Tag: travel

Which Boots for Cold Weather Photography? March 2026

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Introduction: There is no such thing as the perfect cold-weather boot for photography, as much depends on your needs and the prevailing temperature and conditions you are working in. Likewise, there is no perfect camera bag and no perfect cold-weather gloves. Such things simply do not exist, as different temperatures, shoots, and conditions (and personal tolerances) necessitate different boots, bags, and gloves for optimal performance and comfort. This article (the first of several – Gloves and Bags to come) includes the boots I have found that offer the best performance for a given temperature and condition range based on my experience shooting and working in cold weather climates over the last 25+ years. There are many more boots I have tried over the years that I have ultimately been dissatisfied with. The following represents the best I have tried in cold environments, where I photograph most of the time. You can also listen to Podcast 144, which has a deep dive on this topic.

Transparency: For the sake of transparency, you will not find affiliate links here. The internet is awash with websites that tell you, ‘we have reviewed X products, and these are the best‘. Such websites and reviews are nothing more than thinly veiled attempts to advertise products and make money through affiliate links. I have no interest in selling boots, bags, or gloves under the table to make extra money. What you will find here are my straightforward recommendations based on my experience – nothing more.

How We Experience Cold: It is important to note that we all experience cold differently. For me personally, my feet are the most important part of my body to keep warm. When I get cold feet, my entire body gets cold, and that’s a very uncomfortable experience. Your tolerance for the cold may very well be different to mine, and you should keep that in mind when making any buying decision. Another important point is that Nature photographers (I include landscape and wildlife in that genre) are typically not all that active in the field. We may hike to a location that requires some degree of activewear, but we often spend a long time waiting outdoors for wildlife or the right light. Thus, the choice of footwear is critical to our comfort level in the field. Many products from active-wear companies are simply inappropriate, in my experience, for cold-weather photography because they do not account for the significant time photographers spend inactive and just sitting or standing around in the field.

Battery Heaters: All of the boots below can, of course, be paired with battery-heated socks or insoles to extend their temperature range. Personally, I find battery-heated socks and insoles a real nuisance. The batteries rarely last a full day of fieldwork and require daily charging (I have tried a few different brands over the years). Battery-heated socks and insoles that are ‘app-controlled’ or ‘remote-controlled’ are even more of a nuisance in the field. Have you ever tried to get your phone out of your jacket in -25ºC during a blizzard, remove your gloves, open an app and to try to turn up your socks or insoles? Clearly, the designers of these products have not. Likewise, reviews that espouse the virtues of heated socks and insoles rarely actually review them in any sort of real-world situation where you are likely to actually want or need them. Wearing them around the house to review them like most YouTube reviews? A total joke. At this point, I feel I just don’t need or want anything else in my life that requires daily charging or requires me to open an app to make an adjustment. Chemical toe warmers are a far easier (and cheaper) option if you want to extend the temperature range of any of these boots. You can purchase either a full chemical sole warmer or just a toe warmer and they reliably last 8-10 hours provided they have not passed their used by date.

My Cold Weather Experience: Over the last 25+ years, I have tried nearly as many boots for cold-weather photography as I have gloves and camera bags. It has been a never-ending search for the right product that fits the genre of Polar photography I love so dearly. With more than 100 expeditions to the Arctic and Antarctic under my belt, these are my top four boots, based on my own experience with cold-weather photography.

Temperatures from +20° Celsius to 0° Celsius – Härkila ATAAMIK GTX Boots

Most hiking boots on the market today fall into this temperature category. It is therefore the most contested for ‘best boot’ and the category in which most people will buy boots. After years of trying different boots from many manufacturers, I have found that the Härkila ATAAMIK GTX boots are my go-to hiking boots for any sort of photography where temperatures may vary from +20º Celsius to 0º Celsius. I use them daily in Sweden when I am walking through the forest, and I have probably walked and hiked more than 500km in my current pair, and they are still going strong. They are dam near indestructible, extremely comfortable and pretty much waterproof. I have walked through ankle-deep water with them on many occasions, and my socks and feet have never gotten wet. They also offer excellent ankle support. My feet feel warm and protected inside these boots down to temperatures at or just below 0º Celsius. They have a super easy twist wire-lacing system, which means they are quick and easy to put on and take off. I have used these boots in Iceland, Mongolia, Sweden, Africa, Australia, Chile, Argentina and Finland and have no hesitation in recommending them to anyone looking for a warm hiking boot for photography.

