Aurel Lund

Taking commissions from February 2027

Aurel Lund

Landscape and commissioned photography: weather, ground and light, made on foot in all seasons. Short film when a project needs it.

See the workCommission a project

A salt flat at sunset: a thin horizon under a band of rose and amber cloud, with one small figure standing far out on the crust
Salt Flats, frame 02Kessel Basin, 2025

01Work

Five series, 2021 to 2025

Each series is a set of photographs made over several visits to one place. Choose a series to see its frames full screen, one at a time.

Series 01 Kessel Basin, 2025

Salt Flats

Four visits to a dry lake bed in the evening, over one wet winter. For about an hour after sunset the crust holds a film of water, and the horizon almost disappears.

  1. Salt flat at blue hour under a violet sky, the wet crust mirroring the horizon glow
    Frame 01Blue hour, wet saltCamera 40 cm above the crust, 35 mm lens. The water mirrors the last of the sky.
  2. Salt flat at sunset with a tiny figure standing far out on the crust
    Frame 02Last warm lightA walker 600 metres out gives the scale. The crust is dry here and cracked into plates.
  3. Salt flat before sunrise, pale pink sky over a mirror-flat surface
    Frame 03Before sunriseThe film of water has gone still. Nothing in the frame is moving.
  4. Overcast salt flat with a faint horizon and a lone figure
    Frame 04Cloud cover, middayThe one frame made at midday, under full cloud. No shadows, almost no horizon.

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Series 02 Orrin Valley, 2023

Pine Ridge

Six mornings of fog in a planted spruce forest. The ridges stack and separate as the light comes up behind them, then close again within the hour.

  1. Layered forested ridges in green morning fog with sun behind the haze
    Frame 01First light, green fogSeven ridgelines before the sun clears the highest one. Shot from the road cutting.
  2. Golden fog over layered pine ridges framed by two dark trunks
    Frame 02Gold hour, two trunksTwo trunks at the frame edge hold the foreground. Printed at 100 cm for a hospital corridor.
  3. Blue-grey fog over pine ridges with pale light and soft sun rays
    Frame 03Cold blue morningThe morning after snow. The sun is a pale disc behind the mist and the ridges are nearly grey.
  4. Thinning amber fog over a pine ridge with two dark trunks in front
    Frame 04Late fog thinningThe nearest slope has come into focus. Another twenty minutes and the fog was gone.

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Series 03 Skerra Coast, 2022

Sea Stacks

Rain for nine days on a basalt coast. The stacks come and go in the mist, and the sea is the colour of wet slate.

  1. Dark sea stacks standing in rough grey water under heavy slanting rain
    Frame 01Heavy rain90 mm lens, 1/60 s so the rain draws as lines. The nearest stack stands 400 metres out.
  2. Sea stacks in pale mist with a bright path of light on the water
    Frame 02A break in the cloudThe cloud opened for about four minutes and put a path of light across the water.
  3. Two sea stacks rising from slate-blue water in falling rain
    Frame 03Low angle at the tide lineCamera 30 cm above the wet sand. The sea fills the lower half of the frame.

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Series 04 Marrow Dunes, 2024

Dune Ridges

A week on foot in a dune field, working in the first and last hour of sun, when low light cuts each ridge in two.

  1. Golden sand dunes in low raking light with long soft shadows
    Frame 01Evening, sun from the leftThe lit face is a long slope. The lee side is already in deep shadow.
  2. Red-gold dune field at dusk with deep shadows in the valleys
    Frame 02Sun from the rightDarker and redder. The valley floors have gone into shade.
  3. Hazy rose-coloured dunes under a pale sky
    Frame 03Haze before sunsetThe shapes soften and the sky is nearly the same colour as the sand.
  4. Pale dune field in flat afternoon light with soft shadows
    Frame 04Pale afternoon, wind risingThe whole field loses contrast. Blown sand lifts off the crests.

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Series 05 Port Alder, 2021

Night Harbour

A working harbour between the last ferry and the first one. Long exposures from the same quay over three nights.

  1. Harbour at twilight with quay lamps reflected in still water and boats at anchor
    Frame 01Twilight, 30 secondsThe lamps along the far quay run down the water. Two boats at anchor.
  2. Dark harbour at night with amber lamps and their long reflections
    Frame 02Full nightOnly the lamps, the windows and the masthead lights of two boats.
  3. Harbour in sea fog with soft halos around the lamps
    Frame 03Sea fogThe lamps lose their edges and the far shore becomes a row of halos.

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02Selected clients

Commissions, 2021 to 2025

  • Northline MagazineEditorialCover and eight-page feature2025
  • Halden & Moss ArchitectsCommercialBuilding and landscape series2025
  • Kessel Basin AuthorityReportAnnual survey photographs2024
  • The Orrin ReviewEditorialLong read on forestry2023
  • Brightwater TrustCampaignCoastal conservation2023
  • Norrvik RailCommercialStation and route imagery2022
  • Port Alder CompanyCommissionHarbour archive, two years2022
  • Skerra OutfittersCommercialCatalogue and short film2022
  • Studio PenhalePrintsWork for client interiors2021
Thinning amber fog over a pine ridge, two dark trunks in the foreground
Orrin Valley, a self-assigned morning, 2023

03About

I walk back to a place until the weather is right.

Aurel Lund is a landscape photographer based in Bergen, Norway. He trained at a regional art school and worked for three years as an assistant to a survey photographer before starting his own practice in 2012.

He makes personal series on foot, usually alone, and takes commissions from magazines, architects and public bodies that want photographs of real places in real conditions. Clients get a small number of finished frames, not a folder of options.

Approach
One place, several visits. I scout in daylight, return for the weather I want, and shoot very little. A series is finished when I stop wanting to go back.
Kit
A medium-format digital body with 35, 50 and 90 mm lenses. A full-frame body for film. A carbon tripod, two grey filters, a gimbal and waterproofs. No drone unless the brief needs one.
Delivery
Colour-managed TIFF and JPEG files, a contact sheet, and written captions with the place and the date for every frame.

04Services and rates

Three ways to work together

Rates are in US dollars and exclude tax. They are starting points; a fixed quote follows every brief.

  • Editorial

    Day rate

    $1,400per day

    For magazines, journals and reports. One photographer, one day on location, scouting included.

    • Up to 30 edited frames in seven days
    • One print publication licence
    • Travel and lodging at cost

  • Commercial

    Project

    from $4,800per project

    For brands, architects and tourism bodies. A fixed fee agreed from a written brief, with a short film as an option.

    • 40 edited frames, colour managed
    • Two-year licence in one territory
    • Short film, 30 to 90 seconds: add $2,600

  • Prints

    Print sales

    from $240per print

    Archival prints of any frame in the work index, signed and numbered, in editions of 25 per size.

    • Cotton rag paper, pigment inks
    • Ships in 14 days, tracked
    • Framing and large formats on request

05Prints

Prints of every frame

Printed in Bergen on cotton rag paper with pigment inks. Each image is limited to 25 prints per size, signed and numbered on the back. Prints are sent flat, unframed.

  • 30 × 45 cmSmall$240
  • 60 × 90 cmMedium$620
  • 100 × 150 cmLarge$1,480

Order a print by email

Name the series, the frame number and the size. A reply with shipping costs and a payment link follows within two working days.

Golden dunes in low raking light, shown as a framed print
Dune Ridges, frame 01. Shown at 60 × 90 cm.

06Contact

Tell me about the place and the brief.

studio@aurellund.example

Studio

Bergen, Norway
Visits by appointment

Response

Within two working days.
Commissions booked from February 2027.

Elsewhere

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