White Horses of the Camargue France Workshop Report October 2025

I’ve recently returned from leading our White Horses of the Camargue Photography Workshop in France. This workshop was our first workshop in this region of France and was a wonderful photographic experience, very different to the usual polar environment we thrive in. The blend of horses, water, light and the quiet poetry of watching these animals thunder across the shallows, salt spray rising around them like mist made for both superb photography and a powerful experience.

For those unfamiliar, the Camargue region of southern France is a vast delta of wetlands, salt flats, and shallow lagoons stretching between the arms of the Rhône River. It is home to one of the most beautiful and iconic equine species on Earth: the White Horses of the Camargue.

Our days began early on this workshop, before the sun crested the horizon over the marshes and dunes. The Camargue mornings are soft and cool, with a delicate veil of sea mist that lifts slowly as dawn warms the air. The white horses, often coated in a thin film of mud and salt, move with a kind of effortless grace that makes them a joy to photograph.

Each morning session began around sunrise, when the light is at its most gentle and the air still carries that quiet, expectant hush. Working alongside local horsemen, we positioned ourselves in the shallows, cameras poised, waiting for that moment when the herd would burst forward. The water exploded around them in a dance of energy and light, droplets suspended midair, manes flying. Other mornings, we worked with quiet back-lit silhouettes of the horses and riders on the coastal dunes.

This is where the challenge and reward of this workshop lie: balancing the chaos of motion with the artistry of composition. The horses move unpredictably, their power raw and untamed. Yet within that wildness, there are fleeting instants of perfect geometry — a raised hoof, an arched neck, a shaft of light catching an eye.

This workshop provided an opportunity to experiment with shutter speeds, angles, and focal lengths. The longer focal lengths — 200 to 500mm allowed for intimate compression and detail, isolating expressions and motion within the herd. Those working wider (myself usually between 70 and 200mm) could capture the full scale and energy of the group, the interaction of light, water, and form.

By late morning, we’d return to our base, a relaxing and comfortable hotel nestled not far from the reeds and salt fields. The smell of sea air mixed with the warmth of croissants and coffee as we gathered for breakfast. Later in the day, we met at 2 p.m. for image review sessions as well as camera settings and a discussion on how to improve our work further.

Image review sessions are one of my favourite parts of any workshop: the opportunity to look, to learn, and to refine. Photography isn’t simply about pressing the shutter — it’s about seeing, about understanding why an image works (or doesn’t), and about finding your own visual voice within the chaos of the natural world.

We reviewed sequences from the morning sessions, discussing everything from exposure balance in backlight to maintaining focus on fast-moving subjects. We explored the creative use of motion blur, the subtle influence of angle and height, and the compositional language that helps translate energy into elegance.

Participants discovered that some of their most powerful frames were not the obvious, high-action shots, but quieter moments — a horse pausing, droplets falling from its mane, or the soft glow of dusk reflected in its eyes. The Camargue offers both spectacle and subtlety, and the ability to shift between the two is what separates documentation from artistry.

Our evening sessions began as the sun dipped toward the horizon. The light in the Camargue at this hour is extraordinary — low, warm, and honeyed. Dust and moisture in the air turn the landscape golden, and as the horses move through the shallows, they seem to ignite with the glow of the setting sun.

Here, we worked to capture action shots, the fine spray of water turned to gold, and the luminous quality of light that defines this region. It’s both technically demanding and deeply rewarding. A fraction of a second can mean the difference between a good photograph and one that truly transcends.

Between moments of intensity, there were long, quiet stretches where the only sounds were the gentle lapping of water and the distant call of flamingos. These are the moments when the experience becomes something larger than photography — a meditation on movement, nature, and the passage of time.

The Camargue horses are unlike any others. They are smaller and more muscular than most breeds, their coats turning near white with age. They are strong, intelligent, and deeply connected to the land and the people who care for them. Photographing them is as much about respect as technique. The traditional horsemen of the region play a vital role in this workshop. Their deep bond with the horses and their skill in managing the animals allow us to photograph authentically, without artifice. The scenes we capture are not performances, but natural expressions of an age-old relationship between human, horse, and landscape.

