Tag: Wildlife

Zululand South Africa Wildlife Masterclass Workshop Report 2025

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In April 2025, I had the privilege of leading an extraordinary group of photographers on my Zimanga Africa Ground-Level Wildlife Masterclass — a full reserve takeover that provided unparalleled access to one of the most diverse and wildlife-rich regions in South Africa. I’ve long said that Zimanga is one of the most progressive photographic destinations on the continent, and this year’s workshop only reaffirmed that sentiment. With no outside tourists, no sharing with others, unrestricted access to world-class photographic hides, a dedicated team of trackers and guides, and a truly immersive experience in African wildlife photography, 2025’s edition was nothing short of a creative and wildlife-rich success.

There is something profoundly moving about photographing elephants at night. The darkness, punctuated only by subtle, carefully positioned lights, transforms a majestic subject into something even more powerful and ethereal. One of the absolute highlights of this year’s trip — and a resounding favourite among the group — was the overnight experience in the elephant bunker hide. Designed specifically for photographers, this low-angle, comfortable hide allowed us to witness enormous elephant bulls as they came to drink, bathe, and interact under the cover of darkness. Being this close to a fully grown massive Tusker is an awe-inspiring experience not to be missed.

The conditions this year were sublime. With mild evenings and clear skies, although it took some persistence, the waterhole was a consistent magnet for elephants. On one particularly unforgettable night, three bulls approached simultaneously, their massive forms silhouetted against the soft glow of artificial light, mist swirling from their trunks as they drank and sprayed water into the cool night air. The photographic results were staggering — dramatic lighting, perfect reflections, and razor-sharp detail made for world-class imagery. Every single participant came away with portfolio-worthy shots that captured the spirit and strength of these incredible creatures in a truly unique way.

While hides and low-level photo vehicles offer powerful opportunities, few moments compare to the sheer intimacy of walking with a wild predator. Zimanga is one of the only places in Africa where you can photograph free-ranging cheetahs on foot — and this year’s experience elevated that to another level. With the guidance of Zimanga’s experienced trackers and guides, our group approached a pair of cheetah brothers on foot in the open savanna. This pulse-quickening encounter brought a profound sense of connection to the natural world.

Photographically, walking with cheetahs is a dream. We could shoot from low angles, position ourselves with the light, and create immersive, personal, and alive images. The early morning light was golden and soft, with gentle dew clinging to the grass. The cheetahs moved with grace and elegance, pausing occasionally to look directly into our lenses, allowing everyone to create images filled with mood and eye contact. It was, without question, a highlight of the trip and an experience no one will soon forget.

In addition to the hides and on-foot cheetah experience, the photo game drives this year were exceptional. One of the distinct advantages of a full reserve takeover is the exclusivity — we were not restricted by schedules or other tourists. Each photographer had their own row of seats in custom-built vehicles explicitly designed for low-angle wildlife photography. This made a massive difference, allowing everyone the freedom to move, shift, and compose without obstruction. You haven’t photographed in Africa on safari until you have experienced one of these low-angle vehicles.

Weather conditions were ideal — cool mornings with mist clinging to the valley floors, building into warm, dry days with rich, directional light. This meant optimal shooting conditions nearly every session. We photographed everything from rhinos dust bathing at sunrise to giraffes silhouetted at sunset, to close encounters with lions resting in the shade of acacia trees. The ability to work low to the ground from the vehicle provided a completely different perspective, yielding more dramatic and intimate imagery than traditional safari setups allow.

Zimanga isn’t just about the big mammals. The bird photography opportunities this year were phenomenal. The lagoon hide, in particular, was a bird photographer’s paradise. The clean, uncluttered backgrounds and shallow water provided the perfect stage for capturing elegant images of African spoonbills, pied and malachite kingfishers, hamerkops, storks and more.

Our group spent several serene sessions in this hide, working with long lenses to freeze the dramatic dives of kingfishers and the deliberate wading of spoonbills as they hunted. The morning light filtered in just right, casting subtle highlights and rich colours that made for exquisite avian portraits and action shots. The hide design, with glass-fronted opening, allowed for complete immersion without disturbing the wildlife — a critical feature for this kind of delicate work.

