Where to photograph the Bernese Oberland? Grindelwald, the Eiger and Lauterbrunnen

Updated on July 29, 2026

The Bernese Oberland encompasses some of the most recognizable landscapes of the Swiss Alps: the north face of the Eiger above Grindelwald, the Eiger–Mönch–Jungfrau trio from Kleine Scheidegg, the vertical valley of Lauterbrunnen, the car-free villages of Wengen and Mürren, and Lake Oeschinen at the foot of Blüemlisalp.

This density does not mean that everything can be photographed from a single point. Grindelwald requires focusing on the relationship between the village and the grand wall. Bachalpsee relies on reflections, the relief of Schreckhorn, and the gentle lines of the alpine pastures. Kleine Scheidegg combines trains, snow, and high mountains. Lauterbrunnen demands a vertical composition capable of separating cliff, waterfall, and village. From Wengen or Mürren, the valley becomes a deep landscape. At Oeschinensee, the turquoise water, forests, and the cirque of Blüemlisalp produce a more lacustrine image.

This guide helps you choose the right area based on the season, light, and desired image type. It joins the two other guides in the future Swiss Alps cluster: Zermatt, the Matterhorn, and Gornergrat, then Valais beyond Zermatt. The three articles will be linked to our future pillar page on the most beautiful photo spots in the Swiss Alps and the parent page for photo destinations in the Alps.

The essentials in 30 seconds

• Best area for the Eiger: Grindelwald for the north face above the village; Kleine Scheidegg and Eigergletscher for closer views.
• Best reflection: Bachalpsee when the wind is low, with the reliefs of Schreckhorn and Wetterhörner.
• Best panorama of the Eiger–Mönch–Jungfrau trio: Männlichen, Kleine Scheidegg, Wengen, or the Mürren side depending on the desired orientation.
• Best area for waterfalls: Lauterbrunnen Valley, especially in spring, after the thaw or under diffuse light.
• Best lake landscape: Oeschinensee above Kandersteg, with Blüemlisalp in the background.
• Priority focal lengths: 24–70 mm for contextualized landscapes; 70–200 mm for isolating walls, trains, waterfalls, and villages.

Table of Contents

• Why photograph the Bernese Oberland?
• Which sector to choose?
• Transport, lifts, and schedules
• Grindelwald and the Eiger North Face
• First, Bachalpsee, and Faulhorn
• Kleine Scheidegg, Eigergletscher, and mountain trains
• Wengen and Männlichen
• Lauterbrunnen and Staubbach Falls
• Mürren, Winteregg, and Jungfrau views
• Oeschinensee and Blüemlisalp massif
• Which season to choose?
• Compositions, focal lengths, and settings
• Photographing mountain trains
• Three photo itineraries
• Recommended equipment
• Safety, trails, and drone
• Bernese Oberland photo prints

Why photograph the Bernese Oberland?

The Bernese Oberland brings together three families of landscapes rarely found so close to each other. The first is dominated by large rocky and glacial faces: Eiger, Mönch, Jungfrau, Schreckhorn, or Blüemlisalp. The second relies on inhabited valleys, with villages, chalets, trains, and meadows providing scale to the mountains. The third combines water and verticality: Bachalpsee, Oeschinensee, torrents, and the waterfalls of Lauterbrunnen.

This variety allows for producing multiple series without repeating the same motif. An image of Grindelwald can contrast the village lights with the Eiger. At Kleine Scheidegg, the red train introduces a line of color into the snow. From Wengen, the Lauterbrunnen valley becomes a plunging composition. From Mürren, the Jungfrau and the peaks of the opposite slope close the horizon. At Oeschinensee, the image is built around the color of the lake and the succession of forest–cliff–glacier.

The main challenge is therefore not finding a subject, but simplifying it. The landscapes are rich in roads, cables, installations, buildings, peaks, and visitors. The telephoto lens plays a major role: it allows selecting a part of the scenery and building a clear hierarchy. Wide-angle remains useful at the edge of a lake or in a steep valley, but it should not become the automatic setting.

