PRISMA Issue 27

Issue 27

CULTURE - EVENTS - TRAVEL - NATURE 28 December 2025

PRISMA

PHOTOGRAPHY MAGAZINE Editorial Article In the Studio: Photographing the cover for a new music single. by: Amanda MacEachen

Front Cover: “Searching for Scenes”

INSIDE FEATURES

by: Rory Quiding Read on p. 29

Scottish Wildlife

Geometry of Silence

British Paraclimbing

Beyond Ice and Fire

Red Deer

Women’s Fotball

Slow Living

Small Wildlife

Capturing Emotions

Lisbon

Scottish Premiership

Searching Scenes

PRISMA ISSUE OVERVIEW

Issue 27 - 28 December 2025

INSIDE THIS ISSUE OF PRISMA Editor-In-Chief: Louise Anderbjörk & Tristan Sharman

EXCLUSIVE: In the Studio - Photographing the cover for a new music single By: Amanda MacEachen

Photographing a single cover involves more than taking a strong portrait. In this article, music photographer Amanda MacEachen writes about working on the cover for Eilidh Hamilton’s new release “freefall,” sharing how studio and camera techniques can visually capture a song’s message.

Photo: Deborah McPhail

Photographing Scotland . . . . . . . p.7 Award-winning Deborah McPhail shares stories behind Scotland’s inspiring wild landscapes and rich wildlife make that always keep her returning for more shoots.

Photo: Louise Anderbjörk

Paraclimbing Championships . . p.13 Louise Anderbjörk recounts the experience of photographing the British Paraclimbing Championships 2025, capturing a day of elite athleticism and celebration.

Photo: Robert Fülöp

Editorial Article Read the full article starting on Page 3

Photo: Tim Ruetz

Geometry of Silence . . . . . . . . . . p.9 A black-and-white photography series exploring the emotion in architecture through form and light, forming a story of emptiness, movement and stillness in Europe.

Photo: Bálint Fülöp

Beyond Ice and Fire. . . . . . . . . . . p.11 Tim W. Ruetz uses his camera to go beyond landscapes of Ice and Fire and instead turns his lens and public attention to Iceland's rich culture of rare European species.

Photo: Stuart Williamson

Hungarian Red Deer . . . . . . . . . p.15 The red deer during the September rut is stunning. Their dawn appearances, booming calls, and clashes offer the rare, unforgettable moments he returns for every year.

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Women’s Football . . . . . . . . . . . . p.17 From football fan to grasroots football photographer, Scotland’s Stuart Williamson shares how he first started to capture photos for Stenhousemuir WFC.

PRISMA ISSUE OVERVIEW

Photo: Katrine Skaten

Slow Living in Norway . . . . . . . . p.19 Katrine Skaten shares her insights about capturing the slow, beautiful moments of everyday life in Norway and sharing them with her son through photography.

Photo: Kamil Sosinski

Capturing Emotions . . . . . . . . . p.25 Kamil Sosinski shares his tips for creating comfortable spaces for portrait photography and capturing personality and authenticity through lighting and composition.

Issue 27 - 28 December 2025

Photo: Aaron Maguire

Photo: Béatrice H

Look for the Little Ones . . . . . . . p.21 While many dream of capturing elusive animals like the snow leopard, Aaron Maguire encourages us to take the time to appreciate the natural beauty that is often overlooked.

Lisbon and Beyond . . . . . . . . . . p.23 Béatrice details a recent trip to one of Europe’s most beautiful capitals Lisbon, and shares her secrets for capturing the busy city's quiet, postcard-perfect side.

Photo: Rory Quiding

Photo: Louise Anderbjork

Scottish Premiership . . . . . . . . . p.27 Louise Anderbjörk shares her experience of being a pitch side match photographer in the Scottish Premiership, covering a game between Hibs F.C. and Dundee F.C.

Searching for Scenes . . . . . . . . . p.29 Rory Quiding reflects on his photography journey and how he learned to see the extraordinary scenes just under the surface of everyday life.

Issue Overview

The Editorial Team

1 Inside this Issue 3 Editorial Article 5 Photo Stories 31 Contact Page

Editor-in-Chief . . . . . . . . . . . . . Louise Anderbjörk Editor-in-Chief ........................Tristan Sharman Content Manager.........................Kailee Parsons Editorial Editor ..............................Maggie Zhu Researcher ................................Daniel Olivares Media Manager .................. Amanda MacEachen

@prismaphotomag

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PRISMA EDITORIAL ARTICLE

Issue 27 - 28 December 2025

IN THE STUDIO Editorial Editor: Maggie Zhu

AMANDA MacEACHEN Dear readers, Welcome to a brand-new issue of PRISMA! I hope everyone has enjoyed reading the photo articles every week from our incredible contributors. It’s been an absolute joy working with PRISMA this year and I can't wait for what we bring to 2026. Without further ado to kick issue 27 off, I thought I’d write an article on my recent experience of photographing a cover for a new music single. As a music photographer, getting the opportunity to work directly with artists on their projects is always an absolute pleasure and I love the journey it takes to get to the final result. My good friend and very talented singer Eilidh Hamilton released her brand-new single ‘freefall’ on the 19th of December (which you should go listen to now, it’s amazing and a beautifully written track!). Eilidh came to me for some ideas, specifically on what we could do for this single creatively and for the digital promo. We had previously worked together on a shoot for her first single ‘right person wrong time’, where we opted for an outdoor location and a soft, natural aesthetic. That shoot leaned quite heavily into gentle colour palettes, natural light and minimal movement, aligning more with the feeling of the song. This time, however, the song carried a very different emotional weight, so we required something bolder and a bit more experimental. Because of this shift in storytelling, we decided to move away from location shooting and instead give ourselves full creative control by renting a photography studio. The studio environment allowed us the flexibility to experiment freely with camera techniques that wouldn’t be as achievable outdoors. The studio we rented was Eh3 Studios in Edinburgh, which I can highly recommend for any photographers in the area!

