As a travel photographer, I’ve chased New York City’s skyline from every perch I could find. I’ve lugged my camera up the Empire State Building, peered out from the heights of One World Observatory, and stepped onto the glass-floor thrill at Edge.
Each observatory offered awe-inspiring panoramas, yet none captured the perfect New York shot I envisioned.
That moment finally came one golden evening atop Rockefeller Center’s Top of the Rock, when I realized this was the view I’d been searching for all along.
Through a Photographer’s Lens: Chasing the Ultimate NYC Skyline
As an iconic symbol of New York, the ESB’s 86th-floor deck promised the classic skyline experience. I arrived just before sunset, eyes wide at the 360-degree view of the city 1,050 feet above the streets.
The late-day light set the skyscrapers aglow, and I excitedly framed my first shot – only to find metal mesh fencing edging into my photos. The Empire State’s open-air terrace is encircled by a safety cage, which meant I had to get creative, poking my lens through diamond-shaped gaps in the grid.
It was possible to capture sweeping vistas – I spotted the gleaming One World Trade Center to the south and even glimpsed Central Park’s green treetops far uptown – but the experience felt a bit constrained.
Crucially, one thing was missing from every picture I took up there: the Empire State Building itself. You simply can’t photograph the Empire State Building when you’re standing on it, and for a photographer, that’s a notable drawback.
The ESB gave me a thrilling bird’s-eye view of Manhattan, but the very skyscraper that defines the city’s skyline was absent from my frames. I left with lovely images, yet I knew there was more to the skyline story.
Not long after, I ventured downtown to One World Observatory at the top of One World Trade Center. If the Empire State felt high, One World Observatory was positively sky-high – the tallest building in the Western Hemisphere.
The elevator whooshed me to the 102nd floor in just 47 seconds, and when the curtains in the “See Forever Theater” dramatically dropped, I gasped at the sight: all of New York City spread out below, nearly 1,300 feet down.
From this southern vantage, I could see the entire Manhattan island in one gaze, bridges stretching across rivers, and the Statue of Liberty guarding the harbor.
The view was magnificent, but as a photographer I felt a pang of disappointment – the observatory is completely indoors, encased in floor-to-ceiling glass. There was no outdoor terrace, no breeze, and every photo I took had to contend with inevitable window reflections.
I pressed my camera lens to the glass and used a polarizer to reduce glare, but I missed the clarity and immersion of open air.
One World Observatory impressed me with its height and high-tech presentation, yet the glass barrier and distant perspective made me feel like I was viewing the city from a plane window. Beautiful, yes – but a bit removed, and a challenge for photography purists who crave sharp, reflection-free shots.
My next stop on this skyline quest was Edge at Hudson Yards – New York’s newest skydeck and a bold leap into modern design. Edge is a different beast: a triangular platform jutting out from the 100th floor of a west-side skyscraper, with a section of glass floor that dares you to look straight down 1,131 feet to the streets below.
Stepping onto Edge’s outdoor deck truly felt like floating above the city. I’ll never forget the thrill (and slight vertigo!) of standing on the see-through floor, or leaning against those angled glass walls, the wind whipping by.
From Edge, I admired a unique angle on the skyline – here Midtown’s towers were laid out from the west, with the Hudson River framing the scene behind them. Facing south, I could see downtown’s spire (One World) in the distance; turning north, I caught sight of Central Park’s green canopy peeking out beyond the Midtown high-rises.
At last, I could get the Empire State Building in my shot – from Edge it stands proudly in the center of the frame, rather than under my feet. The photographic possibilities at Edge were exciting: I composed shots with the Hudson Yards architecture in the foreground and the classic skyline beyond, and waited for sunset to capture the city lights coming alive. But even this ultramodern deck had its limitations.
The angled glass panels that make Edge so distinctive can be a nuisance for photographers, producing reflections and forcing you to shoot through thick glass unless you hoist your camera above the panel’s top edge.
And unlike Top of the Rock or the Empire State Building, you can’t walk all the way around the roof – the outdoor area faces primarily south and west.
During peak hours, Edge’s popular corners (like that glass floor and the pointy overhang) get crowded with visitors taking selfies, meaning patience is required to claim a good spot at the railing. Edge proved a thrilling new vantage point – in many ways the most adventurous – but I still hadn’t found that perfect, balanced skyline view I longed for.
