Inspired by our March 2016 cover story by James Fallows, “How America Is Putting Itself Back Together,” readers share their best aerial photos from across the U.S. Submit your own via firstname.lastname@example.org. (Please provide the location, the story behind the photo, and the largest file size you have. Horizontal photos with a bit of the plane visible—a wing, the edge of a window—are ideal. Terms and Conditions here.)
That’s how reader Ramakrishnan describes his breathtaking shot over Playa Flamenco, on the Puerto Rican island of Culebra:
Our reader isn’t alone in calling it one of the prettiest beaches in the world:
It is known for its beautiful shallow turquoise waters, soft white sand, excellent swimming, sport-fishing, and diving sites. Stretching for a mile around a sheltered, horseshoe-shaped bay, Playa Flamenco is considered both Culebra’s and Puerto Rico’s best beach and quite possibly of the whole Caribbean. Certain discerning travel writers have suggested that it is among the top 10 in the world, including been named at the 3rd spot by Travel Advisor in March 2014.
Here’s our second view from a helicopter—and it’s much better than the one I submitted from Salt Lake City:
This was taken in October 2015. Chicago’s shoreline may be one of the best developed in the country, certainly better than my birthplace New York, NY. Recently a project to prevent flooding of Lake Shore Drive at Fullerton Parkway added 6.6 acres of parkland along the lakefront. This is just south of Montrose Beach.
I took this photo of Oahu flying from Honolulu to Washington Dulles just a couple of weeks ago. You can see downtown Honolulu, Waikiki beach, Diamond Head State Monument, as well as the Ko’olau Range in the background. A clearer day would have resulted in a better shot of the mountains, but I think the water was captured nicely. I had been scuba diving a little over 24 hours before I took this photo in the Maunalua Bay (which you can make out a tiny part of on the right side of the photo, just east of Diamond Head) and the water really is as clear and blue as it looks here.
We started “America by Air” as a month-long series of aerial photos from readers that accompanied Jim’s March cover story, “How America Is Putting Itself Back Together,” which he reported with his wife Deb over three years across the U.S. via their single-engine plane. Readers not only keep sending more and more submissions, but the quality of the photos and anecdotes are getting better and better. So we’ve now turned “America by Air” into a standard feature of Notes, posting one a day, more or less, for the indefinite future, joining the ranks of Orbital View and Track of the Day. So please keep ‘em coming. Submission guidelines here.
The latest aerial view is a real beauty, coming from reader John Zimmerman:
Every year I like to fly to the big Oshkosh air show low and slow, enjoying the view at 90 knots—after all, getting to the big fly-in really is half the fun. One of the highlights of the trip every year from my home base in Cincinnati to Wisconsin is the Chicago area. If the weather is good, there’s no better flight than the one that follows the lakefront. The route takes you past famous landmarks like Navy Pier, Wrigley Field, and Willis Tower (you can look up at some office workers and wave). The only downer is the flight over abandoned Meigs airport, which sits barren and undeveloped, a lasting reminder of political misconduct.
As is true so many places in the U.S., no special clearances or equipment is required—just keep your head on a swivel and enjoy the view. It’s one of those “only in America” moments that knocks off the cynicism just a bit.
Seattle looms large in all things aviation-related, due mainly to the presence of Boeing. It looms large in my own aviation-related life, since I got my instrument rating while living there in 1999, training with instructor Chris Baker of Wings Aloft at Boeing Field in downtown Seattle; and then in 2000 did seaplane training with instructor Chris Jacob of Kenmore Air, which flies floatplanes out of the local lakes, bays, and inlets.
It also looms large in recent photos in this series. Here is another one via Stu Smith, a colleague of Chris Jacob’s at Kenmore:
This photo was taken by a passenger (I don’t recall the name) in a Beaver [JF note: a very popular floatplane] looking to the southeast. If not for the clouds, Washington State’s iconic Mt. Rainier would be visible on the distant horizon.
When the wind dictates a south departure from Lake Union (as it did in this flight), the climbout takes us past the Space Needle. It’s a pretty spectacular departure, which I’ve yet to tire of after 12 seasons. When the wind shifts to the north, the arrival and landing direction is reversed, taking us past the Space Needle in a descent. I think that tourists looking out from the Space Needle enjoy watching our departures and arrivals as much as the passengers on the plane enjoy watching them watching us!
I got to fly this route sometimes when doing training. It’s reason enough to do pilot training, or at least to take a sightseeing flight.
Matthew Amend of Seattle, with whom I have corresponded about piloting issues for years, sends this photo. Here’s his explanation:
I just found your series. It’s great! As an 18-year paraglider pilot, I may be biased, but I firmly maintain that the best, most unobstructed way to view America by air is by dangling beneath a big kite!