The scavenger hide delivered intense action and raw storytelling. Designed with photographers in mind, this hide is positioned over a natural carcass area frequented by vultures, jackals, and other opportunists. Over multiple sessions, we witnessed dramatic interactions as white-backed vultures jostled for position, jackals darted in for scraps, and marabou storks loomed over the chaos like prehistoric sentinels. On one particular morning we also had a visit from a majestic tawny eagle.

For those looking to create compelling behavioural imagery, these scenes were gold. Wings spread wide, dust flying, claws extended — every moment was charged with intensity. The hide’s positioning allowed us to shoot at eye-level, capturing the energy and aggression of these feasts in full cinematic detail. It was a reminder that even the less ‘glamorous’ wildlife encounters can result in some of the most potent images.

A trip of this calibre wouldn’t be complete without comfort and care. The accommodation at Zimanga is nothing short of luxurious — private, spacious rooms with views over the reserve, luxurious bedding, and all the modern amenities you could wish for. After long days in the field, returning to gourmet meals, fine South African wines, and a roaring fire created the perfect atmosphere for review, reflection, and camaraderie.

This level of comfort matters not only for rest and recovery but also for allowing participants to focus entirely on their photography. The Zimanga team handled every logistical detail flawlessly, from meal timing to equipment storage to hide scheduling. The exclusivity of having the entire reserve to ourselves meant no waiting, no distractions, and complete immersion—something that simply can’t be overstated.

Reflecting on the 2025 Masterclass, I’m already filled with anticipation for our return in 2027. Zimanga remains one of the only game reserves in Africa built from the ground up with photographers in mind, and our complete takeover ensures a bespoke experience designed to maximize photographic potential. This isn’t a workshop where you are forced to share a location with general tourists. This is a deep and private immersion that provides the opportunity to create an emotive portfolio of African images.

In 2027, we will once again take over the entire reserve. That means no sharing with tourists, no rigid safari schedules, and complete access to all hides and photo vehicles. Why is this so important? Simply put, by taking over the entire camp, we can offer multiple overnight and day hide sessions to everyone. This provides many opportunities that would otherwise be missed.

The itinerary will include overnight elephant hide sessions, walking with cheetahs, private photo vehicle access, avian hide time, and exclusive opportunities in the scavenger hide — all under ideal seasonal conditions. We’ll be visiting at the optimal time of year, when weather patterns bring soft light, mild temperatures, and increased wildlife activity. This time of the year, the rains have finished, and this also provides additional opportunities at the watering holes.

If you’re looking to elevate your portfolio, challenge your creativity, and experience Africa in a way few others ever do, Zimanga 2027 is the opportunity. With limited spaces available and the 2025 edition having sold out well in advance, I highly encourage interested photographers to reach out early. Please contact us to secure your place. Full details are available on our website at www.jholko.com/workshops This trip is not just a workshop — it is an immersion into the best Africa has to offer, with a focus on excellence, comfort, and the creation of truly world-class wildlife imagery. See you in 2027.

Wildlife Photography and Wildlife Respect

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I wanted to share a photograph that shows how a Polar Bear (or any wildlife for that matter) can be not only be safely photographed (this image shot before the new restrictions in Svalbard – more than a year ago), but also treated with the highest degree of respect and not interfered with, harassed or stressed in the slightest. We observed this magnificent bear, walking slowly across some fast ice near a glacier at a distance of more than three kilometres. We parked our small expedition ship (12 passengers aboard – all photographers) at the edge of the fast ice, shut off the engine and watched and observed through our binoculars for more than two hours – enjoying the moment with respect, awe and hopeful anticipation. Slowly, the bear approached of its own volition and curiosity, without need for us to do anything other than remain calm, quiet and patient. All on board remained quiet, observant and patient. Cameras at the ready, we began to photograph the bear from the safety of our ship as it walked slowly along the fast ice, still at distance from the boat. Of course, it noticed us, as it sniffed the air in passing in curiosity. But, it was never interfered with. It was never stressed and it was never chased. It was treated with the highest degree of respect it deserves. The Polar Bear is the king of the Arctic. It deserves nothing less than the highest degree of respect at all times. When the bear was ready, it continued its journey along the edge of the fast ice, disappearing into the distance. It was never chased or followed and there was never stress caused. There was never a question of danger from the safety of the expedition ship. When the bear had gone, we started our engine and continued our journey. This is how you photograph wildlife with respect. Perhaps scientists who chase bears with helicopters could learn a thing or two from wildlife photographers about how to approach and photograph wildlife with respect and patience. Even in this ‘cropped’ photograph, taken with a 600mm lens and a 1.4 TC (effective focal length 840mm) the bear was never closer than a couple of hundred metres. Wildlife photography of Polar Bears doesn’t need a wide angle lens to be powerful, emotive and dramatic. What is required is an understanding and respect for the wildlife. Wildlife FIRST. Photography second. This is not a comparison between Science and Tourism. That is not the intent. This is a comparison between methodologies. How Polar Bears can be engaged with, with respect, or as in the case of the recent helicopter incident by researchers, without respect that unduly stresses the animal. For the record, I am not against the Science of Polar Bears. I am against invasive, stressful methods for Polar Bear sedation and research such as chasing bears from helicopter.

