Have you ever stumbled across a place in photos and just know you need to experience it for yourself? That was Fanal for me. I'd seen those twisted laurel trees cloaked in fog years ago, and they never left me. There’s something magical about them, like they wandered straight off a Tolkien film set.

I flew to Madeira to chase that mood. I wanted to see how the Sony Alpha 7 IV and FE 28-70mm f/2 GM would handle a place that doesn't care about your plans. The forest sets the rules, and I came to see if this setup could keep up.

The moment the clouds hit, the whole place shifts. It’s not just mist, it’s mood. The landscape strips down to shadows and outlines, and you walk through something mythical.

What was your first impression of the setup in the field?

Honestly? It felt like it had my back from the first frame.

I shoot fast and like to crouch, climb, and stay nimble to react to light as it changes. The Alpha 7 IV’s in-body stabilisation was a game-changer, and with that constant f/2 of the 28-70mm, I could keep shooting even when the light dipped really low and into the “is-my-lens-cap-on?” levels of dark.

My tripod was with me at all times, but I only used it about 10% of the time. Half the forest sits on steep hillsides, and with the moisture from the fog, it's like navigating through a very beautiful slip hazard.

Did you face any unexpected challenges or surprises?

Can you imagine stepping off the plane and into perfect fog? We hit a full cloud inversion that lasted three days. That’s the kind of thing you only dream about...

The fog was incredible but relentless due to being high up in the clouds. That kind of moisture clings to everything. I was constantly wiping my lens, watching for condensation, and making sure the gear wasn’t covered. It felt like trying to shoot inside a washing machine!

But that’s when the 33MP sensor and dynamic range came into play. I could shoot wide, react fast, and crop later without losing detail. It freed me up. I didn’t have to pause and overthink! I just moved. And in a forest that shifts every few seconds, that matters more than you’d think.

What kind of images were you aiming to create in Madeira?

I wanted to build a sense of wonder. To show that dreamlike stillness you only find in places like Fanal Forest.

The lens helped me shift effortlessly between wide scenes and intimate details. Crouching low under branches, then stretching up over mossy ridges, switching focal lengths without breaking the flow. It felt less like documenting and more like dancing with the light/forest.

My editing leaned into soft contrast, subdued tones. I like letting the fog do the storytelling and give the viewer a feeling.

How does this setup fit into your broader creative process?

For me, photography is about emotion. If I’m messing around with settings or fighting my gear, I lose the flow state. But this combo? It fades into the background and lets me stay in the moment.

That f/2 aperture might seem like an odd pick for landscape, but it gave me creative control. I could shoot wide open in low light and keep my shutter speed up without cranking ISO too far. And sometimes that softness, especially in the fog, adds to the mood. Because let’s be honest… who’s ever looked at fog and thought, “Needs more sharpness”?

Any advice for photographers wanting to shoot in places like Fanal?

Be ready to surrender control. Fog doesn’t follow instructions. Sometimes you wait hours. Sometimes it arrives when you’re eating lunch and disappears before your lens cap’s off.

But that’s the magic and the challenge.

Move slowly and watch for the light. I like to sit in that 35–50mm range and scan for pockets of light and shadows to create depth.
Oh, and bring gear that lets you stay nimble. This setup gave me flexibility without the weight. In conditions like that, simplicity wins.