Tag: Photography

Arctic Fox Workshop Review April 2026

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A few days ago, I received some absolutely wonderful feedback and a quite extensive review from a participant from a prior year’s Arctic Fox workshop in northern Iceland. They have told me they are more than happy for me to share their review here on my blog (thank you, Andrew).

Hi Josh, what can I say? The trip with you to the Arctic Fox surpassed all my expectations and then some. I didn’t tell you, but I did a lot of research before I chose to join your trip. It was not just your photographs (which are so much better than anyone else’s from this place, and now I understand why), but also the recommendations and word-of-mouth about your professionalism and approach.

For me, spending time in the field with you defined what the workshop experience should be. I have been on over twenty wildlife workshops around the world in the last ten years with nearly as many different workshop leaders, and what immediately sets you apart is your intimate understanding of the wildlife (in this case, the Arctic fox). I don’t mean just where to find them, but how they behave, how they move through the landscape, and how to position everyone to get the best possible photographs. Your professionalism in positioning and ensuring everyone gets the best images is unmatched. Most leaders care only about their own photographs. I watched you stand back many times after positioning everyone to ensure everyone maximised the moment. That is a testament to your professionalism.

From a technical standpoint, your guidance is exceptional. Whether it’s about exposure in the snow or making the most of conditions, you have a way of simplifying complex decisions in the field so that the camera gets out of the way. More importantly, you teach why, giving participants like me the confidence to adapt when conditions inevitably change.

But what truly elevated the experience was your fieldcraft. Every detail, from approach routes to time spent with a subject, was handled with a level of care that prioritises the welfare of the wildlife above all else. It’s a philosophy that not only leads to better images but also leaves all with a deeper appreciation for the environment we were working in.

I also noticed a quiet intensity to your own workflow. You don’t rush, you don’t force situations, and you don’t rely on luck. Instead, you create the conditions in which luck can occur. I can see that this comes through preparation, knowledge, and an extraordinary level of patience. Being around that mindset is as valuable as any photograph you come away with.

In a place as raw and unpredictable as Iceland, your kind of leadership makes all the difference. You didn’t just guide me to a location. You showed me how to truly see it. Thank you. For anyone serious about photographing Arctic fox in Iceland, it’s hard to imagine a better person to learn from. If anyone is on the fence about joining one of your trips, please have them contact me anytime. In the meantime, please sign me up for next year. I can’t wait to go back! Andrew from Australia

Asia Pacific Photography Awards 3rd Place Nature Category 2026

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The 2026 Asia/Pacific International Photography Awards have been held, and the results were announced today, 30th March 2026. This year, I entered the Animal/Nature category with five photographs as a bit of a last-minute decision. Quite honestly, I was lazy and did not put in any real effort into my entries this year, spending only a few moments to grab some favourite shots from my Lightroom library and export the required JPEGs. I only skimmed the rules and did not spend any time pondering my entries as I was packing for three months of travel and had other things on my mind. I did not watch the live judging either this year, as it was around 3am in Sweden, so I awoke this morning to the surprising news that I had jointly won 3rd place with my friend Phillip Bartlett and another photographer, John Peters. Congratulations to them both! And congratulations to the overall winner and all those who did well with their entries this year.

This photograph of the Arctic Fox has been one of my favourites for some time, so I was very pleased to see this image take out a coveted Gold Award and overall 3rd Place in the Animals / Nature Category. For me, this is a very simple yet powerful photograph that conveys both the harshness of the fox’s environment and the incredible toughness of this animal, enabling it to survive and thrive in such conditions. It was fascinating to listen to the judges’ comments on this photograph, as it clearly split the panel.

What surprised me the most this year was that the image I felt was, on reflection, my strongest did not do particularly well, scoring a Highly Commended and not even making the top twenty, and thus going no further in the competition. Whilst a highly commended is nothing to be sniggered at, this was a timely reminder that the judging in photography competitions is totally subjective and that the same image in different competitions will get totally different results. It is worth remembering that the benefit of entering these competitions lies in the peer review process (judges’ comments). Of course, one doesn’t have to agree with a judge’s comments, but there’s an opportunity to learn if you are willing to listen and at least consider them.

Over the years, I have been entering photographic competitions I have learned that judges’ comments are a direct reflection of their own interpretations and experiences and are often a useful counterpoint to my own. Judges often bring up elements I had not considered during either the capture or post-production phases of a photograph, and I find it almost always helpful (and, at the very least, interesting) to hear my peers’ interpretations of my work. The key to growing as a photographer through competition is being open to a judge’s comments and not being closed off to their opinions. After all, they are only opinions, and those are something we all possess.

I have heard judges make comments about photographs that I know are totally factually inaccurate (and even laughable on occasion), and I have likewise heard judges’ comments that absolutely, perfectly frame and nail an image critique. The key to using judges’ comments for our own growth is knowing which are valid and which should be discarded as the voice of inexperience. The toughest part of this process is always separating ego from the equation and remaining truly objective about our own work. You have to have the courage to stand by your decisions and convictions as an entrant, but still be open to taking criticism on board when flaws are pointed out (rightly or wrongly). It can be tough to be truly open and objective to critique of our personal work. This is a skill few ever master.