Photo: Amanda MacEachen

Photo: Amanda MacEachen

The space itself was incredible, very spacious, fully equipped, and incredibly versatile, making it ideal for a shoot like this. The studio had a wide range of professional lighting equipment, modifiers, coloured backdrops, meaning our setup time didn't take that long and we could focus almost entirely on the creative process and taking photos. Having reliable studio lighting also meant consistent exposure across the shots, which was essential given how experimental the camera settings would become!

The main idea for this shoot with Eilidh was to use intentional motion blur within the camera to create images that visually simulated a sense of falling or losing stability, directly reflecting the song’s title and meaning. Rather than relying on post production effects, (and it being a lot less time consuming), I wanted the movement to be captured in camera. To achieve this, my camera settings had to be vastly adjusted from what I would normally use in a portrait session. My shutter speed was dropped down to around 1/5th of a second, which allowed enough time for movement to register while still retaining partial sharpness. With the studio lights sitting nicely my ISO sat comfortably at 200, keeping noise to a minimum and I shot with an aperture of f/2.8. This setup was very much a process of trial and error, with constant micro adjustments to the shutter speed to fine tune the intensity of the motion blur. Even a small change in shutter length dramatically altered the result, so we spent a lot of time looking at the photos, adjusting, and reshooting. We did a wide range of

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PRISMA EDITORIAL ARTICLE

Issue 27 - 28 December 2025

Photo: Amanda MacEachen

contrast, colour grading, shadows etc would completely alter the mood of each shot. Because of this I played around with a lot of different editing styles for each image, so that me and Eilidh both got a feel of what worked best for the track! I also did a mix of black and white edits as well as coloured ones, when me and Eilidh were discussing our thoughts after the shoot, we agreed that the best photo for the cover would be one that was in black and white. The reason for this was that we felt it visually represented the song the best, ‘freefall’ still had a soft touch to it, and the black and white effect gave a sense of loss that the song embodies. A big issue we did have (as many photographers may be able to relate with), was my overshooting. It was very difficult to narrow down one hundred edited photos to just ONE shot for the cover. So me and Eilidh did this very bit by bit, it was first narrowed down to 10, then 5, then 3, and then we finally collectively agreed which one was best for the cover (after long deliberation). We went for a shot where Eilidh was leaning over in a falling motion, we both felt that the motion blur in this shot was perfect, it was the type of shot we were aiming for the whole session, and I remember both of us looking at the RAW file when we took it saying “this could be the one”!. I can't thank Eilidh enough for trusting me with this process and photographing for a song that has such meaning and raw emotion to it. It was a joy to work in a studio again and I would recommend it to any photographer if they are doing a shoot in need of lots of flexibility and range, especially for promo related shoots like these! I hope you all enjoy reading this issue of PRISMA and happy new year!

“The studio environment allowed us the flexibility to experiment freely with camera techniques that wouldn’t be as achievable outdoors” different poses for this, such as Eilidh standing on a stool and ‘falling’ off of it (in a very safe way). Other ones included lying on the floor where in post production editing I could make it look as though she was floating with the motion blur giving the freefall motion. Once the creative juices got going and the longer we were shooting for, me and Eilidh had a multitude of ideas and poses to run through! One of the key techniques we used involved physically moving the camera during the exposure. By making a sharp, deliberate movement away from the subject while the shutter was open, I was able to keep Eilidh relatively sharp while dragging the surrounding blur in a specific direction. This directional motion became a visual motif throughout the shoot and perfectly embodied the ‘freefall’ sensation we were aiming for. We explored this technique in several different ways. One approach focused on facial motion blurs, where Eilidh’s face remained the central subject while the motion pulled outward. These photos were really interesting to work with in post editing! Subtle changes in for example the

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Photo: Amanda MacEachen

Photographing the cover of a single

Photo: Amanda MacEachen

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

WHY PHOTOGRAPH SCOTLAND? Content Manager: Kailee Parsons

DEBORAH McPHAIL I have always enjoyed taking photos, but something about Scotland makes the whole experience feel different, easier, richer, and far more satisfying. Maybe it is the scenery, maybe it is the quiet, or maybe it is simply the feeling of being outdoors in a place that still feels properly wild.

Whatever the reason, photographing landscapes and nature here has become one of the things I look forward to the most. One of the biggest reasons is the variety.

