Why I’m Not Upgrading My Camera — and What I’m Doing Instead

I get it. It’s tempting. A new camera body drops and the internet explodes — YouTube hands-on reviews, pixel peeping on forums, and everyone asking, “Is this finally the one that will make my images better?”

I’ve been there. As a wildlife photographer who spends months each year in raw, demanding environments it’s natural to crave the best gear. But here’s the truth: I haven’t upgraded my main cameras in over four years. And I don’t feel like I’m missing out.

In fact, I think the obsession with upgrading is distracting many photographers from what really matters: being in the field, learning, and practicing the craft.

Why I’m Still Using “Old” Gear

Let me be clear — I’m not anti-gear. I love testing new equipment. I still geek out over specs. When Canon announces something like the R5 Mark II or the R1, I’m there reading every detail, imagining what it could do in the field.

But here’s the thing…

I’m still shooting with my Canon R5 and R3. The R5 gives me detail and resolution for big landscapes or environmental portraits, while the R3 nails birds in flight and fast action with its insane autofocus speed. Together, they’ve covered 99% of what I do — and never once have I come home thinking, “This camera was the reason I missed the shot.”

Instead, if I blow a moment, it’s usually because:

• I didn’t anticipate the behavior.

• I was too slow to react.

• I used the wrong settings.

• I got lazy in composition.

None of these things would be fixed by upgrading to a newer body.

Innovation Has Slowed — and That’s a Good Thing

Remember the mirrorless boom just a few years back? Every new release felt revolutionary. Sensors, stabilization, eye autofocus — everything jumped forward in huge leaps.

Now we’re in a refinement phase. The R5 II has better noise control, pre-shoot features, some added frames per second. Useful? Sure. Essential? Not for most of us.

I’ve seen it play out over and over: a client shows up on a workshop with the newest gear but lacks the confidence to react to a leopard sprinting across the frame. Meanwhile, someone with a 5-year-old body nails it because they’ve put in the reps. They know how to read the animal. They’ve studied light. They don’t panic with fast action.

That’s what makes the difference. Not whether your camera shoots 20 vs 30 frames per second.

A Better Investment: Real-World Learning

Here’s the unpopular but honest opinion: if you’ve got 4k to spend, a new camera body is not the best use of that money.

You’ll get more value — more growth, more connection, more creative fire — by joining a workshop or a guided trip.

When you travel with someone who’s been where you want to go, something changes. You ask better questions. You get live feedback. You watch how light is used, how moments are anticipated, and how technical decisions support a story.

You get challenged, gently but persistently, to see differently.

That’s the kind of investment that stays with you. It reshapes how you approach every image you take from that moment forward.

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📍If This Resonates…
Spots just opened for my upcoming Namibia and South Luangwa workshops — and they’re filling faster than usual.

These trips are designed around real photographic immersion. Small groups. No rushed itineraries. Lots of time to practice, ask questions, and get out of auto-pilot mode.

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When Should You Upgrade?

Let’s be fair — sometimes, a gear upgrade is the right move. Here’s when I’d consider it:

• You’re still using a DSLR and struggle with moving subjects — mirrorless autofocus is a game-changer.

• Your current body is unreliable or can’t handle what you throw at it (weather sealing, frame rates under 8 fps, noise getting crazy at 1600 ISO, buffer, etc.).

• You truly need improved video specs for professional work.

But if you already own a mirrorless camera that works reliably, delivers decent resolution and good autofocus… pause before hitting that buy button.

Ask yourself: What’s really holding me back?

A landscape I shot with Nikon D90 and a kit lens, 2013.

It’s About How You Use the Tool

I was sitting in a hide in Slovenia when all this really clicked. I was waiting for brown bears to emerge — low light, tight quarters, no second chances. And I realized: all the tools I needed were already in my hands. No spec sheet could replace preparation, patience, and perspective.

A new camera won’t teach you to anticipate a bear stepping into golden light. It won’t teach you to hold off clicking until the composition sings.

But a workshop will.

So the next time you feel that urge to upgrade, maybe stop and ask: Am I buying a solution, or avoiding the work of becoming better with what I’ve already got?

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Watch the full story here

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📘 Free Wildlife Photography Guide

If you’re serious about improving — not just your gear but your skills — I’ve also put together a free 100-page PDF full of the basics I wish I had when I started.

It’s helped hundreds of photographers already. Might help you too.

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Featured Articles

How to Travel with Big Lenses (And Avoid Losing Your Gear)

If you’ve ever stared at your fully packed camera bag the night before a long-haul flight—knowing there’s no way it’ll make the airline’s weight limit—you’re not alone.

I’ve been there more times than I can count. And if you’re traveling with big telephoto lenses—think 400mm f/2.8, 500mm f/4, 600mm f/4—things get even trickier.

Over the past decade, I’ve flown dozens of international routes with expensive gear. I’ve dealt with every airline mood imaginable. Some couldn’t care less if I had 22kg on my back. Others wanted to weigh my cables.

But one thing’s always been true: if you check your camera gear, you’re taking a risk.

Here’s how I carry my heavy gear—including massive lenses—without ever checking it in and without losing a single item (knock on wood).

The Golden Rule: Never Check Your Expensive Lenses

Let’s get this out of the way first.

If you value your gear—and you should—never check in telephoto lenses, especially if you’re passing through airports like Johannesburg, Addis Ababa, or Nairobi.

I’ve heard horror stories from fellow photographers. One had a checked 500mm f/4 disappear at O.R. Tambo. Another had an entire bag of gear show up in Cape Town with a broken lock and a camera body missing.

Here’s my rule: If I can’t afford to lose it, it goes in the cabin with me.

What I Travel With (Yes, It’s a Lot)

Here’s what a typical setup looks like for me on safari assignments or personal photography trips:

• Canon R3 (primary body for action and low light)

• Canon R5 (high-res second body)

• RF 600mm f/4

• RF 100–300mm f/2.8

• RF 24–70 f/2.8

• Canon V1 (dash cam + POV)

• GoPro Hero 9

• Atomos Ninja V (for screen recording)

• Laptop + 2 Lacie SSDs, card readers, batteries, chargers, and a ton of accessories

Total weight? Easily 17–20kg, before even factoring in any extra accessories.

Yet somehow, it all comes with me in the cabin.

My Carry-On System: What Bags I Use

I use a two-bag system that’s been battle-tested:

🎒 Bag 1: f-stop Tilopa 50L (main carry-on backpack)

• Internal ICU (Large or XL depending on the trip)

• Holds my 600mm, 100–300mm, both bodies, and GoPro/Atomos

• Side pouches for filters, cards, headlamp

• Stays on my back at all times—no exceptions

💼 Bag 2: Large ICU used as small shoulder camera bag (personal item)

• Holds laptop, hard drives, chargers, and usually my 24–105 or dash cam

• Looks casual and non-threatening

• Slips under the seat in front of me

💡 Pro tip: Most international airlines let you take a cabin bag AND a personal item. I make the most of that rule.

At the Check-In Counter: How to Handle Airline Weight Limits

Let’s talk about the real stress: weigh-ins.

Every photographer has had that moment. You’re in line at check-in, beads of sweat forming, wondering if this will be the airline that finally weighs your bag.

Here’s what I do:

✅ Be early but confident

Show up early. Be polite. Don’t act nervous. Airline staff are human—they’re more likely to give you a pass if you seem composed.

