Above & Across San Francisco: Meet The Photographers Part 1

March 12, 2025By Trope Publishing Co

Trope is excited to announce the third book in the “Above & Across” series, Above & Across San Francisco, capturing the stunning beauty of San Francisco as seen from the sky. Exploring the city's diverse architecture, bustling streets, notable landmarks like the Transamerica Pyramid, Coit Tower, and the iconic Bay and Golden Gate Bridges, the images capture San Francisco's vibrant character and historical significance. Including 118 images by 9 independent photographers from San Francisco and beyond, Above & Across San Francisco features aerial shots that offer a bird's-eye view of the city, capturing its natural scenery and urban landscape in an entirely new light.

Meet the Photographers

Learn more about Diane Bentley Raymond, Howard Kingsnorth, Lichao Liu, and Jack Landau on their photography style and what they love about San Francisco in part 1 of “Meet the Photographers” of Above & Across San Francisco below. Stay tuned to hear from John James Montoya, Jay Huang, Jeffery Xin, and Kris Kuganathan.

Diane Bentley Raymond

How long have you been a photographer and what initially drew you to the profession?

I’ve been a professional full-time photography for the last 10 years. I spent 25 years as a marketing consultant working on revitalizing small towns and marketing select brands. I spent quite a bit of time in the media discussing the projects I was working on for my clients. I often worked with photographers and film crews and found myself suggesting ways to photograph and film from certain locations, angles, etc. that I felt would tell our story better. I definitely had a “light bulb” moment and realized I really wanted to be telling the story from behind the camera, not in front of it. Rather late in life, I took a leap of faith and jumped headfirst into the world of photography. I never looked back.

What made you interested in delving into drone photography in particular?

I have always loved seeing the world from different angles and perspectives. As a child I often flew with my dad (he was a private pilot and loved flying his family all over the East Coast). I was fascinated early on with the views from “up there” and how different the world looked. When drones became available, I immediately was fascinated that there was a new and exciting way to tell a different kind of visual story.

What is your process like for shooting a new location? Do you try to match the feeling of the place with the image that you produce, or is it much more spontaneous?

For me, it is a little bit of both. When I’m in a new location, I almost always find views that I see in my mind’s eye and just how I want to share that. I take some very planned shots and further bring that image from my mind’s eye to life in my editing process. I also sometimes fly in an area without any pre-planned shots and somehow, I hone in on all the right altitudes, angles, etc. and almost magically, the shots comes together.

Tell me a bit about your editing process.

I really love the editing process. It is how I bring to life the image I saw in my mind and want to share. I typically use several different programs for each image. Lightroom, Photoshop and Luminar are three I use on almost every image. The goal isn’t to change the image into something else with drastic editing but rather to bring it to life. The raw image is a bit like notes on paper waiting to be played. That’s how I visualize my editing process.

What is it about San Francisco that inspires you to photograph it?

The short answer is everything! The water around San Francisco, the architecture, the hills, the crooked streets, bridges, the fog – I love it all. It is a magical city with a rhythm of its own. Everywhere you look you see history and the future merging and thousands of stories just waiting to be told. This New York girl definitely left her heart in San Francisco. Do you have a favorite SF moment or memory?

I still remember very clearly my first visit to San Francisco. I was 13 years old and visiting from New York with my mom and dad. We stayed at Fairmont on Nob Hill. I fell in love with this city, it left such an impression on me. I dreamed that someday I would grow up and live here. To my good fortune almost 40 years later, it has become my home. Fast forward to today. My favorite moment was the first time I got up at 5am to go chase the light at sunrise around the city. A practice that has become the norm for me. There is something magical about San Francisco when the city is still and slowly coming to life.

Much of my work, whether I’m home in San Francisco or traveling the world, takes place at those early morning hours.

What advice do you have for up-and-coming photographers?

My advice is to listen to your soul and be fearless. A favorite Hunter S. Thompson quote: “Buy the ticket, take the ride”. Late in life I changed careers; it was a total leap of faith. I did the hard work of learning my craft and trying everything. I slowly developed my skills and learned what I was best at and what I loved most. So much of my success has been just showing up and doing it with passion. Little by little we grow, we keep learning. Do what you love and you’ll be amazed at where it takes you.