Scotland is not a large country, yet it manages to contain an incredible amount of scenery. I can spend the morning on a beach with wild waves crashing in and find myself climbing a misty hill a few hours later. There are forests, cliffs, lochs, mountains, and islands, each with their own character. I never run out of inspiration. Even familiar places look completely different depending on the weather or the season. I enjoy that unpredictability because it keeps things interesting and ensures I rarely come home with photos that feel repetitive. Scotland’s ever-changing weather, while frustrating for many visitors, has become one of my favourite things about photographing here. The light changes so quickly. One moment everything is flat and grey, and the next a gap in the clouds sends a beam of sunlight across a hillside, making the whole landscape come alive. These sudden and fleeting moments are what make photography here so exciting. I have lost count of how many times I have been packing up, convinced nothing special will happen, only for the perfect shot to appear out of nowhere. It makes the whole process feel a little like treasure hunting. Another thing that draws me in is the sense of calm I get from being out in nature. Life can be hectic and full of noise, but when I am exploring with my camera, all of that fades away. I start noticing the small things I would normally overlook, such as the rough texture

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Photo: Deborah McPhail

texture of tree bark, the sound of running water, or the shapes of the clouds. Photography slows me down in the best way. It forces me to look closely rather than simply glance. Even if the photos do not turn out exactly as I imagined, the time spent outside always feels worthwhile.

Wildlife photography adds another layer of enjoyment.

Scotland offers plenty to see if you are willing to be patient, including deer, otters, seals, birds of prey, and puffins during the right season. There is something rewarding about spotting something unexpected and managing to capture it. Getting a shot of a bird as it takes off

Photo: Deborah McPhail

Photo: Deborah McPhail

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Issue 27 - 28 December 2025

Photo: Deborah McPhail

When I look back at my photos, I don't just remember the view. I remember the fresh air, the quiet moments, and the sense of freedom that only comes from being outdoors.

Photography also gives me a way to share these experiences with others. When someone sees one of my photos and says it reminds them of a place they love or makes them want to visit, it feels genuinely rewarding. It means I have managed to capture a small piece of what makes Scotland so special to me. In the end, I love photographing landscapes and wildlife in Scotland because it brings together so many things I care about, including spending time outdoors, discovering new places, and finding a sense of calm. Scotland provides the perfect backdrop for all of that. Its beauty is not polished or predictable. It is raw, dramatic, and full of character.

“ Scotland’s weather teaches you to adapt quickly ” off or noticing a deer hidden in the heather feels like a small gift from the landscape. I also appreciate the sense of adventure that comes with photography. Some of the best views require effort, such as early mornings, steep paths, muddy boots, or long drives along narrow roads.

The effort makes the moment more meaningful. When I finally reach a high point and the landscape opens up beneath me, I always feel glad I made the journey. The photo becomes a reminder not only of the view but also of the entire experience of getting there. Every time I go out, I learn something new. Scotland’s weather teaches you to adapt quickly. You learn to deal with wind, rain, harsh sun, low light, and midges. You learn to adjust your settings quickly and to recompose a shot before the conditions change again. You learn what works and what does not. Because the landscape is so varied, there is always something new to try, whether it is a long exposure of a waterfall, a wide-angle view of a mountain range, or a close-up of plants and textures. Things never feel stale.

The biggest reason I love photographing nature in Scotland is the connection I feel to the place. There is something grounding about being out in the Highlands or on the islands, where the scenery still feels untouched.

Even on short walks, the silence and open space make me feel more present and aware of the world around me.

Photo: Deborah McPhail

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

GEOMETRY OF SILENCE Content Manager: Kailee Parsons

ROBERT FÜLÖP Architecture, to me, is the purest form of human thought made visible. It is mathematics wearing emotion, geometry turned into story. When I began photographing architecture, I wasn’t interested in documenting buildings. I wanted to understand the invisible language that shapes them. Every line, every curve, every shadow is a decision made by someone trying to impose order on chaos. Through photography, I try to listen to that conversation between structure and silence. My series ‘Geometry of Silence’ explores that tension, the dialogue between form and emptiness, movement and stillness.

The work was captured across Europe, from Berlin to Bilbao, Vienna, Madrid, and Valencia. Each city reveals its own rhythm, but I approach them all with the same intention: to distill architecture to its emotional essence.

By removing color and distraction, by stripping everything down to light and structure, I search for the point where architecture becomes something universal, a state of calm precision that transcends its surroundings. I have always believed that black and white is not the absence of color but the amplification of truth. When color disappears, form becomes language. Shadows speak. Silence breathes.

The buildings I photograph are not static monuments; they are living organisms made of rhythm, balance, and resistance. My camera doesn’t capture what they look like.

It captures what they feel like. The process is slow and deliberate. I often spend hours on a single frame, studying how light moves across the surface, waiting for the right geometry to emerge. I shoot with long exposures, sometimes in pixel-shift high resolution, to extract every tonal nuance. In post-processing, I work like a sculptor, carving the light until the image feels weightless. I am not chasing realism. I am pursuing equilibrium. Every =======

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Photo: Robert Fülöp

photograph must hold stillness in tension with energy, clarity in tension with mystery. The series begins in Berlin, with the Tempodrom and the Marie-Elisabeth-LüdersHaus, two structures that represent different kinds of order. The Tempodrom rises like a frozen wave, its spires slicing through the sky with mathematical precision. It feels more like a crown of light than a roof. The LüdersHaus, with its perfect circular window reflected on the Spree, becomes an architectural mandala, a study in balance and repetition. In both, I find the same serenity: architecture as meditation. In Valencia, Santiago... ========

Photo: Robert Fülöp

Photo: Robert Fülöp

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

Photo: Robert Fülöp

alive yet perfectly still. In all these places, my work is not about documenting architecture as a record of human progress. It is about finding stillness within form, using geometry as a vessel for emotion. Each frame becomes a meditation on precision and solitude. Through this approach, I aim to give architecture a new voice, one that speaks softly but powerfully, beyond the noise of the cities that surround it. Ultimately, Geometry of Silence is a search for permanence in an impermanent world. The structures we build are our attempt to outlast ourselves.