Empire State Building
Before I explain why Top of the Rock ultimately won my heart, let’s compare these decks more closely from a photographer’s perspective. First, the Empire State Building – the classic choice.
There’s no denying the romance and history of the ESB’s observatory. At the Main Deck on the 86th floor (around 320 meters high), you stand in the open air at the center of Manhattan’s grid. On a clear day, visibility can reach 80 miles, and you can pick out landmarks in every direction.
Looking north, you’ll spot Rockefeller Center’s 30 Rock (Top of the Rock’s building) and beyond it Central Park’s expanse (though new super-tall towers along 57th Street now peek up at its southern edge). Turn east for the Chrysler Building’s art-deco spire, west for the Hudson River and New Jersey, and south for downtown’s jungle of skyscrapers.
The 360° panorama is truly spectacular – this is the viewpoint immortalized in countless films. For photographers, however, a few factors make the ESB less than ideal.
Most obviously, the encircling metal mesh on the 86th floor means you must maneuver your camera lens through the gaps to get an unobstructed shot. It’s doable (I’ve wedged many a lens between those wires) but it limits your angles and can be frustrating when the observation deck is busy.
The Empire State Building does offer a 102nd-floor observatory (at a dizzying 1,250 feet up) with floor-to-ceiling glass windows for an even higher view. Yet from a photography standpoint, that presents the same glass reflection issues as any indoor deck – plus an extra ticket cost (the combined 86th+102nd ticket runs about $79 for adults).
Whether on the 86th or 102nd floor, you’ll face another limitation we’ve noted: you cannot capture the Empire State Building itself in your skyline photos. Many of us consider the ESB the crown jewel of New York’s skyline – its spire lights up the night and acts as a central beacon – so not being able to include it is a real downside.
In short, the Empire State Building is fantastic to visit for the atmosphere and the nostalgia (and it’s open late – often until midnight or 1 AM in summer, with last elevator entry around 11:15 PM).
But for pure photography, it’s a bit of a challenge. Between the crowded popularity (over 4 million visitors a year) and physical barriers, I often found myself yearning for a clearer, more flexible viewpoint – one where I could see the Empire State Building glowing in the frame rather than simply stand on it.
Practical info: General admission to the ESB’s main deck is about $44 for adults (plus a $5 processing fee if you book online). Tickets are timed, but once you’re up there you can stay as long as you like – there’s no time limit on your visit.
If you plan to photograph during peak times (sunset especially), arriving early is key. Crowds are thinnest first thing in the morning (opening time is typically 9 AM) or very late at night. Sunset slots tend to be busiest; consider an off-peak hour if you want elbow room for your tripod – or rather, your imaginary tripod.
Like all NYC observation decks, tripods are banned at the Empire State. Security will ask you to check any full-size tripods or similar “professional equipment” at the entrance. I’ve had success bringing a mini tripod or bean bag for stabilization – something small enough to not be viewed as a tripping hazard – but be prepared to improvise.
One trick I used: find a flat ledge or use the base of the fence to steady your camera (with the strap wrapped around your wrist for safety).
The Empire State Building is fully accessible (elevators, ramps and even lowered viewing walls are provided for wheelchair users), and its staff are used to handling throngs of tourists. Photography-wise, it’s worth going up ESB at least once for those classic views – just know that as a photographer, you might leave wanting just a bit more.
One World Observatory
Now let’s turn to One World Observatory, perched atop downtown’s One World Trade Center. This observatory is all about height and modernity – it sits on the 100th–102nd floors of the tallest building in New York (the roof is 1,268 feet/386 meters high).
The experience is sleek and polished: you ride one of the fastest elevators in the world up to the observatory in under 60 seconds, during which a time-lapse animation shows the evolution of New York’s skyline on the elevator walls. When the doors open, you’re greeted by expansive digital displays and a dramatic reveal of the view.
And what a view it is – from downtown you get a full sweep of Manhattan and beyond. Facing north, Midtown’s skyscrapers look toy-like in the distance; to the east, the Brooklyn and Manhattan Bridges span the river; to the south, you overlook New York Harbor with the tiny Statue of Liberty standing proud; westward, the Hudson River flows toward New Jersey.
For sheer breadth of scenery, One World Observatory is unparalleled – you’re essentially at cloud level, looking down on skyscrapers that, from Top of the Rock’s perspective, would loom large.
