Daily Photo Dose

I’ve been photographing concerts since the early 2000s, and after adding a Widelux camera to my bag, I was eager to start bringing it to shows alongside my digital cameras. The unique 35mm panoramic format offered a completely different way of documenting live music, capturing not only the performers but also the atmosphere, stage production, and energy of the crowd within a single sweeping frame.

Due to the camera’s limited settings, Cinestill 800T quickly became my preferred film stock for for concert photography. Its ability to handle low light and vibrant stage lighting made it an ideal choice for live performances. I also continued to learn that timing is everything with a Widelux. Direct stage lights striking the lens as it sweeps across the film can create dramatic exposure shifts and flare, so waiting for the right moment between lighting cues became just as important as anticipating the musicians themselves.

These photographs of Rise Against are part of that ongoing experiment, exploring how a panoramic film camera can capture the scale and intensity of a live concert in a way that feels both immersive and unmistakably analog.

Horseshoe Bend is one of those rare landscapes that immediately challenges the limits of photography. No matter what camera you bring, the scene is simply larger than the frame. During our cross-country drive from Nashville to Seattle, we stopped at Horseshoe Bend in Arizona and I set out to photograph it with a Widelux panoramic film camera loaded with Ilford Pan F Plus 50. The Widelux is known for its unique swing-lens design, which scans across the scene to create a panoramic negative with a field of view far wider than a conventional 35mm camera. The resulting images have a distinctive look, with subtle distortion and stretched perspective near the edges that has become synonymous with Widelux photography.

Even with its panoramic format, I quickly realized that a single frame wasn’t enough. The immense scale of Horseshoe Bend extends beyond what any film camera can truly capture, and while the Widelux came closer than most, the canyon still felt constrained by the boundaries of the image. Rather than hiding that limitation, I chose to embrace it. These two photographs were made from the same vantage point and are intentionally displayed stacked one above the other. Together they serve as a reminder that every camera, regardless of format, has limits. Sometimes the most honest way to photograph a landscape is to acknowledge that the scene is larger than the frame itself.

Photographed on a Widelux F7 panoramic film camera using Ilford Pan F Plus 50 black-and-white film, these images are less about documenting Horseshoe Bend and more about exploring the relationship between landscape, perspective, and photographic format. The vast canyon walls, the winding Colorado River, and the sheer scale of the overlook are difficult to comprehend in person and nearly impossible to contain within a single negative. By presenting both frames together, I hope to communicate not only the size of Horseshoe Bend but also the limitations—and beauty—of film photography itself.