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Anchored in for the aurora | Virgil Reglioni on photographing the northern lights in Scoresbysund

In East Greenland’s vast Scoresbysund fjord system, there’s a remarkable approach to aurora photography that begins not with chasing the northern lights, but by embracing stillness. 

As sea temperatures drop in early autumn, thin, shimmering sheets of ice begin to form across the fjords. Rather than avoiding the freeze, our ships drift deliberately into narrow fjords—quietly surrendering to the environment. Surrounded by mountains and drifting icebergs, the ship gradually becomes locked in place by newly forming sea ice. 

Once frozen in, the deck transforms into a stable, silent platform—your open-air studio in one of the most remote and pristine locations on Earth. In this frozen calm, with 360° views and no artificial light, you’re perfectly positioned to photograph the northern lights in a way few others ever will.

We spoke with Virgil Reglioni, our northern lights photography specialist and expedition guide, about what makes this frozen approach to aurora photography so extraordinary — and why it’s an experience that stays with you long after the lights fade.

What makes Scoresbysund so special for aurora photography?

At approximately 71°N, Scoresbysund lies directly beneath a particularly active band of the auroral oval. While it’s not much farther north than other Arctic regions, its unique position in both latitude and longitude means even modest solar activity can result in breathtaking displays. The fjord’s steep, silent mountains act as natural reflectors and frames for the aurora, while the total darkness and lack of light pollution let the lights shine in their full brilliance.

Can you explain how the freezing process works and what you’re looking for when selecting the right spot to ‘park’ the ship for the night?

As temperatures drop, the sea begins to freeze in thin sheets. We wait for calm, stable weather—usually in late September or early October—then head for a narrow arm of the fjord, ideally surrounded by mountains and icebergs. When the ice begins to form, we allow the vessel to drift gently until it naturally ‘parks’ into place. This process anchors the ship into position, creating a stable platform for the night. We look for areas with still water and emerging  ice floes, which help freeze the ship securely into the landscape. 

How do you set up your camera and prepare for capturing the aurora in this environment? 

Once the ship is frozen in place, setting up a shot in this environment becomes all about patience and precision. First, I make sure to secure my tripod firmly to the deck and stabilize the camera.  Then, I focus on something distant, like mountains or icebergs, using Live View and switch to manual focus to lock it in perfectly. 

For the settings, I go with a wide aperture between f/2.0 and f/2.8, set the ISO somewhere around 800 to 1600 (sometimes up to 2500 if needed), and keep the shutter speed under 2 seconds. Longer exposures tend to blur the delicate shapes of the aurora, especially since even a drifting ship can cause subtle motion. That’s why we always look for fresh ice to get that extra bit of stability. 

Finally, I frame the shot with interesting foreground elements—like icebergs or flat ice—and then it’s a matter of waiting patiently. Capturing the aurora here is as much about being still and present as it is about technical setup.

What advice would you give to someone photographing the northern lights from a ship for the first time?

Photographing the aurora from a ship is a bit different from shooting on land. I use heavy-duty anti-vibration pads under each tripod leg to help reduce subtle movement from the vessel. I often shorten my shutter speed to around 0.5 to 1 second if we’re not fully locked into the ice yet — it helps avoid motion blur.

Framing is where the real creativity comes in. You’ve got towering icebergs, forming sea ice, and jagged mountains all around. Sometimes I’ll shoot vertical panoramas to capture both the scale of the ice and the full sweep of the aurora overhead. People tend to default to ultra-wide lenses, but I actually recommend mixing in focal lengths like 24mm or even tighter — it lets you isolate icebergs and bring out more detail, especially when they’re sitting a bit farther away.

Another trick: turn on image stabilization if your camera or lens has it. Normally, you’d leave it off when using a tripod on solid ground, but on a ship, it can actually help. You won’t eliminate every bit of motion — and that’s okay. The key is to adapt to the rhythm of the ship and the ice. Learn to move with the landscape, adjust your position, and be patient. That’s when you get the shots that truly stand out.

Final thoughts: Scoresbysund, light, and presence

As Virgil says, there is nowhere quite like Scoresbysund. The convergence of polar geography, sea ice, and aurora activity offers something rare—not just visually, but emotionally. Each moment on deck, surrounded by frozen silence and northern lights, becomes something you don’t just capture—you live. 

From the first crackle of sea ice to the final shimmer of green in the sky, photographing the aurora here is less about chasing and more about surrender.  The act of drifting, freezing in, and waiting teaches you to shoot with awareness and presence. In the end, the aurora becomes more than a skyward phenomenon—it becomes a story you’re part of. Capturing it from a frozen ship isn’t just photography—it’s immersion.