Here’s my submission (of me, not taken by me—taken by Matty Senior). I’m taking a friend for a ride in my two seat (“tandem”) paraglider above Tiger mountain in Issaquah, WA. January 2015. Perfectly backed by a rainbow and low cumulus clouds with lake Sammammish in the distance. No Photoshop; that’s straight from the camera.
I wanted to share some of the images I’ve been taking of elusive plane shadows from window seats. I make sure I alway sit on the shaded side of the plane to try and capture these.
During the 9/11 attacks, I lived just a few blocks away from the WTC on Duane Street, and I heard the first plane go overhead and crash into the tower. It took a while before I wasn’t spooked by the doppler effect of a plane passing by. Taking these photos has been a cathartic process for me, even though I still find the sight of shadows of the planes over buildings fairly sinister.
Here’s the photo gallery. All but #6 and #11 were taken over the U.S., mostly on approach to LGA or ORD, a trip I take a lot.
Above is a screenshot I took of Matt’s gallery. If you have any similar shots of plane silhouettes, please send them our way: email@example.com.
This picture is looking down at the former Savanna Army Depot just South of Hanover, Illinois, this weekend. The Mississippi River is in the background. Large sections are now being used for temporary storage of rail cars, but you can see the remains of roads that were once lined by ammunition bunkers.
The U.S. Army began work there in 1917 with military weapons testing and the grounds boomed to life. During World War II it was the largest Army depot in the county. Over the years it was also used to store, manufacture and recycle munitions.
Later, it was listed for BRAC closure and the depot officially shut its doors in 2000. Today, much of the property is out-of-bounds due to environmental contaminants. The areas that are off-limits to the public today are surrounded by tall fences and posted with signs that say restricted. However, you can still get pretty close enough to see many of the old buildings.
Especially if you’re in a small plane. But the area isn’t entirely abandoned:
“It might look like a ghost town, but that’s because you can’t see the activity,” said Alan Anderson, a Wildlife Refuge Operation Specialist with the U.S. Fish and Wildlife Service. There is some work happening with the railroad and efforts to redevelop the area, but Anderson works there for a different reason. “The U.S. Fish and Wildlife Service has been developing a National Wildlife Refuge here for actually 20 years,” he said.
The Army has transferred over about 10,000 acres that’s now called the Lost Mound Unit. Only part of it is open to visitors. “The work the military did disturbed some of the habitat that’s out here but it also preserved some of the habitat that’s out here,” added Anderson.
Yesterday Stu Smith, who flies as a seasonal pilot for Kenmore Air in the Seattle area, shared a wonderful photo of a circular rainbow.
I’m very familiar with and fond of Kenmore Air, and not simply because my wife Deb and I took some of their seaplane flights for travel around the Puget Sound area when we lived in Seattle in 1999 and 2000. It’s also because I took seaplane-flying lessons there from Smith’s Kenmore colleague, Chris Jacob.
Because they fly so low-and-slow, and because they often land on lakes, bays, and shorelines right near cities, seaplanes generally offer a particularly striking version of the aerial view. In his note, Stu explains what we are seeing above:
I’ve flown for Kenmore for a dozen seasons in DeHavil and Beavers and Turbine Otters, all on floats. All of our flying is single-pilot, and
the company is certified to carry passengers in the copilot’s seat. I
often receive photos taken by passengers who are kind enough to share, since I tend to be occupied at the controls. Most of our flying is
low-level, typically below 5,000 feet above the ground. This is an
ideal height to see detail on the ground as well as a distant, synoptic view.
The photo above was taken by a passenger (name lost to history) sitting in the copilot’s seat. We’re flying in a Beaver on a scenic flight, southbound over Seattle’s Lake Union. Lake Union is freshwater, and is our primary takeoff and landing site. The seaplane dock, where Kenmore’s passengers embark and disembark, is just to the right of photo center (at the moment unoccupied).
Downtown is out of sight to the photo’s left, about a mile or so off our nose. Beyond the Space Needle to the southwest is Elliot Bay and then Admiralty Inlet, which are saltwater and part of Puget Sound. The plane’s right front float is just visible in the lower-left portion of the image.
Stu Smith, a reader who works as a seasonal commercial seaplane pilot for Seattle’s Kenmore Air, passes along a real beauty:
This photo was taken from the copilot’s seat by my friend Marshall Collins, who is a flight instructor at Clover Park Technical College (where I received my training and was also a flight instructor). This was a scheduled flight in a Beaver from Seattle to Victoria, British Columbia. We were about a third of the way into the 70 mile-long, northwest-bound flight when the circular rainbow appeared below us. If Marshall had had a wider-angle lens, he would have caught the entire circle.