For photographers, though, One World Observatory comes with a significant caveat: it is entirely indoors, with no open-air viewing at all. The observatory’s floor-to-ceiling glass walls mean you must contend with glare, reflections, and smudges on the glass when taking photos (especially at dawn/dusk or night, when interior lights can mirror on the windows).
The OWO does try to mitigate this – they keep the space fairly dim and you can move around to find angles with minimal reflections – but it will never be as crystal-clear as an outdoor shot.
I often found myself cupping my hands around my lens or using a black cloth (a lens skirt) against the glass to reduce reflection, particularly when shooting after sunset. Another consideration is the distance: because you’re so high and at the far south of Manhattan, many landmarks (like the Empire State or Central Park) appear smaller and further away than they do from midtown observatories.
On the flip side, you get unique compositions from One World that you can’t get elsewhere – for instance, a straight-down view of the Oculus and 9/11 Memorial pools right below, or a wide-angle capture of all of Manhattan tapering toward the north, which is something Top of the Rock can’t fully offer.
At sunset, One World Observatory can be magical: the sun often sets over New Jersey to the west, painting the sky and harbor in purples and oranges, and you can watch the city lights blink on from the Financial District all the way up to Midtown. It’s a sight that truly makes you feel the immensity of New York.
Still, many photographers (myself included) will find the lack of open air a bit stifling. Part of the joy of skyline photography is feeling the wind and hearing the city sounds from above – experiences you sacrifice behind glass.
Practical info: One World Observatory is open year-round, generally 9:00 AM to 9:00 PM daily (last entry 8 PM), though hours can vary seasonally. Standard adult tickets are roughly $40–$45 (prices start around $39 for general admission if bought on the official site, or about $47 with third-party fees).
They also offer an expensive All-Inclusive ticket ($60-70) that bundles priority elevator access and a drink, and interestingly a cheaper late-night ticket ($28 after 6 PM) for those who only want the nighttime view.
Like the other decks, visits are timed but there’s no hard time limit once you’re up – on average visitors spend about 45 minutes to an hour, but you’re free to linger longer. Tripods and other pro gear are not allowed here either (even small gorilla pods tend to be stopped at security), so plan on handheld shots or bring a clamp/bean bag for stabilization.
One World is fully accessible and stroller-friendly; in fact, it might be the easiest for mobility-impaired visitors since it’s all one level with ample space. If you’re going primarily for photography, I’d recommend aiming for a clear day (haze can really soften distant views from this height) and consider visiting at off-peak times.
Early morning can be wonderfully quiet – I once went up right at opening and nearly had the place to myself. If you go at sunset, expect larger crowds, especially near the west-facing windows as people stake out spots to watch the sun go down.
One perk: if weather ruins the visibility, OWO has a “See Forever” guarantee where they’ll let you come back another time with the same ticket. Overall, One World Observatory delivers a jaw-dropping perspective and is a must-see for the experience – just remember as a photographer that you’ll be working through glass, and set your expectations accordingly.
Edge: A New Angle Above the Hudson
The Edge at Hudson Yards burst onto the scene in 2020 and quickly became a favorite of thrill-seekers and photographers alike. Touted as the highest outdoor sky deck in the Western Hemisphere, Edge juts out from the 100th floor of 30 Hudson Yards, offering a dramatic feeling of exposure.
For photographers, Edge provides something refreshingly different: an angled, open-air view of the skyline from the west side of Manhattan. Standing on Edge’s triangular platform, I was struck by how close some of the other skyscrapers felt – you’re eye-level with many of Midtown’s tallest towers, but offset to the west, which gives your photos a strong sense of depth.
Composition opportunities here are unique: you can capture the Empire State Building in the foreground with downtown’s spire (One World) far behind it, all in one frame.
You can also shoot northward to catch a slice of Central Park flanked by the super-tall luxury towers of Billionaires’ Row, or turn your camera westward for sunset over the Hudson River. At night, Edge offers brilliant views of the Midtown skyline lights – with Times Square’s glow visible to the northwest and New Jersey’s waterfront across the dark Hudson.
One of Edge’s biggest draws for creativity is its architecture: the deck isn’t just a flat rooftop, but a forward-leaning wedge with a glass floor section and 9-foot glass walls that tilt outward.