Temperatures from 0° Celsius to -25° Celsius – Irish Setter IceTrek Boots

When temperatures drop below 0º Celsius, the Irish Setter IceTrek are my boot of choice. These boots are incredibly warm and durable, offering outstanding ankle support and an uncanny ability to keep snow out when the going gets deep. They are a taller boot than the Härkilas that comes well up the leg, which helps keep out water and snow. I like to wear my base wool-layer pants with wool socks tucked into my boots, then my outer layers on top. Like the Härkilas, these boots use a wire-lace system, so they are extremely quick to take on and off. The boots are marketed and sold as waterproof and, in my experience to date, are exactly that. I have used these boots getting on and off zodiacs in Iceland in Winter and never got wet socks or feet. I have also used these boots in temperatures as low as -38 °C in Winter in western Mongolia while hiking for Snow Leopards. In these extreme temperatures, I did get cold toes when standing around for long periods, so I recommend these boots for temperatures down to -25º Celsius. These boots are built with 1600 grams of Primaloft insulation, so they are suitable for temperatures much colder than the Härkilas. At -25º Celsius, I have no hesitation in recommending these boots for standing around in a non-active state, and if you are active, you can take them into even colder temperatures. I find my feet don’t sweat much in these boots, but I still remove the insoles at the end of the day as a precaution to dry out any residual moisture from sweating. I have used these boots in Winter in Iceland, Mongolia, Sweden, Svalbard, Greenland and Finland and have no hesitation in recommending them to anyone looking for a warm boot suitable for photography in temperatures down to -25º Celsius (and below if you are active). I like them so much, I will often pair them with chemical toe warmers for use below -25º Celsius.

Temperatures below -25º Celsius – Baffin Eiger Boots

When temperatures really plummet, I reach for the Baffin Eiger boots. These boots are suitable for extreme cold, including temperatures below -25º Celsius, and I have personally used them in temperatures as low as -52º Celsius on Ellesmere Island in Winter. At temperatures above -25º Celsius, my feet just sweat in these boots to the point that I end up with wet socks, so I only reach for them when it gets really cold outside. I tend to sweat through my feet, so I always need to remove the inner liner at the end of every day and dry them thoroughly. Failure to do so always results in frozen toes the next day, as residual moisture freezes, ensuring a cold and uncomfortable experience. The Baffin Eiger boots are not waterproof (though the soles are) and are not suitable for getting on and off zodiacs. But then, in the sort of temperatures you are likely to be wearing these boots, you are unlikely to encounter running water. The marketing material on Baffin’s website says these boots are tested down to -60º C. Whilst I have never experienced a temperature this low, I can tell you that at -52º Celsius on Ellesmere Island in winter, I needed a chemical toe warmer inside these boots to keep my toes from getting cold. The Eigars are quick and easy to put on and take off thanks to the velcro straps, but they do not offer very good ankle support (especially compared to the Härkilas and Irish Setters). I have weak ankles and a tendency to roll them if I am not careful, so I always tread a little more cautiously in these boots than in the other two. They are also not as effective at keeping out snow in deep conditions as the Irish Setter IceTrek boots (despite the inbuilt snow gaiter), but they are warm. It can also be difficult to pull your outer-layer pants over the top of these boots because they are so wide at the opening. I have used these boots in Winter in Iceland, Mongolia, Greenland, Svalbard, Finland and Canada (Ellesmere Island in -52ºC) and have no hesitation in recommending them to anyone looking for a warm boot for photography in the most extreme cold weather.

Special Mention Wet Weather Boots – Arctic Sport Muck Boots

If I know I am going to be working in extremely wet weather, walking through a lot of water, or getting on and off zodiacs frequently, then my boot of choice is the Arctic Sport Muck Boot. These boots are waterproof right up to the very top and are warm in temperatures down to about -10º Celsius. Muck Boots do not specify a temperature range for these boots, but in my experience, they are warm above -10ºC. I do tend to sweat in them quite significantly, so I have to be careful to dry them at the end of the day. These boots are not as easy to take on and off as the others, but what you lose in time spent doing so, you gain in waterproofing. They offer reasonable ankle support (better than the Baffins, but not as good as the Härkilas or Irish Setters). They can be a bit tight around the calves, and if you have larger lower legs you may want to opt for the ‘wide version’. These are an ideal boot for a summer expedition to Antarctica, where temperatures will hover around 0º Celsius, but you will be stepping in and out of water a lot with shore landings. They are also ideal for photographers working in boggy, wet environments or in the Arctic in Summer, especially if you are working in and around water. The only shortcoming I have experienced is that they tend to develop leaks around the seals after heavy use and thus need replacing from time to time (I have been through about half a dozen pairs over the years). They are exceptionally easy to keep clean, however, requiring nothing more than a hosing off and little to no maintenance.

