Tag: Nature

Wings over Andes Colombia Bird Worskhop Report February 2026

Posted in Workshops and Expeditions2 Comments

In February of 2026, I ran an all-new Wild Nature Photo Travel 14-day workshop for birds in the Andes Mountain range of Colombia. This intensive bird photography workshop ran from February 10th until February 24th, 2026 and took us across a vast region of the Colombian Andes. We began in the city of Cali on the 10th and finished in the city of Medellin on the 24th of February. Like my Pallas Cat of Eastern Mongolia Report, this trip report will be a little different to the norm and includes a number of behind-the-scenes photographs from the field. Due to my heavy travel schedule, I will come back later in the year and update this post with additional still photographs from the trip as time permits.

Colombia is renowned as one of the best countries on earth for birds, boasting more than 1,950 species, which accounts for almost 20% of the world’s total. This remarkable diversity is due to its tropical climate and varied elevation changes thanks to the Andes and its location between the Pacific and Caribbean coasts. Devout birders have long sought out Colombia as a hot birding destination, but it is only in recent years that photographers have started to seriously get in on the action. This was our first workshop in Colombia, but as you will read below, it most definitely will not be our last.

The KM 18 and San Antonio Cloud Forest areas offer an excellent introduction to bird photography in the Colombian Andes and were our first stops. Within an hour of our accommodation, we found some of Colombia’s best bird feeder setups, each with unique perches and various birds. This area of the western Andes boasts well-preserved habitats for those who enjoy photographing in natural environments. At feeder sites, this workshop targeted species such as the endemics Multicoloured Tanager and Colombian Chachalaca, as well as near-endemics like Scrub, Flame-rumped, Golden-naped, Saffron-crowned, and Rufous-throated Tanagers. In terms of hummingbirds, over 20 species frequent the feeders, including Blue-headed Sapphire, Purple-throated Woodstar, Long-tailed Sylph, Black-throated Mango, Green Hermit, Booted Rackettail, and many more. This was intensive bird photography of many incredible species, offering opportunities from wide-angle to super telephoto.

Our workshop then ascended to the central Andean range, visiting the world-renowned Rio Blanco and Tinamu Reserves near Manizales. Here, we had excellent chances for photographing antpittas, tanagers, and hummingbirds at the feeders, along with many other cloud forest and mountain birds.

After further ascending, we focused on species adapted to high elevations in Los Nevados National Park, with the beautiful Nevado del Ruiz as a backdrop. We spent a day at Hacienda EL Bosque, where the stars of the show are Grey-breasted Mountain-Toucan and Crescent-faced Antpitta. We also visited El Color de Mi Reves, one of the newer sites in the area. We then headed to the quaint village of Jardin to experience the Andean Cock-of-the-rock lek, where it is common to have more than ten individuals posing for the cameras. Although it was incredible to see this amazing bird, the photography was difficult in the dark forest.

Our accommodation for this workshop included a range of high-quality resort-style accommodations with either shared or private rooms, depending on participant preference. In general, we avoided large hotels and instead focused on smaller, boutique-style accommodations close to our shooting locations. We had meals either at our accommodation or on location, where breakfast and lunch were often provided.

Over the course of the 14-day workshop, we observed and/or photographed more than 200 species! (Our final total for the trip was a whopping 204!) This was an absolutely fantastic result that exceeded expectations for all participants. With 204 species observed over 14 days, we saw on average 14.57 new species every day or more than one species every waking hour! Prior the trip I had not thought we would crack 150 species so exceeding 200 was a complete surprise. A complete list of species is included below by clicking on the download link.

Bird Photography Tour Western & Central Andes of Colombia – eBird Trip ReportDownload

Many of the locations we visited throughout this workshop were specifically set up for birders and bird photographers with individual local guides who specialised in each location. Feeder stations were set up for Hummingbirds at most of the locations we visited, as well as suitably appointed shooting locations for larger species. We photographed far too many species to list them all in the report one by one, but each presented its own opportunities and challenges. The antpittas, in particular, are a real challenge in the dark jungle forests of Colombia. Other species, such as the hummingbirds, present different opportunities and challenges. I frequently struggled with backgrounds in several locations in the dark forest, but was always able to find an angle that worked for me.

This was an intensive workshop with early starts (often around 5:30am) and full days of photography. We based ourselves in multiple locations in order to give ourselves the best possible opportunities for different species. Over the course of the 14-day workshop, we stayed in four different locations, plus one night at each end of the trip (in Cali and Medellin). The included map below illustrates our main target locations.