✅ Mention the value

If they do ask to weigh your bag, I calmly say something like:

“I’m carrying professional camera gear worth over €30,000. It can’t be checked in due to insurance reasons and risk of damage. I’m happy to show you what’s inside.”

I’ve used this line dozens of times—and every single time, they’ve let me board. Sometimes they slap a “HEAVY” sticker on it. Sometimes they don’t even flinch. But I’ve never had to leave anything behind.

Don’t Use Roller Bags for Safari Gear

You might be tempted to use a roller—like a Think Tank Airport series—but I find them impractical for Africa trips, especially safari-focused ones. Why?

• They scream “heavy tech,” drawing attention at check-in

• They’re harder to carry over rough terrain or load into vehicles

• They often don’t look small enough for overhead compartments

Instead, a rugged hiking-style backpack like the f-stop Tilopa blends in and is easier to carry across gravel airstrips, 4x4s, and remote camps.

Tactical Tips to Shave Weight (and Stress)

If you’re still getting flagged at the counter, try these:

🪶 Wear your heaviest gear

Yes, it’s awkward. But putting some lenses or cameras in a your pockets or strapped across your shoulder magically makes your bag “lighter.” Airline staff cannot weigh what’s on you.

🧥 Use a photo vest or jacket with large pockets

You can stash chargers, hard drives, even a small lens in there. It buys you extra few kg without raising eyebrows.

🔌 Consolidate accessories

Don’t carry 3 chargers when 1 will do. Remove unnecessary battery chargers, filters, or mounting plates. All my cameras can be charged directly via USB-C so when I really need to go light I only bring a multi port usb-c charger that does it all - laptop, phone, cameras, accessories.

Flying on a small plan across the Namib desert.

What About Domestic Flights in Africa?

This is where it gets more complicated.

If you’re flying bush planes the limit drops even more, sometimes including your personal item. Here we cannot cheat and get some extra weight on board as these small planes would actually be too heavy to flight - we don’t want to put our (and others) safety at risk to carry a few extra lenses.

Here’s how I deal with it:

• Book an extra seat if I absolutely have to (some photographers do this, especially for expensive charter routes)

• Split gear with travel companions if flying together

• Ship gear ahead to lodges if you’re working with trusted operators (rare, but possible)

• Go minimal: Swap your 600mm for a 100–500mm or 200–600mm zoom if you’re just doing it for fun

Once You Land: Keeping Your Gear Safe on the Ground

Getting there is only half the battle. Once you arrive in-country, protect your gear from:

• Heat: Store lenses flat in the shade. Don’t leave them in the sun.

• Dust: Use drybags, neoprene covers, and avoid lens changes in open wind.

• Moisture: Keep silica gel packets in your lens case and camera bag.

• Theft: Lock your gear in the car if you leave it and make sure it’s not visible through windows , and never let it out of sight at gas stations.

What If You Have to Check a Bag?

Sometimes you just can’t avoid checking something—maybe it’s your tripod, gimbal, or even lens hood. In that case:

• Use a Pelican case or similar with a lock

• Tape over random logos and labels so it seems less serious and doesn’t scream “expensive gear inside”

• Put an Apple AirTag (or similar tracker) inside

• Photograph everything for insurance before you hand it over

But again: never check your camera bodies or telephoto lenses.

On location in Cape Town, SA.

Don’t Let Gear Stress Steal the Joy

I get it—traveling with big, expensive gear is nerve-wracking. You worry about weight. You worry about theft. You worry about being that guy holding up the security line. But over the years, I’ve realized this: with the right plan and attitude, you can carry everything you need—safely, confidently, and without drama. So don’t let fear stop you from bringing the lens that helps you capture magic. Just pack smart, walk tall, and know your rights.

And hey—if you see someone in a bush airport juggling a 600mm and a vlogging camera, it might be me.

Say hi. =)

Game Changer: Lightroom AI Denoise No Longer Creates DNG Files – Here’s Why That Matters

If you told me five years ago I’d be comfortably shooting wildlife at ISO 12,800, I would’ve laughed and handed you a grainy, barely-usable lion photo to prove why that was a terrible idea.

But here we are.

And let me tell you—Adobe’s latest Lightroom AI noise reduction update has been a total game changer. Not just because the results are better (they are), but because they’ve finally removed the most annoying part of the whole process:

You don’t have to create a massive DNG file anymore.

I know, it sounds small. But that one little shift? It changes everything.

Canon R5, ISO 20.000. Khwai Community Concession, May 2025.

The DNG Problem: Why Most of Us Avoided Lightroom’s Old AI Denoise

Let’s rewind for a second.

When Adobe first launched their AI Denoise tool in Lightroom, I was stoked. I ran a couple of test files through it—elephants at dusk, a leopard hiding under foliage around sunset. The results? Surprisingly good.

But then… I checked my folder.

Each denoised file was a massive DNG. Like, 150 to 250 MB per image, even if the original was a compressed RAW. And for someone who shoots thousands of photos per safari, that was a nightmare. Not only for the space required on the disk, but mostly for the workflow and folder organization.

My drives are already under siege after a two-week trip in Zambia. I don’t need another 300 GB of DNG duplicates sitting there because I wanted to reduce some noise.

So I went back to my old tricks—selective luminance NR, and when I really needed to enhance a few “hero” images I’d rather go for plugins like Topaz AI or Dxo - as LR would also create that duplicate file - or just avoiding high ISO when I could.

But this latest update? No more DNGs.

Now the AI noise reduction runs natively in Lightroom on the original file. No doubling. No extra exports. You can actually batch edit a full series of high ISO shots without wanting to throw your laptop out the window.

Canon R3, ISO 25.600. Central Kalahari Game Reserve, May 2025

So How Good Is the New Lightroom AI Noise Reduction (Really)?

Alright, let’s talk about results.

On a recent self-drive trip through Botswana - solo, dusty, and full of late golden hour action - I was constantly pushing ISO 10,000+. It wasn’t a stylistic choice; the light drops fast at sunset and I’d rather push ISO than risk motion blur from a slower shutter.

After the trip, I tested a few shots in the updated Lightroom. The denoised versions were insanely clean.

What really got me was the balance—yes, it reduced the noise, but it didn’t make the fur or feathers look plastic. Skin texture on the lions still looked natural. The background blur didn’t get mushy. Even subtle shadows under the elephant’s ear remained intact.

And I didn’t need to run them through a separate plugin, export a TIFF, or deal with weird color shifts. It was just: select all → batch denoise → done.

Game. Changer.

Canon R3, ISO 16.000. Khwai Community Concession, May 2025.

Topaz AI and DxO: Still the Kings of Detail (But Only for the Chosen Few)

Now, let’s be real here.

Lightroom isn’t the best in terms of raw performance.

If you want absolutely insane results—like pulling an underexposed ISO 25,600 file from a dark bird hide and making it look like it was shot in clean morning light—Topaz Photo AI or DxO PureRAW still have the edge.

Topaz, especially, is surgical with detail.

I once had a frame of a fish eagle taking off, shot at ISO 16,000 through heat haze. I ran it through Topaz and—somehow—it recovered feathers I didn’t even know were there. That’s wizardry.

Same with DxO. Their deep PRIME noise reduction is so clean it almost feels like cheating. And it also handles lens correction beautifully, which can help with certain long telephoto shots where edge softness creeps in.

