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I’m looking forward to my annual Japan Autumn Leaves Photography workshop Tour each year, and every season brings something new to discover. Currently, I’m enjoying seascapes and sailing along the Sea of Japan to Kyushu, leading a private late-summer photography workshop for returning clients. We have been travelling for over a week, and when we dock, we head into the highlands to enjoy the high alpine vistas and escape the high summer temperatures. However, it’s the anticipation of autumn that truly excites me. As soon as the air turns crisp and the days grow shorter, Japan transforms into a breathtaking canvas of colours—fiery reds, warm oranges, and glowing golds paint the landscapes from the bustling city parks to tranquil temple gardens and remote mountain valleys. International travellers arrive in Japan with cameras in hand, eager to chase those legendary fall colours that make autumn here unforgettable. It’s my pleasure and privilege to lead visitors on my autumn Japan photo workshops through this magical time, instructing them on discovering hidden gems and classic vistas alike, and sharing the stories behind each vibrant scene. My excitement builds as the season approaches, knowing I’ll witness nature’s artistry alongside fellow adventurers who share my passion for photography and exploration.

 

Autumn photography of the golden Ginkgo tree is truly sublime.

These are natural hot springs and waterfalls.

Highlands Lake, Autumn in Japan.

 

One of the most rewarding aspects of the Autumn Leaves photo workshop tour is the immersive photography workshop woven throughout the journey. Whether you’re just getting comfortable with your camera or are a seasoned photographer seeking fresh perspectives, you’ll find a supportive, hands-on learning environment. Each day, we spend in the field covering composition, exposure, working with natural light, and using filters, as well as creative techniques tailored to the vibrant autumn scenery. As a seasoned pro, I am fast at editing. And as soon as I take my images, they are transferred from my camera to my phone, where I edit them using Snapseed and quickly share them with my participants. Typically, international participants require a few days to adjust to the new time zone, and by mid-workshop, they begin to share their images with me and the group. However, from day one, I ask participants if they are happy with the images they are reviewing in their viewfinders, especially when using mirrorless cameras. And if they are using a DSLR or film, I like to check their camera settings. With a DSLR, I sometimes check images on my computer if the participant is unsure, just to ensure everything is as it should be, especially focus points. Yes, “focal point” is one of the most misunderstood aspects of landscape photography, and it is a widespread mistake, leading to images that could have been gallery-worthy becoming mere snapshots. The most common telltale is that everything is not sharp; most often, the foreground is blurry. No matter how many times I explain to students and participants that sharpness is overrated, especially in landscape photography, and with our latest editing tools, sharpness is easy to achieve without having to be at the sweet spot of your lens. But many have fixed in their minds that the sweet spot of their lens is the best. I cannot argue that every lens has a sweet spot of around f/8 to f/11, but I no longer pay attention to the sweet spot of my lens for landscapes. Instead, I use f/16 or f/22, and I take care of sharpness and lens correction in the digital darkroom. The problem with f/16 or f/22 is light diffraction, which softens images and contrast when lenses are stopped down to a very small aperture, such as f/16 to f/32, and in older cameras, f/90, equivalent to f/32., It is a result of extreme light bending. However, this can be easily addressed in the digital darkroom. For landscapes, always remember that you can never sharpen an out-of-focus foreground, such as rocks, flowers, dried wood, or other subjects. And many times, the foreground of landscapes is very interesting, and should be sharp. Or we could do photo stacking. Sorry, that doesn't work with clouds and natural lighting that are constantly changing, but focus stacking is most effective in controlled lighting settings.    

Autumn lenticular clouds over and around Mt. Fuji.

Autumn Candlelight festival, Niigata, Japan.

However, for wildlife photography, I often recommend using the sweet spot f/8 or f/11, especially with birds that have a long wingspan, so that everything is in focus and tack-sharp. However, with the new generations of cameras and lenses featuring laser-fast eye detection, I have started tossing this rule out the window as well. Just this winter, while leading my Hokkaido photo workshop tours, I started using the NIKKOR Z 400mm f/2.8 TC VR S, coupled with the Nikon Z9, and I was able to capture spectacular bird shots from f/2.8 to f/11, with the birds' eyes tack-sharp. This coming winter in Hokkaido, I plan to do more wildlife photography shooting at f/2.8 to f/4, something I did not do as much using a DSLR or film setup, as the wildlife's eyes would be out of focus a high percentage of the time. However, with the new advanced eye detection and laser fast autofocus equipment, I can focus on a style of bird photography I adore, and I don’t have to go through a hundred images to find one with the bird's eye in focus. But for the dedicated landscape photographer, eye detection is meaningless, along with super telephoto lenses.  However, if you are an only landscape photographer and want to reduce lens reflection, consider a 100+ megapixel medium-format camera; the larger the sensor, the less lens diffraction there is. I use medium format for studio work, but as a multi-themed professional photographer, most of the time when leading Japan photography workshops, I don’t have the room to carry two sets of equipment into the field. However, if I am going out and focusing solely on landscapes, I will use a medium-format camera.   