In equipment terms, big glass was the order of the trip, and I predominantly shot the RF 600mm f4L IS on the EOS R1; occasionally switching out to the RF 100-300mm f2.8L IS for larger, closer subjects. I did miss my RF 400mm f2.8L IS on several occasions, but the thought of schlepping a third ‘big-white’ through the airports deterred me from packing it. I did use my RF 1.4 TC on several occasions on the 600mm for an effective focal length of 840mm and lamented leaving the RF 2X TC at home for some of the very small, distant birds. I took my Sachtler Carbon tripod and ACE fluid head and used these at every single location to help support the 600mm lens. In hindsight, I would pack the 400mm f2.8L IS in lieu of the 100-300mm f2.8 as I generally have a preference for more (rather than less) telephoto compression.

Other than the small snippet of video above, I shot at 100FPS on the Canon EOS R1; I focused (pardon the pun) entirely on stills for the duration of the workshop. My own personal shot count for the trip was well over 30,000 RAW captures (Canon EOS R1 with pre-capture on High Speed + at 40 FPS!), and culling and editing are going to take quite some time. Many of the participants were well north of my own shot count! Pre-capture proved decisive on this workshop and enabled me to capture images of Hummingbirds that would have otherwise been impossible. Likewise, the auto focus system on the EOS R1 proved up to the task and consistently nailed focus on the fast-moving birds. Just as an aside, I am currently in the market for new CF Express Type B cards V4 – if anyone has a recommendation please let me know.

In terms of additional equipment I did not take with me: I will on the next trip pack both a small silver reflector to throw some additional light on the small hummingbirds in overcast conditions, and a small portable backdrop I can set up for the more difficult forest birds. It is certainly possible to use flash at many locations, but I generally prefer natural light photography. I may pack a small modelling light for the very dark forest birds.

See Foot note Below on this photograph

The Andes (which runs the spine of South America) is a significant mountain range by global standards, and during the workshop, we ascended to a maximum altitude of 4125 metres (13,460 feet) in pursuit of the Buffy Helmetcrested Hummingbird (amongst other species). The Buffy Helmetcrested Hummingbird is specialised in high-altitude ecosystems, endemic to Colombia and found only in one very small part of Colombia. These small hummingbirds are characterised by a prominent crest and facial plumes that make them unique and highly sought after by birders (and very photogenic). This was a species I did not personally photograph, but very much enjoyed seeing in the wild as it flitted around the high-altitude flowers and plants.

We also photographed six different species of Antipa, a whopping 41 different Hummingbird species, five species of Woodpecker, Hawks, Kites, and so many more different species over the fourteen days we were in the field. For the full list, please check out the e-bird PDF linked above.

Personally, I most enjoyed the Tanigers, Hummingbirds, Toucans and Wrens. All of which we had multiple opportunities to photograph throughout the trip. The swordbill and Long-Tailed Nymph Hummingbirds proved a favourite amongst all of the group for their incredible bill and tail. In terms of the one that got away, it was for me the aptly-named ‘group’ dubbed ‘Bumblebee Hummingbird’. A tiny Hummingbird about an inch long that had amazing character and reminded me very much of the fat dragon with small wings from the film How to Train Your Dragon. This is a species I will try and capture on the next trip with the 600mm lens and 2x Teleconverter.

Temperatures varied considerably throughout the trip, depending on our location. High in the Andes mountains, temperatures were in the low single digits Celsius on several occasions, necessitating warmer layers and even a hat and gloves on occasion. Whereas lower lying areas saw temperatures in the high 20’s and low 30’s Celsius, where it was light shirts, hats and sunscreen. Although we had some rain on ocassion (as expected in the cloud forest areas) we were never prevented from photographing. In fact, the cloud and mist often added to the experience and photographs. The small raindrops on the Hummingbirds added a wonderful additional element on several occasions. Rain will always draw me out to photograph wildlife. The additional element of water always adds a more evocative and emotive feel to a photograph.

On our last day of travel back to Medellin, we made a wonderful three-hour stop at a small bespoke coffee plantation for a deep dive behind-the-scenes tour on all things coffee. The tour took us from the initial planting and cultivation to the finished product. And of course, an opportunity to pick some berries and an extensive tasting! This was a little added bonus for the group that was thoroughly enjoyed and a wonderful way to wrap up our workshop. On our return to Medellin, we farewelled over dinner before our onward flights the following day.

