Photography trip to Iceland

In November 2025, we embark on our first joint photography trip to Iceland. We have long been drawn to the idea of this rugged yet diverse landscape, ice and fire, glaciers and volcanoes, accompanied by the hope of witnessing the northern lights.

The journey begins at home, with planning. We consciously choose November. At this time of year, the sun stays low in the sky and bathes the landscape in soft, golden light throughout the day. At the same time, we hope for snow to experience Iceland in all its drama. An added stroke of luck, in 2025 solar activity reaches its peak, significantly increasing our chances of strong northern lights.

To avoid spreading ourselves too thin, we skip the Ring Road and instead focus on the west and the south coast. This leaves us enough time to truly arrive at the places that matter most to us and to photograph them in depth.

Vesturland

After landing in Keflavík, we pick up our rental car and drive towards Borgarnes, our first accommodation. The sky is heavily overcast at first, so we decide to spend the first day exploring the area around Snæfellsjökull National Park. There, we come across the Svörtuloft lighthouse and take our first photos.

Over time, the cloud cover begins to clear. The sun breaks through and casts dramatic light over the vast lava landscape. We are the only ones there, lose all sense of time, and keep photographing until the sun slowly disappears beyond the horizon.

The northern lights forecast for the coming days promises only little activity. We decide on a relaxed Icelandic dinner. As we leave the restaurant and look up at the sky, we unexpectedly see a bright streak of light directly above us. For a moment, we stand still, then euphoria sets in. We grab our cameras and run.

At first, there is chaos. We do not know where to stop, what to photograph first, or how long this display will last. Settings are adjusted hastily, tripods extended and repositioned. The lights constantly change, briefly disappearing only to return even stronger.

After capturing the first shots, calm slowly returns. We begin to take in the scene more consciously. Roger starts shooting time-lapses, while Erik stands beside him, visibly overwhelmed, it is the first time he has ever seen the northern lights. The initial nervousness gives way to quiet focus.

We spend the remaining days in West Iceland between waterfalls, geysers, and volcanic landscapes, interrupted by a trip to Reykjavík. Then we move on, with the feeling that we have already experienced more than we had expected.

Our second accommodation is located in the south of Iceland. From here, we first drive east towards Diamond Beach. The black sand beach is covered with chunks of ice washed ashore from the glacial lagoon Jökulsárlón. Each piece of ice feels like a sculpture shaped by nature. The fine structures and details captivate Erik for hours.

We continue to Stokksnes, aiming to photograph the imposing Vestrahorn mountains. On site, the staff at the Viking Cafe warn us about strong winds and strongly advise against driving onto the peninsula. The weather does not cooperate, so we make a mental note of the spot for another day.

The following days are dominated by dense cloud cover. We adapt and put together a bad-weather program. Short hikes take us to Svartifoss, to the famous Sólheimasandur plane wreck, and we fly our drone over the Svínafellsjökull glacier.

We return to the Vestrahorn mountains two more times. On the next visit, we experience an impressive sunset that bathes the mountains in warm light. Strong solar winds are expected to produce northern lights around 6:00 pm. We have dinner at the Viking Cafe while the forecast keeps getting pushed back. After four hours, we decide we have waited long enough and plan to return once more the next day.

On the final visit, we are finally rewarded. The northern lights appear and blend seamlessly with the outline of the mountains. For hours, we move across the black sand, step by step, illuminated only by the light of the aurora and the stars. In the darkness, small hills, bushes, or pieces of driftwood repeatedly emerge, which we deliberately use as foreground elements. The northern lights remain, constantly changing, accompanying us throughout the entire evening, a fitting end to this journey.