Photographers love to play with these elements – you can lie down on the glass floor to shoot straight down (if you dare), or use the angled glass panels to capture reflections of the skyline for artistic effect. However, those same glass walls can be a double-edged sword.
Because they lean outward, they often reflect the sky and city lights, which can intrude on your shots. It can take some maneuvering to find a clean angle without reflections (a dark jacket over your head and camera can help when shooting directly through the glass).
There are small gaps between some of the glass panels, but not enough to fit a camera through – effectively, you are shooting through glass unless you raise your camera above the panels.
On my visits, I noticed many fellow photographers holding cameras overhead or even perching them on the top edge of the glass to get an unobstructed shot of the skyline.
It’s a bit tricky (and not for the acrophobic), but it does let you bypass the glare. Another consideration: Edge’s outdoor area, while sizable at 7,500 square feet, doesn’t wrap the entire building.
The deck mainly faces south and west, and a portion wraps to the north; views to the east (toward the Empire State and beyond) are seen through the indoor section’s windows. So if you want a 360° walk-around experience, Edge isn’t fully it – though you can see in all directions by combining indoor and outdoor vantage points.
Despite these quirks, Edge has some clear advantages. It’s open-air (a huge plus after experiencing One World’s enclosure), and it feels incredibly immersive – there’s nothing quite like leaning on that sloping glass wall 100 floors up, with the city literally at your feet.
From a photography standpoint, the perspective from Edge captures Midtown’s skyline in a way no other deck does: you’re almost in the skyline, offset just enough to see the profile of skyscrapers marching southward. The nearby Hudson River also provides lovely opportunities, especially at sunset when the water reflects the sky.
On one winter visit, I timed my shot as the sun sank low and found it framing the Statue of Liberty in the distance – a bit of planning and luck that resulted in a stunning composition, with Lady Liberty silhouetted by the sun’s glow. (Tip: in winter the sun sets farther south, aligning closer to the Statue and downtown; in summer it sets more toward due west over New Jersey.)
Practical info: Edge is open daily, usually from 10:00 AM to 10:00 PM (last elevator up at 9 PM) with extended hours in peak seasons (often opening as early as 8 AM and staying open until midnight).
Standard tickets cost about $40-$45 for adults, similar to Top of the Rock and ESB, and you must choose a timed entry. If you’re aiming for sunset, note that Edge sometimes labels certain sunset slots as premium (they can sell out fast or include a surcharge), so book those well in advance.
Once you’re on the deck, you can linger – there’s no time limit other than closing time (and they even have a champagne bar up there if you fancy a drink while waiting for nightfall). Like the other observatories, tripods are not allowed – Edge explicitly bans tripods to keep the deck safe and enjoyable for all. Security will check your bag for any “professional” equipment.
I had no issues bringing my DSLR and a couple of lenses, but I left my bulky tripod at home. Instead, I carried a small gorilla-pod style tripod; while I couldn’t set it on the glass walls (no flat top surface there), I found a utility railing in the indoor section where I could stabilize a shot.
Mostly, I shot handheld with higher ISO at night, as the city lights are bright enough to manage decent shutter speeds. Edge is fully wheelchair accessible (elevators take you right to the deck level), though the outdoor floor does have some stepped levels and angled sections to navigate.
During busy periods, expect a bit of a queue for the popular photo spots (the exact corner of the deck and the glass floor often have lines of people waiting to snap selfies). For the best experience, I recommend visiting Edge at an off-peak time – perhaps just after opening in the morning, or later in the evening after the sunset crowd thins out.
Morning visits have the bonus of clear air and softer light; on a crisp morning you can see all the way to the distant suburbs. Evening visits, of course, let you capture that golden-hour drama and the twinkling city lights.
Edge strikes a great balance between excitement and views, but does it dethrone Top of the Rock? In my opinion – not quite. Let me explain why.
Why Top of the Rock Stands Out for Photographers
After scaling all these heights, I kept coming back to Top of the Rock – and each time, it reaffirmed itself as the sweet spot for NYC photography.
Top of the Rock (ToTR) sits atop 30 Rockefeller Plaza, at the heart of Midtown, and what it may lack in absolute height (its highest deck is about 850 feet up) it more than makes up for in perspective.
In fact, many local photographers will tell you that ToTR offers the most balanced skyline view in the city.