So why didn’t this image of the Impala in morning fog do better than a highly commended award? Quite honestly, I cannot say. Since the photograph failed to make the top twenty, there was no opportunity for judges’ comments, and thus, I have no feedback I can take on board to potentially grow from (or at least consider). I can only surmise that on the given day, it failed to excite the judges sufficiently. This result doesn’t mean I will dismiss it as a ‘bad photograph’ or one that ‘doesn’t make the cut’ as it is still, to my mind, a highly evocative image that captures the impala in a way that presents them as fragile and delicate in the morning fog.

If you are interested in the judges’ comments on the top ten photographs in each category, you can view them on YouTube on the Asia / Pacific Awards YouTube Awards channel. Please note that their videos are age-restricted, so I cannot embed them here on my blog or directly link to them. Congratulations again to all the winners and all those who entered this year’s awards.

Arctic Foxes of Kviar in Winter in Iceland Workshop Report 2026 

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In March of 2026, I ran my annual Winter workshop to Kviar in the Hornstrandir Nature Reserve in far northwestern Iceland to find and photograph Arctic foxes. This is a workshop I pioneered and have been running for more than ten years now. This year, our workshop was scheduled to run from the 7th of March until the 12th of March. However, the weather in early March this year in Iceland was erratic and wildly variable, and we ended up being delayed a day in Isafjord due to strong winds that made the boat crossing and landing at the beach at the cabin impossible. This one-day delay did not dampen our spirits, and early the following morning, we were safely on our way to our cabin in the Nature Reserve. As it turned out, the one-day delay would really pay off in terms of the conditions we would have for the duration of the trip.

With strong winds creating a large shore break that made landing at the cabin difficult, we decided to land a little down the coast at a small sheltered spit area, which necessitated a roughly 1km hike to our cabin. Thankfully, we were able to land our luggage at the cabin so it was only ourselves and camera gear that we had to carry. This is only the 2nd time in over a decade of travelling to this location that I have been unable to land directly at the cabin. The strong winds the day before had whipped the ocean waves up, and the breakers on the beach meant it was unsafe to land a zodiac with people. On arrival at the cabin, the foxes that live in the area were already curious and could be seen and photographed close to the house.

Our workshop accommodation was a cozy but rugged haven where we enjoyed a great atmosphere after a day out in the cold, photographing Arctic Foxes. The house was originally built in 1921. In 1948 (just 27 years later), the last inhabitants left this isolated arctic peninsula for a better life. The cabin was abandoned for many years and has recently been restored. Although no one lives here permanently, the cabin was a great getaway and the perfect place to accommodate us whilst we searched for and photographed wild Arctic Foxes. Curious Arctic Foxes frequently stopped past the cabin to investigate. We often photographed them from right outside the cabin.

Thank you to Jerry Weimar, who participated in this year’s trip, for the landscape photograph above. The cabin includes a bathroom, toilet, and hot shower. Bunk-bed accommodation with duvets provided, a full kitchen (chef to prepare meals and clean), and Hydronic and log-fire heating. There is power for laptop battery charging (generator provided) and an outdoor sauna.

Over the course of the workshop, we photographed four different blue-morph foxes, including three first-year cubs that I had photographed last year, a few days after they came out of the den (Read the Trip Report). This was one of the few opportunities I have had over the years to photograph multiple foxes together, and although the fight looks serious, it’s mostly play between siblings and no harm, no foul.

The weather on our second trip also continued its wild variation. We began with good snow cover on our first day, which melted during warm-front rain in the evening, only to be replaced the following day with non-stop snow that continued right up until our departure. This non-stop snow made for absolutely superb, albeit challenging conditions to photograph the Arctic Foxes.

Days three and four, we had continual, intensified snowfall and strong winds, making for incredibly dramatic photography. These are my absolute favourite conditions in which to photograph wildlife in this part of Iceland. The flying snow can make photography a little more difficult, but the results are absolutely worth the effort, and everyone made incredible photographs over the course of the trip.

On our scheduled day of departure, Iceland threw another of its winter weather curveballs at us, stranding us an extra day out at our cabin. This turned out to be a blessing, making up for our lost day at the beginning and providing us with more wonderful photographs in the dramatic winter snow conditions. Although it would have been possible to land at the beach on our scheduled departure day, the wind in the channel would have made the crossing impossible.

The Hornstrandir Nature reserve continues to serve up both an incredible experience and a continual opportunity to create powerful, evocative photographs of the Arctic fox. In my many years as a specialist polar photographer, I have yet to find or encounter a location that offers more reliable and better encounters in a winter setting.

We are returning again in February next year, 2027, to photograph these amazing Arctic survivors and will take a small group of just five photographers with us. To reach this unique location, you will first fly to Keflavik International Airport in Iceland, followed by an internal flight to Isafjordur, the official starting point of the workshop. From here, we will take a privately chartered boat to Hornstrandir. This trip also offers a unique perspective of the dramatic coastline, characterised by towering cliffs, deep fjords, and pristine natural beauty. If you would like to join us, please get in touch as places are extremely limited. Reserve your spot on this expedition and return with a portfolio of extraordinary images that few have had the privilege of capturing.

