surface or jagged ice formations—by zooming in with your telephoto lens.
Composition Tips for Glaciers and Valleys:
  • Framing: A wide-angle lens is ideal for capturing expansive views of valleys and glaciers. Look for natural framing elements, like snow-covered ridgelines or peaks that can serve as leading lines.
  • Use the valleys as compositional guides: The valleys formed by glaciers often have clear, winding paths. Try to position the camera so that these valleys lead the viewer’s eye deeper into the frame, towards a distant peak or frozen lake.
  • Golden Hour: Sunrise light is crucial for bringing out the textures of the snow and ice. The warm light will contrast beautifully against the cold whites of the glaciers and the blues in the shadows.
Shoot from Different Angles:
  • Overhead shots: Capture the long, winding stretches of glaciers and valleys from above to show their scale and sweeping beauty.
  • Side and angled shots: When you can, take some shots from an angle where the light highlights the edges of the glacier, with the snow catching the light and creating texture and shadows.
  • Include foreground interest: If you can, try to include a chunk of ice or a ridge in the foreground to add a sense of depth and dimension to your shots.
Timing Your Shots for the Best Light:
  • Golden hour (before sunrise): The early light will give you soft, warm tones on the snow and dramatic shadows on the peaks. The cooler tones of the glacier’s surface will contrast with the warmth of the light, making for a dynamic image.
  • Just after sunrise: The light will shift quickly, so keep shooting after the first rays hit the peaks. Snow-covered peaks and glaciers will glow beautifully in the soft, angled light. This is a great time for catching the glow of the sunrise reflecting off the snow.
Wind and Motion Compensation:
  • The helicopter’s motion can cause blur, so hold the camera as steady as possible. If you’re having trouble keeping the camera stable, try bracing against the side of the helicopter.
  • Shoot continuously: With the vibrations and fast-moving scenes, take multiple shots in quick succession. This increases your chances of getting a sharp image.
Look for Contrasts:
  • Contrast between snow and sky: Capture the rich contrast between the snowy landscapes and the vibrant blue sky, especially as the sun rises. A well-composed shot of the horizon with the peaks silhouetted against the sky can be quite powerful.
  • Contrast between ice and rock: Glaciers often sit next to rocky mountains or cliffs. These contrasts in texture (smooth, icy surfaces versus rough, jagged rock) make for stunning photos.
GLACIER HEAD Tasman Glacier.
TASMAN DAWN Tasman Glacier and Lake.
Bonus Tips:
  • Be patient: You’ll be in the air for a while, so take your time. Observe how the light and landscape shift as you fly. Every moment will offer new and unique angles.
  • Review shots often: Given the unique circumstances (moving helicopter, varying light), you’ll want to review your shots every few minutes. This allows you to adjust settings or framing if needed.
  • Focus on the environment: Capture the full scale and grandeur of the landscape. Incorporating the surroundings—mountains, sky, valleys—into your shots will help communicate the vastness of the location.
Post-Processing:
  • Lightroom/Photoshop: Adjust the exposure, contrast, and saturation to enhance the colors of the sunrise and the natural beauty of Aoraki Mount Cook. Use graduated filters to help balance the exposure between the sky and the landscape.
  • Enhance Details: Increase the clarity in the mountains and texture in the snow to bring out the beauty of the rugged terrain.
  • Fix Any Distortions: If you were shooting with a wide-angle lens, check for any barrel distortion (curvature) in the horizon, especially at the edges of the frame, and correct it in post-processing.
 
Quick Summary Checklist:
Safety harness secure ✔️
Fast shutter speed (>1/1000s) plus all camera settings complete ✔️
Wide + telephoto lens options ✔️
RAW format + burst mode ✔️
Communicate shot plan with pilot ✔️
Check weather + sun direction ✔️
Use lens cloths + strap everything in ✔️

Keen to purchase an Aerial image as a fine art print or canvas? Browse the range of available images in my South Island Landscape Photography Gallery or get in touch to make purchasing inquiries.
Ready to Book  your flight?
We booked with Southern Lakes Helicopters  (www.southernlakeshelicopters.co.nz/about/) and highly recommend them  - their prices are reasonable and the staff well-experienced and professional  - our pilot (Toby) was easy to communicate with, highly skilled, and made our flight a great success.
Thanks so much for taking time to read Open Door Helicopter Photography. I hope this inspires you, assists with planning your Open Door Helicopter Photography flight, and results in some amazing NZ Landscape Photography aerial images.
If you are interested in prints of any of the Landscape Photography images on my site, please browse my Photography Gallery, and check the images in my Online Print Store, or get in touch to purchase images from this post.
Inspired by the experience?
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