But here’s the tradeoff: they’re slow. And you can’t batch hundreds of files efficiently.

After every safari, I have anywhere from 10.000 to 50.000+ RAW files. I’m not about to run each of those through a standalone app, wait for rendering, export to TIFF or DNG, and then import them again. That’s a Tuesday gone.

So here’s how I use them now:

• Lightroom AI NR: After the first culling phase, this is for everything that’s past ISO 1600.

• Topaz / DxO: For the top 1% of shots. Hero images. Portfolio work. Print-level detail. That one insane leopard image I might use on a gallery wall someday.

Why High ISO Is No Longer Scary (Seriously)

If you’re still afraid of ISO 8000, I get it. Years of muddy, crunchy, chroma-noise-ridden RAWs have left their mark.

But it’s time to let that go.

Modern sensors + modern AI noise reduction = shoot freely.

Instead of underexposing just to stay at ISO 1600, you can now expose properly (or, even better, slightly to the right), freeze action with faster shutter speeds, and let the noise fall where it may. The software will clean it up.

I still expose carefully, of course. But I no longer compromise motion sharpness or composition just to keep ISO numbers low.

A blurry photo at ISO 1600 is useless.

A tack-sharp image at ISO 10,000, even if a little noisy? Gold.

How This Affects My Field Shooting Style

At work in Khwai in May 2025 with my favorite setup - R3+600mm f/4

This update changed not just my post-processing but how I shoot in the field.

I’m no longer obsessed with riding the edge of ISO. Instead, I’m thinking:

• Can I freeze the action confidently? → If not, bump ISO.

• Will this look better in clean midtones vs underexposed shadows? → Expose more, clean noise later.

• Am I sacrificing the moment to keep “safe” settings? → That’s a no-go.

Honestly, I now tell guests on my workshops the same thing:

“Don’t be afraid to go to ISO 8000 if it gets you a better image. We can clean it up later—but we can’t fix a blurry shot.”

And that’s the truth.

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Want to see how high ISO and clean edits come together in real life? Here’s a story from the Central Kalahari that shows exactly that—where the light was tough, but the moments were gold.

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Practical Tips for Using Lightroom AI Noise Reduction (Now That It’s Usable!)

Here’s how I recommend integrating this into your workflow:

1. Culling First, Denoise Later

   Don’t waste time denoising everything. Cull your keepers first, then apply NR only to what matters.

2. Use Auto-Mask + AI NR Together

   The AI masking tools in Lightroom now let you isolate subject/background. Apply sharpening to one, noise reduction to the other. It’s magic.

3. Batch by ISO Level

   Select all your ISO 6400 shots, denoise as a group with the same settings. Same for ISO 10K or 12.8K.

4. Let it go overnight

   Denoising a large amount of files can take quite a while, depending on the computer you’re working on. I would usually start the batch-adjustment in the evening once I’m done with my work and let it run overnight - everything will be ready to go the next morning!

5. Still Keep Topaz/DxO in Your Toolkit

   For those once-in-a-lifetime shots, don’t hesitate to run them through a stronger plugin. Just not your whole trip catalog.

Final Thoughts: Small Update, Huge Impact

It’s easy to overlook software updates. Sometimes they seem like fluff.

But this one? This changed my entire workflow.

I now shoot more freely, edit faster, and spend less time wrangling bloated DNG files just to get clean results. I can confidently tell my clients their images will be sharp and clean, even when we shoot in bad light. And I can teach my workshop guests to be less afraid of their ISO dials.

So yeah, maybe it’s “just” an AI noise reduction update.

But for me? It’s one of the most important shifts in wildlife photography this year.

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Ready to master wildlife photography in the field? Join me on an unforgettable workshop where we put these lessons into practice—out in the wild, where it really matters.

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Featured Articles

How to Photograph the Milky Way: My Complete Field Guide for Night Photography

Photographing the Milky Way is one of the most magical experiences in photography. But it’s also one of the trickiest. Between unpredictable weather, technical settings, and timing, a lot can go wrong—unless you show up well-prepared.

In this post, I’m sharing the exact process I follow to capture sharp, striking Milky Way images: from when and where to shoot, to gear selection, camera settings, and post-processing techniques. Whether you're just getting into astrophotography or looking to refine your night shooting skills, you'll find plenty of practical takeaways here.

🎁 Don’t forget to download my free photography eBook—it’s packed with gear checklists, field-tested night shooting tips, and much more.

When and Where to Photograph the Milky Way

You can’t just walk outside any night and expect to photograph the Milky Way core. It follows a seasonal cycle, and visibility depends entirely on timing, location, and light conditions.

Here's what you need to know:

• Milky Way core season (Northern Hemisphere): Best visibility from March to October, peaking between May and August.

• Best viewing direction: Southeast to South for northern hemisphere locations.

• Ideal conditions: Zero light pollution, a new moon phase, and clear skies.

To plan effectively, I use PhotoPills, an essential app that shows the exact time and direction the core will rise and set based on your location. It even offers an augmented reality mode so you can pre-scout your compositions during the day without guesswork.

👉 Read my full guide to choosing the best time for a photography safari—similar principles apply!

Choosing the Right Location

Your location is 50% of your success in Milky Way photography. Here's how I pick my spots:

• ✅ Minimal Light Pollution: Use tools like Light Pollution Map or Dark Site Finder to scout areas with minimal artificial light interference.

• ✅ Unobstructed Views: Look for landscapes that offer clear sightlines to the southern horizon. Trees, mountains, or other objects can add interest—but you need a clear view for the core.

• ✅ Strong Foreground Elements: Foreground features such as rocky outcrops, lone trees, or even old ruins can turn a basic night sky shot into a compelling, story-driven image.

If you want an unforgettable destination for astrophotography, it’s hard to beat Namibia. The skies are among the darkest on Earth, and landscapes like Spitzkoppe and the Quiver Tree Forest feel otherworldly.

🚨 Want to join me under Namibia’s legendary skies? Check out my upcoming Namibia Photography Workshops here!

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Planning Around the Moon and Weather

Even with perfect location and timing, cloud cover or moonlight can ruin your chances. Here's how I plan:

• New Moon Phase: Aim to shoot within a few days of the new moon when the sky is darkest.

• Clear Skies: Apps like Clear Outside and Windy help forecast localized cloud cover, humidity, and visibility.

• Precise Timing: I cross-reference PhotoPills data for core rise times, azimuth angles, and visibility windows for my specific location.

The best results come when no moon + no clouds + dark skies align perfectly. A little patience pays huge dividends.

Gear for Milky Way Photography

Shooting stars demands gear that handles darkness, long exposures, and high ISOs well. Here's what I bring:

• Camera: Any modern mirrorless or DSLR that performs well at ISO 3200–6400. I shoot with the Canon R5 because of its balance between resolution and low-light capability.

• Lens: A wide, fast lens is essential. If I can I use a 20mm f 1.4, but when traveling my favorite is the Canon RF 15–35mm f/2.8—fast enough to collect light quickly and wide enough to capture sprawling skies.

• Tripod: A solid, stable tripod is non-negotiable. Even the tiniest movement ruins star detail.

• Headlamp with Red Mode: Essential for finding your gear and adjusting settings without blasting your vision (or your friends’) with harsh white light.

