In the Land of Fjords
Landscapes aren't typically my primary focus, but Norway's vastness presented an irresistible challenge. So, I grabbed my Hasselblad XPan and headed for the mountains, aiming to capture those incredible, sweeping vistas in panoramic form. It's a different way to see the world, truly. A standard shot simply cannot convey the sheer scale of those fjords and peaks; only that wider panoramic frame truly immerses the viewer. This journey was about more than just snapping photos; it was about embracing the moment, dealing with the elements, and pushing the boundaries of what I thought I could achieve with analog film. Come along as I share the story behind the series, from gear choices to unexpected creative turns.
Embracing the Panorama
Landscapes and panoramas are a match made in heaven, at least if that is your style. I love the wide format photography, if that wasn’t clear yet, but vistas aren't really my forte. Sometimes, however, I challenge myself to photograph them with my Hasselblad XPan. It is not because I do not like landscape photography, its more that I often don’t like them anymore over time and for that reason I stopped shooting landscapes. I aim to print and display only art that I will appreciate over time, which has rarely been the case with my landscape work.
However, generally speaking landscapes and panoramas are a great combination. Especially in Norway, because the landscapes are very vast and far stretching. In this specific case, the panorama allowed me to include both the fjord and the mountains. A standard photograph might only capture a small slice, failing to convey the true grandeur and scale of the scene. Panoramas allow you to include more of this vastness, giving the viewer a stronger sense of being there.
Originally when I decided to go on this trip, I wanted to enjoy the hike, pack light and enjoy the time. For that reason there was no better reason than to pack the Hasselblad XPan and some film. The camera is relatively small and not overly heavy, making it an excellent companion for hiking. Additionally, the film allows me to stay in the moment. I shoot once, trusting the film to capture what I envisioned, as digital review is not an option. I did bring some filters to minimise the difference between the sky and the foreground.
The Art of the Series
Capturing Moments in Threes (and Beyond)
Whilst hiking the Besseggen ridge, I decided I wanted to walk away with a triptych. Three distinctly different images of the specific area. With that in mind, I went to work. Overall not shooting more than 5 images, I knew I had achieved my goal with 3 of them.
The contrast of scale
The first image is a detail that shows the contrast between the harsh mountain range and the reflective water. I saw the natural frame where the steep contrast between the dark foreground of the mountain and the light being reflected of the lake with the small dot indicating human presence came into view. A small detail highlights the vastness of the mountains, allowing the viewer to understand the position of the photographer and the size of the elements. The image is meant to showcase that we humans are actually very small in comparison. With the stark contrast from left to right, the eye is naturally drawn towards the human element, also because it is distinctively different from the rest shown on the picture.
The context
While overview photos often feel overwhelming with too much information, this is one of the few I genuinely enjoy. The light reflected on the water makes the stream of water more easily found amongst the entirety of the landscape. With this overview shot in the triptych it gives clarity and context for the other two images. It contains beautiful details that can all be discovered when looking closely at the image. One can follow the water by following the lighter streams in the darker landscape, along the way discovering smaller intriguing details of how the water has moved through the landscape over time and left a mark.
Humanizing the Landscape
The third image is taken from another angle, showing the ridge on which the photographer has walked. It creates context about the foreground that was invisible till now. It shows humans for scale, whilst the background in this particular photo shows a part of the scene that can be recognised from the overview photo. The intention behind the photo was to make the triptych more human., more easy to associate with, as it was becoming too abstract or too distant. The human element was shown before, but too small and only showed human transport. The human element in an anonymous way was essential to make the images relatable, it allows the viewer to associate themselves with the scene.
Together, these three Hasselblad XPan images form a triptych that creates a narrative about a hike in Norway, transcending mere moments captured on film.
