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Iceland from Above: Jakub Polomski’s 2015 Aerial Collection

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A glacier can look like branching brushstrokes. A crater can become a ring. A small island can sit in the frame like a single piece of colour on a plain background. In Jakub Polomski’s Iceland aerial photographs, the higher viewpoint reveals a vocabulary of shapes as well as a collection of destinations.

Jökulsárlón - 40 Reasons To Visit Iceland With A Drone
3. A curve dividing rough and smooth textures. Credit: Jakub Polomski.
Fláajökull - 40 Reasons To Visit Iceland With A Drone
Glacier ridges spreading into pale muddy water in an overhead view
1. Branching lines at the glacier’s edge. Credit: Jakub Polomski.

These images come from his July 2015 trip and original aerial photo essay. The older title promised forty reasons to visit with a drone. The discussion below follows recurring visual patterns across the full restored collection, making room to look at how each picture is built.

Circles, islands and contained colour

A clearly enclosed shape gives the eye a natural boundary. The dark crater has a strong centre, while the turquoise lake relies on colour to separate water from rock. The small island is simpler still. In each case, the space around the subject helps explain its outline.

Notice what happens when the shapes repeat. The rounded green forms are similar enough to create rhythm, but different enough to keep the scene from becoming a perfect diagram. Nature supplies variation; the photographer decides how much of it to include.

Lines that lead somewhere

A shoreline can divide the picture into two textures. A river can connect parts of the landscape that initially seem separate. A narrow path gives the viewer a route through a large scene. These lines are useful because they organise attention without needing a person in the foreground.

Try following each line with your eye. Does it leave the frame, lead towards a subject or turn back into the picture? That question can help when composing a photograph from an ordinary bridge or hillside viewpoint too.

When texture becomes the subject

The highland images ask for a slower look. Their interest lies in broad colour changes, scattered snow and smaller branching channels. A strong composition can hold those details together without one obvious landmark at its centre.

For a practical exercise, choose three of your own landscape photographs and describe each using only shapes: curve, band, triangle, patch or line. It is a simple way to see beyond the place name.

Current flights require current planning. Vatnajökull National Park lists regional drone restrictions; check the responsible authority for every location. For a place-led companion, see seven Iceland aerial views. For moving images, watch Blue Racer Productions’ Iceland film.

Berufjörður - 40 Reasons To Visit Iceland With A Drone
Þingvellir - 40 Reasons To Visit Iceland With A Drone
Geysir - 40 Reasons To Visit Iceland With A Drone

The original place list restores the journey’s breadth

Polomski’s original list extends beyond the familiar waterfalls and glacier lagoon. It includes Dimmuborgir, Mývatn, Álftafjörður, Berserkjahraun, Látrabjarg, Flateyri, Kerlingarfjöll, Hvalfjörður, Berufjörður and Þingvellir, alongside other locations. These names reveal a broad journey through different regions rather than forty activities that could be completed from one base.

The creator described travelling about four thousand kilometres during two weeks in July 2015, using a DSLR for ground-based landscapes and a drone with a twelve-megapixel camera for this aerial work. Those details place the photographs within a particular production period. They are not specifications a viewer must match to appreciate the shapes or make a thoughtful landscape image today.

Some frames are most legible as places; others become almost abstract arrangements of channels, rings and contrasting ground. Holding both readings together is the strength of the series. The location list anchors the work geographically, while the discussion of visual patterns explains what the elevated camera makes visible. Neither should replace the original photographs or their attribution.

Sources, photography and further reading

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