Why? From this single vantage point, you can capture all the iconic elements at once: to the north, a front-and-center view of Central Park stretching out like a green canvas; to the south, the Empire State Building rising tall in the foreground, with the cluster of Lower Manhattan skyscrapers (One World Observatory included) lining the horizon behind it.
It’s the only observatory that frames the Empire State Building against the downtown skyline, which is the quintessential NYC postcard shot.
And unlike the view from the Empire State, here you can include that famous skyscraper in your composition – in fact, it will likely be the star of your shot, perfectly centered in many southward views.
At the same time, turning the other direction gives you an unobstructed look at the vast greenery of Central Park, something you don’t see at all from One World and only distantly from other decks. I often joke that Top of the Rock is the “Goldilocks” of NYC viewpoints – not too high, not too low, but just right.
Photographically, Top of the Rock is a dream. The designers of this observatory clearly had views in mind: the decks are arranged on three levels (67th, 69th, and 70th floors) so that visitors can spread out, and the very top level – the 70th floor roof deck – is completely open-air and free of any glass enclosures.
That’s right, no glass and no metal cage on the top deck – just a low barrier and you, face-to-face with the skyline. When I discovered this, it was like a revelation. No more contorting around fencing or fighting reflections; I could compose my shots with total freedom.
I immediately headed for the 70th floor on my first visit and never looked back – (pro tip: if you’re a photographer, go straight to the top level when you arrive and secure a good spot along the edge). The 67th and 69th floors below do have protective glass panels around their perimeters, but even those have gaps between panels where you can poke a lens through if needed.
And being lower, they can offer interesting framing opportunities (for instance, using the glass panels or architectural elements as foreground). But the 70th floor is the crown jewel: it provides a 360° panorama with nothing between your camera and the city except air.
Standing there feels both safe and thrilling – you’re high up but also nestled among other tall buildings, which gives a sense of scale and depth. Indeed, one thing I love about ToTR is that you feel embedded in the skyline, not hovering miles above it.
At 70 stories, you are higher than most surrounding buildings, yet some (like One Vanderbilt or Central Park Tower) soar a bit higher, and others like the Empire State (to the south) or 432 Park Avenue (to the northeast) are in the same visual plane. This layering of skyscrapers around you adds dimensionality to photos that you don’t get from the solitary perch of One World Observatory.
Let’s talk about the views in detail. From Top of the Rock’s 70th-floor platform, here’s what you can see in each direction: looking north, you have an unrivaled full view of Central Park, bordered by the Midtown and Upper West Side skylines.
In fall, it’s a patchwork of autumn colors; in winter, a snowy expanse; in summer, a green oasis amidst the concrete – a backdrop that changes with the seasons and elevates any cityscape photo.
Looking south, you stare right at the Empire State Building, roughly 15 blocks down, with all of Lower Manhattan lining up behind it toward the harbor. This south view is the money shot – I’ve taken countless variations of it, from wide-angle panoramas at sunset to tight telephoto crops of the ESB lit up at night.
Because ToTR is offset a bit to the east of ESB, you often can frame the Empire State perfectly between other new towers (like between the skinny 57th Street “pencil towers” in one composition I love).
To the east, you’ll see the Chrysler Building’s shiny spire and the East River beyond – though the MetLife Building blocks some of the Chrysler from this angle, a minor annoyance.
And to the west, you get the Hudson River and New Jersey, plus a great view of Hudson Yards (with Edge clearly visible as a projecting triangle on 30 Hudson Yards). In fact, at dusk you can often catch the sunset reflecting off the Hudson River in your westward shots – a lovely bonus from midtown.
In essence, Top of the Rock gives you a bit of everything: water, park, and city skyline, all accessible by moving around the deck.
Aside from the vistas, the photographic advantages at ToTR are numerous. The open-air environment means crisper images (no glass to soften the resolution) and easier long exposures at night (no vibrations on a glass pane).
Also, Top of the Rock’s position in Midtown (50th Street, between 5th and 6th Ave) is smack in the middle of Manhattan’s length, which means when you shoot south you capture a balanced span of the island – roughly from Central Park down to the Battery – fitting much of Manhattan into one frame.