My sincere thanks to all of the participants who took part in this workshop and who placed their trust and faith in my company, Wild Nature Photo Travel to organise first class logistics and shooting locations. My thanks and heartfelt gratitude also to Jose and John, who provided us with brilliant first-class local guiding and driving throughout our trip – thank you. Jose, in particular, deserves special credit for his seemingly endless knowledge of birds and ability to identify a species even from the vaguest of descriptions. Credit to my partner Susanne Ribberheim for the portrait above.

In February of 2028, I will be offering this workshop again for a small group of just six photographers. This workshop is for passionate and keen photographers who want to undertake a deep immersion in bird photography at one of the best places on earth, with the highest number of species. Full details are on my website at www.jholko.com/workshops. Some places are already spoken for so please do not delay to avoid disappointment.

Travelling on this bird photography workshop to Colombia is about far more than simply adding species to a list. It is about immersing yourself in one of the most biodiverse countries on Earth with purpose, patience, and photographic intent. Colombia is a kaleidoscope of colour and sound, home to an astonishing variety of hummingbirds, tanagers, toucans, antpittas and endemic species found nowhere else. This is a workshop where you will develop your ability to read the light, improve composition, and storytelling. This is about going beyond opportunistic snapshots and moving toward crafting powerful, considered images that truly reflect the vibrancy and intimacy of these birds in their environment. Please contact me for further details.

Snow Leopard of Mongolia Workshop Report January 2026

Posted in Workshops and Expeditions1 Comment

In January of 2026, I ran an all-new Snow Leopard workshop in far northwestern Mongolia. This workshop ran from the 13th of January until the 23rd of January and took us into an all-new region in the Hungai mountains. This location is lower in altitude than the previous location we had been using and has significantly less hiking (although the climbing is still considerable and not for the faint of heart). Like my Pallas Cat of Eastern Mongolia Report, this trip report will be a little different to the norm and includes a number of daily video updates from the field. Due to my heavy travel schedule, I will come back later in the year and update this post with still photographs from the trip as time permits.

Our journey to the snow leopard began in the capital city of Ulanbataar, with a two-hour flight to Khovd in Mongolia’s northwestern region. From here, we then drove seven hours to our remote camp nestled amongst the Margaz mountains (a smaller area of the Hungai mountains) – our cozy home away from home for the duration of the workshop. Each Gyr, or Yurt, is equipped with a coal-fired stove for warmth, a bed, a wash basin, lighting and even wifi. Our base served as the perfect location to search the vast mountainous landscape for the snow leopard.

As fortune would have it, we never even made it to camp before our first encounter with a snow leopard. With our spotters and trackers already in the field, we took a short detour not far from camp to see a mother with two cubs our trackers had found high on a rocky mountain just prior to sunset. Although sunset was upon us and it was too late in the day to begin an arduous climb to attempt to photograph them, we still relished the experience. To find and see a wild Snow Leopard with her two cubs so early in our trip was an absolute blessing. The cherry on the cake was several Ibex that posed, silhouetted for us high on the precipitous mountain tops.


Finding and photographing the snow leopard is one of wildlife photography’s greatest challenges, demanding extraordinary patience, endurance, and respect for the harsh environments these elusive cats call home. Often referred to as the “ghost of the mountains,” snow leopards blend seamlessly into vast alpine landscapes, making even a single sighting feel like an extraordinary gift. Days can pass scanning ridgelines and valleys in biting cold and thin air, with no guarantee of success, which only deepens the emotional impact when a snow leopard finally reveals itself. Each encounter is a true privilege—a fleeting moment of connection with one of the planet’s most secretive predators that serves as a powerful reminder of both the fragility and the wonder of the wild. Every encounter is an absolute gift and is never to be taken for granted.

Over the course of the next eight days, we made daily sunrise and afternoon sojourns into the field in search of leopards. From our camp location, we were ringed by mountains, all of which had potential for leopard sightings (as well as Corsak fox and Ibex). Using our team of expert local trackers, we had multiple encounters with snow leopards during our trip. As luck would have it, the very best of these encounters was with a mother and three first-year cubs. We were able to spend most of the day photographing the cubs high on the mountainside with superb results. An encounter such as this is an absolute gift and very much a once-in-a-lifetime experience. In addition to snow leopards, we also photographed Golden Eagle and Little Owl.

