Rethinking the panoramic Frame in portraiture
Panoramic cameras aren’t made for portraits—or so they say. But what if that limitation is actually the secret to something more compelling?
The Fuji TX-1 (or its sibling, the Hasselblad XPan) wasn’t designed with portraiture in mind. Its wide aspect ratio stretches far beyond the confines of a conventional headshot, demanding more than just a pretty face. That challenge? It forces you to think differently—about space, emotion, and story.
In this post, I’ll take you through how I’ve approached portraiture with the TX-1: the struggles, the surprises, and the subtle ways the frame itself starts shaping the portrait. Whether you're in the studio or out in the world, this camera demands a shift in mindset. And when it all comes together… the results are unexpectedly intimate.
So how do you fill all that space without losing the person at the heart of it?
Filling the Frame with Emotion
The wide aspect ratio introduces a creative challenge: how do you fill the entire frame while maintaining intimacy?
The 90mm lens only allows you to get so close to your subject, which forces a different way of seeing. You can create a shallow depth of field to keep the focus on the subject, or you can fill the frame by positioning the body deliberately—letting the subject’s posture do the work of composition.
When shooting pure portraits, avoiding distractions becomes essential. Shallow depth of field helps, but so does choosing a background that doesn’t compete for attention. Let the eye be drawn naturally to the face. The subject can attract attention through props or expression, but in many cases, those won’t be available—so it’s about framing smartly.
When these elements come together, panoramic portraits using the XPan or TX-1 can feel immersive and emotionally rich.
Letting the environment speak with panoramic film portraits
The panoramic frame makes context part of the portrait by default. And that’s a gift.
The environment can contribute to mood, narrative, and the subject’s relationship with the space. A runner photographed on a track isn’t just wearing sports gear—they’re in their story. The portrait becomes less about the person alone, and more about the connection between person and place.
This relationship can also introduce tension. A subject might appear uncomfortable or out of place. The context can speak to dissonance, not just harmony.
Panoramic portraits offer a second narrative, a filmic still where the space contributes as much as the face. That doesn’t mean every inch of the frame must be filled—negative space can speak just as loudly.
Ask yourself: how much detail does it take to tell the story you're after?
Hasselblad XPan Studio Portraits limitations
Bringing the Hasselblad XPan into the studio was something I hesitated on for a while. The lens limitations, the 90mm f/4 in particular, don’t allow you to get close enough to fill the frame easily. That made me rethink my approach: how can I creatively fill the space without relying on proximity?
The wide format also demands more from your background. A standard studio paper roll doesn’t cover enough width unless carefully framed. The 90mm lens offers decent compression, which helps limit unwanted background spill, but you still have to be deliberate.
Negative space becomes a dominant force often taking up two-thirds of the image. That can feel empty unless handled intentionally. Posing becomes crucial. If you don’t engage with the full width of the frame, the image risks becoming flat or lifeless.
Shooting wide format studio portraits is still something I’m exploring, and it's a creative challenge I enjoy. Compared to outdoor shoots where context is everywhere, the studio forces you to invent or imply that context.
Thinking in Collections: A Wider Story Through Portraits
Some define a portrait as just a close-up of a face. But I believe a portrait is about essence and character. This may be the face, the figure, or even a fleeting gesture.
I rarely think in single frames. I think in collections.
A series of portraits tells a broader story than any one shot can. It invites narrative. It suggests emotion, backstory, and complexity. Wide format film naturally supports this approach, it’s well-suited for triptychs or sequences.
One structure I love is to start with a wide establishing shot that sets the mood or location, then follow with a medium shot to bring in the subject more closely, and finish with a detail shot that reveals something personal or symbolic.
It’s a cinematic way to build character, using stills.
The unique film portrait perspective challenge
Portraiture in general is already challenging, it requires the subject and photographer relationship to be quite intimate. Film adds another layer: there’s no review, no instant feedback. You have to trust the process.
Add panoramic film into the mix, especially in the studio, and the challenge grows. Without environmental context, you're relying entirely on the subject to carry the frame. And not every person or moment can do that.
My advice is to be prepared and think it through carefully. Not everything needs to be shot in-studio with the XPan. If your subject or setting doesn’t offer enough narrative, take the camera outside. Let context do some of the heavy lifting.
Create a storyboard, try a triptych, or use film stocks that align with your story’s mood. Let the negative space speak. Use your tools like wide lenses, shallow depth, careful poses with purpose.
Go out and make portraits worth the frame.
Final Thoughts and Next Steps
There’s no formula to panoramic portraiture. But there is magic when it works. The Hasselblad XPan or Fuji TX-1 might not be made for portraits, but that’s exactly what makes them interesting.
If you want to take it further, check out “Best Film Stocks for Panoramic Portraits” for mood-driven stock choices. Try building a three-image sequence using your panoramic camera. Also, consider joining the mailing list for behind-the-scenes experiments and photo stories.
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