I did a detailed review of the NIKKOR Z 400mm f/2.8 TC VR S on The Luminous Landscape. 

Not an autumn image, but this crow captured my heart, and I was able to catch this beautiful bird at first light, with the NIKKOR 400mm f/2.8 TC VR S coupled with the Z9.

Excuse me for getting distracted on the subjects of lens sharpness, editing, wildlife, and camera gear. During all my workshops, I provide constructive feedback and discuss how to tell a story through photography, from when, where, and why, as well as historical information and other info on settings, so that every participant returns home with new skills and stunning images. Additionally, it helps that I scout locations at least 3-5 years, and in some cases, 30 years before bringing participants to a specific spot. By doing so, I have the opportunity to test various settings, filters, and lighting conditions to achieve optimal results, and that is where many of those gallery-hung images originate. 

Knowing which trees are in bloom in which areas takes years of scouting.

Mt. Fuji from a lovely viewing spot; the use of several 100x150 LEE filters was needed to reduce dust during the golden morning hour.

The Sea of Clouds, some days I use CPL filters just as the sun peaks over the mountain, this happens in under a minute, and timing is crucial, to get the CPL on.

This autumn, I will introduce Sea Stacks along the Sea of Japan, and ND filters are a must.

Sunsets along the Sea of Japan, are truly gorgeous.

For 30 years, I have immersed myself in Japan's changing landscapes, always seeking out the most striking locations to experience the seasons at their most vibrant. Over the decades, I’ve discovered quiet gardens tucked away from the crowds, iconic temples framed by blazing maple trees, and city streets that come alive with a festival of colours. Highlights of my autumn photograph workshop, Sea Stacks on the sea of Japan, Nikko the resting place of the Shogun, the Sea of Clouds, ancient Zen Buddhist and Shinto Sanctuaries, Kofun mounds, cultural photography, some street photography,  capturing the majestic Mt. Fuji (a UNESCO World Heritage Site), sometimes dusted with early snow or reflected in the still waters of nearby lakes. Whether you’re wandering through serene parks, snapping vibrant cityscapes, or pausing in a small mountain village, every moment is an opportunity for that perfect “wow” shot. The same awe-inspiring beauty that once inspired legendary artists like Katsushika Hokusai, a painter, printmaker, and ukiyo-e artist of the Edo period, awaits you to experience and photograph it from your own unique perspective.

I enjoy having fun with my camera at a highland lake in Japan. I do these types of effects manually while taking images.

Nikko, the resting place of the Shogun.

A traditional Japanese home known as a Kominka, with a whole tree of Persimmons.

A small, ancient shrine, on a street where hundreds walk by daily.

Throughout the workshop, as I mentioned earlier, I offer one-on-one photography guidance in the field—helping you spot unique photo opportunities, adjust settings on the fly, and experiment with different approaches. We take time to slow down, really observe the interplay of light and colour, and make the most of each location. From sunrise photo walks to blue hour shoots and spontaneous stops at stunning spots that catch my eye, every outing is a chance to put your new skills into practice. By the end of the workshop, you’ll have a diverse portfolio that not only captures the essence of authentic autumn in Japan but also reflects your personal growth as a photographer.

This is an Ancient pilgrimage route, no longer in use and now roped off. Hikers are asked to walk around to preserve the moss and the Scene. Niigata, Japan.

Highlands Lake is way off the beaten path. Yamagata, Japan.

Ancient Shinto Ceremony.

Fishermen heading out on boats to catch trout at one of the Fuji Five lakes.

At my autumn workshop, we will spend a few hours photographing dried salmon. These Salmon have been drying for over a year, some dry for two years, but the majority dry for only a few months, then are sold.

These are not rice terraces; they are Koi Ponds. In the summer, Koi are released to breed, and in winter, they are stored indoors.

But here’s the thing: autumn in Japan isn’t just about the leaves—it's about the entire sensory experience. On my private Mt. Fuji Photography workshops, for example, I’ll have time to visit sites an hour or two drive into Nagano highlands to photograph Fuji san from over 100km away, and visit places such as the Philosopher’s Tree,” a solitary landmark that invites quiet contemplation and makes for a truly unforgettable photograph. You’ll notice how the quality of light changes throughout the day, bathing the landscapes in golden hues at sunrise and casting dramatic shadows in the late afternoon. While leading workshops, my eyes and ears are always open to capturing those once-in-a-lifetime spontaneous shots; it could be the sound of a distant temple bell, and we end up at a small village festival, or it could be the scent of wood smoke from a mountain village, and are eating bbq at a country side festival, or the gentle swirl of leaves along a riverside path that makes the moment truly memorable. Whether we’re venturing just beyond the city limits into hidden valleys or finding the perfect vantage point in the peaceful countryside, you’ll return home with photos that don’t just look beautiful—they capture the story and spirit of your adventure. If you’ve ever dreamed of experiencing Japan in autumn, don’t just admire the images online—come and create your own unforgettable memories and pictures alongside me.

Book your Japan Autumn Leaves Tour today and be ready to capture the season in full colour!
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