This magical photo series won gold and evokes the mystical beauty of Japan's waterside trees – shot with two Panasonic full-frame cameras

Do you ever get time to photograph the same spots? Well, consider this. Ever since childhood, Genki Uehara has been taking pictures of Kakumanbuchi Marsh, on Mount Akagi in Japan's Gunma Prefecture, and it still entrances him.

"Even after decades, I can still witness the same timeless cycle of seasons that once inspired me," he explains.

Now his latest series has earned a gold medal in the Nature/Trees category from the Tokyo Foto Awards. Titled Four Seasons by the Waterside Trees, it's a true masterclass in atmospheric landscape photography, combining technical precision with deeply personal artistic vision.

The collection showcases a range of dramatically different moods across the seasons. Fall bursts with golden foliage illuminated against misty darkness, while winter presents stark, frost-covered trees in near-monochromatic tones.

Spring brings ethereal pink blossoms emerging through fog and summer displays rich green canopies reflected in still waters. Each frame features the distinctive flat-topped trees of the marsh, creating perfect mirror reflections in the calm water below.

Technical execution

Uehara used a couple of cameras from Panasonic's full-frame lineup for the series. The fall photographs were captured using the Lumix S5 while the spring, summer and winter images were shot on the Lumix S1.

Both cameras feature 24.2MP full-frame sensors that excel in challenging lighting conditions; essential for capturing the dramatic atmospheric effects present throughout the series. The S5, which Uehara used for the fall shot, is particularly well-suited to this type of landscape work.

Its compact body houses the same sensor as the larger S1, offering impressive dynamic range rated at approximately 14 stops. This latitude proves crucial when shooting high-contrast scenes, such as bright patches of illuminated grass against dark, foggy backgrounds.

The five-axis in-body image stabilization, meanwhile, provides up to 5.5 stops of compensation, making sharp handheld shots possible even in dim conditions or at slower shutter speeds.

For the standout autumn image, Uehara selected settings that prioritize depth of field and sharpness: 1/40sec at f/13, ISO 100, using a 50mm focal length. The relatively slow shutter speed of 1/40sec at this focal length would normally risk camera shake, but the S5's excellent in-body stabilization clearly made this manageable, delivering crisp detail throughout the frame.

The narrow f/13 aperture ensures front-to-back sharpness across the trees and their reflections, whilst the base sensitivity of ISO100 maximizes image quality and dynamic range. Both will have been essential for preserving detail, in both the luminous golden foliage and the deep shadowy areas.

The S1, used for the remaining three seasons, shares similar sensor tech but in a more robust, weather-sealed magnesium alloy body; ideal for the challenging conditions around Kakumanbuchi Marsh. It's safe to assume that the 5,760,000-dot OLED electronic viewfinder provided Uehara with an exceptionally clear preview when composing these intricate scenes.

Creative vision

To my mind, what elevates these images beyond mere documentation is Uehara's masterful use of light and atmosphere. Each photo captures fleeting moments when fog and sunlight interact to create theatrical, almost otherworldly conditions.

Above all, the compositions demonstrate a sophisticated understanding of visual balance. The horizontal bands of water, illuminated grass, trees and mountains create strong graphic elements, while the perfect reflections add symmetry and depth. Yet Uehara avoids rigidity by incorporating swirling mist and varied lighting that introduces organic movement and mystery to each scene.

Ultimately, the gold medal from Tokyo Foto Awards merely affirms what viewers immediately sense. That these are not just photographs of trees, but rare meditations on time, memory and nature's patient resilience.

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