My photographs are my way of listening to those attempts, of translating their silence into visual rhythm. Because in the end, architecture is not about walls and steel. It is about what remains when everything else fades: light, space, and the quiet geometry of existence.

“I am pursuing equilibrium.” ...Calatrava’s City of Arts and Sciences takes the idea of flow even further. His structures are reflections of movement itself, bridges turned into wings, buildings shaped like water. When I photographed the Palau de les Arts Reina Sofia, I wanted it to feel less like a structure and more like an echo, a form repeating itself into infinity through its mirrored reflection. It is a visual conversation between architecture and the element that defines it: light.

Bilbao is where architecture becomes sculpture. Frank Gehry’s Guggenheim Museum is not built; it is composed like music. Each titanium curve is a note, each shadow a pause. In one image, the spider sculpture Maman guards the museum like an ancient deity, a symbol of creation and fragility. In another, the museum’s full form rests across the Nervión River, a reflection so still that it feels unreal.

For me, Bilbao represents the coexistence of chaos and harmony, the balance every artist tries to find. In Madrid, the vertical elegance of Cuatro Torres brings the series into a dialogue with power and precision. The building rises like a monolith of glass and steel, its sharp geometry framed by the soft, organic curve of the structure below. I composed the image to feel almost gravitational, the tower pulling the viewer upward through light. The contrast between the curved foreground and the ascending verticals became a metaphor for balance between human ambition and architectural restraint. It is one of those rare structures that feels simultaneously infinite and finite, ====

Photo: Robert Fülöp

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

BEYOND ICE AND FIRE Content Manager: Kailee Parsons

TIM RUETZ Most photography trips to Iceland aim to capture breathtaking landscapes, fiery volcanoes and towering mountains of ice. During summer charming puffins are also popular. However, Iceland additionally offers extraordinary chances to photograph a variety of rare European species. Particularly impressive are the numerous reliable breeding pairs of Eider ducks, Common- and Red-Throated Loons, which can be photographed in different places. These birds enable excellent opportunities, as they are often visible and quite approachable without disturbing them. Another fascinating aspect is the population of Arctic Skuas. After the devastating effects of avian influenza on the Shetland Islands bird population, the importance of Icelandic breeding grounds greatly increased. These hardy raptors are highly interesting to observe and offer great opportunities for photographing predatory bird species.

Iceland is also fantastic for coastal birds, especially in the more remote areas of the north-east and north coast.

There, you can find species of waders: curlews, redshanks, and oystercatchers, offering incredible opportunities for wildlife photography along the shoreline. Lake Mývatn hosts the only European breeding ground for Harlequin ducks. In conclusion, the land of ice and fire offers unparalleled wildlife photography opportunities, combining stunning landscapes with diverse species.

Photo: Tim Ruetz

Photo: Tim Ruetz

Photo: Tim Ruetz

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The curious wildlife of Iceland

Photo: Photo: Tim Ruetz

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

PARACLIMBING CHAMPIONSHIPS Content Manager: Kailee Parsons

LOUISE ANDERBJÖRK On Saturday, the 11th of October, the British Paraclimbing Championships took over the Edinburgh International Climbing Arena in Ratho for a full day of high-level competition. Athletes from across the UK, including several members of Britain’s international highperformance team, gathered to compete across qualifiers and finals in 13 categories for the titles of British Champions 2025. As for me, I was there as the official photographer for GB Climbing, marking my first assignment with a national sporting body in the UK. This marked an exciting milestone in my career, and offered incredible opportunities to learn and grow as a sports photographer in a high-performance environment. The day began at 10 a.m. with the first rounds of men’s and women’s qualifiers. It was the towering central wall at Ratho - one of the largest climbing arenas in Europe - that hosted all the action for the morning, with four climbing routes active at once in the qualifiers. For me, this was one of the first time shooting climbing, making the qualifiers a perfect chance to find the rhythm of the sport, and translating the research I’d done the night before about climbing into key moment action shots. To my pleasant surprise, the lighting was fantastic at Ratho. Indoor sports often come with dim and uneven lighting that pose one of the biggest challenges to sport photographers, but Ratho’s setup was remarkably bright and even. With ISO puzzles and image noise out of the way as the main challenge, the chilly autumn temperatures became the biggest variable to adjust to throughout the day. This is as the Ratho arena is built into a former dolerite quarry, presenting a stunning venue but one that keeps the chill of the rock. Still, that’s part of the beauty of sports photography, adapting to the unpredictable with some creative problem solving. No two

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Photo: Louise Anderbjörk

days are ever the same in this job, and I love that. As for the athletes, their performances were nothing short of inspiring. The strength, precision, and determination showcased by these elite paraclimbers was fantastic to watch, and translated into strong visual language and some incredible action shots. Between the moments of grit, focus, and celebration on the climbing walls, I found myself equally drawn to capturing the reactions of the crowd. The audience was electric in Ratho, with every cheer and gasp reflecting the strong sense of community and support in British climbing, and their engagement in

Photo: Louise Anderbjörk

Photo: Louise Anderbjörk

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

Photo: Louise Anderbjörk

under a watchful silence broken by a strong cheer at the end of each climb. As the climbing was over and the podium ceremony began, the tension of the finals quickly melted away into a community celebration. The mats beneath the walls filled with athletes, coaches, match officials, and friends cheering on the new champions. In total, thirteen British Champions were crowned that evening, and I was struck by the overwhelming sense of shared joy for everyone’s achievements, which I tried hard to reflect in my closing images of the day. As the day came to a close and I packed up my gear, I felt very grateful for the incredible opportunity I had been given to join GB Climbing with my camera for the day. It was a fantastic learning experience, and a very inspiring day to be a sports photographer.