Edit: Update: 24th April 2025 8.35pm AEST – Svalbard Posten has posted an article about the incident HERE. NRK Media in Norway has also posted a front page Article HERE.

Arctic Fox in Icelands Winter Wilderness Workshop Report 2025

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In early February 2025, I led two back-to-back Arctic fox photography workshops in the remote and rugged Hornstrandir Nature Reserve in northwestern Iceland for two seperate groups of photographers. Hornstrandir is a true wilderness, offering some of the best opportunities anywhere in the Arctic to observe and photograph Arctic foxes in their natural habitat. Unlike much of Iceland, where foxes are still hunted, the nature reserve provides them with full protection. As a result, they are more approachable here than in other parts of the country, making it an exceptional destination for wildlife photography. Accessible in the winter, and only by boat, the Hornstrandir Nature Reserve also offers a wonderful getaway for photographers looking to get back to Nature and spend quality time with their subjects.

This year’s workshops presented a mix of conditions that kept us constantly adapting. We arrived to find a good covering of snow, which is always ideal for clean, wintery backdrops. However, strong southerly winds soon brought in sporadic rain, initiating a rapid thaw. Iceland’s freeze-thaw cycle is highly dynamic, and even in the depths of winter, conditions can change within hours. While this can be frustrating, it also presents opportunities—by working with the available weather and terrain, we were able to capture a diverse portfolio of Arctic fox images in just a short span of time.

Over the course of the two workshops, we encountered a total of six different Arctic foxes, each with its own distinct personality and behaviour. The majority of them (five out of six) were blue morphs, which are much more common in coastal regions like Hornstrandir. Blue morph Arctic foxes retain a dark brown coat throughout winter, unlike their white morph counterparts that shift from brownish-grey in summer to pure white in winter. The contrast of the dark blue morph foxes against the snow-covered and rocky landscape provided excellent photographic opportunities. The sixth fox, a striking white morph, was a particular highlight—seeing a white fox in winter is always a special moment, as they blend seamlessly with their snowy surroundings. The opportunities for white-on-white minimalist photography are at their very best in winter with the White morph.

Among the foxes we observed was a dominant male, clearly in control of his territory. He was confident, bold, and regularly patrolled his area, occasionally chasing off younger or less dominant foxes. We also photographed several other males, females, and first-year cubs. The cubs, still relatively inexperienced, displayed playful and curious behaviour, which made for some fantastic interactions and storytelling images.

One of the most rewarding aspects of these workshops was the ability to spend extended time with individual foxes, allowing us to observe and document their behaviours in depth. Patience was key—by positioning ourselves carefully and waiting quietly, we were often rewarded with intimate moments of foxes resting, hunting, and interacting with each other.

Winter photography in Hornstrandir presents a unique set of challenges and rewards. The ever-changing conditions meant that we had to constantly adjust our approach. Some days were dominated by heavy cloud cover, creating soft, diffused light that was perfect for close-up portraits and details as well as wide vistas. Other times, brief windows of clear skies allowed us to work with directional light, emphasizing the texture of the foxes’ fur and the rugged landscape. We also took the opportunity to photograph some of the bird life in this area.

