Nordfjord
The force that shaped Norway is water - either in its true form, or as ice. Western Norway is scarred with fjords that penetrate deep inland. Nordfjord is not only a fjord (the sixth longest in Norway), but a region that stretches inland roughly 100 kilometers (approximately 60 miles). Pounded by the frigid waters of the North Sea, the rugged coastlines gives away to these graceful deep-water inlets that were carved-out by retreating glaciers at the end of the Ice Age. Europe's largest mainland glacier, Jostedal Glacier, and Northern-Europe's deepest lake, Hornindal, (514 meters, or roughly 1,600 feet), add grand features to this already-impressive region. It takes little encouragement to lose oneself in this massive landscape that was carved from stone long ago. Norwegian people, by their very nature, are drawn to the outdoors. In this landscape we are quickly reminded that nature rules, and man is small.
Traditionally this landscape is depicted in strong colors in glossy magazines and tourist brochures. The vibrant greens and blues that dominate these pictures are quite short-lived in reality, since most of the year the landscape is somewhat monochromatic, made up of subtle shades of gray, with hints of blue and green. This portfolio is about the strong embrace of water and land in Nordfjord - and by working in black and white I am able to clarify the components of the landscape into simplistic and powerful elements.
Since my parents live in this area I travel there quite frequently. Once in the Nordfjord region, it's possible to drive from the West Cape to the mountains - the entire length of the fjord - in about three hours. This access has been essential in deepening my relationship to the land, and learning how to make images that convey the mood and drama of this environment. More times than I would like to admit, however, I find myself facing a scene, knowing that I will never be able to capture it in a photograph. It just isn't possible. There is an immensity or beauty that goes beyond the limitations of the lens. It isn't a matter of using wide-angle, (which would rudely distort the very scene that is so captivating), but simply accepting that some images are intended for our eyes only. At those times I don't even bother to set-up the camera. I can only breathe-in the moment and be grateful I am there.
(This text introduced the Nordfjord portfolio in Lenswork no. 67 Nov-Dec 2006 p. 80 and was co-written by Maureen Gallagher.)
All contents © Eirik Holmøyvik 2011