“ The strength, precision, and determination showcased by these elite paraclimbers was fantastic to watch ” the competition giving me photos that really reflected the larger story of para sports. Once the qualifiers wrapped up, it was time for a quick lunch and then a retreat to the media office that Ratho had kindly set aside for us. With the finals not due to start until 4 p.m., I dove straight into editing. My first task was to select, edit, and deliver a small batch of highlight images for immediate upload on GB Climbing’s social media. After that, it was over to culling and editing the main gallery of over 300 frames at this point, which was sure to keep me busy up until the start of the finals later that afternoon. By the time I returned to the arena for the finals, you could sense how the atmosphere had shifted with a more focused and quiet crowd of both athletes and spectators. The starting field had narrowed from roughly 30 athletes to the final few, and a palpable sense of concentration filled the air.

Athletes entered the wall in pairs, tackling their routes

Photo: Louise Anderbjörk

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

AMAZING HUNGARIAN RED DEER Content Manager: Kailee Parsons

BÁLINT FÜLÖP I have been photographing in the northwestern part of Hungary, in the Fertő-Hanság National Park for almost 15 years. This huge national park is full of wildlife - you can find the three main big game species there: roe deer, wild boar, and red deer. But that is not all: foxes, golden jackals, and plenty of other animals live there too. My favorite species is the red deer, and my most cherished period of the year to photograph them is the rutting season in September. During this time, even the shyest stags who have managed to stay hidden from my camera all year - make an appearance. The dawns are especially magical to me: mist drifts slowly across the meadows, dew sparkles on the grass, and - even though I need to wake up extremely early for this - when I hear that the silence is broken by the deep, resonant calls of the deer, I know that every sacrifice is worth it. That sound is ancient, powerful, and completely breathtaking to me. The rut is not just about mating - it is like a celebration, where nature shows off its strength and elegance. Since I started photographing these testosterone-filled animals, I have witnessed countless once-in-a-lifetime moments. I have even managed to capture mating scenes of the deer and the clash of antlers when male deer fight for the attention of the females. But honestly, photographing these majestic animals is more than just collecting striking images.

During those magical moments, I feel like I am a part of nature as well. It is an experience that once you have felt it, you want to experience over and over again.

Photo: Bálint Fülöp

Photo: Bálint Fülöp

Photo: Bálint Fülöp

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Deer at dawn

Photo: Bálint Fülöp

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

WOMEN’S FOOTBALL Content Manager: Kailee Parsons

STUART WILLIAMSON I am a massive sports fan in general and football in particular. I am a season ticket holder and attend matches regularly. I attend the men's games a lot as a supporter and I have also recently attended the women's games. I used to play football. My twin sister Laura also played together with me at the same football club and after she was too old to play for the boys’ team, I asked myself what would happen? Where would she go? Would she still play?

I've always been a massive fan of women's football and seeing the progression of it. I recently sent an email out to all the women's teams in the Scottish League from top to bottom with a link to my portfolio with the hope of an opportunity to photograph voluntarily at the women's games if any of the clubs needed a photographer to help capture moments from their games for them. I was lucky that Stenhousemuir WFC got back in touch with me, in particular Kevin Candy who's one of the coaches in the team. Stenhousemuir WFC play in the Barclays Scottish Women's Championship. After a phone call with Kevin, I made my way to Stenhousemuir's stadium for their second league game of the season. I had a hi-vis vest and was able to access the pitch as well as the pitch side to get closer to the action. I was hooked instantly. I knew this was something I wanted to continue to do going forward. It was a sunny hot day, and I had an ND filter on my lens. I only had an 18- 35mm 1.8 lens with me. I hadn't purchased a longer lens yet. I guess that's something I should have done before the game, however I wanted to work with that one lens and see what I could achieve. Also, I didn't have the money for another lens just yet. I also had access to the full pitch, so I was able to walk around the pitch and capture moments from most of the game. It was a challenge, having to get closer meant I could get hit with ==

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Photo: Stuart Williamson

the ball a lot easier or else maybe miss certain moments in the centre circle. I was able to get shots of the actions in the warm-ups, the drills beforehand, the team talks. I had to get close because my lens didn't allow for it any other way. I enjoyed it. I almost felt part of the squad, like I was warming up too, like I was ready to get in amongst the action and do my best for the team. I found capturing these moments a challenge at times. Normally you’re watching the game as a fan, however this time you’re trying to capture critical moments of the game, and you don't want to miss it. I got caught out behind the goal on ==

Photo: Stuart Williamson

Photo: Stuart Williamson

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Photo: Stuart Williamson

High continuous shutter speeds, so that I don't miss a moment. Hopefully in the future I will be able to capture some video interviews with the players and get to add clips and footage from the match to accompany the players' interviews. This will also add an extra dimension to the Stenhousemuir WFC Instagram page and let fans of the team get to know the players on a more personal level and find out more about when they started, why they started, and what got them to where they are today playing for Stenhousemuir WFC. I hope to continue my photography journey within the women's game, gain more experience, and add value and quality to Stenhousemuir WFC, whilst showcasing the many talented players within the women's game.