One particularly memorable session took place in the late afternoon as the low winter sun briefly broke through the clouds, casting a golden glow over the landscape. A blue morph Arctic fox paused on a rocky outcrop, bathed in the last light of the day, allowing us to capture a stunning series of backlit portraits. Moments like this are what make winter wildlife photography so rewarding—being in the right place at the right time, ready to seize an opportunity when the elements align.

The thawing snow added another dynamic element to the imagery. As the white landscape receded, patches of dark volcanic rock and golden-brown tundra began to emerge, creating a striking contrast with the foxes. This gave us a more varied and unique portfolio than a uniform blanket of snow might have allowed. Some images showcased the foxes navigating a pristine winter landscape, while others depicted them against a more transitional, raw, and textured background.

After the conclusion of the workshops, I traveled to a new, previously unexplored location in northwestern Iceland to scout for future Arctic fox photography opportunities. This region offers not only a dramatic coastal setting but also supports both blue morph and white morph Arctic foxes, making it a particularly exciting prospect for future trips.

The scouting trip was highly productive—I was able to locate multiple foxes and observe their behaviour in this environment. The landscape features towering cliffs, black sand beaches, and rugged fjords. The combination of these elements provides a striking backdrop for wildlife photography, adding another layer of visual interest to Arctic fox images.

I also took the time to assess the logistics of operating a workshop in this new location. Accessibility, accommodation options, and weather patterns all play a crucial role in determining the viability of a new workshop destination. From what I experienced, this area has tremendous potential, and I’m excited to return for more in-depth exploration.

Following the success of this year’s workshops, we will be returning to Iceland in February 2026 for another round of back-to-back Arctic fox photography expeditions. Hornstrandir remains one of the best locations in the Arctic for reliably finding and photographing these elusive animals, and with the addition of a new location in northwestern Iceland, we will have even more opportunities to create exceptional imagery.

Each workshop is limited to a maximum of five photographers, ensuring a highly personalized experience with ample one-on-one guidance. Whether you’re interested in capturing intimate portraits, dynamic action shots, or environmental compositions that showcase the foxes within their rugged habitat, these workshops are designed to maximize photographic opportunities in one of the most breathtaking winter landscapes on Earth.

If you’re interested in joining us for this incredible experience, feel free to reach out to register your interest. With small group sizes, spaces fill quickly, and this remains one of the most sought-after wildlife photography experiences in Iceland.

Photographing Arctic foxes in winter is both a challenge and a privilege. These animals are perfectly adapted to one of the harshest environments on the planet, and spending time with them in their natural habitat is an unforgettable experience. The combination of dramatic landscapes, rapidly changing weather, and the intimate encounters we had with the foxes made this year’s workshops a tremendous success. As always, adapting to the conditions was key. Iceland’s winter is unpredictable, and working with what nature provides—rather than against it—ensures the best photographic results. The freeze-thaw cycle, while sometimes frustrating, ultimately allowed us to create a diverse and compelling portfolio in just a short period.

With the addition of a new location for future expeditions, I’m looking forward to expanding the possibilities for Arctic fox photography in Iceland. These workshops remain a highlight of the year, and I can’t wait to return in February 2026 to once again immerse myself in this incredible environment. If Arctic fox photography in the wild is something you’ve dreamed of, now is the time to start planning. I hope to see you in Iceland next winter for another unforgettable experience!

Mastering Your Camera: The Key to Success in Wildlife Photography

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Wildlife photography is one of the most challenging and rewarding genres of Nature photography. Creating powerful and emotive wildlife photographs demands a deep understanding of animal behaviour, patience, and the ability to adapt to unpredictable environments. But beyond all that, there is one factor that determines whether you capture the decisive moment or miss it completely—how well you know your camera.

Over the decades I have been working as a professional Nature photographer, I’ve had the privilege of photographing in some of the planet’s most remote and extreme environments, from the frozen landscapes of Antarctica to the rugged and unforgiving Arctic tundra of Svalbard and Greenland. In these places, conditions can be brutally harsh, wildlife is unpredictable, and opportunities are fleeting. In such environments, there is no time to fumble with settings or second-guess technical choices. Mastery of your camera is the foundation that allows you to focus on composition, storytelling, and, most importantly, the wildlife itself.