Which sector to choose for a photo trip?

Transport, lifts, and schedules: preparing for the light

The Bernese Oberland is efficiently explored by train, but the best light doesn't always coincide with the first and last transport. Grindelwald, Lauterbrunnen, and Kandersteg are accessible by rail. Wengen and Mürren are car-free villages. Kleine Scheidegg is served by the cogwheel train from Grindelwald or Wengen. First, Männlichen, and Oeschinensee require a lift followed by a more or less long walk.

Before each outing, compare four pieces of information:

1. the exact time of sunrise or sunset at the viewpoint;
2. the schedules of the first and last transport;
3. the status of lifts and trails;
4. the actual walking time with equipment and altitude.

For a sunrise at Bachalpsee, the ordinary operating hours of the First gondola may be too late. You then need to consider spending a night at altitude, an adapted walking approach, or a date with a special offer. At Kleine Scheidegg, sleeping on site provides access to lights that day visitors don't see. At Oeschinensee, gondola schedules and any reservation rules must be checked for the exact date.

Grindelwald and the Eiger North Face

Grindelwald is the most direct sector for photographing the Eiger in an inhabited landscape. The north face rises almost directly above the village, giving an immediate verticality to the scene. Chalets, roads, meadows, and forest edges provide scale but can also fragment the image.

Photographing the village under the Eiger

Look for a slightly elevated point that allows separating the lines of buildings. At 35 or 50 mm, keep a few chalets and a road line without including the entire settlement. At 70–200 mm, the planes come closer, and the Eiger seems to weigh more heavily on the village.

During blue hour, warm lighting structures the bottom of the image. The good window occurs when the snow and sky still have a blue tone, but the lights are already visible. A few minutes later, the buildings become a multitude of orange dots, and the wall is lost in darkness.

After a snowfall, photograph early before roads, passages, and drifts cut across surfaces. Snow simplifies the slopes and highlights the curve of a road or the repetition of chalets. However, it requires controlled exposure: protect the brightest areas without making the whole scene grey.

Terraces and paths above Grindelwald

The paths above the village allow for incorporating more meadows and isolated chalets. Use a trail, a fence, or a forest edge as an entry line. Wide-angle only works if this foreground has a real shape. Otherwise, an intermediate focal length gives more weight to the Eiger.

First, Bachalpsee, and Faulhorn: reflections and alpine pastures

The Grindelwald-First area offers a completely different photographic style. The large walls are still present, but the alpine pastures, terrain curves, and lakes give a more open feel. Bachalpsee can be reached by a maintained path from the First upper station in less than an hour according to official information.

Capturing the reflection of Bachalpsee

Wind is the main variable. Perfectly calm water allows for a clear reflection, but a slight ripple can produce a less expected image. First observe both basins and the wind direction before setting up your tripod. A few meters' change can be enough to find a more stable area.

Avoid automatically placing the waterline in the center. Total symmetry works when the sky and reflection have a strong structure. In other cases, give more space to the foreground, grasses, or mountains. A dark stone or a shoreline curve can create depth without becoming overwhelming.

The polarizing filter should be used with caution. It can reveal shallow bottoms or reduce unwanted reflections, but it can also weaken the main reflection. Rotate the filter while observing the precise effect on the water and sky.

To delve deeper into these choices, consult our guide on alpine reflections and lake compositions.

Faulhorn and high-altitude hiking

Faulhorn and the route to Schynige Platte allow for working with broader landscapes. Successions of ridges and views towards the great peaks require a clear hierarchy. Reduce the space of the sky when it is uniform and use a telephoto lens to isolate light or overlapping reliefs.

This hike is long and should not be added to an already busy day. Check the direction of the route, the last train or gondola, and leave a margin for photo stops. In autumn, the colors of the alpine pastures are interesting, but facilities may operate on a reduced schedule.