• Spare Batteries and Memory Cards: Long exposures drain batteries quickly. I always carry at least three fully charged batteries.

🎥 Want to see my complete gear loadout for remote expeditions? Check out this post: What’s In My Camera Bag.

My friend Jandre Germishuizen getting ready for a Milky Way session in Spitzkoppe, Namibia. Check out his work here https://www.jandrephotos.com/about/

Camera Settings for Milky Way Photography

Getting sharp stars comes down to dialing in a few key settings:

• Mode: Always shoot in Manual mode—you need full control.

• Shutter Speed: Use the 500 Rule: 500 ÷ focal length = max exposure time before stars blur. (For example, at 24mm, you can expose for about 20 seconds.)

• Aperture: Open it up wide—f/2.8 or faster gathers the most light.

• ISO: Start between 3200–6400. Higher ISO introduces more noise but reveals more stars. Find your camera's sweet spot.

• White Balance: Set around 3800–4000K for a natural, slightly cool tone—or use Auto if shooting RAW and adjust later.

• Focus: Autofocus will struggle. Manually pre-focus on a distant light or use a headlamp to illuminate a foreground object.

• 2-Second Timer or Remote: To avoid any vibration from pressing the shutter.

👉 Learn how I configure custom shooting modes for instant action and quick adjustments here.

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Post-Processing: Making Your Stars Shine

Editing Milky Way shots is about enhancing what you captured—not manufacturing fake scenes. Here's my basic workflow:

1. Boost the Whites: Carefully, without blowing out the highlights.

2. Adjust White Balance: Cooling it down a bit (~3800K) often enhances the Milky Way’s natural colors.

3. Add Contrast and Clarity: Use Dehaze, Blacks, and Clarity sliders to bring out the dust lanes and structure.

4. Use Local Adjustments: Apply selective edits to the foreground vs. the sky to balance exposure creatively.

5. Apply Gentle Noise Reduction: Smooth out the noise but preserve critical star detail.

For a more advanced workflow including exposure blending and stacking techniques, stay tuned for my upcoming deep-dive tutorial series.

Final Thoughts (And a Personal Note)

Milky Way photography has a steep learning curve—but once you get it right, it’s deeply rewarding. Some of my most treasured memories were built under starlit African skies, working patiently through cold nights, adjusting gear under red lights, and watching the universe reveal itself.

If your first shots don’t come out perfect, don’t get discouraged. Every attempt teaches you something—from managing conditions to fine-tuning focus and exposure.

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Featured Articles

Why I’m Not Upgrading to the Canon R5 Mark II or R1 in 2025

The Canon R5 Mark II and Canon R1 are here. They’re fast, powerful, and packed with cutting-edge autofocus and video features. But despite all the hype—and despite using my cameras professionally every day—I’ve decided not to upgrade.

Not yet, anyway.

This isn’t because the new models aren’t incredible (they are). It’s because, right now, my gear isn’t what’s limiting my photography—and that might be true for you too.

If you're feeling that familiar pressure to upgrade, this post is for you. And if you're looking to level up your photography without spending thousands on new cameras, make sure you grab my free wildlife photography eBook—it’s packed with gear tips, real-world advice, and camera setup strategies that actually make a difference.

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👉 Download your free wildlife photography eBook here.

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The R5 still delivers incredible results, even in 2025

What I’m Currently Using (And Why It Still Works)

My current setup is simple, battle-tested, and more than capable for professional wildlife work:

• Canon R5 – My workhorse for high-resolution stills, hybrid video content, and travel. It offers incredible detail without overwhelming file sizes and handles challenging light remarkably well.

• Canon R3 – My go-to for fast-moving wildlife, low-light situations, and harsh field conditions. Its autofocus tracking is unparalleled, and its ergonomic design allows for long shooting days without fatigue.

These two cameras have followed me through extreme environments—from the freezing altitudes of Mount Kenya to the blistering dunes of the Namib Desert—and have captured some of my most meaningful work.

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👉 Explore my Complete Namibia Photo Guide here.

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What the New Cameras Actually Offer

The Canon R5 Mark II and Canon R1 introduce several impressive updates:

Canon R5 Mark II

• Improved Autofocus Performance – Now closer to the elite tracking abilities of the R3.

• 30 fps Burst Shooting at Higher Resolution – Allowing for more frame choices in action sequences.

• Advanced Heat Management for Video – Unlocks longer shooting times without overheating concerns.

• Pre-Shoot Buffer Functionality – Helps capture moments even slightly before you fully press the shutter.

Canon R1

• AI-Assisted Autofocus – Smarter subject detection and tracking.

• Pre-Shoot Buffer Functionality – Helps capture moments even slightly before you fully press the shutter.

While these upgrades are fantastic for certain users, they don’t address any real pain points in my current workflow.

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Better Gear vs. Better Results

Over a decade of professional photography has taught me one fundamental truth:

Better equipment rarely leads to better storytelling. More time in the field, better timing, and sharper observation skills do.

Canon R3 + 600mm f4

Buying the newest camera won’t get you closer to elusive predators, it won’t magically place you at the right waterhole at dawn, and it certainly won’t teach you composition. In fact, sometimes, chasing gear upgrades can be a distraction from the work that truly moves your craft forward.

Instead of upgrading bodies this year, I invested in expanding my creative reach with a more versatile lens—the Canon RF 100–300mm f/2.8.

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👉 Discover why I chose the 100–300mm f/2.8 over the 400mm f/2.8 here.

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Why I’m Not Upgrading—Yet

Let’s look deeper at why I’m staying put:

• Better Autofocus?
  My R5 already nails focus in nearly every situation, and the R3’s subject tracking remains world-class even with fast-moving wildlife. I rarely lose shots due to focus errors anymore.

• 30fps Burst Speed?
  Shooting 30 frames per second sounds great, but in the real world, I find that timing and anticipation create better action shots than brute force speed. I almost never exceed 15fps in my workflows.

• Advanced Video Features?
  While the R5 Mark II boasts improved video capabilities, I rely on my Canon R5C for cinema-quality footage. It already provides better codec options and longer record times than I would gain from upgrading.

• Pre-Shoot Buffer?
  It's a great addition for those shooting highly unpredictable moments (like kingfisher fishing strikes), but for me, it doesn’t justify a €5,000+ investment.

If you want a better look at how I approach real-world camera setups in the field, I highly recommend checking out my guide on setting up custom camera modes.

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👉 Learn how I configure my camera for fast action wildlife photography here.

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When Upgrading Does Make Sense

I'm not against upgrading—but it should be driven by clear needs, not by FOMO. Here’s when upgrading makes real sense:

• You struggle with autofocus consistency – Especially for birds in flight or fast, unpredictable mammals.

• You’re limited by dynamic range or high ISO performance – Shooting heavily in very low-light conditions where extra sensor performance is critical.

• You're stepping into professional work – If your current body is outdated and lacks features needed for reliability or client expectations.

• You need dedicated video capabilities – Especially if you’re creating serious hybrid (photo + video) projects and your gear can’t keep up.

Before you upgrade, I suggest focusing on improving your in-field experiences first. It’s the fastest way to boost your wildlife portfolio.

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👉 Read how to plan the perfect safari trip for photography here.

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Canon R5 + 100-500mm RF

What I’m Focusing on Instead

Here’s where my focus (and budget) is going in 2025:

• More time in the field
  Nothing replaces firsthand experience. The more hours you spend observing wildlife, the more natural your compositions and reactions become.

