Winter Landscapes in Svalbard

The best time to photograph winter landscapes in Svalbard is from mid-March to mid-April. During this period, temperatures typically range from -10°C to -25°C, and the sun remains low on the horizon, creating dramatic lighting conditions. The midnight sun returns to Longyearbyen on 18 April, after which the sun doesn’t set until 23 August. While it’s still possible to capture beautiful landscapes after the midnight sun arrives, the deep, cold colour tones of winter give way to warmer colours.

The interplay of deep blue shadows with pink and violet tones at sunrise and sunset creates a magical palette for landscape photography. The pristine white snow reflects these colours, making this time of year ideal for photographers seeking dramatic skies, sea ice, and vibrant contrasts.

Many of Svalbard’s fjords and surrounding seas are frozen in March and April, before it starts to melt and retreat in May and June. With cold temperatures and calm weather, the sea surface will freeze and provide stunning foregrounds to your landscape images. The types of ice you will encounter vary greatly, offering a wealth of patterns, textures, and shapes to explore.

Liefdefjorden in March © Ole J Liodden

16-35mm, f/9.0, 1/1600 sec at ISO 1000

Sea ice in Liefdefjorden © Ole J Liodden

14-24mm, f/6.3, 1/100 sec at ISO 1000

The drifting sea ice (pack ice) reaches its maximum extent in March and sometimes connects to the northern shores of Spitsbergen. This area is accessible only by expedition ships, and weather conditions can make reaching the pack ice challenging. However, when the wind and waves are calm, you can photograph ice floes, frost smoke, and even wildlife in the pack ice, against the backdrop of a low Arctic sun.

Pack ice with frost smoke © Ole J Liodden

600mm, f/5.6, 1/16000 sec at ISO 1250

Sunrise pack ice in winter © Ole J Liodden

600mm, f/9.0, 1/2000 sec at ISO 1250

One particularly photogenic phenomenon is pancake ice, which forms when small ice floes bump into each other in cold temperatures (at least -10°C) and gentle waves. These round, textured ice floes can create striking compositions in fjords or at sea.

Pancake ice © Ole J Liodden

16-35mm, f/9.0, 1/1000 sec at ISO 1000

Svalbard’s landscapes can feel overwhelming, with beauty in every direction. To create compelling images, it’s essential to identify a clear point of interest or the “nerve” of the scene. This could be contrasts, patterns, shapes, structures, or unique lighting conditions that add depth and dimension to your photographs.

Photography is a form of communication, and with so many great Arctic landscapes already captured, it’s worth being selective about what you choose to photograph. Take time to observe, think, and analyse the scene in front of you. Decide what to include and, just as importantly, what to exclude. A strong composition might feature a detailed foreground of snow or ice, paired with mountains or glaciers in the background. Look for areas with interesting textures, contrasts, or patterns to elevate your images.

Evening in Adventsfjorden © Ole J Liodden

14-24mm, f/13, 10 sec at ISO 250

If you’re on an expedition ship, the constantly changing foregrounds can provide endless opportunities for creative compositions. However, be prepared to act quickly, as the perfect foreground may only be visible for 20–30 seconds.

A wide-angle lens is essential for capturing expansive landscapes. With focal lengths of 24mm or wider, it’s relatively easy to achieve sharpness in both the foreground and background. Using an aperture of f/6.3 to f/9.0 and focusing about 5 metres in front of your position will usually ensure sharpness throughout the frame. Focusing on the background alone can result in a blurry foreground, and vice versa. There are many apps available for exact calculations of where to focus related to your focal length and aperture, if you want exact values for focus distances.

Frozen sea, Svalbard © Ole J Liodden

14-24mm, f/9.0, 1/500 sec at ISO 1250

For lenses with focal lengths of 24–70mm or wider, you’ll need to be more precise with your focus. Depth of field decreases with longer focal lengths, so it’s often best to avoid including the closest foreground unless you want it to appear intentionally blurred.

I personally prefer using 70–200mm or even 600mm telephoto lenses when capturing details in landscapes. In these images, the foreground may be hundreds of metres away, allowing for excellent sharpness throughout the entire frame. As highlighted in this guide, most of my photographs were taken with a 70–200mm lens or longer telephoto lenses.

Snow-covered mountains paired with a full moon can create the perfect setting for stunning landscape images. While it can be challenging to be in the right location in Svalbard exactly during the full moon, the days just before and after still offer excellent opportunities to capture the moon in your shots. Ideally, the moon should be low in the sky, allowing you to use a telephoto lens to include detailed mountain features and a prominent, dramatic moon in the frame.

Full moon in Bellsund area © Ole J Liodden

300mm, f/6.3, 1/640 sec at ISO 800

In March and early April, the sunrises and sunsets in Svalbard are breathtaking, with cold tones of blue, pink, and violet dominating. These colours are unique to the winter season, contrasting with the warmer yellows, oranges, and reds that appear later in the year. For photographers seeking extraordinary colour tones, the winter season offers unparalleled opportunities.

