Posted on April 11, 2022
I’ve said it before: Capturing our three-dimensional world in photography’s two-dimensional medium is impossible. But take heart, all is not lost—it is possible to give your images the illusion of depth.
It’s pretty easy to put a camera to your eye and frame up the flat, left/right and up/down aspect of a scene. But translating your own three-dimensional experience into your camera’s two-dimensional reality requires bit more insight and effort. I grew up in a family where my parents, and pretty much every significant relative it seemed, had at least one large and glossy David Muench book on the coffee table (remember coffee table books?). Starting as far back as I can remember, I used to love paging through Muench’s beautiful images of the Southwest, California, America’s national parks, and more, just marveling at the grand majesty. Though I wasn’t gazing with a critical eye, I can’t help but believe that some of Muench’s front-to-back framing approach must have rubbed off on me. It wasn’t until I started leading photo workshops that I realized that not everyone understands the importance of front-to-back relationships, and how to make them happen.
Achieving the illusion of depth starts with looking beyond your primary subject to find a complementary foreground or background: If your primary subject is nearby, find a background object, shape, or color that frames, balances, and/or helps the subject stand out. Conversely, if your primary subject is in the distance, look for foreground elements that can lead your viewers’ eyes through the frame without distracting or competing for attention.
Once you have your foreground/background elements worked out, your composition isn’t complete. In your three-dimensional view, size and distance are easily interpreted, something we stereographic humans take for granted. But your scene’s depth is lost to your camera. In its two-dimensional world, aligned objects at varying distances loose the separation that makes them stand out. To overcome this, you need to visually separate merged objects by putting them on different lines of sight, setting them apart from the scene’s other elements, allowing your image’s viewer to infer the depth that you see naturally. I can’t emphasize how important this is.
In my many years of observing and assisting other photographers working to improve their images, I’ve decided that a lack of depth management could be single most significant factor holding them back. And there seems to be an invisible force that binds tripods to their first landing place. Overcoming this force (to which I’m not immune) requires vigilant attention to each visual element in your frame, then taking whatever steps (figuratively and literally) necessary to ensure that each element stands alone. If you can’t achieve separation from your current position, move! In other words, in a static image, you’re the one who to be dynamic.
Arriving at Jökulsárlón Glacier Lagoon in Iceland in February, it was instantly clear that the scene had everything necessary for a special image: Low-hanging clouds that softened the light, turquoise ice that colored Iceland’s typically monochrome winter landscape, and crystal clear water that reflected the ice’s color and revealed submerged pastel pebbles. I could have set up my tripod anywhere and captured something beautiful, but I walked the lagoon’s shore, searching for a foreground to go with the gorgeous background, until I was finally stopped by these ice disks that seemed to have been placed like stepping stones.
I like elements that move diagonally across my frame, so I started by positioning my tripod accordingly. Turns out I loved the ice disks and colorful submerged pebbles so much that I decided to make them the feature of my frame. Attaching my Sony 16-35 f/2.8 lens to my Sony a7RIV, I dropped my tripod as low as it would go and scooted it into the water, getting as close as I could to the ice. I used my Breakthrough 6-stop Dark Polarizer to smooth the water, taking care I to turn the polarizer to the point where the submerged pebbles appeared, but not so far that I lost the color reflecting in the background. Shooting this at 16mm allowed me to get extremely close to the foreground ice and pebbles and fill most of the frame with the nearby ice disks, while demoting the much larger turquoise icebergs to lovely background observers.
One more thing
The first time I saw Jökulsárlón Glacier Lagoon, I was blown away by this lake that had large turquoise ice cubes bobbing in water so clear that it can look like the ice is floating on air. So, as I try (need) to do with all of my subjects, I researched.
I learned that Jökulsárlón is a relatively new lake that formed in the mid twentieth century when its upstream glacier, Breiðamerkurjökull, started receding (glaciers don’t actually defy gravity and back up, they simply start melting faster than their ice is replenished). The weight and friction of an advancing glacier carves deep gouges in the Earth as it inches forward and pushes some of the carved out rock and sediment ahead of it—when the glacier retreats (as most of the world’s glaciers seem to now be doing), this debris remains in place, forming a terminal moraine that can act like a dam for glacial meltwater.