• Investing in flexible lenses
  Lenses like the 100–300mm f/2.8 allow me to work faster and creatively adapt without constantly switching setups.

• Improving my editing workflow
  Polishing my RAW images efficiently lets me bring out the best in the files I already capture. Great editing often beats mediocre new files.

• Telling better stories
  Building compelling narratives around my travels, wildlife encounters, and conservation projects matters more than minor spec bumps.

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📸 Want to get more out of the gear you already own?

That’s exactly what I help photographers do on my immersive workshops. Every trip is built around learning how to see, compose, and shoot with purpose.

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Before you jump into upgrading your gear, ask yourself:

“Is this upgrade really necessary—or could this investment be better spent on experiences that grow my skills and portfolio?”

It’s tempting to believe that the next camera will unlock the next level of your photography. But usually, that next level comes from time in the wild, deeper field knowledge, and sharper creative instincts.

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📚 Don’t forget to download my free 100-page wildlife photography eBook here to maximize your current gear setup.

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Feautred Articles

Why I Switched from Capture One to Lightroom Classic in 2025

After seven years of editing exclusively in Capture One, I finally made the leap back to Lightroom Classic—and to be honest, I didn’t think this day would ever come.

This isn’t a dramatic pivot for the sake of it. As a wildlife and travel photographer working in remote locations and under constantly changing light, I’ve spent the past year reevaluating my workflow. And after some serious testing, Lightroom Classic has become the best fit for how I shoot and edit in 2025.

Here’s why I switched—and what you should consider if you’re using Capture One and wondering whether it’s still the best tool for your needs.

Why I Originally Chose Capture One

When I first started using Capture One in 2017, it was miles ahead of Lightroom in many key areas:

• Superior RAW rendering – My files looked better straight out of camera.

• Advanced color control – The Color Editor allowed for incredibly precise hue and tone adjustments.

• Sessions workflow – Perfect for travel and expeditions, with clean project-based organization.

• Layer-based local adjustments – Essentially Photoshop-level control right inside the RAW editor.

At the time, Lightroom felt slow, clunky, and creatively limited. Capture One gave me more control and better results, especially when editing thousands of wildlife photos across long trips. I built my entire workflow around it. But technology doesn’t stand still—and Lightroom has caught up in a big way.

What Made Me Switch Back to Lightroom Classic

1. Built-In AI Noise Reduction

For wildlife photographers, clean high-ISO performance is everything. I regularly shoot in low light—pumas at dusk, lions at sunrise, birds under canopy—and I need solid noise handling.

Lightroom’s AI-powered noise reduction is the best I’ve used so far. It outperforms third-party plugins and saves me the time and hassle of round-tripping files out of my editing app. Capture One does offer noise reduction, but Lightroom's solution is more seamless, intuitive, and effective for my needs.

2. Smarter Masking for Wildlife

Lightroom’s automatic AI masking is a serious time-saver. It can detect and select subjects, skies, and backgrounds automatically—and even intersects masks for advanced control. What stands out is that when I copy and paste these masks across a batch of images, Lightroom recalculates each one to fit the new photo.

With wildlife subjects—think feathers, fur, or animals partly hidden in brush—this means I can apply localized edits across a set with almost zero manual adjustments. Capture One offers similar tools, but I’ve found they require more manual fine-tuning, which slows me down during large edits.

3. Mask Intersections = More Creative Control

Intersecting masks in Lightroom allows me to apply selective adjustments—like a graduated filter that only affects the subject, or softening just the background behind it. These combinations give me precise control without jumping into Photoshop. It's a huge win for field photographers working on tight deadlines.

4. A Smoother, More Intuitive UI

This one surprised me. After years in Capture One’s clean, minimal interface, I thought I preferred its precision. But coming back to Lightroom made me realize how fluid and intuitive it now feels. Sliders are more responsive. The overall flow of adjustments just works better for my creative process. Lightroom feels like a tool designed for photographers, not engineers—and I didn’t realize how much I’d missed that.

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🎁 Want to go deeper into editing, gear, and in-field techniques? Download my free 100-page wildlife photography eBook—it’s full of practical advice from the field.

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What I’ll Miss About Capture One

To be clear: Capture One is still a fantastic piece of software. There are three areas where I think it still has the edge:

1. Sessions for Travel Shoots

Sessions are ideal for managing short-term projects on the road. I’d create a session for each location or assignment, then merge everything into a master catalog back at the studio. Lightroom doesn’t have an equivalent (yet), and I haven’t found a workflow that replicates that speed and structure as cleanly.

2. Full Layer-Based Local Adjustments

In Capture One, every layer supports every tool—curves, color balance, sharpening, white balance, etc. Lightroom has come a long way, but not every adjustment is available through masking yet. That limitation is still noticeable if you’re used to Capture One’s flexibility.

3. Advanced Color Editor

Capture One’s Color Editor remains unbeatable for ultra-fine color grading. It’s especially great for portrait and studio work, where subtle color shifts matter. If you shoot fashion, lifestyle, or commercial portraits, it might still be the better choice.

That said, for my workflow—wildlife, fast-paced travel, and large volumes of RAW files—Lightroom is now ahead where it counts.

Final Thoughts: Choose the Tool That Serves You Now

This isn’t about loyalty—it’s about choosing the right tool for the job, right now.

If you’re editing large batches, working in high ISO, or want AI tools that truly speed up your editing process, Lightroom Classic in 2025 is an incredibly strong choice.

Capture One still shines for high-end control, commercial editing, and workflows where ultimate precision matters. But for fast, flexible, and effective editing in the field, I’m happy to be back in Lightroom.

Watch the Full Video

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Featured articles

Why I No Longer Use ETTR for Wildlife Photography

If you're still "exposing to the right" (ETTR) like we all did back in 2012, it's time to rethink your wildlife photography strategy. I did it myself for years—but recently realized the rules have dramatically changed.

Modern camera sensors, such as those in the Canon R5, R3, Nikon Z9, and Sony A1, have drastically improved dynamic range and shadow recovery capabilities. Today, intentionally underexposing your images slightly can actually preserve critical highlights and provide greater editing flexibility later on.

In this article, I'll explain why ETTR is outdated for wildlife photography in 2025, how I now expose my images, and when ETTR might still be beneficial.

What is ETTR (Expose to the Right)?

"Expose to the Right," or ETTR, is a photography technique that was popularized more than a decade ago. The concept involves pushing your camera's histogram as far right as possible without clipping highlights. By maximizing the amount of captured light, you collected more data in the brighter areas of the image, resulting in cleaner files with less noise and better color quality—especially in the shadow areas.

This approach made perfect sense back in the era of early DSLRs like the Canon 5D Mark II or Nikon D700. These cameras had (relatively) limited dynamic range, particularly at higher ISO settings. Pulling up shadows in post-processing would often reveal ugly noise, discoloration, and loss of detail.

ETTR was the logical solution, allowing photographers to capture more image data upfront and reduce reliance on heavy shadow adjustments later. However, the photography landscape has significantly evolved.

A photo captured with Canon R3 at 20.000 ISO

Why ETTR is Now Outdated for Wildlife Photography

Today’s mirrorless cameras have completely changed the game. Sensors in cameras like the Canon R5, R3, Nikon Z9, or Sony A1 offer incredible dynamic range and impressive shadow recovery. It's now common to recover shadows by three stops or even more without noticeable quality loss.