Lichao Liu

What is it about San Francisco that inspires you to photograph it?

The combination of the water, skylines, colorful houses, and bridges. Its unique shape of the coastline.

Do you have a favorite San Francisco moment or memory?

The first time seeing the Golden Gate Bridge with thick fog was memorable. Although I did not have my camera with me, that view is burnt into my mind.

Has your style of aerial photography changed since you first began shooting? Tell us a little bit about this evolution.

I don’t think the style has changed much over time. The photos are always colorful, high in saturation and contrast. I enjoy emphasizing layers and details in the capture. In terms of perspectives, instead of mimicking classic shots or views, I am keen in looking/searching for spots on my own, bringing new ways of seeing the neighborhood.

Howard Kingsnorth

How long have you been a photographer and what initially drew you to the profession?

I wanted to be a photographer from the age of about 14. It looked a pretty cool thing to do then, and it still is. I had a small Kodak 127 format camera at the time, a birthday present, and shot what I could afford to have processed. A few black and white rolls with some random local subject matter. I saw Antonioni’s film Blowup and that massively changed my perspective. I remember then thinking . . . “Wow! You can actually do this for a living? And have fun?” So I took an art foundation year and followed that with a 3 year course in photography at Manchester Polytechnic. After graduating, I worked as an assistant for a few years and went fully on my own in 1980. So, over 40 years now.

What made you interested in aerial photography in particular? And have you ever delved into other subjects?

I've covered a lot of ground over the years. I was initially studio-based in Shoreditch in what is now a trendy area in London. At the time, it was a deserted area just north of the city with an abundance of cheap warehouse space. Initially, I was shooting mostly still life subjects for advertising agencies and some editorial clients. I got a bit bored from being cooped up all day in a dark studio and started seeking work that had a little more adventure. I have since shot campaigns for major auto brands, airlines, sports brands, and multinational corporations. The aerial aspect of my work grew from this client base as they were always seeking more exciting and attention-grabbing content.

What is your process like for shooting a new location? Do you try to match the feeling of the place with the image that you produce, or is it much more spontaneous?

Spontaneity is great, and a luxury if it's available; if you are shooting from a helicopter then you need some serious planning. You are paying by the minute so it’s vital to get it right. Picking the time is crucial, so ideally, sunrise or sunset depending on the layout of the location. Often the airfield is maybe a 15-minute flight from the target location so you need to factor that in with the timing of sunrise or sunset. Ideally you will do a reconnaissance flight first if you have the budget.

Tell me a bit about your editing process.

An aerial shoot will produce only a few images, especially if you are shooting in the "Golden Hour." In my experience that is more like a golden ten minutes. It’s pretty easy to edit these down to the best half dozen or so. My aerial images have a "look" that I have tweaked over time, and that's a combination of meticulous planning and quite a lot of luck. With experience you tend to make your own luck. I like to use a wide lens and get close to the subject; after that, it’s a session of post-production to my own recipe.

Do you have a favorite San Francisco moment or memory?

Sitting in a helicopter with the doors open, legs hanging out, camera in hand, flying slowly over the bay at sunset with the fog rolling in - now that’s a moment.

What advice do you have for up-and-coming photographers?

Don’t do it unless you are fully prepared for hard work and major disappointments. The rewards, however, are worth the effort.

Jack Landau

What is it about San Francisco that inspires you to photograph it?

San Francisco is just so picturesque. It is one of the few cities that has developed its own architectural styles and boasts the kind of globally recognized landmarks that photographers flock to. Rolling terrain offers stunning panoramas at every turn, and, of course, a stop to the city isn't complete without some shots of the cable cars and sea lions.

Do you have a favorite San Francisco moment or memory?

As a visitor from Toronto, I always get a kick out of spotting the No. 1704 PCC streetcar on the Market Street line painted in TTC (Toronto Transit Commission) livery.

Has your style of aerial photography changed since you first began shooting? Tell us a little bit about this evolution.

In my earlier days, when I would first get access to tall buildings or find natural high points in cities, my photos tended to underline the vastness of a landscape. Currently, I get much more out of using telephoto lenses to frame detailed cityscapes that pick up more of the details of city life and urban design.