One of the strengths of this year’s workshop was the variety of conditions we encountered. From luminous mornings of perfect silhouettes to evenings washed in rich, copper light, every session offered new opportunities. We photographed the horses in open lagoons, beaches, dunes, and salt marshes, as well as against textured backgrounds of reeds and sand. Each location demanded a slightly different approach — different focal lengths, exposure settings, and timing. It was this diversity that gave participants the chance to build a truly comprehensive portfolio by the end of the week.

By the time our final evening session faded into dusk, each participant had grown not only in skill, but in sensitivity to the rhythm of the moment. As I watched the last of the light dissolve into the horizon, I was reminded that these horses, wild in spirit yet gentle, embody something timeless — a spirit of freedom and grace that refuses to be tamed. Capturing that essence is a privilege. As we packed our gear and shared one last meal under the warm southern sky, there was a quiet sense of completion.

The White Horses of the Camargue will always hold a special place, not just for their beauty, but for what they represent: wildness within reach, grace within chaos, and the eternal dance between light, subject, and photographer. Until next time — au revoir, Camargue.

White Horses of the Camargue France Workshop Testimonial 2025

Following on from the wonderful email I received yesterday from Kevin, I received the following this morning from Lynette, who has also been a frequent traveller with us. Thank you, Lynette. It has also been an absolute pleasure to share these travel and photographic experiences!

I totally agree with you , Kevin.. !! I have also taken numerous trips with Josh since 2017. I have travelled and photographed with several others starting in 2013, however no other leader has yet come close to matching Josh’s involvement with those who go on Josh’s expeditions and workshops. Josh is not only a Fabulous photographer and educator, sharing every bit of information he has, he is also the epitome of caring and kindness with others. He watches out for his clients in all situations on his workshops, from suggested camera settings and lens to use, to helping a photographer with unsteady feet walk across an area. My only hesitation in recommending Josh’s trips is that they might fill up more quickly than I can sign up!!!!”

Client Workshop Feedback and Testimonial October 2025

Earlier today, I received a wonderful, unsolicited email from frequent traveller and photographer, Kevin Hall. Kevin has been a frequent traveller with Wild Nature Photo Travel in recent years, and his work from our trips has been published by both the BBC and BBC Travel. We live in a fast-paced, chaotic world today, where people rarely take the time to provide positive feedback or express gratitude, so I wanted to take a moment to publicly thank Kevin (thank you, Kevin) for taking the time to offer such wonderful feedback. From my perspective, it has been wonderful to share these experiences and to see your work published and in print from such high-profile organisations as the BBC.

“If you are reading this, you will probably be doing so because you are considering going on a workshop with Joshua Holko, and want to know what other photographers think.   So let me tell you how it is… 
Joshua Holko is out to mislead you.  He calls his trips ‘photography workshops’, as so many in the industry do.  Well, I can tell you, as someone who has been on eight of his ‘workshops’ in 2023-25 and signed up for two more in 2026-27, that they are not ‘workshops’, as the term ‘workshop’ simply does not do what Joshua Holko delivers anywhere near justice.  So don’t be fooled when he uses the term ‘workshop’!

If you sign up for a trip with Joshua Holko and Wild Nature Photo Travel, you get the ‘Big 5’ …

  1. Practical support from the best polar photographer on the planet.  

    From the time you sign up to the time you return, Josh deals with you personally.  He will answer any question you put to him regarding any aspect of the trip whether you require clarity or advice, with impressive speed providing he’s not out of signal travelling.  He will willingly pass on his experience based on his 20+ years of travelling to and photographing in some of the remotest places on Earth.  He is a man of integrity who provides honest, objective and helpful support and advice.  He’s also very passionate about what he does, and that comes through if you are one of his clients.

  2. Detailed packing lists sent out well in advance so you have time to prepare properly.  

    After all, most of his trips take you to some pretty isolated locations with extreme temperatures that few on the planet will ever get to see, so it is critical that you take the right equipment, be that clothing or gear, that will allow you to make the most of it.  Imagine going on what might be for you the trip of a lifetime and forgetting a vital item of clothing or gear!
  3. Excellent logistics.  