But there’s one big catch: blown highlights are still irrecoverable. Once highlights clip—like bright feathers on a bird or sunlit fur on a predator—no amount of editing can recover those details.

In wildlife photography, conditions change rapidly. Animals move unpredictably, backgrounds shift, and lighting conditions vary in seconds. Using ETTR in these scenarios often means guessing exposure, risking highlight loss, and potentially missing shots you can't retake.

Underexposing slightly, on the other hand, helps preserve essential highlight detail, giving you more flexibility when editing RAW files later.

My New Approach: Smart Underexposure

My current technique involves intentionally underexposing images by approximately two-thirds to one full stop, especially in high-contrast or brightly lit situations. This approach ensures I retain highlight details and gives me room for shadow recovery without compromising image quality.

Here's exactly how I set up my camera in the field:

• Shoot Manual mode with Auto ISO: This lets me precisely control shutter speed and aperture while the camera automatically adjusts ISO to balance exposure.

• Enable Highlight Alerts (Zebras): This visual indicator quickly shows if highlights are close to clipping, so I can adjust accordingly.

• Histogram management: I aim for a histogram that approaches the right edge without touching it, ensuring no crucial details are lost.

• Rely on RAW data, not JPEG previews: The camera's JPEG preview can be misleading. Always check your RAW histogram and confirm recoverable details later in post-production software like Lightroom or Capture One.

By following this workflow, even in challenging lighting, I maintain maximum flexibility to adjust shadows and exposure in post-processing.

Is ETTR Ever Still Useful?

Does this mean ETTR is completely obsolete? Not quite—there's still one specific scenario where ETTR remains beneficial: extremely low-light photography at high ISO settings.

For instance, pre-dawn wildlife drives or evening shoots in dim forests are scenarios where noise—not highlights—is the primary enemy. Here, pushing the exposure slightly to the right helps produce cleaner images straight out of camera, reducing reliance on shadow brightening, which can drastically increase noise.

In low-light situations, I:

• Open my lens aperture wide (f/2.8 or f/4).

• Lower shutter speed as far as practical for sharp images.

• Push the histogram rightward cautiously, ensuring no highlights clip.

Since these environments typically have low contrast and limited dynamic range, capturing a brighter initial exposure minimizes noise and produces higher-quality images overall.

Final Thoughts: Smart Underexposure is the Real Wildlife Photography Hack

While ETTR had its merits in the DSLR era, modern mirrorless cameras have shifted the photography landscape significantly. In 2025, careful, intentional underexposure—prioritizing highlight protection—is the superior strategy for wildlife photographers.

By exposing for flexibility, protecting highlights, and confidently working with shadows in post-processing, you'll consistently capture better wildlife images.

Still struggling with tricky lighting and high ISO scenarios? You're not alone. I made a comprehensive video on managing low-light wildlife photography, packed with practical insights for cleaner, sharper photos.

Watch my full video guide on managing tricky low-light wildlife photography here.

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Featured articles

Photographer's Guide to Sossusvlei: Capturing Namibia's Iconic Landscapes

Nestled within Namibia's Namib-Naukluft National Park, Sossuslvei is a haven for landscape photographers. Its towering red dunes (the tallest and oldest in the world), stark white clay pans, and ancient camelthorn trees offer a surreal canvas for capturing nature's artistry. Over the years I’ve been visiting Sossusvlei multiple times and those incredible views never fail to amaze me. However there are a few things I learned over time that I wish I had known earlier. Drawing from my experiences and insights from fellow photographers, here's a comprehensive guide to making the most of your photographic journey in this mesmerizing desert landscape.​

1. Secure Accommodation Inside the Park

To truly capitalize on the enchanting light of dawn and dusk, it's imperative to stay within the park's confines. In fact, Sossusvlei operates with two main gates:​

• Outer Gate: Opens at sunrise and closes at sunset, restricting access during prime photography hours.​

• Inner Gate: Opens one hour before sunrise and closes one hour after sunset, granting photographers the coveted golden hours.​

If you consider that from Sesriem you still have to drive 40 to 60 km to reach your shooting location (plus 7km on sand and 20 mins walking for Deadvlei) it’s clear that the outer gate timing won’t allow you to capture the beautiful golden hour on the dunes. For this reason is paramount to get accommodation inside of the park, past the outer gate.

Accommodations like the Sossus Dune Lodge, Sesriem NWR Campsite, and Oshana Camp are situated inside the inner gate. Staying here ensures you're on location when the light is at its best. Given their popularity, it's advisable to book well in advance - and I mean, WELL in advance. Accommodation inside the park is limited and might fill up very soon. I’d suggest you to book at least 6 months before your visit to secure your access.

2. Plan Your Shoots Around Optimal Lighting

The desert's lighting transforms dramatically throughout the day:​

• Sunrise: Soft, golden hues illuminate the dunes, creating long shadows and enhancing textures.​

• Midday: Harsh light can wash out colors and reduce contrast, making it less ideal for photography.​

• Sunset: Warm tones return, casting a magical glow over the landscape.​

Prioritize shooting during the early morning and late afternoon to harness these favorable conditions. Midday can be reserved for rest, scouting locations, or capturing abstract shots that play with the intense sunlight.​

My go-to daily schedule in Sossusvlei includes waking up very early, having a quick coffee and packing up so that we can be at the gat at least 10 minutes before opening. This will allow me to be amongst the first car to drive into the park. At sunrise I usually go towards Deadvlei, shooting for about 2 hours till the light becomes too harsh and the main tourists start coming in from the outer gate. I will then leave and drive back to Sesriem for a good brunch and some hours of rest in the shade before heading back at mid afternoon, usually around dune 45 or dune 39, to find my spot for the sunset session.

3. Equip Yourself with Essential Gear

The unique environment of Sossusvlei demands specific equipment:​

• Lenses: you can use anything from super wide to super telephoto, but expect to be shooting more in the mid telephoto range. The landscape is very empty and vast and the telephoto helps compressing elements, making for interesting, minimal compositions.​

• Tripod: Essential for stability during low-light conditions and for precise compositions. While you can always shoot wide open, if you are going for stylized, minimalist landscapes my advice is to stop down to f8 or f11, especially on telephotos, so that all the lines in your frame are sharp and crisp.

• Filters: I rarely use polarizers but Sossusvlei is one of the exceptions. The dunes are reflecting an incredible amount of light and using a polarizer will improve dramatically the contrast in your image.​

• Cleaning Kit: Dust and sand are unavoidable here, and it’s paramount to bring some camera cleaning tools. Expect to be cleaning your gear multiple times a day, and try to avoid changing lenses out in the dunes to prevent dust to reach your camera’s sensor.​

4. Explore Iconic and Lesser-Known Locations

Sossusvlei offers a plethora of photographic opportunities:​

• Deadvlei: This clay pan, adorned with centuries-old dead camelthorn trees set against white sands and encircled by red dunes, provides a stark and captivating contrast. Photo opportunities are endless, but it might also be quite challenging. It’s the furthest location you can access in Sossusvlei: form the inner gate in Sesriem you must drive the 60km tar road to the end, then you switch on your 4x4 and drive about 7km on sand. Once you reach the parking area you still have to walk approx 20 min over a small dune to access it.