In this article, I’ll discuss why knowing your camera inside and out is critical in wildlife photography, the key settings and features you must master, and how this knowledge translates into better images in the field. Even if you don’t shoot wildlife, this article will help you become a better photographer. It may even save you from an expensive purchase and from the common misconception that a new camera is the vehicle to better photography. In point of fact, a new camera is often detrimental to your photography in the short term as you have to learn the new tool.

The Unforgiving Nature of Wildlife Photography – Seconds Make the Difference – Wildlife photography is about capturing fleeting, decisive moments. Whether it’s an Arctic fox pouncing on prey, a polar bear emerging from the ice and fog, or a sea eagle diving for fish, these moments are unpredictable and often last no more than a split second or two. If you’re not intimately familiar with your camera, you risk missing the shot altogether. In fact, unless you have complete technical mastery of your camera, including muscle memory for all of its controls, you will almost certainly miss it.

I’ve repeatedly seen photographers in the field hesitate because they needed to adjust their autofocus settings, change their exposure compensation or otherwise make a technical adjustment. By the time they’ve made the adjustment, the moment is gone and the photograph has been missed. Wildlife doesn’t wait for you to be ready—you must be ready at all times.

Harsh and Unpredictable Environments – In many of the locations I photograph, the environment itself is a formidable challenge. Freezing temperatures in the Arctic can drain batteries quickly, gloves make it difficult to adjust dials, and snow can easily confuse a camera’s metering system. In such conditions, knowing how to operate your camera by feel—without having to look at buttons or menus—is essential. Even if you take the harsh environment out of the equation knowing how to operate your camera intuitively with muscle memory will improve your photography; regardless of the environment.

When I’m photographing Arctic foxes in Iceland’s Hornstrandir Nature Reserve, for example, I might be kneeling or laying down in the snow with high winds and blowing ice, tracking a fast-moving subject. In such situations, I cannot afford to be distracted by my camera. Everything must be second nature. The second I have to look away or stop and think about what I am doing from a technical perspective is the moment I stop being an artist and start being a technician.

Essential Camera Skills Every Wildlife Photographer Must Master – Autofocus Mastery – Autofocus (AF) performance can make or break a wildlife image. Understanding how your camera’s AF system works—its various modes, tracking capabilities, and limitations—is critical.

For wildlife, I typically rely on continuous autofocus (AI Servo) and use a combination of single-point and zone AF modes depending on the subject. For fast-moving subjects, animal eye-tracking autofocus (available on newer mirrorless cameras) is a game-changer. However, not all cameras perform equally well in different settings, and understanding your camera’s strengths and weaknesses helps you choose the right settings in the moment. This can only come with experience.

When photographing Arctic foxes, I frequently switch between single-point AF for precise focus (when the fox is stationary or moving slowly) and zone AF for tracking eye and movement (when it’s running or otherwise active). Knowing when and how to make these adjustments without taking my eye off the viewfinder is a skill that comes with practice. Once you master this ability you can free your brain up to focus (pardon the pun) on composition.

Exposure Control in Extreme Conditions – Wildlife photography often involves high-contrast environments. In the Arctic, for example, bright snow can fool a camera’s metering system, leading to underexposed subjects. Conversely, dark fur on an Arctic fox or polar bear in shadowed ice can result in overexposure.

Mastering exposure compensation and understanding histograms is crucial. I always shoot in Manual mode, allowing me to control shutter speed and aperture with an appropriate ISO setting for the light. Since I shoot in Manual I don’t need to dial in exposure compensation to ensure my subject is properly exposed. I know from experience, that in a bright white snow environment I am going to have to overexpose approximately two stops to ensure my whites are white (and not grey) and that my histogram is is biased to the right (for optimal signal to noise). To accomplish this, I simply shoot a frame, check the histogram and make any required adjustments before the wildlife comes into play.

Shutter Speed and Motion – One of the most common mistakes I see in wildlife photography (after underexposure) is using an inadequate shutter speed. A slow shutter can result in motion blur, rendering an otherwise perfect moment unusable. Of course, there are times when we want to introduce motion blur into a photograph to convey a feeling of movement. Other times, we want to ensure a sharp subject. As a general rule:
• Fast-moving subjects (birds in flight, running mammals): 1/1250s or faster
• General wildlife (walking animals, standing birds): 1/500s
• Slow or stationary subjects: 1/250s or lower, depending on focal length and speed of subject

Keep in mind the above are general guidelines only and you should choose an appropriate shutter speed to your subject. This is also where knowing your subject can greatly assist you.