Pink mountain © Ole J Liodden

600mm, f/4.0, 1/1600 sec at ISO 2500

Svalbard’s glaciers are often difficult to access in winter due to fjord ice. Snowmobiles can reach some glaciers near Longyearbyen, but most are best visited by expedition ships. In March and April, access to glacier fronts is limited, so you may need to photograph them from a distance.

Wide-angle lenses can capture glaciers with a nice foreground of hopefully pancake ice or maybe some wildlife on the fjord ice, framed by surrounding winter mountains. Telephoto lenses, on the other hand, allow you to focus on details in the glacier, such as snow swirling in the air or soft winter light illuminating the ice.

Winter glacier © Ole J Liodden

600mm, f/8.0, 1/1250 sec at ISO 1250

Winter walrus © Ole J Liodden

16-35mm, f/8.0, 1/800 sec at ISO 800

Svalbard’s snow-covered landscapes are ideal for black-and-white photography, where you can focus on contrasts, textures, and shapes. The interplay of light and shadow on the snow-covered mountains, glaciers, and sea ice creates striking compositions that are often more dramatic in monochrome than in colour. Black-and-white photography can also help emphasise the raw, minimalist beauty of the Arctic, stripping the scene down to its essential elements.

When shooting in black and white, pay close attention to tonal range. The bright whites of the snow and ice can contrast beautifully with the dark shadows of the mountains or the deep tones of the Arctic sky. Using filters, such as a polariser, can help control reflections and enhance contrast, while post-processing can further help you bring out the textures in your images.

If you have an infrared-modified camera, Svalbard is an excellent place to use it. Infrared photography can transform the Arctic landscape, turning snow and ice into glowing white surfaces while rendering the sky and water in deep, dramatic tones. This technique can add an otherworldly quality to your images, making them even more striking.

White mountains © Ole J Liodden

70-200mm, f/11, 1/1600 sec at ISO 400

Polar bear in Bellsund © Ole J Liodden

24-70mm, f/6.3, 1/200 sec at ISO 1250

While clear skies and calm conditions are more comfortable, dramatic weather often produces the most striking photographs. Approaching snowstorms, low-pressure systems, or heavy clouds can create dramatic skies. “Bad” weather is often equal to great photo opportunities, maybe not when you are in the middle of it, but when it is approaching or clearing up.

Don’t wait for the perfect light. Embrace the challenges of photographing in cloudy or stormy weather to capture unique and memorable landscapes.

Stormy ocean in March © Ole J Liodden

100-400mm, f/7.1, 1/1250 sec at ISO 1000

Dramatic mountains © Ole J Liodden

70-200mm, f/11, 1/640 sec at ISO 800

Approaching storm © Ole J Liodden

70-200mm, f/8.0, 1/640 sec at ISO 640

Winter fjord in Svalbard © Ole J Liodden

14mm, f/8.0, 1/400 sec at ISO 1000

Incorporating wildlife into your landscape images can elevate them from good to great. A polar bear, walrus, or other Arctic animal framed against a dramatic backdrop can create a truly captivating photograph. When the opportunity arises, include the surrounding landscape in your wildlife shots. Learn more about how to Include the Landscape when photographing wildlife.

Polar bear in Hornsund © Ole J Liodden

70-200mm, f/14, 1/2000 sec at ISO 400

Selecting the right camera gear for Svalbard’s winter conditions can be tricky, especially if you are unfamiliar with photographing in the cold. To minimise issues, limit the number of lenses you bring. This reduces the risk of snow or dirt entering the camera when changing lenses, prevents condensation when moving between cold and warm environments, and simplifies handling in freezing temperatures.

Three lenses should be enough for photographing winter landscapes - you don’t need your complete range of lenses. Zoom lenses can be useful to limit your choice of lenses to:

1. A wide-angle zoom lens, like 14-24mm or 16-35mm.
2. A mid-range zoom lens, like 24-70mm.
3. A telephoto zoom lens, like 70-200 or 100-400mm.

This combination covers most scenarios, though a longer telephoto lens may be useful for capturing distant details. Ideally, bring at least two camera bodies (or three) to avoid changing lenses in the cold.

A tripod can be helpful, when photographing from land or onboard a ship, especially for telephoto shots in windy conditions. However, adjusting tripod legs and heads in freezing temperatures can be challenging, so you may find it easier to shoot handheld.

Camera in -25° Celsius © Ole J Liodden

The biggest challenge when photographing in Svalbard isn’t just the cold but the combination of wind and humidity, especially in the drifting pack ice. Dressing in layers is essential. Use a base layer which allows perspiration, an insulating layer for warmth, and an outer layer for wind and water resistance. This layering method allows you to adjust your clothing as conditions change. Learn more about Dressing for the Cold.

Dressing for the cold in Svalbard