Jökulsárlón is the lake that formed in the scar exposed by Breiðamerkurjökull’s retreat, filled by glacial meltwater. While it’s relatively new, at nearly 1,000 feet deep, Jökulsárlón is Iceland’s deepest lake. Its icebergs have calved from the still receding Breiðamerkurjökull. So now you know.
Posted on March 9, 2020
To photograph the northern lights, lots of things need to go right. It starts with picking the right time of year, and finding a location far from city lights—the best months and locations can be determined with research and scouting, but far more problematic are the factors beyond my control: solar activity and weather. And unfortunately, when people sign up for a January Iceland workshop, no matter how clear you make it to them the northern lights are not guaranteed, they really, really, really expect to see the northern lights.
Before Don Smith and I scheduled our 2020 Iceland photo workshop, we did our best to maximize our group’s photography opportunities in general, and northern lights chances in particular: we researched Iceland’s prime northern lights months, identified the best guiding service, and in January 2019 spent 10 days with our guide scouting the spectacular Iceland landscape. On this advance trip we even were treated to a breathtaking northern lights show that enabled us to hone our aurora photography skills, and fill our websites with images.
When we announced the 2020 trip we did all the right stuff, providing preparation and educational material that emphasized the disclaimer that we can’t guarantee the northern lights. But as the trip approached and I started receiving good natured (I think) threats (“You better get us the northern lights or I’ll…”), I couldn’t help feeling a little anxious. As early as 10 days before the workshop, I started checking the long-range forecasts, but no matter which resource I chose, and how many times I checked, things weren’t turning out the way I’d hoped. Not only did the weather look pretty bleak (rain, snow, fog), the KP forecast of solar activity was pegged in the 0-2 range (on a scale that goes all the way up to 9). Gulp.
Throughout the workshop Óli (our guide), Don, and I obsessively monitored the forecasts and tried to stay as positive as possible, but with two nights to go, we hadn’t had a hint of northern lights opportunity, and the natives were getting restless. I suspect that the only thing preventing an all-out coup was that the locations and frequent clouds and snow made the rest of the workshop’s photography pretty fantastic. (Okay, seriously, this group was tons of fun and very understanding about our impossible aurora conditions, but I really wanted to deliver for them.)
In the back of my mind was the experience Óli, Don, and I had last year, when the forecasts were bleak until an unexpected uptick in the KP index coincided with a clearing of the sky at Glacier Lagoon on the trip’s last two nights. Throughout this year’s trip, I told myself (and all who would listen) that if it happened once, it could happen again. And guess what…
By the time we wrapped up our sunset shoot at Glacier Lagoon on the workshop’s penultimate day, we all knew that tonight could be the night—the weather forecast had improved to “partly cloudy,” and the KP index had bumped up into the 2-3 range. Far from a sure thing, but definitely worth bundling up and giving it a shot. So after dinner we piled back onto our bus and returned to Glacier Lagoon.
At the lagoon I hopped from the bus to scan the dark northern sky and saw a mix of clouds and stars. There was the Big Dipper and Cassiopeia. And once my eyes adjusted, I found the faint section of the Milky Way overhead and traced its path downward until it disappeared into a mass of clouds—not ideal, but there were enough stars to know we’d be okay. Unlike the previous year’s shoot, the northern lights weren’t visible to the naked eye, so I quickly set up my tripod and camera to take a test exposure, and there it was in my LCD, a faint but distinct green glow hovering above the northern horizon, partially obscured by clouds but unquestionably the northern lights. We were in business.
The darkness made keeping track of people pretty difficult, but since we’d already photographed here, everyone had their own idea of where they wanted to be and quickly scattered. I, and many others, started along the lagoon’s shoreline, but within an hour or so almost everyone had ascended the hillside overlooking the lagoon for a much more expansive view of the horizon.
Even though the aurora had brightened and was now visible to the naked eye, it remained just a green and (occasionally) red glow that lacked definition. Nevertheless, I could sense everyone’s relief—despite maintaining a positive facade, until this night I think most of us had become silently resigned to the fact that the northern lights weren’t in our future. At least they could all now say they’d seen the beauty of the northern lights. And then something amazing happened.
As if someone had suddenly cranked the intensity knob, a visible green shaft climbed skyward from behind the mountains, and within five minutes half the sky was alive with dancing light. The display was so beautiful and unexpected that we all just couldn’t help laughing at our good fortune. This great group that had spent more than a week bouncing around the Iceland countryside, marveling, eating, sharing, shivering, and (especially) dreaming of northern lights, was having a blast photographing together above Glacier Lagoon.