“The women's game is on the rise and it will continue to grow and thrive, and I'm delighted to be a part of it and showcase it.” one occasion. The striker Sarah MacLeod scored a wonderful goal, and I was able to capture the full thing however I ended up focusing on the net and didn't get the entire sequence of the goal in focus (however it did add a sort of artistic feel to it being blurry). It was also a good learning moment for me. I have enjoyed photographing the women's game. I enjoyed being back on the pitch and getting close to the action. The women's game is on the rise and it will continue to grow and thrive, and I'm delighted to be a part of it and showcase it. I've not had much of a chance to get to know the players. It’s hard to when you’re there photographing in the moments then pack up and head home, however I hope in the coming weeks and months to get to know each of them on a more personal level, capture those special moments and get to know their names rather than just look for squad numbers. I've ended up with over 500 photos per match. ==

Photo: Stuart Williamson

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

SLOW LIVING IN NORWAY Content Manager: Kailee Parsons

KATRINE SKATEN We moved into our new house in Norway in 2021, and so far it has been a dream living so close to the woods and the ocean. Falling asleep to rain, waking up to birds chirping.

Glorious sunrise and sunsets all year. Spring and summer flowers with bees and butterflies. Crisp autumn air with rainbows, rain, and colours in the trees. The stars and auroras in winter with glittering and, of course, the magical untouched snow. It is a kind of peace not often found in the cities across Europe. Going on walks with my cats in the deep and colourful woods by my house has always been one of my favourite things to do. This year, however, was a bit different. Our family welcomed a baby, so walks with the cats in the woods turned into walks with a buggy on the road. More recently, the baby and I are getting more and more comfortable using a baby carrier, so we will soon go on walks with the cats again, which will be a welcome return in our daily routine. Our neighbourhood isn’t big – which is just perfect, to be honest – but we do have a lot of wildlife neighbours, and I love it. Each year I await the return of the magpie couple that visit our birdfeeder and eat the seeds that have fallen on the ground. Other small birds also visit our birdfeeder, and eagles fly overhead from a nearby island, which is aways a stunning sight to witness. Another couple, crows, fly past our house with sticks, probably building a nest, and I see squirrels frolicking in the trees, picking up nuts and seeds to eat. I appreciate every day I am able to witness these moments, capturing them through photography and sharing them with my son.

Photo: Katrine Skaten

Photo: Katrine Skaten

Photo: Katrine Skaten

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Exploring fauna exploring flora

Photo: Katrine Skaten

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

LOOK OUT FOR THE LITTLE ONES Content Manager: Kailee Parsons

AARON MAGURIE As wildlife photographers, we're always chasing the perfect shot. We dream of capturing the elusive snow leopard, a pride of lions in full pursuit of antelope, or a golden-cheeked gibbon swinging through the treetops.

But for many of us, those moments are out of reach. Even with the budget and time to travel around the globe, there’s no guarantee of witnessing these scenes, let alone capturing them in focus. That’s why it's so important to turn our attention closer to home—to appreciate, protect, and showcase the wildlife right where we live. Whether it’s your local nature reserve, woodland trail, pond, or even your garden, there’s an entire world of wildlife that often goes unnoticed. The small creatures we sometimes dismiss as pests or vermin are vital threads in the web of life. It’s insects, mice, rats, voles, squirrels, garden birds, pigeons, and gulls. Not only are they the perfect subjects for honing and showcasing your craft, they also play a vital role in maintaining ecosystems and the natural order.

Take your time to observe their behaviours, and appreciate the natural beauty you may have often overlooked or taken for granted. Whether by keeping parks and gardens wildlife-friendly, supporting conservation efforts, or simply spreading awareness, we can become mindful stewards of our local environments, and shepherds of the natural world. By protecting even the smallest creatures and their homes, we help preserve nature’s balance and ensure these wonderful creatures endure long after we’re gone. Often, the greatest wildlife moments are just beyond your doorstep, quietly waiting to be seen.

Photo: Aaron Maguire

Photo: Aaron Maguire

Photo: Aaron Maguire

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Great wildlife quietly waiting to be seen

Photo: Aaron Maguire

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

LISBON AND BEYOND Content Manager: Kailee Parsons

BÉATRICE H With a tiny backpack stuffed mostly with camera gear, I set off to explore not only Lisbon but also the landscapes around it. What awaited me was a journey full of color, contrast, and countless moments of wonder. And let me tell you: it turned out to be full of little adventures.

Traveling solo is always a thrill: getting on the plane alone, finding your way from the airport to the city, and in my case, doing it all without speaking a single word of Portuguese. When I first arrived, Lisbon overwhelmed me in the best and worst ways. Its steep cobbled streets were overflowing with day-trippers from cruise ships, and by midday the heat pressed down relentlessly. It was only May, yet the sun felt like midsummer. I quickly realized that visiting in peak season, June through August, would be far less enjoyable. My advice for anyone planning a visit: come in April, May, or September. You’ll find fewer crowds, gentler light, and a calmer atmosphere: ideal for both travelers and photographers chasing perfect conditions. But how did I manage to capture Lisbon’s quiet, postcard-perfect side? The simple trick: get up early.

