Rolling hills kissed with golden sunlight, smooth expanses of water beneath a pink sky, rugged coastlines alive with flourishing foliage: we're all familiar with the typical landscape photography fare, and the conditions that photographers and their sunlight-calculating apps class as ideal for capturing them. But what if you live somewhere where the golden hour is extremely fleeting, with harsh sunlight for most of the day? Or where the skies are overcast and ice is the dominant feature in most scenes?

Here, they offer their tips on how to shoot landscapes in extreme conditions, explain how they tackle challenges that come their way with creativity and their capable Canon cameras, and reveal why this type of photography is ultimately worth the effort.

Clement says: "Local knowledge is very important when shooting wildlife, but in landscapes too. Kenya is such a diverse country – you can be at the beach in the morning and watching the Great Migration in the afternoon. Local knowledge means I know how to prepare for all conditions and the best times of day to shoot. Like all landscape photographers, I wait for the golden hour and shoot in Manual mode, which means I can fine-tune my settings as the light changes."

?sa says: "My photos often look very authentically Icelandic because I show the full range of weather conditions. Other photographers might not choose to shoot in pouring rain or on a super sunny day, but over time I've learnt to deal with conditions that might not seem ideal for photography and that definitely helps me stand out. I don't worry too much about my kit in any weather, because I have enough experience of extreme environments to know I can trust the weather sealing."

Clement says: "I have three cameras – a Canon 澳门现金网_申博信用网-官网5, a Canon EOS-1D X Mark II and a Canon EOS 5D Mark III [now succeeded by the Canon 澳门现金网_申博信用网-官网] – but I shoot landscapes on the 澳门现金网_申博信用网-官网5 because of the higher megapixel count, paired with my Canon EF 24-105mm f/4L IS II USM lens [via a Canon 澳门现金网_申博信用网-官网 mount adapter]. I work a lot in the Maasai Mara and often find myself composing a landscape when an interesting animal enters the frame. This zoom lens lets me recompose easily, and the image stabilisation in both my 澳门现金网_申博信用网-官网5 and the 24-105mm lens means I can stay even more flexible and shoot handheld.

"People think you need tons of gear and I tell them that lenses are like a brush for an artist – it's not about how many of them you have, but about how you use them. I'm predominantly a wildlife photographer, but I love landscapes because they give context to the animals, and this lens gives me options."

?sa says: "I used to take my Canon EOS-1D X Mark II up mountains when searching for landscapes to shoot, but now I have the Canon 澳门现金网_申博信用网-官网5, I know I'm going to get the quality I need but in a more compact package. It's so nice to hike with something lighter that I know is really robust. When it comes to lenses, I pack both my Canon EF 16-35mm f/2.8L III USM – because there is so much amazing scenery to fit in – and my Canon EF 70-200mm f/2.8L IS II USM – because telephotos give me such a different look. If I'm shooting people or wildlife, or dramatic natural foreground subjects, this 70-200mm compresses the background and brings so much extra drama into the scene."

?sa says: "Pure landscape photos stand out when there are unique conditions in Iceland, like this winter when it snowed on the black beaches that rarely get snow. I was very focused on capturing those conditions because they were unique and the contrast between black sand and white snow was beautiful. But other than that, I put myself into the landscape to make it more personal. By doing this, it makes it easier for the viewer to imagine that they themselves are standing there."

Clement says: "When I set up for a landscape shot, I'm looking for leading lines that take me from the foreground into the distance. I want my image to have a 3D feel, so I'll find something that I can shoot creatively in the foreground, something epic in the background, and leading lines to tie them both together to create a powerful composition."

Clement says: "Kenyan weather isn't as extreme as Icelandic weather, but it does get very cold in the mornings and quickly gets very hot as the sun rises. I spend so much time inside cars in national parks that become swelteringly hot and get covered with dust no matter whether we've sealed the doors or not.

"Other challenges include fighting flies off the lens and trying to stay calm as they swarm during the Great Migration, and spotting wildlife that camouflages itself in the long grass. Big cats love to be elusive, but the Canon 澳门现金网_申博信用网-官网5 has really helped me to capture them – the Eye Detection AF is out of this world, picking them out of the long grass every time."

?sa says: "I sit in the car trying to pick up the energy to go outside so often, but I know deep down that I really enjoy the conditions. The cold makes me feel alive, and by the end of the day when I've been totally beaten by the weather, I feel like I've accomplished something.

"I trust the 澳门现金网_申博信用网-官网5 no matter what the weather. In Iceland, you can't sit around and wait for sunny days and I really like the dark mood of a storm. So be it rain, wind or snow, I'm out shooting and so far the weather sealing on the 澳门现金网_申博信用网-官网5 has never failed me. It has gotten really wet many times. My best trick for a stormy day when it rains sideways is to shoot with my Canon EF 70-200mm f/2.8L IS III USM that has a big lens hood. That way the lens stays dry and protected from the rain to avoid raindrops on it."