Kleine Scheidegg, Eigergletscher, and mountain trains

Kleine Scheidegg is located between the Eiger and the Lauberhorn. Two cogwheel railways meet there, and the Jungfrau train continues towards Eigergletscher and then Jungfraujoch. For photography, this area combines three very strong elements: the Eiger–Mönch–Jungfrau trio, railway geometry, and variations of snow or alpine pasture.

Photographing the Jungfrau train

The red train is an immediate entry point. Look for a track curve or a diagonal that leads the eye towards the Eiger and Mönch. A perfectly sharp train will not save a composition where poles cut across peaks and tracks abruptly leave the frame.

The 70–200 mm is often the best option. It brings the train closer to the walls, separates buildings, and makes lines more graphic. To freeze motion, start around 1/500 s and adjust according to the actual speed. A slower speed can produce slight motion blur, but it requires a very stable fixed point.

Kleine Scheidegg and panorama of the three peaks

With a wide-angle lens, the risk is producing a panorama without a focal point. Use a path, a discreet building, a slope, or a snow line to organize the foreground. With a telephoto lens, focus on the relationship between two peaks rather than the entire trio. Clouds can simplify the scene by temporarily hiding part of the massif.

The area is particularly interesting after a disturbance. Gaps in the clouds illuminate glaciers and couloirs in a very localized way. Keep the framing for several minutes and wait for the light to shift. A coherent series is often stronger than a succession of improvised compositions.

Eigergletscher and Eiger Trail

From Eigergletscher, the Eiger's face takes on a closer, more mineral dimension. The Eiger Trail descends towards Alpiglen below the wall. Vertical framing can follow the couloirs and rock lines. With a telephoto lens, details become almost abstract.

The trail remains a mountain route. Access by transport does not exempt you from checking its condition, snowfields, and weather. Do not leave the path to get closer to a wall or an unstable area.

Wengen and Männlichen: photographing the valley from above

Wengen is located on a terrace above Lauterbrunnen. The village, accessible by train, offers sweeping views of the valley and towards the Jungfrau. It allows you to photograph verticality without remaining at the foot of the cliffs.

Wengen: village and valley depth

Look for a point where the chalets in the foreground do not merge with those in the valley. A fence or a meadow can provide a natural entry. At 70–200 mm, the planes come closer together and Lauterbrunnen appears enclosed between the cliffs. At 24–70 mm, retain more relief and sky when clouds are part of the image.

Mist and low clouds are particularly interesting. They obscure part of the cliffs and separate the planes. Expose to preserve the bright areas around the clouds, then accept that some forests remain dark.

Männlichen: panorama of Eiger, Mönch and Jungfrau

Männlichen offers a very wide panorama of the trio and the Lauterbrunnen valley. The Royal Walk allows you to reach a higher point in a short walk, while the route to Kleine Scheidegg keeps the summits in line for much of the journey.

In such a vast panorama, the foreground is essential. Look for a trail curve, a grassy ridge, a strip of snow, or a distant silhouette. Don't automatically photograph from the most obvious platform: a few minutes' walk can provide a cleaner line and reduce the presence of facilities.

The official Wengen guide also lists several viewpoints, particularly towards the valley. Use these indications as a scouting base, then adapt the framing to the conditions rather than reproducing a precise image.

Lauterbrunnen and the Staubbach Falls

The Lauterbrunnen valley is characterized by almost vertical cliffs and numerous waterfalls. The Staubbach Falls plunge directly near the village and is the most recognizable subject. Its height and slenderness, however, require precise composition: placed alone on the cliff, it can seem small despite its dimensions.

Combining village, waterfall and valley floor

The church tower and chalets give scale to the waterfall. Choose a point where these elements do not overlap. The village line can occupy the bottom of the frame, while the Staubbach closes off one side and the summits or the valley remain visible in the center.