One technique to try is using Auto ISO with a minimum shutter speed. This ensures you will maintain a sharp image while allowing flexibility in exposure settings. If you try this I recommend setting a ceiling for the ISO so that you control the final noise in your files.

Understanding Custom Buttons and Shortcuts – Modern cameras offer extensive customisation options. I encourage every wildlife photographer to set up their camera for quick access to critical settings. For example:
• Back-button focus: Separates focusing from the shutter button for better control of auto focus and metering.
• Custom buttons for AF mode switching: Quickly toggling between single-point and zone AF is essential. If you happen to also shoot a Canon EOS R1 then you can achieve this with just the one button on the back of the camera.
• Custom mode settings: Saving different exposure settings (e.g., one for action, one for static subjects) allows rapid switching.

By configuring my camera to my workflow, I eliminate unnecessary adjustments and can react instantly in the field.

Translating Camera Knowledge into Better Wildlife Images – Confidence and Speed in the Field – When you know your camera inside and out, you develop the confidence to focus on composition and storytelling rather than technical details. You will free up your brain to become an artist in the field, instead of a technician.

For example, during my Arctic fox workshops, I often find myself tracking a fox as it moves across a snowy landscape. Because I don’t have to think about my settings, I can concentrate on anticipating the fox’s next move, positioning myself for the best angle, and ensuring a compelling background. I am also ready to capture the decisive moment if the fox does something unpredictable.

Better Use of Light and Composition – Technical mastery also allows for more creative freedom. Instead of struggling with settings, you can focus on utilising the best light, framing your subject effectively, and telling a more powerful visual story.

A well-executed image isn’t just about sharpness—it’s about emotion, behaviour, and the relationship between the subject and its environment. Knowing your camera allows you to capture these elements with precision. Remember, we are visual storytellers. We want to tell the story of the wildlife in the environment in which it lives. Keep this in the forefront of your thinking and I promise you your photography of wildlife will improve.

How to Improve Your Camera Mastery – Practice Before You Travel – Before heading into the field, spend time practicing with your camera in controlled conditions. Learn its menus, test autofocus performance, and memorize button placements so you can operate it without looking. Make sure you master the tool (the camera) so that you can take full advantage of all of its capabilities in the field without disengaging yourself from the subject in front of you.

Simulate Real-World Conditions – If you’re preparing for an Arctic or cold weather experience, practice shooting in the cold with gloves on. If you’ll be photographing birds in flight, visit a local park and test your tracking skills. The more you train in realistic conditions, the more prepared you’ll be. When I was teaching myself how to photograph birds in flight I would go down to my local beach on the weekend with my camera and photograph seagulls for practice.

Learn from Mistakes – Every missed shot is an opportunity to improve. Analyse your images to identify technical errors and refine your approach. Continuous learning is key to mastering wildlife photography. Remember to also learn about your subject. The more you know about the wildlife you are choosing to photograph the more you will be able to predict its behaviour and the more likely you are to capture decisive and powerful photographs that fully convey the emotion of being in the field.

Final Thoughts – In wildlife photography, knowing your camera is just as important as knowing your subject. The difference between a missed opportunity and a breathtaking image often comes down to how quickly and instinctively you can adjust your settings. Mastering your camera frees you to focus on the art of photography—the light, composition, and the incredible wildlife we are privileged to witness. So take the time to truly understand your gear, because when the moment comes, you won’t have time to think—you’ll need to react.

ALSO PUBLISHED TO CANON RUMOURS MARCH 3RD 2025

Snow Leopard of Western Mongolia Workshop Report 2025

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In mid January 2025 I ran a workshop to the Altai mountains in Western Mongolia to find and photograph the ghost of the mountains – the Snow Leopard. This was my second workshop to this region of Mongolia in Winter and it included a number of incredible sightings and photography sessions with this stunningly beautiful cat.