Arctic Foxes of Sletta in Winter in Iceland Workshop Report 2026

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In March of 2026, I ran a small-group workshop for five photographers to the remote Hornstrandir Nature Reserve to photograph Arctic Foxes in Winter. Like my Pallas Cat of Eastern Mongolia Report, earlier this year, this trip report will be a little different to the norm. 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. Personally, I shot over 13,000 RAW images over the course of the trip, so I have more than a little editing, culling and processing to do.

Our workshop kicked off in the small northwestern town of Isafjord in the West Fjords on the 2nd of March, with a short, but bumpy boat ride across the bay of forty-five minutes to our remote cabin at Sletta in the Hornstrandir Nature Reserve. Our cozy cabin was our home away from home throughout our workshop and had all the amenities we needed to be safe and comfortable. With a local house sitter and cook to look after the cabin and amentieis we were free to focus on our photography.

This time of year, the days are getting longer in Iceland, with sunrise around 8:30am and sunset around 7pm (although light levels are typically already too low by 6pm on overcast days). Our days typically began shortly after breakfast with a two- to three-hour session with the foxes, then we broke for a hot, filling lunch and a short rest. Since the foxes are most active in the morning and late afternoon, we would begin around 2:30pm and shoot until we lost the light. This meant our days consisted of a few hours of photography in the morning until lunch time and again in the afternoon until we lost the light.

During this workshop, we had the opportunity to photograph both the Blue and White Morph Arctic Foxes almost every day. On several occasions, some of us were also fortunate to have them together for a brief interaction for those quick with the shutter. Moments like this are rare and require patience and a dollop of serendipity. When the foxes do come together, it is often for the briefest of moments, and one has to be ready and quick to catch the action.

Over the course of the workshop, we saw and photographed four individuals (one white and three blue), although most of our work was done with the white-morph fox.

During our workshop, we experienced the full range of conditions Iceland could serve up, including crazy wind and flying snow (who doesn’t love a good Arctic storm to photograph Arctic Foxes!), gentle, delicate snowflakes drifting on an Arctic sea breeze, and calm blue skies and sunshine. This mix of weather enabled us to create a broad, diverse portfolio of work over the course of our time in the Nature reserve.

We took the opportunity to vary our setting and background throughout the trip, frequently moving from the nearby beach area to the back mountains behind the cabin, the nearby waterfall and river and the far western beach. Background is critical to a great wildlife photograph, and by moving around, we gave ourselves the best opportunities to vary the setting for different photographs. Personally, I always like to try to capture a selection of images that help tell the story of the fox in its environment.

My sincere thanks, as always, to all the clients who participated in this trip and placed their trust in me and my company, Wild Nature Photo Travel, to deliver a wonderful, productive workshop with these amazing foxes. Just some of the feedback from our workshop is included below.

Ellen – You are so awesome! Thank you for a fantastic trip (as well as getting me back to the cabin!) This trip will stay in my mind for a very long time. Wishing you and Suzy a very happy and long life together!

Jack – Thank you SO much for making this another great adventure!! You always go above and beyond!

We are returning again in February next year, 2027, to photograph these amazing Arctic survivors. To reach this unique location, you will need to fly to Keflavik International Airport in Iceland, followed by an internal flight to Isafjordur, the official starting point of the workshop. From here, we take a privately chartered boat to Hornstrandir. This trip also offers a unique perspective of the dramatic coastline, characterised by towering cliffs, deep fjords, and pristine natural beauty. If you would like to join us, please get in touch as places are extremely limited. Reserve your spot on this expedition and return with a portfolio of extraordinary images that few have had the privilege of capturing.

Dynamic Range is Just Not That Important March 2026

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It is not very often I share a third-party video, but this one from David Bergman (for Adorama TV) on why Dynamic Range is not nearly as important as most people think just hits the nail on the head. Ask yourself, when was the last time you saw a really great photograph with 12 or more stops of dynamic range? The answer is you probably haven’t, and the reason is that most great photographs actually have quite a limited dynamic range because they are taken in soft light. Just as an aside, I have long said that we should not measure cameras by their dynamic range but instead by their ISO performance (signal-to-noise ratio).

Contrary to some beliefs, dynamic range and signal-to-noise ratio are not the same, although both measure camera performance in decibels and are closely related. Dynamic range is the ratio between the maximum signal a sensor can handle and its lowest detectable signal (noise floor), while signal-to-noise measures signal quality at any given specific intensity.

In layman’s terms, dynamic range measures the span between the brightest highlights and darkest shadows a camera can capture in a single exposure without losing detail (clipping). In effect, it defines the camera’s ability to handle high-contrast scenes. The signal-to-noise ratio measures the ratio of signal strength to noise at a specific brightness level. SNR is highest at full-scale output and decreases in lower light.

There are some important key differences between the two. Dynamic Range describes the range of intensity, while Signal to noise describes the quality of the signal at one point. A camera with a high dynamic range may still have poor signal-to-noise if the noise floor is high or high SNR with low dynamic range.