Temperatures throughout our workshop were extremely cold, with lows consistently around -40ºC and highs in the afternoon often only rising to -25ºC. It was below -35º Celsius many mornings when we departed in search of the ghost of the mountains. This necessitated proper equipment and dressing to ensure protection against the cold. As we traversed the landscape in 4-wheel-drive vehicles, we stayed warm while searching for wildlife.

At the conclusion of our workshop, we packed up and drove roughly four hours to the nearest town for return flights to Ulanbataar and concluded our workshop in the evening of the 23rd of February.

Photographing Snow Leopard with us offers a rare opportunity to encounter one of the world’s most enigmatic wild cats in an ethical, immersive, and deeply rewarding way. Success with snow leopards is never guaranteed, and it is well worth remembering that even a fleeting sighting can be hard-won, making every potential encounter a very special gift. This is a carefully curated workshop built around our local guides’ intimate knowledge of the landscape, respectful fieldcraft, and small-group experiences that maximise both photographic opportunities and meaningful wildlife encounters. In the vast mountain environments where Snow Leopards live, we prioritise patience, conservation awareness, and time in the field—allowing photographers to move beyond fleeting sightings to genuine observation. The result is not just exceptional imagery of a seldom-seen species, but a richer understanding of its behaviour, habitat, and fragility, making the experience as emotionally powerful as it is creatively inspiring.

Who is this Workshop For? This workshop is designed for photographers who have a deep love of wildlife and a genuine passion for capturing it thoughtfully and artisically in the field. It is ideally suited to those who value time, patience, and observation over crowds and hurried encounters, and who thrive in a small-group environment where individual attention and shared experience matter. Whether you are refining your craft or seeking a more meaningful connection with the natural world, this workshop appeals to photographers who are inspired by rare species, remote landscapes, and the emotional power of storytelling through images, and who appreciate learning in an intimate setting alongside like-minded people who share the same respect for wildlife.

If you would like to photograph this incredible wildcat, please get in touch via email. We limit the workshop to a maximum of five photographers to ensure each has their own private room and to ensure we offer the best possible photographic experience. Groups larger than five are far from ideal for this experience if high-quality results are your goal. Our next planned workshop for the Snow Leopard is in 2028.

Pallas Cat of Eastern Mongolia Workshop Report January 2026

Posted in Workshops and Expeditions3 Comments

This year’s workshop report for our Wild Nature Photo Travel workshop for the Pallas cat in the far east of Mongolia will be a bit different from usual. As I am travelling extensively over the next four months and have very little free time to actually process images from our trip, I am instead including the short videos (not in chronological order) I made on location throughout the workshop. As time permits, I will then come back and update this post with photographs once I get a chance to process them on my home machine with a high-quality display (likely later in the year).

This year, our workshop began in Ulanbataar on the 2nd of January with a seven-and-a-half-hour transit drive to our remote eastern base camp (our home for the duration of the workshop). We concluded on the 9th of January with a return drive to Ulanbataar. Our base camp consisted of sufficient Yurts for each participant to have their own private room, as well as a separate meals Yurt. Each Yurt is heated by a coal-fired stove and has power, a bed, a wash basin, and plenty of storage space. The Internet is provided through a Starlink system, making each Yurt a cozy home away from home.

During the course of the workshop, we encountered a total of six Pallas cats in the field; five of which we had the opportunity to photograph at close range, typically at sunrise and sunset, when the cats are at their most active (and when the light is at its best). Although I packed both my 600mm and 100-300mm lenses, I predominantly shot with the 100-300mm lens (as did all participants). Snowfall this year was slightly above average, but there were still quite a lot of grasses to contend with, which meant it was always preferable to get as close as possible to the cat to minimise distractions between the lens and subject. The Pallas cat is a small wildcat with short legs that keep it close to the ground. Its method of defence (from predators such as Golden Eagles and Steppe Eagles) is often to lie as flat as possible and hide in the grasses, which means it’s necessary to get as low as possible when photographing the cat.

Our typical day began with a hearty breakfast at 7am, and then we departed for the field at 7:30am (half an hour before sunrise). Typically, our local guides depart even earlier to find and locate a cat before sunrise (often spotlighting for them), in the hope we can photograph it in the soft light of pre-dawn. In the afternoon, we would take lunch at 1pm before departing for the field at 2:30pm. With sunset around 5pm at this time of year, we have plenty of time to scout before the soft light of evening. Success is never guaranteed with any workshop to find and photograph this endangered wildcat. With six cats in as many days, we had a superb result: each participant went home with a full memory card of wonderful images of this stunning cat.

