Artist Q & A: Jeffrey Milstein
Jeffrey Milstein On Documenting Paris
As Jeffrey Milstein returned to the skies of Paris for the first time since 2019, we sat down with the artist to learn more about his creative vision, the challenges navigated, and the lasting impression he hopes these breathtaking images will leave on viewers
The artist making final preparations in advance of this expedition, image courtesy Jeffrey Milstein
1. Having documented Paris & Versailles previously, what compelled you to revisit this iconic city?
When I photographed Paris in 2019, for my book Paris from the Air, Rizzoli, I was asked not to photograph Notre Dame because it was covered with tarps after the fire. It’s extremely difficult to get permission to fly over Paris. There’s a law prohibiting low level photography flights and very few photographers have ever been given permission. As I did not photograph Notre Dame from the air in 2019, I decided to ask for permission again since Notre Dame was now open.
After three months waiting and $1,000 to make the application, I received permission for one hour over the city center. It would have to be on one of three specific days in October, between 5 and 7 PM. It was such a rare and unusual occurance it was written up in the newspapers, telling people not to be alarmed if they saw a helicopter flying over the city
2. As with any project of this magnitude, what were a few of the challenges you faced?
The authorities gave only limited number of days and times and the Helicopter company had also commitments. They do the shooting for films like Mission Impossible, so coordinating schedules and allowable times was a challenge. I also had to get permission from Notre Dame.
The weather also posed a challenge. During the alloted shoot days, the weather was changing hour by hour. On the second day, the skies became flyable for a few hours, so we went.
By the time we had finished the flight it had started to drizzle so it was very lucky to get the flight in. If we hadn't flow that hour, we would have had to start again with a new application, and a whole new trip.
3. We can only imagine the number of images you took while in the air. When narrowing it down, what are you looking for in an ‘ideal’ image?
There is not one thing I’m looking for for an ideal image. I shoot in several different styles. When I shoot straight down, I look for symmetry, and interesting geometry, and an interesting subject. For landscape shots I look for mood and framing and color, and for close up detailed shots I look for human interest and a specific point of view not normally seen. But always I like a sense of balance and order.
Louvre Pyramid 10, Archival Inkjet Print, 2025
4. Given how recognizable Paris is to the World, what do you hope the viewer takes away upon viewing your photography?
It’s a chance for someone to view an iconic city from the air in a way that they would not normally get to see. Even airliners are forbidden to fly below 6000 feet over the city so it’s very rare to see pictures of Paris from the air.
Haussmann in the 1800s designed a city with broad tree-lined avenues and public squares, limiting the heights of buildings to six stories and decreeing that the buildings should all be in French second empire style with a particular sandstone. He treated buildings not as independent structures, but as pieces of a unified urban landscape. As a result, the city center has only one tall skyscraper allowed, and it has been generally reviled.
A few other photographers have shot Paris from the air, but not many photos exist, ultimately giving this work a historical value.
5. Reflecting on the execution of the project, is there anything you would have done differently?
Given that I only had an hour and no control of the weather, I think the trip was successful. I can't think of anything I would have done differently, other than check my lenses more carefully as one of them had some issues.
Isle Saint-Louis 10, Archival Inkjet Print, 2025
6. If you were asked to pick three of your favorite images from this series, which ones would they be?
It's hard to pick just three. I think the close up of the Louvre pyramid with all the people (it had just reopened that day after the heist), one of the long shots of the city with the river, one from La Defense looking at the city with the moody clouds, and one of the Louvre shots showing the architecture.
7. For the photograph techs out there, what do you shoot with?
I Had two Fuji GFX2 cameras around my neck and a mid range zoom, a 100-200 mm zoom and a 500mm lens.
8. At this point, you have documented a few cities in your practice: Paris, London, New York – among others. What is next on your list?
I am working on a book of Los Angeles I hope to get published before the Olympics.
9. Last question: besides your camera, what is one piece of equipment you could not do without?
My travel laptop with Photoshop and other processing software.