• Dune 45: Easily accessible and famed for its elegant shape, this 80-meter-high dune is often dubbed "the most photographed dune in the world." The number indicates the distance from the gate, meaning that we will have to drive 45km back to Sesriem. This is a go-to spot for sunset sessions, as we can stay till the sun is set before driving back.

• Big Daddy: Standing approximately 325 meters tall, it's one of the highest dunes in the area and offers panoramic views for those who undertake the climb. You can do it after a sunrise session in Deadvlei, but remember to bring with you a lot of water - it gets crazy hot out there!

• Hiddenvlei: A more secluded spot, it’s a good option for photographers that don’t want to deal with the crowds in Deadvlei. ​

5. Respect the Fragile Ecosystem

The beauty of Sossusvlei comes with a responsibility to preserve its delicate environment:​

• Stay on Designated Paths: Avoid creating new trails that can lead to erosion.​

• Avoid Touching Ancient Trees: The dead camelthorn trees in Deadvlei are estimated to be around 900 years old; avoid touching or, worst, sitting on them. ​

• Carry Out All Waste: Ensure no litter is left behind, maintaining the pristine nature of the desert.​

• Stay within the speed limits: The limit inside the park is 60km/h. If you are ready at the gate at opening time, there’s no need to speed. Also avoid staying too late in the park and then speed to get out in time. There’s plenty of orix running around when is dark and it’s very likely to end in a car accident when driving at night.

• Do not use drones: Drones are not allowed in the park. Unless you apply for a permit trough the park service, avoid using them or you can get a very high fine. ​ ​

Photographing Sossusvlei is a transformative experience, offering scenes that seem otherworldly. By planning meticulously, respecting the environment, and embracing the unique challenges of desert photography, you'll capture images that resonate with the timeless beauty of Namibia's iconic dunes.​

Join Our Photography Workshops

If you're eager to explore Sossusvlei and other breathtaking landscapes with guided expertise, consider joining one of my photography workshops.

We offer tailored experiences that cater to various skill levels, ensuring you leave with both stunning images and enriched knowledge.

For more infos and inspiration about Sossusvlei check out this video guide:

Master Low-Light Photography [video tutorial]

Have you ever faced the frustration of shooting in low light, only to find your photos ruined by noise or lack of detail? Whether it’s wildlife at dusk, action shots in dim environments, or nighttime landscapes, low-light conditions can push even the best photographers to their limits.

In this video I break down practical tips and tricks to tackle low-light challenges and capture stunning images, even at high ISO settings.

Here's what you'll learn:

🌌 Why noise isn't just about ISO—and how to manage it effectively.
🌌 How to balance shutter speed, aperture, and ISO for the best results.
🌌 Techniques for stabilizing your camera to maximize light capture.
🌌 Real-world examples, including how I shot a clean photo at ISO 12800.
🌌 Pro strategies for testing and understanding your camera’s low-light limits.

Check it out!

Need more tips like this? Subscribe to my newsletter and get your free copy of my 100 pages e-book Wildlife Photography for Beginners!

Ultimate Photography Guide to Etosha National Park

Etosha National Park is one of Africa's premier wildlife destinations and a paradise for photographers. It’s unique landscape and environment create unique challenges for the photographer, but once I learnt how to approach it it became one of my favorite destinations in the world for wildlife.

Located in northern Namibia, this iconic park spans over 22,000 square kilometers and is centered around the vast, shimmering Etosha Pan. While you can forget about photographing all the big 5 - there is no buffalos in the park - the vast plains and abundant populations of elephants, lions and rhinos will provide you all the ingredients for amazing photos.

Elephant heard heading to a waterhole near Namutoni camp, Etosha

Exploring Etosha: Inside the Park

Inside the Etosha there are five main camps, each offering unique advantages for exploring the park’s diverse habitats and wildlife. These camps offer the best access as you can be out in the park as soon as the gates open in the morning, while if you stay out of the park you will need to go though the park receptions every time.

Waterhole scene close to Dolomite Camp

1. Dolomite Camp

Located in the western section of Etosha, Dolomite Camp is the only accommodation in this remote area, which is less crowded than the rest of the park. Its elevated position provides stunning panoramic views, and the area is rich in wildlife like black rhinos, lions, and Hartmann's mountain zebras. However, in my experience wildlife on this side of the park tend to be a bit more sparse and the ticker vegetation makes it more difficult to get clean photos.

2. Olifantsrus Camp

This eco-friendly camp is perfect for budget-conscious travelers and features a unique elevated hide overlooking a waterhole, making it ideal for photographers wanting close-up shots of elephants, giraffes, and other wildlife. While the elevated hide is perfect for wildlife watching, the elevated perspective is not the best for photography. There is also a lower-level hide with windows, that would provide a great option but the windows are always so dirty that it’s impossible to photograph through them. Also note that there are no rooms here so the accommodation is only suitable for campers, roof tents or ground tents.

Herds of elephants are moving across the whole park. Here is one at sunset at Olifantsrus Camp.

3. Okaukuejo Camp

Night scene at Okaukejo waterhole

The most popular camp in Etosha, Okaukejo provides the best facilities you’ll find in the park. Thanks to its floodlit waterhole, after dark, you can get incredible sightings of rhinos, lions, and elephants gathering around the waterhole. The area surrounding the camp is very rich in wildlife, but it’s very vast. I suggest booking one of the morning game drives, that are allowed to leave the camp before sunrise. This is your best chance to find a lion before the sun comes, so that you are ready to photograph it with the first light of the day.

All of that being said, Okaukejo is also the busiest camp in Etosha and in peak season can be incredibly crowded. Make sure you book well in advance as it fulls up months or even years in advance.

Wildebeest at sunrise in the Okaukejo area

4. Halali Camp

My favorite camp in Etosha, the place where I had some of the most amazing encounters. In this area I’ve seen everything, from big lion prides to leopards, rhinos and even some cheetah hunts. Centrally located, Halali offers access to some of the park's best waterholes, like Goas and Rietfontein. The camp itself has a waterhole that attracts a variety of animals, with a high point of view that makes you feel like there with the wildlife. Halali facilities are not in the best conditions and some heaving maintenance and renovations are required.

A leopard we spotted near Halali camp

Waterhole at Halali camp

Etosha also host abundant birds populations. Here is an egyptian goose I photographed at Goas, near Halali

5. Namutoni Camp

Situated in the east, Namutoni is known for its historical fort and proximity to key waterholes like Klein Namutoni and Chudop. This side of the park might be the absolute best for photography, thanks to less vegetation and more open fields. Like in the other camps, if you can get on the morning guided game drive to increase your chances of success.

Open areas around Namutoni provide amazing wildlife photo opportunities

Lodges Outside Etosha

While the camps within the park offer the best accessibility, they come with some compromise on comfort and experience; being all managed by NWR, all the facilities and services inside the park are rather expensive while the quality is very low. For those seeking more luxurious or private accommodations, the lodges outside the park are excellent options:

• King Nehale Lodge: Located near the King Nehale Gate, in the north.east of the park, this lodge offers modern amenities and easy access to the park's northern areas. Guests also have access to a private water hole with hide where it’s possible to spend the afternoon waiting for rhinos and lions to came by.