The 24–70 mm lens allows for preserving the context. The 70–200 mm isolates the waterfall and brings the village closer to the cliff. A vertical framing enhances the fall, but may exclude the reliefs of the valley floor. Therefore, alternate formats according to your intention rather than seeking a single image.

What light for waterfalls?

Diffuse light makes it easier to preserve details in the water and cliff. Under frontal sunlight, the waterfall can disappear into bright areas. After rain or during thaw, the flow increases, but the path and nearby areas can become slippery.

To give movement to the water, start between 1/10 s and 1 second depending on the distance and flow. Too long an exposure transforms the waterfall into a white band without texture. Use a tripod when the passage allows without blocking the path, then control the highlights.

In spring, green meadows and snow still present on the peaks produce a strong contrast. In autumn, trees provide warm hues, but the flow may be weaker. Winter simplifies the village and cliffs, with potentially more delicate conditions around the paths.

Mürren, Winteregg and views towards the Jungfrau

Mürren occupies a terrace on the opposite slope to Wengen. The car-free village and the connection from Grütschalp offer continuous views towards the Eiger, Mönch and Jungfrau. The atmosphere is different from Lauterbrunnen: the valley is no longer a vertical corridor, but a space seen from above.

Winteregg and the railway line

Between Grütschalp, Winteregg and Mürren, the small train runs through forests and meadows. Use it as a secondary element, with the peaks in the background. A telephoto lens brings the train and mountains closer; a high speed ensures sharpness. Trees can form a natural frame, provided they don't completely obscure the panorama.

Mürren chalets and inhabited landscape

In the village, avoid photographing every facade. Choose a chalet, a balcony line, or a street that allows you to introduce the panorama. At blue hour, the lights remain more discreet than in Grindelwald and the atmosphere can be very calm. The tripod should be set up without disturbing residents or travelers.

In autumn, the meadows and forest edges provide softer colors. In winter, snow-covered roofs simplify the forms. Clouds clinging to the Jungfrau can become the main subject rather than an obstacle.

Towards Gimmelwald and Schilthorn

The areas beyond Mürren open up other relationships with the walls and secondary valleys. Don't turn the day into a race for lifts: the same viewpoint can change significantly with the clouds. Choose an area and wait for the light rather than multiplying transports.

Oeschinensee and the Blüemlisalp massif

Lake Oeschinen is located above Kandersteg, in the western part of the Bernese Oberland. It belongs to the Jungfrau-Aletsch World Heritage site and lies in a vast cirque dominated by the Blüemlisalp massif. Its turquoise color, forests, and cliffs produce a very different image from the Grindelwald and Lauterbrunnen valleys.

Choosing between shoreline, elevation and telephoto

From the lakeside, a wide-angle lens can integrate the water and cliffs, but the foreground must be carefully chosen. Beaches, facilities, or groups of visitors can quickly make the image cluttered. Move away from the most frequented areas while staying on authorized paths.

Higher points offer a better reading of the lake's shape. An intermediate focal length or a telephoto lens reduces the sky and brings the Blüemlisalp closer. Look for a clearing, a chalet, or a trail line to give depth.

Light and color of the lake

The color of the water depends on the light, the sky, and the viewing angle. High sun can intensify the turquoise, but also create harsh contrasts. Morning often offers a calmer atmosphere and a better chance of achieving smooth water areas. After a disturbance, clouds and light gaps give more depth to the cliffs.

The polarizing filter can reveal certain nuances, but it should not make the water artificially dark. Control its effect on the entire frame, especially with a wide-angle lens. In autumn, the blue of the lake and the warm hues of the vegetation are already complementary: excessive saturation quickly degrades the naturalness of the image.

Access and safety

The cable car allows you to gain altitude from Kandersteg, and then several routes lead to the lake and viewpoints. Timetables, any reservations, and trail conditions must be checked on the official website. Some high-altitude sections may be exposed or closed depending on conditions.