Boot Considerations: When assessing the suitability of a boot for my type of photography, I consider comfort and warmth for the intended purpose, ease of getting on and off, and long-term durability amongst the most important factors. The ability to withstand water (depending on the intended use) and to keep out snow also plays a major role in my decision-making. Lastly, manufacturer support also plays a role in addressing potential issues. I do not consider price when assessing the qualities of boots for cold-weather photography since it’s folly to try to save a few bucks at the expense of cold toes.

Conclusion: Ultimately, the choice of boot is a personal one based on your needs, preferences, and tolerances for the environment in which you work. There are many more boots on the market that I have not used or tested, and they may or may not deliver great results, depending on your personal needs. There are other boots I have tested that I feel fail to live up to their claims, so I won’t name, review or recommend them. The above are products I will stand behind as offering superb performance in their temperature range for cold-weather photography. If you are interested, I dive deeper into this topic and discuss each of these boots in more detail in Episode 144 of my Wild Nature Photography Podcast.

Author: Joshua Holko

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.

Svalbard Golden Spring Light Expedition April 2027 Announcement

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By popular demand, we have decided to offer another Svalbard Spring Light expedition in April next year. The expedition will run from the 7th to the 15th of April, 2027 and include nine nights / ten days. Early April is one of the very best times to visit Svalbard. At this time of year, the sun is still low in the sky, and the landscape is bathed in golden light.

This early Spring expedition to the archipelago of Svalbard is for keen and passionate wildlife and landscape photographers who want to capture evocative and powerful photographs of Arctic wildlife (including Polar Bears, Arctic Fox, Reindeer, Walrus and more) and dramatic ice and snow-draped landscapes in golden light.

Svalbard is one of the best places in the world to photograph Arctic wildlife and landscapes, and at this time of the year, the sun will be extremely low in the sky, casting a golden glow across the landscape. We have a small group size and personal, one-on-one tuition for the duration of the workshop. There will also be many landscape opportunities during this workshop, although our primary focus is always on polar bears when possible.

The landscape in and around the Svalbard archipelago is stunning and primordial. Glacier-scarred mountains dominate the landscape and will be a significant subject for our cameras during the expedition. The landscape opportunities are, therefore, as varied and important as the wildlife encounters.

We will use the ice-hardened expedition ship M.S Freya, enabling us to navigate deep into the pack ice, searching for and photographing Polar Bears, landscapes and other wildlife. M.S Feya is regarded as one of the best ships in the Arctic for Photography. Our expedition ship is also equipped with sufficient zodiacs (2 x Zodiac MKV models) and crew for all photographers to be shooting simultaneously, with plenty of room to spare for camera equipment – So bring what you need!

Full details are now on our website at www.jholko.com/workshops. Please get in touch to reserve your place.

Wings over Andes Colombia Bird Worskhop Report February 2026

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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.

Why Xposure 2026 Was the Most Amazing Photography Festival on Earth

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A couple of weeks ago, I published a podcast (Episode 141) about the Xposure festival in Sharjah, UAE. Since then, I have had time to further reflect on this event, and the more I have thought about it, the more profound and important it has become. I therefore wanted to put my thoughts down on the written page in addition to the podcast.

If you’re a photographer, especially one who’s burned out on the usual camera trade shows that (let’s be honest) feel more like gadget fairs than creative gatherings, then Xposure 2026 in Sharjah was something that not only hit differently but was not to be missed. This wasn’t another event where you walk miles to see the latest lens dumps and sensor wars. Instead, it was a place built around photographs, photographers, and actual visual storytelling. Imagine that? A festival about photography that actually focused on the creative output of photographers. And honestly, as someone who’s been doing this for a few decades and witnessed more than my fair share of photography festivals and trade shows around the world, what happened in Sharjah this year was profound. It felt like the future of what our community could be and where I genuinely think we should be headed as a global creative collective. 

Sharjah’s Xposure 2026 didn’t just celebrate photography. The festival celebrated images that had meaning and power. Under the theme “A Decade of Visual Storytelling,” this 10th edition was huge, featuring more than 95 exhibitions (including my own from Antarctica), over 3,200 artworks, and 570 events, including talks, discussions, workshops, and portfolio reviews, spread across 12 thematic zones. Photography wasn’t reduced to specs and sales pitches; it was humanity distilled through frame after frame.  And that’s what made it not just huge in scale but meaningful in spirit and incredibly refreshing.

