Panoramic photography, and especially the super wide photos produced from panoramic cameras have always inspired fascination. As in normal human vision, the rotating shutter slit reproduces the entire extension of landscape, interior architecture, the gentle curve of a river, incorporating all that our eyes see before us.

With panoramic photography, dimensions begin to intract and as a result, heighten their effect on each other. Perspective lines lead from foreground to the horizon: the castle on the square, a cluster of trees in a field, the relationship of a river bank to its surroundings; in essence, the panorama which our eyes see is duplicated by the camera.

However, what is the magic of these photos that captivates us so? The feeling of width? An undistorted photographic rendition of what we have seen? Perhaps simply the chance for the photographer to both see as well as photograph a true rendition of a scene. And, unlike "conventional" photography, the ability to record these scenes without having to discard what the eye truly sees..

With the appearance of NOBLEX cameras, photographers began to enjoy the ability to creatively experiment with the various formats, multiple exposures, and the rise of a lens for help with parallax distortion. Once thought of as strictly a landscape tool, the NOBLEX has evolved into much more than this, bringing us the ability to capture not only these breathtaking scenics, but portraiture, still life, in short, anything the eye can see.