Now, I’m not what you’d call a morning person. Every day started with a deep inner debate between me and my alarm clock. But as soon as I stepped into the sleepy streets, following the rattling path of Tram 28 through the historic Alfama district, all doubts vanished. The city felt intimate, wrapped in the soft glow of first light. It was just me, my camera, and the rhythmic hum of daily life beginning. Locals heading to work, shopkeepers unlocking doors, and sunlight catching on azulejo tiles. These peaceful mornings were pure magic and honestly, my best shots came from those hours when the city was still half asleep. By late morning, when the city awoke in full, I slipped into cozy cafés to recharge. Between editing ======

Photo:

Photo: Béatrice H

photos and savoring warm pastéis de nata or a good brunch, I indulged in Lisbon’s slower rhythm. Each café had its own personality: a mix of tradition, creativity, and the irresistible scent of freshly brewed coffee. The adventurous part of my trip started when I left the city center. My mission? Catching the sunset over the Ponte 25 de Abril, the big red bridge that looks suspiciously like San Francisco’s Golden Gate. After some online research, I found a viewpoint below the Sanctuary of Christ the King in Almada. Sounds simple, right? Spoiler: it wasn’t. To get there, I took the ferry across the Tagus River to Cacilhas ===

Photo: Béatrice H

Photo: Béatrice H

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

Photo: Béatrice H

named after a rock formation shaped like a bear. The path is short but steep, partly with a rope to hold on to. One wrong turn, and you might find yourself accidentally rock climbing. The beach, though, was absolutely worth every step: turquoise waves, dramatic cliffs, and complete serenity. If I return to Portugal, I’ll revisit both Sintra and Cabo da Roca — two places that left lasting impressions.

All in all, Lisbon proved to be an extraordinary destination for solo travelers. I rarely felt unsafe, even while wandering late with my camera. Whether your passion is architecture, street scenes, or wild seascapes, Lisbon offers it all. By the end of my journey, I had not only captured hundreds of photographs but also learned a few words of Portuguese. So, to this city of light and charm, I say: Olá Lisboa, até breve!

“Olá Lisboa, até breve!” and then walked for about an hour through what I can only describe as “the middle of nowhere.” Let’s just say, as a woman walking alone, I didn’t always feel super relaxed.

Luckily, fate introduced me to another traveler on the way, and we teamed up for the rest of the adventure. The universe really does send backup sometimes. When we finally reached the spot, all the stress instantly faded. The view was unreal — the sun melting behind the bridge, the sky turning into a watercolor painting. I just stood there, speechless, camera clicking nonstop. Getting back, however, turned out to be another mini adventure: public transport in that area after sunset is basically a myth. So, note to self (and everyone else): plan your return before it gets dark. While planning my stay, I found the usual recommendations: Sintra, Cascais, and Cabo da Roca.

Since I’m the “why choose one when you can see all three?” type, I decided to do a full roundtrip in one day. First stop: Sintra. Imagine fairytale castles wrapped in mist, hidden gardens, and colors that look almost unreal. The Pena Palace alone could keep a photographer busy for days.

Unfortunately, I only had about an hour — just enough to fall in love and promise to come back. Next stop: Cabo da Roca, the westernmost point of mainland Europe. Getting there by bus felt like being in a rally race. But once I arrived, the views left me breathless. The cliffs dropped dramatically into the roaring Atlantic, and even the wind felt wild and untamed. From Cabo da Roca, I hiked down to Praia da Ursa, a stunning, not-so-crowded beach ======

Photo: Béatrice H

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

CAPTURING EMOTIONS Content Manager: Kailee Parsons

KAMIL SOSINSKI For me, photography has always been more about telling stories than chasing perfection. In portrait photography particularly, authenticity always triumphs over posing. Of course, technical skills such as understanding aperture, shutter speed, and focal length matter, but creating an atmosphere where clients feel comfortable enough to be themselves is equally important. A relaxed, conversational, and supportive setting may allow the subject to forget the camera and focus on having fun, making for excellent results. When that happens, expression becomes genuine, movement is effortless, and the portrait begins to speak for itself. Even in carefully planned sessions, the goal is to capture the emotion that appears in small gestures. A faint smile, a thoughtful glance, or a quiet pause can express more than direction ever could. When it comes to lighting, avoid harsh sunlight and opt for soft, diffused lighting more easily found in shadow or under clouds. Inside, natural light from a window or directed using a large reflector can bring warmth and dimension without harshness. Many photographers prefer early morning or late afternoon when light wraps rather than cuts. Pay attention to catchlights too, the reflections in eyes that bring portraits to life. Composition guides emotion, too.

Frame loosely to allow gestures space to breathe or move in close for intimacy. Use a shallow depth of field to isolate the subject and draw attention to their eyes, the windows to the soul. Trends fade, but emotion remains. A portrait that feels genuine becomes timeless, reminding us that authenticity, not perfection, is what truly endures.