Respect local guidelines, barriers, and temporarily closed areas. The slopes overlooking the lake should not be used as simple off-trail photo platforms.

Which season to choose in the Bernese Oberland?

Spring

Spring is particularly interesting in Lauterbrunnen: the waterfalls benefit from the thaw and the meadows regain their color while the peaks remain snow-covered. However, high-altitude trails may be closed or still covered in snow.

Summer

Summer facilitates access to First, Faulhorn, Männlichen, and Oeschinensee. Midday light becomes harsh and the sites are very busy. Favor early starts, late afternoons, and days with structured cloud cover.

Autumn

Autumn brings color to the alpine pastures and forests, particularly around First, Mürren, and Oeschinensee. Days shorten and lift schedules change. Check each facility before choosing a sunset outing.

Winter

Winter is particularly suitable for Grindelwald, Kleine Scheidegg, Wengen, and Mürren. Snow simplifies the terrain and highlights trains, chalets, and ski slopes. Ski area rules, open trails, and avalanche risk must be integrated into the preparation.

Mist, rain and post-disturbance outings

A uniform blue sky isn't necessarily the best condition. Mist separates planes in Wengen, clouds provide scale to the Eiger, and diffuse light facilitates the waterfalls of Lauterbrunnen. After rain, watch out for slippery paths and rapid changes in visibility.

To prepare for low light, consult our guides on sunrise photography and blue hour photography in the mountains.

Compositions, focal lengths and photo settings

24–70 mm: telling the story of the region

This range covers most situations: village below the Eiger, Lauterbrunnen valley, lake, train in its environment, and panorama from Männlichen. Between 35 and 70 mm, proportions remain natural and peaks retain sufficient presence.

70–200 mm: simplifying dense landscapes

The telephoto lens is probably the most useful lens in the Bernese Oberland. It brings the train closer to the peaks, isolates the Staubbach Falls, narrows the valley from Wengen, and allows for selecting light on the Eiger. It also avoids including facilities unrelated to the subject.

16–35 mm: only with a real foreground

The ultra-wide angle works well at the edge of Bachalpsee or Oeschinensee, in the Lauterbrunnen valley, and when a strong line occupies the foreground. Without this element, the peaks become small and the scene loses its power.

Initial settings

• Tripod landscape: ISO 100, f/8 to f/11, shutter speed according to light.
• Moving train: approximately 1/500 s as a base, then adjusted to speed and focal length.
• Waterfall: from 1/10 s to 1 second depending on flow and desired effect.
• Blue hour: low ISO, tripod and control of village lighting.
• Handheld telephoto: shutter speed faster than the inverse of the focal length, more so in windy conditions.
• Reflection: intermediate focus, wind control and polarizing filter.

To structure large landscapes, use our guide on depth, lines, and foregrounds in mountain photography. For technical precision, consult the mountain photo settings and histogram, then the guide to obtaining a perfectly sharp mountain photo.

Photographing mountain trains

Trains are not just a means of transport in the Bernese Oberland. They structure the landscape, provide scale and bring an identifiable color. Three approaches are possible:

• train in the landscape: small train, dominant peaks and track as a guideline;
• train as main subject: telephoto lens, tight framing and mountain used as context;
• photography from the train: high speed, lens close to the window and anticipation of obstacles.

From a train, wear dark clothing and place the lens hood near the window without touching it. Reflections decrease and vibrations remain limited. Prepare the exposure before the landscape opens up, as trees, poles, and tunnels quickly interrupt the framing.

Outside, stay in authorized areas. Never cross tracks and do not set up on a railway embankment. A slightly less perfect curve does not justify a dangerous or prohibited position.

Three photo itineraries in the Bernese Oberland

Itinerary 1 — Grindelwald, First and Kleine Scheidegg in three days

• Day 1: Grindelwald scouting, telephoto lens on the Eiger, then blue hour above the village.
• Day 2: First and Bachalpsee, returning via the alpine pastures depending on the schedule.
• Day 3: Kleine Scheidegg, Jungfrau train and Eigergletscher area.