Photographing the elusive Pallas’s cat is an experience charged with quiet intensity and deep emotion, shaped as much by patience and anticipation as by the moment itself. In the vast, austere landscape of this Steppe region, every sighting feels hard-won, heightening the sense of privilege and connection when a Pallas’s cat finally emerges, its ancient (and grumpy!) expression seemingly etched by time. The result is not just a photograph of a rare and charismatic species, but a lasting emotional imprint—one that speaks to wildness, resilience, and the power of being fully present in one of the planet’s most unforgiving environments.

Our next workshop for the Pallas cat will be in January 2027. The workshop will run from the 2nd of January until the 8th of January (seven days / six nights), and some places have already been spoken for. Full details are on our website at www.jholko.com/workshops

Photographing the Pallas’s cat with us offers a rare opportunity to encounter one of the world’s most enigmatic wild cats in an ethical, immersive, and deeply rewarding way. This is a carefully curated workshop built around our local guides’ intimate knowledge of the landscape, respectful fieldcraft, and small-group experiences that maximise both photographic opportunities and meaningful wildlife encounters. In the vast steppe and mountain environments where Pallas’s cats thrive, we prioritise patience, conservation awareness, and time in the field—allowing photographers to move beyond fleeting sightings to genuine observation. The result is not just exceptional imagery of a seldom-seen species, but a richer understanding of its behaviour, habitat, and fragility, making the experience as emotionally powerful as it is creatively inspiring.

Who is this Workshop For? This workshop is designed for photographers who have a deep love of wildlife and a genuine passion for capturing it thoughtfully and artisically in the field. It is ideally suited to those who value time, patience, and observation over crowds and hurried encounters, and who thrive in a small-group environment where individual attention and shared experience matter. Whether you are refining your craft or seeking a more meaningful connection with the natural world, this workshop appeals to photographers who are inspired by rare species, remote landscapes, and the emotional power of storytelling through images, and who appreciate learning in an intimate setting alongside like-minded people who share the same respect for wildlife.

If you would like to photograph this incredible wildcat, please get in touch via email. We limit the workshop to a maximum of five photographers to ensure each has their own private room and to ensure we offer the best possible photographic experience. Groups larger than five are far from ideal for this experience if high-quality results are your goal. This is a workshop I eagerly look forward to each year and is not to be missed.

Departing for Mongolia Pallas Cat and Snow Leopard 2026

Posted in Workshops and ExpeditionsLeave a comment

My time in Australia has already come to an end, and as soon as I finish this post, I am leaving for Melbourne airport, where I will make my way to Mongolia for both my Pallas Cat and Snow Leopard expeditions. The last two and a half months have gone by in a blur (Christmas makes this whole period crazy), and it is now time to hit the road again. I am very excited to return to Mongolia in Winter to photograph these two amazing wild cats: the Pallas Cat and the Snow Leopard. For the Pallas cat, we will be based in the far eastern steppe region of Mongolia. For the Snow Leopard, we will be based in the northwestern region. For these two workshops, I will spend the better part of a month (January) in Mongolia.

I had full intentions of doing a detailed packing list and a podcast on this departure, but time has gotten away from me, so in lieu of that, I am squeezing in this quick packing post. For these two trips I am packing 2 x Canon EOS R1’s with two spare batteries. I am taking a selection of lenses, including the 20mm f1.4, 14-35mm F4L IS, 100-300mm F2.8L IS, 600mm F4L IS and an RF 1.4 Teleconverter. Although this leaves a gap from 35mm to 100mm, I find I use this focal range very little when working with wildlife and tend to be either at the longer or wider ends. All of this will fit in my SKB Roller case and Gura Gear Chobe. In the field, I will use my Lowe Pro 600mm Trekker for hiking with the Snow Leopard. For the Pallas cat, we tend to shoot very near the 4-wheel drives, so equipment doesn’t need to be carried very far. I am also packing my DJI mini-drone, binoculars, and, of course, plenty of cold-weather clothing. See you in Mongolia for New Year’s! And P.S: The 2025 retrospective podcast I will be recording and releasing from Mongolia.

White Horses of the Camargue France Workshop Report October 2025

Posted in Workshops and Expeditions1 Comment

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.