I can’t begin to express the joy I felt that night. It’s always wonderful to witness nature’s marvels firsthand, but sharing a first time with an infinitely deserving group of friends is truly special. After a while I stopped shooting to just watch the show and listen to the joy and felt tears welling in my eyes.
I spent more time this shoot moving around in the dark, helping people in the group with focus and exposure, than I did taking pictures. And it turns out that at some point in these travels, my camera lost focus and more than half of my images, including those from the peak of the aurora activity, are unusably soft. This is only mildly disappointing because 1) in a workshop it really isn’t about my photography anyway, and 2) I already have plenty spectacular Glacier Lagoon northern lights images from last year’s trip.
And despite that setback, I did get enough images to confirm that my Sony a7RIV is an excellent night photography camera. Until this trip I’ve always used my Sony a7SII (or the a7S that preceded it) for my night work, but I decided to save weight by leaving the a7SII home. While the low-light vision of the a7SII makes its viewfinder second to none for night composition and focus, the a7RIV proved good enough for that, and the image quality difference isn’t discernible.
Click an image for a closer look and to view a slide show.
Posted on September 29, 2019
After finally witnessing a total solar eclipse and declaring it the most beautiful thing I’ve ever seen, I started hearing people say things like, “Wait until you see the northern lights.” So when fellow pro photographer Don Smith and I planned an Iceland photo trip to prepare for our upcoming photo workshop, we chose January because it’s right the heart of northern lights season. Could the northern lights’ beauty really rival a total solar eclipse? (Spoiler alert: Yes.)
An Aurora Primer
Our planet is continuously bombarded by solar energy. When this perpetual solar wind encounters Earth’s atmosphere, a narrow range of wavelengths (infrared and visible) passes through to warm us and light our way. But other energy wavelengths in the solar wind interact differently with the molecules they encounter, creating an charge imbalance by stripping electrons.
Instead of penetrating our atmosphere to create havoc on Earth’s surface, most of these charged particles (ions) are intercepted by the magnetosphere, our protective magnetic shield. The magnetosphere is teardrop shaped, with the battered side that faces the sun compressed, and the shielded side behind Earth stretching much farther into space.
As Earth rotates, at any given moment the side facing the sun (the daylight side) looks out through the thinner, compressed side of our magnetosphere, while the night side of Earth faces the extended region of the magnetosphere. Just as the upwind face of a wall or building breaks a wind, the sunward side of the magnetosphere sheds the charged particles and channels them to upper regions of Earth’s leeward (night) side. It’s these ionized molecules dancing high in the night sky that cause an aurora.
The result of these atmospheric machinations is an atmospheric oval of geomagnetic activity corresponding to the intensity of the solar wind—the greater the activity, the greater the oval’s area and the intensity of its aurora activity. The aurora’s color depends on the molecules involved. The most plentiful and frequently activated molecules vibrate in the green wavelengths, but reds and blues are possible as well, depending on the intensity and altitude of the activity.
As with terrestrial weather, there’s no such thing as an aurora “sure thing”—the best we can do is put ourselves in position to be as close to the auroral oval, on nights with the greatest chance for auroral activity. Planning a winter trip to the high latitudes (the higher the better), like Iceland, is a good start.
Another key to aurora chasing is understanding and monitoring the Kp- (or K-) index. The Kp-index is a 0-9 scale of atmospheric electromagnetic activity, with 0 being little or no activity (get some sleep), and 9 being the most extreme activity (don’t forget the sunglasses). Many governments and scientific organizations issue regular Kp forecasts that seem about as reliable as a weather forecast—pretty good, but far from perfect. There are many websites and smartphone apps that will provide you with up-to-date Kp forecasts for your current location—some will even issue alerts.
Let the chase begin
Armed with more knowledge than experience, in the last week of January we set out for Iceland’s frozen hinterlands with visions of auroras dancing in our heads. Fortunate for us, our guide was an Iceland native and an excellent photographer with years of northern lights experience.
By day we photographed all the winter-accessible locations on Iceland’s Snæfellsnes Peninsula and South Coast, benefiting greatly from winter’s 2-hour sunrises and sunsets and a sun that never rose higher than 8 degrees above the horizon. And by night we bundled up and ventured into the frigid dark seeking an electric light show.