Photo: Kamil Sosinski

Photo: Kamil Sosinski

Photo: Kamil Sosinski

25

The Art of Authentic Portrait Photography

Photo: Kamil Sosinski

PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

THE SCOTTISH PREMIERSHIP Content Manager: Kailee Parsons

LOUISE ANDERBJÖRK When I began photographing grassroot football in Edinburgh this summer, I never expected to find myself at a Scottish Premiership match before the year ended. Yet on the 22nd of November, I walked onto the pitch side of Easter Road Stadium in Leith, invited to photograph Hibernian F.C.’s home game against Dundee F.C. For someone used to community pitches, entering a professional arena with a capacity for thousands of supporters felt both unreal and exciting. Hibs was on a winning streak against Dundee this season, and with more than 17,700 tickets sold the atmosphere in the stadium was fantastic. I arrived around 1:30pm for the 3pm kick off.

The photographer’s entrance was tucked away at the side of the stadium, a simple doorway leading straight into the working areas behind the stands. After signing in and collecting my blue media bib, I settled into the photographers’ room. As the least experienced photographer there, I felt a bit nervous at first, but everyone was very welcoming and quick to share their experiences and insights. They helped explain the structure of the game from a photographer’s point of view, where we were allowed to stand, how media movement around the pitch worked, and how we would switch ends together with the team we were covering at half time.

After familiarising myself with the venue, I headed inside to make use of my complimentary coffee that was kindly offered to the media. When I got back out on the pitch side, the stands had slowly started to fill with spectators and the teams had taken to the pitch for their warm up sessions. Warm ups are always a great chance as a photographer to get used to the venue and match your camera settings to the lighting conditions before the game begins. Then, just before kick off, it was time to position ==

Photo:

Photo: Louise Anderbjörk

myself behind the south goal, where Hibs would be attacking for the first half. As a football photographer, you always want to be on the attacking end of the team you are covering, since most decisive moments happen there.

Being close to the goal allows you to capture clean, frontfacing action, and it is usually where celebrations unfold when a score goes in. As soon as the first whistle blew at 3pm, any worries I had earlier about this being my first time at a big match like this disappeared, and it was just me, my camera, and the players on the pitch. Following such a big game through a viewfinder at ground level was =

Photo: Louise Anderbjörk

Photo: Louise Anderbjörk

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

Photo: Louise Anderbjörk

with how far away the subject is by altering my shutter speed in the 1/1000–1/2000 range. The second half was similar to the first in performance. Dundee had a few more shot attempts, but Jamie McGrath ultimately secured the 2–0 home win with Hibs’ second goal of the match. Once again, getting the chance to capture the celebrations of both the fans and the players was fantastic.

It really showed the human side of sports, and made for some of the best sports photography I have ever been able to do. Looking through all my photos at the editing desk later that evening, I was so happy with the experience and my shots, and I look forward to hopefully getting the chance to experience the pitch side of a Premiership game again soon.

“the chance to capture the celebrations of both the fans and the players was fantastic” one of the most immersive sporting experiences I have had. Most of the first half went without a goal, although with some great attempts and corners from Hibs which made for strong shots of all players centring in on the goal and fighting for possession of the ball. Then, with only a few minutes remaining of the first half, Hibs’ Kioran Bowie scored the first goal of the match, securing the lead for Hibernian F.C., and the stadium was filled with an absolute roar of fans shouting, clapping, and jumping up and down in celebration, which was a joy to photograph.

With Bowie’s goal marking the end to the first half, it was time for a quick reset during half time before heading over to the north goal side for the second half of the game. By this time, the sun had fully set, so it was time to figure out how my camera settings would change for the second half, including the ratio between ISO and shutter speed depending on where the players were on the field. To ensure that my photos never come out with too much noise in situations like these, I try to always set a base ISO that I avoid changing too much throughout any half of the game, and then fix the small lighting changes that come ===

Photo: Louise Anderbjörk

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PRISMA PHOTO STORIES

Issue 27 - 28 December 2025

SEARCHING FOR SCENES Content Manager: Kailee Parsons

RORY QUIDING “What does photography mean to you?” That was the question my high-school photography teacher, Ms. Turner, asked our class on the first day of 12th grade. I could not think of an answer. At that time, photography was something I simply enjoyed without really understanding why. I found myself drawn to low-light photography. At night, natural light disappears, so scenes don’t reveal themselves as easily and have to be searched for. The artificial lights of the city, combined with long or multiple exposures and post-processing, allowed me to experiment and be creative with the little light available.

Having to look deeper into everyday scenes made me notice things I would have missed if I were just walking through them. Night photography wasn’t about capturing what was there, but about discovering what could be made and what existed under the surface. This is how I discovered my answer. Photography became the place where I could balance calculation and emotion. It was both a challenge and an expression. The techniques available to me allowed me to shape a scene into a vision, something different, something that showed the world the way I imagined it. But sometimes I would come across a scene that simply felt like something: a moment that carried a story, an emotion, or a memory to reminisce. I’ve learned that understanding what photography means to me isn’t a final destination, but an ongoing part of the journey. As my photography grows, that meaning will continue to shift and develop, but it will always give me a reason to go looking for the next moment worth capturing.

Photo: Rory Quiding

Photo: Rory Quiding

Photo: Rory Quiding

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Lit with the artificial lights of the city

Photo: Rory Quiding

Founded in 2022, PRISMA Photography Magazine is a photography publication based in Scotland.

Whether you are an amateur, professional, or somebody in between, we hope you are inspired to explore new perspectives and sustain your craft.

@prismaphotomag www.prismamagazine.co.uk (c) PRISMA Photography Magazine 2025