Walking into the venue at Aljada, Sharjah, was like crossing a threshold into another world. A world where each room was a story waiting to be felt, not just looked at. It was electric with curiosity, challenge, emotion, and craft, and it had a pulse that I have never experienced at any other photography show. Instead of a hundred booths screaming about new gadgets and products, I saw walls filled with images that made you stop mid-step, galleries full of documentary work that confronted you with powerful human emotion, wildlife photography that whispered climate urgency, and fine art prints that felt like meditation. By the end of the week, my feet hurt, my heart was full, and my brain was buzzing. 

Let me tell you in one sentence what made Xposure remarkable: It wasn’t about the equipment – it was about the people who make the pictures and the pictures themselves. That’s a rare and profound thing, and in 2026, it felt like a breath of fresh air and something worth celebrating.

Walking from gallery to gallery, you encountered human stories that punched you in the gut or lifted you up with beauty. And this wasn’t surface-level imagery. This was deep engagement with subject, place, and idea. I was truly stunned by the breadth and depth of work on display. From documentary masters to emerging voices, from experimental fine art to environmental narratives. Every exhibition carried weight and purpose, and that is what the best photography does.

There were world-renowned photographers I’ve admired for years and new voices whose work stood shoulder to shoulder with legacy names. The documentary images of war’s aftermath hit me hard. Galleries where identity, suffering, and human complexity were captured with thoughtfulness, power and nuance. Street photography that wasn’t just about visuals but social observation. And every step deeper into the festival revealed layers I didn’t expect, and that surprised me. From travel, adventure and underwater imagery that actually made you want to step into another world, to documentary photography that carried real historical weight. By now, I hope you get the picture that this was a festival of imagery, not a sales pitch for gear.

My own exhibition, Antarctica, White Silence, was part of this conversation. Showing stages of emperor penguin life through a multi-year body of work that has been a lifelong passion project. What surprised me so pleasantly at this festival was standing next to images that told stories about oceans, climate, identity, and humanity with equal force. I genuinely walked away from this festival feeling like photography as a medium is alive, thriving, and evolving. This was photography not just as documentation, but as art, as social language, and as a catalyst for empathy. 

And just to be clear, gear was there. There were a number of brand pavilions and technology showcases (including Canon and Nikon). But they sat quietly in the background, because the heart of the festival was squarely on photographers. The emphasis was crystal clear. The gear supports the craft. It doesn’t define it. That alone felt revolutionary compared to most shows where big shiny booths and marketing hype take centre stage.

This wasn’t just a festival for Sharjah, Dubai or the UAE — it was global. Over 420 photographers and artists, from what I believe were more than 60 countries, came together. That kind of scale, combined with intimate engagement, is rare. You could meet someone from halfway around the world, share insights, and feel like you were part of a bigger conversation about the role of photography in the world today. 

During the festival, I was also fortunate to be invited for a 45-minute private interview at the presidential palace about my exhibition. This was an incredible experience and an absolute honour to be invited and to take questions on my work from Antarctica. The interview will be aired later this year in Sharjah and Dubai. Some behind-the-scenes photographs below.

What I discovered is that Xposure isn’t just a photography festival. It is a global cultural platform. By embracing both still photography and film, by dedicating creative space to environmental storytelling, portraiture, travel, fine art, and documentary practice, and by weaving in talks, workshops, and performances, the festival became a kind of living museum of visual narratives. And that is super cool.

So why do I call Xposure 2026 game-changing? Because it felt like a festival that remembered why we pick up cameras in the first place. It focused on photographers and photographs over equipment. It celebrated stories over specs. It invited learning and dialogue over passive consumption. It was inclusive and inspiring in equal measure. It was both a place and a festival where creativity was the true currency. 

In an era where so many photography trade shows feel like giant tech expos masquerading as creative gatherings, Xposure reminded all of us that the medium is human before it is technical. That the stories we tell and the moments we capture are what connect us across borders and differences. That photography is a language all its own, and when nurtured properly, it can change how people see the world.

I left Sharjah feeling reinvigorated and hopeful. Not just because of the photos, but because of the spirit I saw everywhere. I walked through room after room, each filled with visual narratives that moved me, challenged me, made me emotional, made me think, made me want to go out and tell more stories. That is something you cannot bottle or fake. That is what Xposure 2026 delivered and why I think the world needs to take notice and have more festivals like this.

If you’re a photographer who’s ever felt disillusioned by expos that feel hollow or disconnected from creative practice, put Xposure on your calendar. In fact, book your tickets now (did I mention its free to attend?). Not because of the gear you might see, but because of the stories you’ll carry home with you. Because this isn’t just a photography festival. It’s a global celebration of why photographs matter.