    Let’s face it, travelling to some of the locations on his list is not for the feint-hearted and impossible to do on your own.  It would be fool-hardy and dangerous to try.  Joshua Holko’s trip logistics are comprehensive and impressive at every level.  He thinks of everything and releases you from this burden so you can focus on your photography and enjoying the experience.  His trips attract a certain kind of person; generally people who are passionate about their photography, interesting to be around and good travelling companions.  And that matters when you are with people in close quarter for many days or even weeks at a time.  Many people who go on workshops with Josh have been on many workshops with Josh, and that speaks volumes in itself if you think about it. 
  4.  Getting your bucket list shots by placing you in the right place at the right time, with your photography and your safety as his number one priority.  

    Josh is quite incredible in this regard.  He won’t be found talking to camera for a YouTube video that he needs to post whilst you are in the field photographing.  He is not a YouTuber.  Similarly, he won’t be standing over you interfering with your photography.  But he will be leading you in the field to where you will get the best shots and assist with any settings if asked.  He will be photographing on the floor alongside the group, not in a ‘directors chair from afar enjoying a coffee’!  And this is probably what I like the most about travelling with Josh; he lets you realise your own creative abilities by inspiring you with his knowledge and experience of all matters photography, wildlife and nature.  

  5. And lastly an immersive ‘life and photographic experience’ that provides the opportunity for you to grow as a person and photographer.  Indeed, I personally think ‘photographic life experience’ far better describes what you get when you travel with Joshua Holko.  Never did I think that I would go to East Greenland on a 100 year old Dutch sail ship to take photographs of monumental icebergs that subsequently be published by the world’s leading on-line Fine Art magazine, or ride on a dog sled driven by an Inuit over pack ice to one of the remotest places on Earth to photograph polar wildlife and landscapes with an article that I subsequently wrote about the trip being published by BBC Travel, or spend nearly three weeks in the High Arctic photographing polar bears.  But I did, and have come back with some amazing life long memories and award-winning photographs.

There is one more thing I would like to add, and that is that I have never met anyone who is more knowledgeable about wildlife, nature and photography than Joshua Holko.  He truly is a master in his field.  His post processing knowledge of Adobe is also incredible and he will willingly sit alongside you during the trips to help you edit photos, again if you ask him, or sometimes will lead an impromptu class on editing if there is a desire by the group for him to do so.   So in summary, I have no hesitation in recommending Joshua Holko’s ‘life and photographic experiences’ to you.  Your only question should be ‘which one?’  And if it is, why don’t you do what I did when I first looked at his website, and that is ‘ask Joshua Holko’?  I guarantee you will be amazed with what comes back!

Note:  This testimonial has been written by me.  I offered to provide it; I was not asked by Joshua Holko, and Joshua Holko has had no involvement whatsoever in what I’ve said.  These are my words and my thoughts alone.  And if you would like to see some of his influences on my work, please check out my website and look at Galleries and Featured Location.  https://kevinhallphotography.co.uk

With best wishes,  Kevin (Photo Credit Below: Kevin Hall).

Departing for France and the White Horses of the Camargue October 2025

Tomorrow, I am leaving Sweden for the last European workshop of the year, the White Horses of the Camargue in France. This sold-out workshop has been something I have been looking forward to for a very long time now. Actually, ever since I saw images of the horses more than a decade ago in an early tutorial Canon published on how to use their Digital Photo Professional software. I was never enamoured with Canon’s DDP software, but the images of the charging horses stuck in my mind, and I am excited to have my own opportunity to photograph these beautiful horses very soon, alongside all the participants on this trip. To be clear, there are not wild horses we are going to photograph. These are domestic, trained horses, and this is an opportunity to practice, hone and perfect techniques that can be applied to wildlife.

I am somewhat saddened that Canon was unable to supply me with the 100-300mm f/2.8L RF IS lens in time for this workshop (before I left Australia in August), as I feel this would have been the ideal glass for the occasion (fast and the perfect focal range). As such, I am packing both the 70-200mm f2.8L IS and the 400mm f2.8L IS. The 100-300mm is now waiting for me at Canon in Australia and will be joining my arsenal of lenses for next year’s workshops. I am particularly keen to put this lens to use on my Arctic Fox workshops in northern Iceland early in the year.

After I finish in France, I will head back to Sweden for a few days before wrapping up my European stay for the year and returning to Australia for the summer. The last workshop of the year will be to Antarctica for the Emperor Penguins in November before we kick off the 2026 year! I will write more about what is coming up in 2026 in a separate post later this year.