For our nightly aurora hunt we’d drive to a pretty scene that had both dark skies (not hard to find in Iceland) and a clear view of the northern sky. There we’d sit for an hour or two, fogging the windows in the guide’s spacious Suburban, regularly stepping into the cold darkness to scan the sky.
We quickly learned the uncertain, frustrating nature of aurora hunting. Nights with potential were stifled by clouds; nights with clear skies were Kp washouts. So with just two nights in Iceland remaining, I was getting a little anxious.
The final two nights would be spent near Glacier Lagoon, a magnificent ocean inlet dotted with floating icebergs and a patchwork of thin ice and reflective water that created an ideal foreground for the northern lights.
The forecasts for Wednesday, our penultimate night, were clear skies, and a 1 or 2 Kp index. Not great, but the best weather/Kp combination of the trip. And our guide assured us that even Kp 1 can deliver an aurora, and Kp 2 can be a very nice display. Pulling into the Glacier Lagoon parking lot beneath a beautiful star-studded sky, we saw no aurora. So we waited.
Soon what I swore was fog appeared above the lagoon, but the guide insisted this was the beginnings of northern lights. Dubious, we followed him down to the lagoon and I was thrilled (understatement) when a long exposure revealed not fog, but my first view of the northern lights! We spent a couple of hours photographing a low-hanging, fuzzy green haze, occasionally infused with hints of red. Except for just a few minutes at its peak, the aurora we photographed that night had no real definition, but I really didn’t care because I could check northern lights off my bucket list. Little did I know that the show that night was just a warm-up for the next night’s experience.
The Kp forecast for Thursday night was 4 or 5, which our guide told us was perfect because anything more than Kp 5 can be too bright. The weather was a different story and all we could do was watch the sky all day and hope. Despite a nearly 100 percent cloud cover at sunset, we optimistically headed back to the lagoon.
Waiting in the lagoon parking lot, the clouds parted to reveal a faint aurora ebb and flow, but stayed in the car because, “This is no better than last night.” (One success and we’re already aurora snobs.) What looked promising out my north-facing side window one minute, all but disappeared the next. Then we noticed new activity in the western sky that went from 0-to-60 so fast that we bolted down to the lagoon like Keystone Cops. By the time I was set up the sky had transformed into a green and red psychedelic extravaganza.
The next two hours were a blur as I witnessed what was quite possibly the most beautiful sight I’ve ever seen in my life. Starting across the lagoon, in the western sky, the show gradually moved south (defying all my expectations), forcing me to constantly shift further up the lagoon to keep the ice and water in my foreground.
With my head on a swivel, I saw glowing tendrils stretch skyward, some touching both the east and west horizons, others pulsing, spiraling, and doubling back until felt like I was inside a giant lava lamp. At one point I tore my eyes from the show above the lagoon and saw the entire eastern sky ablaze with tangled green ribbons so intense that I turned my back on the lagoon and frantically scaled the snowy hill behind me for a better view in that direction. Over the course of maybe 20 minutes, that display rocketed heavenward, filled the entire eastern sky from horizon to zenith, shifted north, and finally back to the west and over the lagoon, forcing me race (and tumble) back down the hill.
The display was still going when we left, but at some point it just felt greedy to keep shooting (and we couldn’t wait to return to the hotel to count our riches).
Getting a shot like this requires a significant amount of good fortune for sure, but all the good fortune in the world will do you no good if you don’t:
Click an image for a closer look and to view a slide show.
Posted on February 3, 2019
I’ve seen comets, a meteor storm, fireballs, a total solar eclipse, lots of lunar eclipses, the Milky Way, the Andromeda Galaxy, the Magellanic Clouds, Jupiter’s moons, Saturn’s rings, and many other manifestations of celestial splendor, but I’ve never seen the aurora. So when I scheduled a trip to Iceland this January (the heart of aurora borealis season), ostensibly to scout for the new Iceland photo workshop I’ll be doing with Don Smith next winter, my personal goal was to see the northern lights.