This program is the best first approach. It combines village, reflection, train, and high mountains without multiplying valley changes.

Itinerary 2 — Lauterbrunnen, Wengen, and Mürren in two days

• Day 1: Staubbach and village in the morning or in diffused light, then ascent to Wengen for high-altitude views.
• Day 2: Grütschalp, Winteregg, and Mürren, focusing on the train, chalets, and panoramic views.

This itinerary is ideal in variable weather. Clouds and mist can enhance the depth of the valley instead of ruining the outing.

Itinerary 3 — Kandersteg and Oeschinensee

• Arrive early in Kandersteg and ascend as soon as possible.
• Scout the lake from its immediate surroundings, then proceed to an authorized higher point.
• Work with a 24–70 mm lens for context and a 70–200 mm lens for the cliffs and the Blüemlisalp.
• Return with sufficient time before the last transportation and depending on trail conditions.

Oeschinensee deserves a full day. Combining it with Grindelwald or Lauterbrunnen on the same day significantly reduces the chances of waiting for the right light.

What equipment to bring?

• 24–70 mm: main lens for villages, valleys, lakes, and panoramic views.
• 70–200 mm: essential for the Eiger, trains, waterfalls, and layered landscapes.
• Wide-angle lens: useful by lakes and in the valley, but not mandatory.
• Stable tripod: for blue hour, reflections, waterfalls, and precise framing.
• Polarizing filter: to be used carefully on lakes and foliage.
• Extra batteries: necessary in winter and during long waits.
• Rain protection and cloth: for changing weather, waterfalls, snow, and condensation.
• Suitable shoes: lifts do not eliminate slippery trails or high altitudes.
• Offline map and power bank: useful for itineraries involving multiple transports.

The best compromise is a camera body, a 24–70 mm lens, and a 70–200 mm lens. A lighter bag increases the ability to walk, wait, and quickly change viewpoints.

Safety, respect for the area, and drone regulations

The presence of trains and lifts gives an impression of accessibility, but several points are at high altitude. Fog, snow, and wind can quickly reduce visibility. Check trail conditions, operating information, and the weather before each outing.

Stay on authorized paths around lakes, waterfalls, and slopes. Do not cross a barrier to get a clearer angle. In Lauterbrunnen, wetlands can be slippery. In Oeschinensee, some slopes and trail sections are exposed. At First and Eigergletscher, snow can persist late into the season.

Respect the villages and properties. Wengen, Mürren, and Grindelwald are inhabited places, not sets. Avoid tripods in front of entrances, intrusive shots, and walking through private meadows.

Drone in the Bernese Oberland

Restrictions may depend on airfields, heliports, protected areas, reserves, and local rules. The official map must be consulted before each flight, as zones can change. General open category rules do not override geographical restrictions.

In busy valleys, near trains, lifts, villages, and waterfalls, a flight may be inappropriate even when no simple prohibition appears. Also consider wildlife, noise, and the presence of many visitors.

Bernese Oberland Photo Prints

The Bernese Oberland offers several decorative styles. Grindelwald under the Eiger combines village and high mountains in a winter atmosphere. The Jungfrau railway provides a graphic line and strong color. Lauterbrunnen is suitable for vertical and bright compositions. Oeschinensee combines the blue of the lake, the forest, and the Blüemlisalp massif.

The works are offered as photo prints on matte Dibond aluminum, printed to order. Each photograph remains attributed to its true author.

• Discover mountain photo prints in Switzerland
• View Grindelwald under the Eiger at blue hour
• View the Jungfrau train facing the Eiger and Mönch
• View Lauterbrunnen and the Staubbach waterfall
• View Lake Oeschinen and the Blüemlisalp massif in autumn

To continue your preparation, find the guide to Zermatt and the Matterhorn, the one for Valais outside Zermatt, and the upcoming page Photographing the Swiss Alps.