Sony Alpha cameras and lenses deliver awe-inspiring imagery, preserving the invaluable moments that we experience on our journeys. In this Alpha Traveller series, follow our globetrotters as they set off to explore and discover the wonders of the world.

Iceland - or the “Land of Fire and Ice" - is known as much for its glaciers as for its volcanoes. The island in Europe's far north is home to some of the most extraordinary geological contrasts and has long been a mecca for landscape photographers. Part of the allure is the challenge it presents, and this was no different for James Liu (@jamesliu0224) - who wanted to push his Alpha 7 IV to its limits in extreme conditions. He recounts how he and his trusty camera journeyed through Iceland's high latitude and low temperatures for a challenge like no other.

"I am captivated by the outdoors, especially the mountains, which I feel we have a spiritual connection with. I have always been interested in this idea, but only began exploring it when I started travelling and realised I could share my view of new places with others," James said. 

In contrast to conventional wisdom on landscape photography, James tries to avoid obsessing over an idealised version of the settings for his photos. "When we think of Iceland, we instantly picture apocalyptic-looking barren volcanoes, glaciers flowing amidst mountain ranges, or colourful, heavenly streams and waterfalls. But I think it's equally important to approach a place with curiosity and to not succumb simply to pre-existing notions of the place.”

Choosing the right camera and lens for travelling is often one of the hardest things to do. This was especially so for James on this trip. "I think that every photographer is different and will have to account for their own unique needs. For me, I am a bit of a 'snap happy' photographer and will typically shoot anything and everything, to document as much as possible."

With the balance between dynamic shots and flat lay photography in mind, James chose his Alpha 7 IV. Due to the importance of the post-production dynamic range in landscape photography, scalability was crucial to get the light adjustment and colour grading just right.

"Situations with high dynamic range often require significant adjustments, especially to restore the colours of the amazing sights before us. This was why I chose the Alpha 7 IV, as it supports shooting in 10-bit 4:2:2 and allows me to record everything I want for both dynamic and flat shots," said James. "In addition, it is well equipped to handle difficult weather conditions as it is dust-proof and waterproof."

As for the lens, James wanted to cover a wide range of focal lengths, opting for the FE 24-70mm F2.8 GM II and FE 70-200mm F2.8 GM OSS II as his main choices. "My motto when visiting a new place is 'a bird in the hand is worth two in the bush'. Trips can be once-in-a-lifetime experiences, as those moments are unlikely to play out in the same way again - which is why I decided to use zoom lenses as it allows for more flexibility and spontaneity. I would generally use prime lenses if I’ve visited or am familiar with the place I'm shooting in," James said.

Composition can make or break an image, and this could be challenging for beginners. "The blurry effect from bokeh can be a great tool to highlight the subject’s importance," James said.

Opening the aperture and increasing focal length creates a particularly stunning effect against cluttered backgrounds or corresponding colours, as it allows for focused composition and atmosphere. "It is a great way for beginners in composition to enhance their shots by making good use of their equipment. As their ability improves, they can try to narrow the aperture to bring out the relationship and artistic conception between the subject and the background."

James also urges budding photographers to study filmmaking for inspiration, especially how movies use ‘imagery focus’ – details such as foregrounds, backgrounds, objects, eye direction, footsteps – to create meaning in a scene rather than a direct reproduction of the environment. "The audience is then able to build a complete picture with their imagination.” 

He also cites the use of compositional differences to enhance storytelling. "Creating variation between close-ups, medium shots and wide shots so that the audience is able to understand the scene allows them to engage with the stories that you are trying to convey. Another way is to incorporate two contrasting elements, such as a foreground subject and background, or a dynamic moving subject with a static object, in a frame. This adds depth and a narrative.”

Images captured by telephoto lens are more focused, cover greater distances, and has a sense of compression. This can be used to magnify the remarkable terrains in Iceland, transforming glaciers, mountains, roads and coastlines of differing heights and distances into a compact frame, creating a rich, multi-layered photo. “By observing and making use of elements in the foreground, middle ground and background of a setting, you can uncover many unique perspectives during your travels.”

While a telephoto lens has a narrower field of view, James insists that this does not mean getting less. On the contrary, it can help to do much more. “An approach I often use to avoid elements that would interfere with the focus of a photo is to use a telephoto lens. In addition, by leveraging on the same base colours or featuring extending lines in an image, the viewer is left with an impression of a vast grassland or canyon that stretches beyond the borders of the frame, introducing a mystical aura to the place.

One final advice from James for budding travel photographers is to continually develop their eye for photography. He uses his fingers to form a range of common focal lengths (e.g., 24mm, 35mm, 50mm, 70mm), or his camera viewfinder at times. “Many things may seem ordinary to the naked eye; but once you become aware and observant of your surroundings, you start to realise that there are compositions to be discovered everywhere.”