We’d only be in Iceland for one week, long enough for our guide (the expert, energetic, and always entertaining Óli Haukur) to give us a quick view of all the locations we’d visit in next year’s 10-day Iceland workshop (which will also include a local photography guide). With 10:30 a.m. sunrises and 5:00 p.m. sunsets, I didn’t expect the schedule to be too grueling, but I hadn’t accounted for Iceland’s two-hour winter sunrises and sunsets. With many miles to cover beneath a sun that never rises higher than (an extremely photogenic) 8 degrees above the horizon, every minute between our early starts and late dinners was spent spent either driving or photographing (fortunately, the schedule will be a little less compressed during the workshop). But wait, there’s more…. Given our aurora aspirations, each night immediately after dinner, we bundled up and ventured into the frigid dark seeking an electric light show.
For our nightly aurora hunt we’d drive to a pretty scene that had both dark skies (not hard to find in Iceland) and a clear view of the northern sky. There we’d sit for an hour or two, fogging the windows in Óli’s spacious Suburban, trading stories and laughs, and periodically stepping into the cold to scan the sky, before ultimately deciding tonight wasn’t going to be the night.
With just two days in Iceland remaining, I was getting a little anxious, but things were looking up (both figuratively and literally). First, Wednesday’s forecast promised completely clear skies, a first for our visit. And Wednesday’s destination was Glacier Lagoon, a magnificent ocean inlet dotted with floating icebergs and a patchwork of thin ice and reflective water that makes an ideal foreground for the northern lights.
The aurora forecast that night was 2 on the 0-9 KP-index of magnetic activity, where 0 is “Enjoy your sleep” and 9 is “Don’t forget the sunglasses” (or something like that), bu Óli assured us that he’s “seen some great shows on ‘2’ and ‘3’ aurora nights,” though I was skeptical because we’d already struck out more than once with a similar forecast. He also told us that his favorite aurora nights are in the 4 and 5 range because with an index higher than that, the aurora can be so intense that an exposure that doesn’t blow the lights is too dark to capture the foreground.
Pulling into the parking lot Wednesday night and turning off the headlights, I immediately spotted a low fog hovering above the lagoon. Except Óli said that wasn’t fog, it was the beginning of the aurora. Dubious, we followed him down to the lagoon. I was thrilled (understatement) when my camera validated Óli’s assertion: My first view of the northern lights!
We spent a couple of hours photographing a low-hanging, fuzzy green bands, with hints of red, that for a few minutes brightened and took on a little definition. On the drive back to the hotel, Don and I could barely contain our elation, while Óli was pleased but relatively subdued. For an Iceland native, this was just another day at the office; for two photographers from California, it was a personal milestone. And then Thursday happened.
All week Óli had told us our best chance for the northern lights would be Thursday, our tour’s final night. We spent that day photographing spots near Glacier Lagoon: sunrise and sunset at Diamond Beach bookending a visit to a glacier ice cave. But as the day progressed, the wind picked up and clouds formed and thickened. We didn’t stress though, because we had our aurora pictures and it was difficult to imagine anything better than what we’d seen on Wednesday.
Nevertheless, despite a 100 percent cloud cover after sunset, we agreed to meet for dinner with camera gear in tow, ready for an optimistic venture back to Glacier Lagoon. And sure enough, emerging from the restaurant we saw the gray blanket had been replaced by ceiling of stars and we were in business. But still no aurora.
Hoping for a little different perspective, we started by scaling a hill overlooking the lagoon, sinking into thigh-high snow and fighting a 40-MPH headwind to summit. That adventure lasted about five minutes before the wind and less than ideal view (you don’t know until you try) drove us back to the site of last night’s success, in retrospect a wise choice indeed.
Back in the lagoon parking lot, we sat and watched a faint aurora ebb and flow, suddenly aurora snobs (“This is nothing like last night”). What looked promising out my north-facing side window one minute, all but disappeared the next, but then we noticed new activity in the western sky out the windshield. This ramped up so fast that we bolted down to the lagoon like Keystone Cops, and by the time I was set up the had become a green and (occasionally) red psychedelic extravaganza.
The next two hours were a blur as I witnessed what was quite possibly the most beautiful thing I’ve ever seen in my life (rivaled only by, and impossible to compare to, the total solar eclipse in August 2017). Starting across the lagoon, in the western sky, the show gradually moved south(defying all my expectations), forcing me to constantly shift further up the lagoon to keep the ice and water in my foreground.