No other observation deck lets you see “all of Manhattan in one view” quite like this. I remember one clear twilight, I took a wide shot that literally captured from the dark green of Central Park at the top edge of the frame to the glowing torch of the Statue of Liberty at the bottom – all in one image.
It was astonishing and felt like the definitive NYC photograph. Top of the Rock also benefits from terrific lighting conditions at the edges of day. In the mornings, the sun rises from the east, casting soft light on the west-facing sides of buildings – since ToTR has views in all directions, you can play with backlit scenes over Central Park or golden sidelight on downtown towers.
In the late afternoon and evening, the sun sets in the west (over New Jersey), meaning the southern view (with ESB and downtown) is beautifully illuminated by the setting sun behind you, often turning the skyscrapers warm orange while the sky in the east turns pink.
Meanwhile, behind you, over the Hudson, the actual sunset can be dramatic – you can catch vivid colors in the sky and sometimes reflect those hues onto the city.
During golden hour and blue hour, I find Top of the Rock unbeatable: the balance of artificial and natural light, the symphony of headlights on the streets far below, and that iconic Empire State Building light that switches on – all of it is pure magic from this spot.
Little wonder many photographers stake out a place at ToTR for hours through sunset into night to capture the full transition.
Now, you might be thinking, “Is Top of the Rock perfect?” It comes very close, but I’ll note a couple of practical limitations. First, Top of the Rock isn’t the highest – photographers who crave maximum altitude might initially favor One World or ESB’s top deck.
However, I’d argue (and have experienced) that being a bit lower can actually be an advantage: the city’s details and layers are more pronounced from ToTR’s elevation, whereas from 1,300 feet up you lose some sense of depth (everything below looks tiny).
Another challenge at ToTR can be crowd control, especially on that 70th-floor deck. It’s more intimate in size – essentially a rectangular rooftop – and when it’s busy, it can fill up along the edges.
I’ve been up there on a summer weekend at sunset when it felt like the front row of a concert, shoulder-to-shoulder with other tripod-less photographers and smartphone-clutching tourists, everyone angling for the best shot.
The good news is Top of the Rock’s timed ticket system helps prevent overwhelming overcrowding; still, popular times will be popular, so plan accordingly.
The lower decks (67th and 69th) have more space to spread out and even some seating, so you can retreat there if the top gets too jammed, then return for your shot when things clear.
Another minor note: those super-tall skyscrapers that have sprung up south of Central Park (like 432 Park, 111 West 57th, and Central Park Tower) now punctuate the north view. Some visitors lament that these buildings slightly obstruct portions of the park view (indeed the classic symmetric vista of the park has a few toothpick towers in front now).
It’s true, the skyline is always changing – but as of now you can still see the majority of Central Park from ToTR, with those elegant new towers adding character to the scene rather than ruining it (in my opinion).
And looking south, developments like One Vanderbilt (near Grand Central) now rise prominently to the left of the Empire State in the view, but again I find they add context (and One Vanderbilt’s spire itself is photogenic).
Practical info: Top of the Rock is open daily from 8:00 AM until midnight (last elevator up at 11:10 PM), making it the earliest-opening and latest-closing of the major decks.
This is fantastic for photographers – you have the flexibility to catch sunrise in winter (when sunrise is after 8 AM) and to linger for night shots almost any day. Standard tickets cost about $42 for adults, $36 for children, $40 for seniors – roughly on par with the others, and this grants access to all three levels of the observatory.
Notably, one general admission ticket covers all levels (no extra fee to go to the top), unlike ESB’s tiered pricing. Tickets are sold in timed intervals to manage entry flow, and if you buy online in advance you can choose your preferred time slot. In my experience, it’s wise to book sunset slots several days ahead, as they do sell out, especially in peak tourist season.
Once you’re in, there’s no time limit – you can stay as long as you want during operating hours. On average people spend around 45 minutes to an hour, but as a photographer I often stay 2+ hours to catch different lighting (I’ve even stretched a visit to 3 hours, from late afternoon through dusk – no one will kick you out).
Top of the Rock enforces the same “no tripods” rule as elsewhere, but here security is a bit more lenient with small tripods. Officially all tripods are prohibited, however many photographers report (and I can confirm) that a mini tabletop tripod or GorillaPod under 8 inches (20 cm) is tolerated on the top deck if used considerately.