At the time of the photo we were over the small village of Port Gamble, Washington, which had a long history as a timber and sawmill town. We’re looking to the northeast, with Point Julia in the foreground, the Kitsap Peninsula in the middle distance and Admiralty Inlet in the far distance. Marshall was riding along as my guest, since there was an unsold seat on this flight and he was available to join me.
Love this series so far and thought I’d throw in one of mine. This shot was taken along the central California coast in the Big Sur area after taking off from Monterey en route to Montgomery Field in San Diego in a Diamond DA-40. In contrast to all of the great shots so far on (mostly) clear days, this photo was captured under instrument flight rules. [CB note: That’s defined as “rules and regulations established by the FAA to govern flight under conditions in which flight by outside visual reference is not safe”—in contrast to visual flight rules.]
The right side of the picture shows an interesting pattern that tends to show up in cell phone pictures taken from propeller aircraft. The best explanation I have found is here.
The former president’s message at his Arizona rally was as clear as it was dishonest: He didn’t lose to Joe Biden in 2020, and he’ll spend the next year working to elect Republicans who agree.
FLORENCE, Ariz.—Tonight, deep in the Arizona desert, thousands of people chanted for Donald Trump. They had braved the wind for hours—some waited the entire day—just to get a glimpse of the defeated former president. And when he finally appeared on stage, as Lee Greenwood played from the loudspeakers, the crowd roared as though Trump were still the commander in chief. To many of them, he is.
“I ran twice and we won twice,” Trump told his fans. “This crowd is a massive symbol of what took place, because people are hungry for the truth. They want their country back.”
Tonight’s rally was Trump’s first public event since July. On paper, the gathering was meant as his response to the anniversary of January 6, as well as an unofficial kickoff for his efforts to support Republicans in the midterm elections. But the event also served as the soft launch of Trump’s 2024 presidential campaign. Although he didn’t say the words, the former president seems poised to run in two years—“Make America great again again … again,” he joked to the crowd—and tonight, his message was as clear as it was dishonest: He didn’t lose to Joe Biden in 2020, and he’ll spend the next year working to elect Republicans who agree.
I thought I was done dating. But after moving across the country, I had to start again—this time, in search of platonic love.
Thirty-seven minutes after sitting down to lunch, Francesca and I hugged goodbye in a strip-mall parking lot. We were both fairly certain, I think, that we would not be seeing each other again. The high-school classmate of a friend’s friend’s husband, she’d been such a promising friendship prospect: She was a professional violinist and fellow New Yorker who was writing her dissertation on pollen. But I was awkward, smiling too much and saying things like “That’s so funny” in lieu of actual laughter, while Francesca (not her real name) was overworked and seemed full of derision for Bozeman, Montana, the town to which I had just moved, and from which she and her husband were determined to flee.
Right now, there is a hole in my living room. It was not there last week. We’ve tried to cover it up, but nothing seems to work. Rearranging the furniture somehow only makes the hole grow. The space, which once radiated a hopeful glow, now feels hollow. When I stare at this hole, I begin to feel as if a light has gone out in the world. Actually, not just one, many. And that’s because they have.
I am, of course, talking about my Christmas tree (RIP).
If you live in one of the 94 million homes or apartments that purchased or displayed a tree this holiday season, then maybe you feel the same melancholy that I do now. It’s grim out there. Two weeks ago, my street was a Griswoldian wonderland with twinkling lights silhouetting the eaves of my neighbors’ houses and robust-looking conifers standing proudly in their windows. Now my street is an evergreen graveyard with damp, sickly looking pines discarded by the side of the road, half buried in the driven slush.
The top player in men’s tennis is yet another anti-vaccine athlete who’d rather create chaos than get a shot.
After a dramatic weeklong fight with the world’s top men’s tennis player, Australia’s immigration authorities wisely decided to revoke Novak Djokovic’s visa a second time because he flouted the country’s COVID-19 policies. Although the Australian authorities and tennis officials aren’t blameless, this is a huge, self-inflicted public-relations crisis for Djokovic that has smeared his legacy.
SNL’s inaugural episode of 2022 turned to dark, and often awkward, absurdity to explain our exasperating moment.
Saturday Night Live’s first episode of 2022 attempted to make up for the strange, empty show that ended 2021 amid the rise of the coronavirus’s Omicron variant. The cast was back, the masked audience was back, and the show, as they say, went on. But it couldn’t escape the world outside of 30 Rock’s doors.
This season has thus far blended thin political fare with dour-noted escapism, as though the pleasure of putting on a live show is more about continually agitating a bruise than finding true comedic relief. Like so many of its viewers, SNL has been waiting to turn a corner, to move past a scenario with little to laugh about. Last night’s episode felt like one long exasperated sigh. As James Austin Johnson’s Joe Biden wretchedly joked in the opening presidential address, “People got vaccinated and the pandemic got worse.”
