Panoramic Film Photography in Texas 📸: Finding My Panoramic Mojo with the Mamiya 7

calebknueven
Jan 23
3 min read

Why Panoramic Images Are Hot Right Now 🔥

Panoramic images… they’re basically piping hot in the film photography world right now. They make any photo feel cinematic, like you’re standing in a grand landscape, waiting for Batman to swoop in and save you from your mundane, everyday life.

But here’s the truth—I never really shot panoramic film. Every attempt felt… weird. Wide. Wrong. Incoherent.

Until… Texas happened. That massive, sprawling state changed how I think about shooting panoramic film. Suddenly, my heart grew from 36mm to 65mm, and I started seeing wide differently.

Prepping for Panoramic Film Photography in Texas 🌵

A few months back, my Mamiya 7 and I set out to explore the wide-open plains of Texas. And let me tell you—things got gusty, real fast.

Knowing I’d bring my Mamiya 7, I wanted to tackle a format I rarely shoot. Wide just doesn’t fit into my normal workflow. Most point-and-shoots with a “pano” switch just trick beginners into thinking they’re shooting something like the coveted Hasselblad XPan—but that’s not the same.

One reason I packed my panoramic adapter was my new 50mm f/4.5 lens. It super-sized my usual 40mm-ish field of view and made the format feel fresh.

At first, the panoramic film workflow felt strange. After six days shooting almost nothing in 6x7, it took me a few frames to settle into the panoramic mindset. But once I got going, it started clicking.

Rusty, abandoned appliances in overgrown grass. Peeling paint on metal surfaces. Wooden and concrete walls in the background. Weathered, neglected scene. shot on Fujifilm 400 film

Finding Composition in Wide Format Film 🎨

Some frames worked immediately. For example, a yellow lift along a dusty road drew me in—its color pops, and the road and crane lead the eye into the background. Yet, lighting didn’t always cooperate.

Random stops along the road—abandoned towns, old mailboxes, or school buildings—tested my panoramic patience. Sometimes, the format didn’t feel right, and I realized not every scene benefits from ultra-wide framing. But that’s the beauty of film photography—it teaches you patience and compositional intuition.

The Power of the 50mm Mamiya Lens on Panoramic Film

The 50mm lens paired with the pano adapter made some shots shine. Even on 35mm negatives, details popped. I started experimenting with tape on my external viewfinder to better visualize the panoramic frame. Tiny tweaks like that helped me understand how panoramic film could be a deliberate narrative tool, not just a gimmick.

A dusty, cluttered room with a yellow chair, upright piano, and debris. A vacuum and painting are visible. The mood is abandoned. shot on Fujifilm 400 film

Panoramic Film Photography: Mindset Matters 🧠

Over the years, I’ve admired the XPan’s framing—but panoramic film requires intentionality. Not every subject works. Certain abandoned structures, landscapes, or urban scenes truly benefit from wide compositions.

For instance, a scene with abandoned farm equipment in the foreground, fresh tracks on the right, and a distant gym in the background told a story I couldn’t capture in a standard 6x7 frame. That’s when I realized panoramic film photography is about narrative, scale, and guiding the viewer’s eye.

Even seemingly chaotic conditions—high winds, dust, or distant storms—didn’t stop the creative flow. Some shots, like a legendary red truck with its door wide open, benefited from deep depth of field, showing the full scene in one frame.

Lessons Learned from Panoramic Film in Texas 🌄

Texas Is Perfect for Panoramic Film – Its vast landscapes give context and scale that smaller formats can’t.
Mindset Is Everything – Panoramic film demands a narrative approach. You’re guiding the viewer through the frame.
Not Every Shot Works – Some compositions still benefit from standard 35mm or 6x7 frames.
Tools Matter – Using your Mamiya 7, a new 50mm lens, and some creative viewfinder hacks can change how you approach panoramic shooting.

Abandoned building with peeling paint, old trucks, and cars on a grassy lot. Bare trees surround the area, evoking a desolate mood. shot on Fujifilm 400 film

An old, weathered feed store with a "Purina Chows" sign, rustic doors, and faded paint. Background has trees and parked cars. shot on Fujifilm 400 film

Final Thoughts: Panoramic Film Photography Isn’t a Gimmick Anymore

After shooting Texas, I now view panoramic film as more than just a wide crop—it’s a storytelling device. It’s about scale, composition, and mood. With the right lens, mindset, and a little patience, panoramic film photography can elevate your work from ordinary to cinematic.

So next time you’re considering wide format film, remember: the time and place matter. Sometimes, it’s the wind, the light, and the landscape that make a panoramic frame truly unforgettable.

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