• Onguma Game Reserve: Adjacent to the Von Lindequist Gate, Onguma features several luxury lodges and hides for photographers looking for high-end comfort and unique perspectives.

• Etosha Village: Situated near the Anderson Gate, this lodge combines convenience with a touch of luxury.

What camera gear should you bring to Etosha?

Compared to other safari destinations, Etosha’s wide open plains require a bit more reach than usual. I would recommend a minimum of 500mm, or even more if possible. There is a lot of light here; you must be back at camp before sunset and you can only leave after sunrise, so don’t worry too much on having a super fast prime lens. Something like a 100-500mm or a 200-600mm are perfect.

If you can, bring a camera with a telephoto in the 100-500 range and a second camera with a 600mm, maybe with a teleconverter. This way you can always get a wider shot with the zoom lens, then switch to your longer prime to get intimate portraits.

Remember to bring some extra batteries and all you need to keep your camera and lenses clean from all the dust that’s constantly floating in the air in the park. You won’t need a tripod as you will be mainly shooting from vehicles.

You need some long telephoto lenses for a safari to Etosha

Clothing and Extra Gear to Bring

Etosha's climate can be extreme, so pack accordingly:

• Clothing: Light, breathable fabrics for the day, warm layers for early mornings and evenings (it gets quite chilly in the morning drives so always get a warm jacket). Make sure you use neutral colors to blend into the environment; avoid white or very bright colors.

• Hat and sunglasses: A wide brimmed hat and some good sunglasses are essential for sun protection.

• Binoculars: Some good binoculars will help a lot when it comes to spotting distant wildlife.

• Sunscreen and insect repellent: Both are vital for a comfortable safari experience.

• Water bottle: You will need a lot of water during the hot days in Etosha. Make sure you get a personal, reusable water bottle, and buy a few 5L water tanks. Budget at least 3 liters per person per day.

Wildlife in Etosha

Etosha National Park is home to an incredible variety of mammals, offering photographers a chance to capture iconic species in their natural habitat. Here's a closer look at some of the most remarkable mammals you can encounter.

Elephants

Etosha has a very big elephant population. These gentle giants can often be found at waterholes, providing dramatic photo opportunities as they bathe, drink, or interact with each other, or in big herds crossing the plains an grasslands. Their dust-bathing rituals at sunset create mesmerizing silhouettes against the golden light.

Herd of elephants crossing the Etosha plains

Lions

With a population of around 400 individuals, lions are frequently spotted throughout the park, particularly near waterholes during the dry season. Their behavior—whether hunting, resting in the shade, or socializing in prides—offers endless moments to capture powerful and intimate scenes.

Two male lions taking in the first rays of sun in the Halali area

Rhinos

Etosha is a stronghold for both black and white rhinos, making it one of the best places in Africa to photograph these critically endangered species. Black rhinos are more common and can be seen at night around floodlit waterholes, while white rhinos are occasionally spotted in the park’s southern regions.

Black rhino at sunrise near Halali

Leopards

On of the most difficult species to be spotter in Etosha, Leopards are elusive and require patience to photograph, but the reward is worth it. Look for them lounging in trees or near densely vegetated waterholes. Their striking patterns and piercing eyes make for breathtaking portraits.

Leopards are some of the most difficult animals to spot in Etosha

Cheetahs

Etosha’s open plains are ideal habitats for cheetahs, the world’s fastest land animals. They are often seen scanning the savanna from termite mounds or resting in the shade after a hunt. Capturing a cheetah mid-sprint requires planning and lot of patience, plus a fast shutter speed, making it a difficult challenge for any wildlife photographer.

Etosha is one of the best destinations to see cheetahs

Cheetah on the hunt

Giraffes

Giraffes grace the landscape with their elegance, often creating iconic silhouettes against the horizon. Their interactions, whether drinking at waterholes or engaging in "necking" battles, offer unique opportunities to photograph their behavior and long, graceful forms.

Sometimes wildlife gets so close that we can experiment with different types of photography, like here with a giraffe

Zebras

Zebras are some of the most common and abundant species you will see in Etosha, but they still provide very interesting photos

Etosha is home to two zebra species: Burchell’s zebra and the rarer Hartmann’s mountain zebra. These strikingly patterned animals can often be found in large herds, making for dynamic compositions. The contrast between their black-and-white stripes and the dusty terrain is a classic safari image.

Springbok and Other Antelope

Springbok are one of the most abundant animals in Etosha, famous for their graceful leaps known as "pronking." Other antelope species, like kudu, oryx, and black-faced impalas, are also common and provide a wide range of photographic subjects, from close-ups to action shots.

Male impala at sunrise

Wildebeest

Often found grazing in the open plains, wildebeest are great subjects for photographing group dynamics. During the dry season, they gather in large herds at waterholes, creating exciting opportunities for dramatic and action-packed shots.

Wildebeest

Best Season for Safari in Etosha

The best time to visit Etosha depends on your photography goals:

• Dry Season (May to October): Animals congregate around waterholes, making it easier to spot and photograph wildlife. The dry, dusty atmosphere creates dramatic lighting conditions.

• Green Season (November to April): The park is lush and vibrant, with spectacular bird migrations and newborn animals. However the water during this season is abundant so wildlife doesn’t need to come to the waterholes, and abundant vegetation helps animals to hide from our cameras.

While you can get good sightings from May to October-November, in my opinion the best season for wildlife photography in Etosha is towards the end of the dry season, in the months of September and October.

How Long Should You Stay?

Short answer: as long as you can! For a fulfilling safari experience, at least two full days in Etosha is recommended. However, to truly explore the park and maximize your photography opportunities, plan for 5 days or more. Wildlife enthusiasts might even extend their stay; that’s the magic of safari, every day, every game drive is different, and the more time we spend in the park, the better chances we have to get amazing photos.

Join Me in Etosha in 2025

I’m thrilled to announce that I’m organizing two exclusive photography tours to Namibia in 2025, both including Etosha National Park. These trips are designed to provide unparalleled photography experiences, guided by the expertise and knowledge I accumulated in over 20 trips to Namibia. Check out my tour calendar here, and don’t forget to sign up to my newsletter to get early bird discounts.

Etosha National Park is a haven for photographers, offering endless opportunities to capture Africa’s beauty. With the right preparation and a spirit of adventure, your trip will be nothing short of extraordinary. See you in Etosha!

Sunset sky at the end of the dry season. The first clouds are showing up and will soon start to rain.

How Long Should You Stay?

Short answer: as long as you can! For a fulfilling safari experience, at least two full days in Etosha is recommended. However, to truly explore the park and maximize your photography opportunities, plan for 5 days or more. Wildlife enthusiasts might even extend their stay; that’s the magic of safari, every day, every game drive is different, and the more time we spend in the park, the better chances we have to get amazing photos.

Classic Etosha waterhole scene

Join Me in Etosha in 2025

I’m thrilled to announce that I’m organizing two exclusive photography tours to Namibia in 2025, both including Etosha National Park. These trips are designed to provide unparalleled photography experiences, guided by the expertise and knowledge I accumulated in over 20 trips to Namibia. Check out my tour calendar here, and don’t forget to sign up to my newsletter to get early bird discounts.

Etosha National Park is a haven for photographers, offering endless opportunities to capture Africa’s beauty. With the right preparation and a spirit of adventure, your trip will be nothing short of extraordinary. See you in Etosha!