Climate change is a tough subject for any film, let alone a satire.
Adam McKay’s disaster satire Don’t Look Up is many things at once: a parable of our distracted society, a primal scream of a warning, and a broad comedy from the writer/director of Anchorman. Such a delicate balance has made the star-studded Netflix film a polarizing movie.
Critics, audiences, and activists have both savaged and praised the movie, and the backlash has highlighted the difficulty of conveying an urgent message with comedy. Has political satire lost its power? Or has reality become so absurd that it’s now beyond parody?
That challenge was evident in the making of Don’t Look Up. As McKay told David Sims, he wrote the story about a planet-killing comet (and our society’s inability to act collectively to stop it) as a climate-change metaphor. But after the script was done, production shut down for the pandemic and he watched the follies of a real-life disaster surpass his fictional one.
Today’s norms of responsiveness are ridiculous. We shouldn’t apologize for failing to meet them.
At first, being reachable all the time felt good. To professionals who started using BlackBerries 20 years ago to conduct business on the go, it registered as a superpower. “They felt like masters of the universe,” Melissa Mazmanian, an informatics professor at UC Irvine who studied the devices’ uptake in the early 2000s, told me. But as more people got mobile devices, responding to messages anytime became the norm among co-workers as well as friends and loved ones. The superpower morphed into an obligation.
This is an evolution that Mazmanian refers to as the “spiral of expectations.” When communication technology makes a new thing (like responding on the go) possible, doing that thing can be a way for people to signal how dedicated they are as workers or family members—and, crucially, not doing that thing can suggest that they aren’t dedicated enough. Now when people feel they haven’t responded sufficiently quickly, they think they owe their correspondent an apology.
In Disney’s latest blockbuster, Encanto, a magical family called the Madrigals have escaped the violence and chaos of their homeland by crossing a river into an enchanted paradise that endows each with wondrous gifts that they use to protect and enhance their community. As the generations go by, however, the magic of the new world starts to fade and the family buckles under the pressure of their responsibilities while struggling to maintain the illusion that everything is fine. One grandchild, we learn, has no gift at all; another worries that she cannot keep up the appearance of perfection that is crushing her from the inside out; while another, still, panics that she is losing her superhuman strength. Luisa, the strong one, sings out her fears:
Early cringe culture was about empathy and secondhand embarrassment. Today, being “cringe” is a serious infraction.
Take a tweet from the week after the Capitol riot in January 2021: “A Liberal insurrection would have looked very different. We would have escorted the original Broadway cast of Hamilton into the galleries. They would softly sing … as members of the GOP spewed their lies.” This was apparently intended as satire of a certain type of extremely online and cringe-inducing liberal smugness, but it came off as the thing itself and then produced more of the same. “I’ve literally been listening to the Hamilton soundtrack at work for days now,” wrote one woman. “This is EXACTLY what would’ve happened. ALL the theater kids everywhere,” wrote another.
Then the joke became real. Last week, as part of a series of public events marking one year since the January 6 riot, Speaker of the House Nancy Pelosi introduced a prerecorded performance by the cast of Hamilton, singing “Dear Theodosia.” Pelosi read aloud from the song’s lyrics: “We’ll make it right for you. If we lay a strong enough foundation, we’ll pass it on to you; we’ll give the world to you.” There was no need to debate whether this was cringe (which is now an adjective, as well as a noun and verb), because cringe is a you-know-it-when-you-see-it type of thing. And these days, you can seeiteverywhere.
Recently I met the astronomer Pascal Oesch, an assistant professor at the University of Geneva. Professor Oesch and his colleagues share the distinction of having discovered the most distant known object, a small galaxy called GNz-11. That galaxy is so far away that its light had to travel for 13 billion years to get from there to here. I asked Professor Oesch if he felt personally connected to this tiny smudge on his computer screen. Does this faint blob feel like part of nature, part of the same world of Keats and Goethe and Emerson, where “vines that round the thatch-eves run; to bend with apples the moss’d cottage-trees”?
Oesch answered that he looks at such distant smudges every day. Sure, they’re part of the universe, he said. But consider the abstraction (thought I). A few exhausted photons of light from GNz-11 dropped on a photoelectric detector aboard a satellite orbiting Earth, produced a tiny electrical current that was translated into 0s and 1s, which were beamed to Earth in a radio wave. That information was then processed in data centers in New Mexico and Maryland and eventually landed on Professor Oesch’s computer screen in Geneva. These days, professional astronomers rarely look at the sky through the lens of a telescope. They sit at computer screens.