Filters and Exposure in the Arctic North
Even while hiking, capturing these scenes required careful planning. To be able to capture all the highlights and shadows at once without losing details in the shadows or highlights, I had to use filters. Using filters on the Hasselblad XPan might be unusual, but it does help me capture scenes that normally would be nearly impossible. Meaning if the sky was significantly brighter than the mountains' shadowed side, either the sky would become completely white or the shadows would block up, losing all detail. To prevent that from happening, I decided to use a gradient LEE filter that would darker the sky a little bit. The exposure was then set for a mid grey of a part of the mountain, allowing the exposure to be set that would include details of the shadow sides of the mountains. Hoping the bright sky would be sufficiently dimmed by the filters to retain detail without turning completely white.
Normally, this can be precisely measured by metering through the lens; however, with a rangefinder film camera, one must largely rely on estimation and hope the filter is set correctly. To increase the likelihood of getting the shot right I chose a softer gradient filter rather than a harsh one. After finding the right composition, I set the filter, made some adjustments based on some assumptions and then attached it to my lens. When Attached to the lens, the range finder is basically useless, because everything is blocked by the filter. Therefore it was essential to get the settings and composition right before attaching the filters and made the shot.
The result shows that I made the right choice and allowed the highlights and shadows to co-exist in the same image without losing details.
Black and white film photography choice
The route can only be climbed during certain times of the day, as you need public transport, aka a boat ride, to the starting point. Therefore I knew the sun would be high whilst out there. This in combination with the colours of the landscape I opted for monochrome over colour photography. The contrast would be accentuated by purely shooting black and white film. Additionally, with black and white the viewer tends to focus more on the texture of the landscape than the muted colours in the scenery. Whilst knowing that the harsh contrast because of the mid day sun, would easily eliminate lots of details I opted for Ilford delta, which has a high dynamic range (difference between the brightest and darkest parts of an image that a film can capture at the same time, while still showing detail in both), which is also knows as stops of light the film can capture.
After the trip the film was developed in a lab, as I don’t develop film myself, and afterwards scanned at home. I have a specific scanning setup with a mirrorless Fujifilm camera, which allows me to easily turn analog film into digital files.
The Essential Travel lenses Kit
For the trip, especially when hiking, I do not like to carry heavy or large gear. The Hasselblad Xpan allows me to travel relatively light and with little volume anywhere. For the trip I brought the Hasselblad 90mm XPan lens and the 45mm, both great travel lenses in regards of size.
The 45mm is equivalent to a more or less 24mm wide lens on full frame, whilst the 90mm is equivalent to a 50mm lens on full frame. Two perfect lenses to bring along whilst traveling. The long lens compression of the 90mm allows layering in landscapes to be more easily captured. This creates great depth with different tones. Whilst the 45mm can be utilised for wide shots, where more of the landscape can be shown.
During a hike it is important to have the right gear with you. Be prepared for running out of your first roll of film. Your batteries might randomly die, therefore bring backup. Above all, ensure your gear is properly protected from the weather, might it suddenly drastically change weather. You don't want to damage your camera if you encounter a sudden rainstorm without adequate protection.
Reflections and Lessons Learned
Taking on these Norwegian landscapes with the XPan really showed me that sometimes stepping outside your comfort zone is where the magic happens. It’s not just about the gear, or even the stunning scenery, but about the whole process: seeing the shot, trusting your instincts with film, and then seeing those big, sweeping panoramas come to life. The XPan truly makes these vast places feel even more immense, doesn't it? This project confirmed to me the satisfactory feeling of seeing a comprehensive analog series come together, piece by deliberate piece. My approach to photography has certainly shifted over the years, I now think more in terms of narrative sequences and how individual frames contribute to a larger story, rather than just isolated shots when I can.
One unexpected discovery came while shooting the wide vista. I had initially composed what I thought was the perfect single frame. But then, almost on a whim, I decided it needed more to fully realize its potential, which included incorporating tighter landscape details with a form of life.
For anyone considering their own analog project, my key takeaway is this: embrace the challenge, think beyond single frames, and allow your vision to unfold over multiple shots. Don't be afraid to experiment with series in photography. This journey reminded me why I love analog wide format photography so much, especially when it comes to telling a deeper story. What unique landscape challenges have you tackled with your film camera? Share your stories in the comments below!