I brought a small flexible tripod that I could set on the chest-high stone ledges at the 70th floor corners – security didn’t object, as it wasn’t blocking anyone. In fact, those stone pillars at the edges of the top deck are perfect for resting a camera for long exposures.
Just always keep a hand or strap on your gear; it’s a long way down! If you come without any support, no worries – the flat ledges and even the ground can serve as stabilizers (I’ve gotten beautiful 30-second exposures by simply placing my camera on a sweatshirt on the ledge).
Top of the Rock is also relatively easy to access: the entrance is on West 50th Street and 6th Ave. Being at Rockefeller Center means you’re in a bustling (and safe) area, with plenty of subway lines nearby.
The observatory is fully accessible; elevators take you to each level, and there are even restrooms and a small cafe at the 67th floor for a break.
One thing to note: ToTR has introduced a couple of new experiences like “Skylift” (a short extra ride that lifts you even higher above the roof) and “The Beam” (a photo op where you sit on a replica beam high above the city).
These cost extra ($25–$35) and can be fun, but they’re not necessary for the views – the main platforms are where you want to be for photography.
If you’re using a New York CityPASS or other attraction pass, Top of the Rock is included, but you may still need to reserve a time slot in advance with your pass code (check their website for instructions).
Finally, for the best times to shoot: I wholeheartedly recommend sunset into blue hour at Top of the Rock – it’s popular for a reason. Try to arrive at least 45-60 minutes before sunset to scout your angles and claim a spot.
You’ll get golden hour light on the skyline and then the stunning transition to night. If crowds scare you, an alternative is to come at opening (8 AM). Morning light can be gorgeous as well, and you’ll encounter far fewer people – plus the air is often clearest in the morning, offering razor-sharp visibility for miles.
Late at night is another option: visiting at 10 PM or later (ToTR’s last elevator up is 11:10 PM) means many tourists have left, and you can have more space for your tripod… I mean, your camera (still no tripods officially!).
The city at midnight from Top of the Rock is surprisingly tranquil, and you can experiment with long exposures of traffic trails on the avenues below. In any case, try to avoid midday if your goal is photography – the light is harsher and the decks are more crowded with tour groups.
And do keep an eye on the weather – Top of the Rock does have a weather guarantee: if it’s foggy or low-visibility, they will let you reschedule your ticket for another time. Clear days after a rain tend to be the best for photography, with washed-clean skies.
The View That Captured My Heart
On my most recent visit to Top of the Rock, I did something I rarely get to do as a photographer: I put my camera down.
For a few minutes, I simply stood there on the open-air deck – feeling the cool breeze 70 floors up, watching the Empire State Building light up in blue and white for the evening, tracing the dark outline of Central Park as it contrasted with the sparkling city around it.
In that moment I felt connected to New York City in a way none of the other observation decks had managed. Top of the Rock has a knack for doing that – it places you in the skyline, not just above it, and gives you a sweeping embrace of the city’s most beloved landmarks in one grand panorama.
From a storytelling standpoint, it’s the only view that truly captures the essence of NYC’s skyline – the elegant dance between old icons and new giants, between city and nature (in the form of Central Park), between rivers and towers, all centered around that timeless Empire State Building.
As a photographer, I appreciate the little things that Top of the Rock gets right: the lack of obstructions, the thoughtful multi-level design, the extended hours, and the fact that I can linger with my thoughts (and cameras) without feeling rushed.
Whether you’re an amateur shooter with an iPhone or a pro with a DSLR, ToTR caters to you – there are clear views for your lens and ample stunning backdrops for your next Instagram.
And for those who simply want to see New York in all its glory, I genuinely believe Top of the Rock offers the best overall view in town. Even travel experts and locals often agree: If you’re after that perfectly balanced skyline shot, Top of the Rock is your best bet.
After my long journey exploring every observation deck, I have to concur. Each deck has its own appeal – the Empire State’s history and breadth, One World’s sheer height and emotion, Edge’s futuristic thrill – but Top of the Rock is the one I’ll return to again and again.
It’s the spot where I’ve taken my most award-winning photos of New York, and also where I’ve made my favorite memories, from quiet sunrise moments to celebratory midnight visits with friends.
So, to my fellow photographers (and travelers) seeking that ultimate New York City view: do not skip Top of the Rock. Go for a sunrise when the city is just waking up, or go at sunset to watch Manhattan glow, but go, and bring your camera.