With my head on a swivel, I watched glowing tendrils stretch skyward, some touching both the east and west horizons, others pulsing, spiraling, and doubling back,. It felt like I was inside a giant lava lamp. At one point I tore my eyes from the show above the lagoon and saw the entire eastern sky ablaze with tangled green ribbons. so intense that I turned my back on the lagoon and quickly scaled the snowy hill behind me for a better view in the other direction. Within ten minutes things picked up again over the lagoon and I raced (and occasionally tumbled) back down the hill.
This is the only picture from that night that I’ve processed so far. And while it definitely should give you an idea of what I saw, it’s just a fraction of night’s mesmerizing display. Though the color wasn’t nearly this vivid to the eye, thanks to the camera’s extreme light gathering capability, this is pretty much the way it looked in the viewfinder of my Sony a7SII, and on my LCD preview after capture. About the only significant processing I did was tone down the green reflecting on the snow—not because it wasn’t there, but because I feared that keeping the actual amount of green I captured would strain credibility.
Getting a shot like this requires a significant amount of good fortune for sure, but all the good fortune in the world will do you no good if you don’t bundle up and get yourself into the extreme latitudes in winter. Also helpful is a little experience with night photography, specifically the ability to control your camera, compose, and focus in extremely low light.
While I benefited from an a7SII that can virtually see in the dark (making low light composition and focus a breeze), pretty much any relatively recent DSLR will do the job. Add to that a sturdy tripod and wide (24mm or wider), relatively fast glass (f/2.8 or faster, though I was able to make my Sony 12-24 f/4 lens work when the show was at its peak), and you’ll be fine.
I can’t emphasize too much how important finding a foreground to go with your aurora is. The northern lights are so spectacular, it’s easy to just show and forget to compose the scene. An aurora show like this changes so quickly, intimate local familiarity to know where to be without hunting is a big help. Our guide got us to a location with a wealth of foreground opportunities, but it certainly didn’t hurt that this was my third visit to Glacier Lagoon in two days. And when you get there, make sure you find both horizontal and vertical compositions.
And finally (because I know you’re going to ask), a few words about exposure settings. Keep in my that this was in fact my first rodeo, so you might find better advice elsewhere. But my Thursday shoot did benefit from knowledge gained Wednesday night. Specifically, my moonless night photography had been mostly limited to star trail and Milky Way shoots, where it’s all about maximizing light. But despite the moon’s absence for both of our northern lights shoots (though I’m told the moon isn’t the aurora deal-breaker it is with a Milky Way shoot), the rules are different for an aurora shoot because the sky’s brightness changes by the minute, and it’s often much brighter than a Milky Way sky.
On Wednesday I started with exposure settings closer to my Milky Way settings, using exposure times in the 15-30 second range because it’s virtually impossible to give a Milky Way scene too much light (with 2019 or earlier camera technology). But with an aurora, there is definitely such a thing as too much light.
When my exposure blew out the aurora during the Wednesday shoot, I took the opportunity to drop my ISO and f-stop, thinking that would improve my image quality. But the fingers of color shift so quickly in an active aurora like Thursday’s, a long a shutter duration blurs the display’s definition. On Thursday I tried to keep my shutter speed at 10-seconds or faster (faster is better), which was no problem given the aurora’s brightness.
By now you’ve probably figured out that you need to check your highlight alert and histogram with every frame, and adjust accordingly. And unlike most scenes, the RGB histogram is essential—many times my luminosity histogram (the white one) looked fine, but the RGB histogram’s green channel was seriously clipped.
Oh yeah, and don’t make the rookie mistake I made. Extreme cold like this (it was probably around 20F) will suck the life from a lithium ion battery. But because I’ve grown so accustomed to the great battery life of my Sony a7RIII, I forgot to make sure I’d packed my backup battery. I had one back in the room, which made it about as useful as chocolate frying pan. My battery started at 100%, dropped to 70% in about thirty minutes, and completely died 5 five minutes later. Fortunately Don took mercy on me and loaned me one of his four batteries. On Thursday I was much smarter: not only did I bring my backup battery, I brought an Anker portable charging cube and a charger.
I’m writing this on the plane home from Iceland, about to lose the charge on my laptop, so you’ll need to wait until a future post to learn more about the fascinating science of auroras (because I think it’s important to understand what you photograph). And let me just apologize in advance for the number of aurora images I’ll be sharing over the coming months (I’ll do my best to spread them out some, and I certainly have many other Iceland delights to share).
Click an image for a closer look and slide show. Refresh the window to reorder the display.