We kicked off our workshop in the capital of Mongolia with a two-hour flight to the small town of Khovd in Western Mongolia. From here we took our pre-arranged 4-wheel drives another two and a half hours into the wilderness to our base camp on the upper steps of the Altai mountain range. The altitude at base camp is around 2100 metres, so quite comfortable for day-to-day living. Operational altitude is quite a bit higher toping out around 10,000 feet or just over 3000 metres.

This year the snow conditions in this part of Mongolia were superb with an excellent covering of snow at both base camp and on the mountains.  Snow conditions are extremely unpredictable from year to year and even when conditions are ideal, the snow often doesn’t last long. Even though temperatures are frequently below -20º Celsius, the snow melts fast due to a combination of direct sun exposure and extremely dry air. The snow often goes straight to gas form, meaning there is no melt water lying around. We witnessed an astonishing amount of snow sublimate in just two days when it was below -20º Celsius with constant sunshine.

Snow Leopards are notoriously difficult to find and even harder to photograph, so to give us the best possible chance we utilised three fit young local trackers who live in the mountain region around base camp. Equipped with radios and fit as navy seals on pay day our trackers would go up into the mountains every day before sunrise and search for signs of recent passing of Leopards. It wasn’t long on our first day before our trackers sent back word of a leopard high in the mountains. We quickly grabbed our camera gear and began a one hour plus hike up the steep sides of the mountain screen slope. After some difficult climbing we reached a small snow covered plateau of sorts where our trackers advised us to wait. The Leopard was now on the move and no one (including the trackers) knew exactly where it was.

From our vantage point on the side of the mountain we were limited in what we could see due to the incredibly steep rocky terrain, low cloud and significant ice crystals in the air that hampered visibility. Nevertheless I was determined to try and locate the leopard and after roughly half an hour of searching with my binoculars I found it on the move between a rocky ravine covered in snow. The Leopard was moving quickly and after getting everyone onto the leopard with their cameras I managed to grab a photograph I am extremely pleased with. What I love about this photograph is the environment surrounding the leopard. Many photographs of Snow Leopard have less than ideal backgrounds, but in the snowy conditions we were able to capture the leopard in wonderful context.

Over the course of the next week we had several other sighting and encounters with Leopards in the area that included an incredible display of interaction between a male and female high on the near vertical sides of one of the mountains. This encounter was mesmerising to watch, as the male leopard tracked the female across the side of the mountains. When they finally came together we could hear female growling from the base of the mountains. This sort of interaction is incredibly rare to witness and was a real highlight of the trip. Photographically it was challenging as the leopards were at a significant distance and on a near vertical rock face that was impossible to reach – nevertheless, the encounter was enthralling.

The photograph of the month I recently posted for January 2025 was also shot during this workshop. Although this is not an image of Snow Leopard, it is probably my favourite wildlife photograph from this trip. The silhouette is of a Mongolian Ibex that appeared at the very top of this mountain range for a few moments while we were milling around the vehicles at the base of the mountains. At the time the Ibex appeared, my camera was packed up in the car as we had just returned from hiking in the mountains. Hastily I grabbed my camera bag and pulled out the R1 with the 600mm and 1.4 TC. I immediately recognised that this photograph was going work best as silhouette and set my exposure accordingly. Mercifully, the Ibex remained and posed for the perfect silhouette before disappearing again over the ridge. This sort of photograph is pure serendipity and can never be planned. The key takeaway for me is not just to remain prepared in the field, but also to recognise opportunity when it presents for this sort of silhouette.

On our last day we also spotted a wolf high on top of a distant snow covered mountain – unfortunately too far to photograph, but absolutely wonderful to see and experience. This was my first encounter with a wolf in Mongolia. We also had some superb cultural experiences and opportunities and although people photography is not my thing, I could not resist the chance to photograph one of our trackers young kids before he set off into the mountains to shepard the sheep and goats.

I will return to the mountain regions of Mongolia again early next year in January 2026 in search of this incredible ghost of the mountains. If you would like to join myself and Wild Nature Photo Travel on this unique experience in Mongolia please get in touch to register your interest. Places are filled on a first come first served basis. The 2026 workshop will run from the 13th of January until the 24th of January which is the perfect time for winter conditions to photograph this powerful cat. We will be taking just four people on this workshop to ensure the best possible photographic opportunities and experience for all.