Canon RF 100-300mm f/2.8 for Wildlife Photography - why I bought it

I’ve been shooting with the Canon RF 600mm f/4 for years. It’s an incredible lens—tack-sharp, with insane subject separation and enough reach to capture intimate wildlife portraits even in wide-open environments like Etosha or the Kalahari. But recently, I added the Canon RF 100-300mm f/2.8 to my kit. And yes—it’s one of the most expensive telephotos on the market. So why the change?

In this post, I’ll break down why I decided to invest in this lens, how it solves some of the frustrations I’ve had in the field, and what my new lens setup will look like on upcoming trips across southern Africa.

In the field with the 600mm f4

First Impressions: The Canon RF 100-300mm f/2.8

The first time I picked up the 100-300mm f/2.8, I could immediately feel the difference. Despite being a fast zoom, it’s shorter and lighter than the 600mm, making it far easier to handle—especially when shooting handheld or working out of a vehicle.

Key specs that matter for wildlife:

• Constant f/2.8 aperture across the zoom range

• Weight: just under 2.6 kg (5.7 lbs)

• Built-in image stabilization (up to 5.5 stops)

• Weather-sealed construction

On paper, this lens offers an ideal balance between speed, versatility, and image quality. But let’s talk about why I felt the need to add it at all.

Why the 600mm f/4 Isn’t Always Enough

I still love the 600mm f/4. It’s produced some of my favorite images—especially when I’m further back from the subject. With the right light and distance, it delivers perfect compression and clean backgrounds, making the subject pop.

But over the years, I’ve run into a few recurring challenges that the 600mm alone can’t solve.

1. Sometimes It’s Too Long

In places like South Luangwa or Slovenian bear hides, animals often come extremely close. At 600mm, I was constantly too tight, missing compositions entirely or forced to switch lenses rapidly. The Canon RF 100-500mm has helped bridge this gap, but its variable aperture (f/7.1 at the long end) severely limits its low-light performance.

2. Handholding Gets Exhausting

Yes, I can technically handhold the 600mm, but let’s be real—it gets heavy fast. I often skip potential shots just because I can’t hold position long enough or don’t want to deal with the physical strain. With the 100-300mm, that’s no longer a problem.

3. f/4 Isn’t Always Enough in Low Light

As good as f/4 is, it doesn’t compare to f/2.8 when the light starts to fade. Dawn and dusk are when wildlife activity peaks, and shooting wide open at 2.8 means lower ISO, cleaner files, and better shutter speeds—especially when filming video, where pushing ISO is even riskier.

Sometimes the 600mm is just too long, especially when animals are walking close to my car during a safari

Why I Chose the Canon RF 100-300mm f/2.8

At first, I considered going back to the 400mm f/2.8, which I’ve used in the past. But it’s bulky and heavy, and pairing it with the 600mm made my travel setup unwieldy. The 100-300mm f/2.8 offers many of the same benefits with none of the downsides.

Here’s what sealed the deal:

More Light = More Keepers

With f/2.8, I gain a full stop over the 600mm. In low-light conditions—shaded forests, cloudy mornings, golden hour—it’s a massive advantage, both for stills and video.

Zoom Flexibility Without Sacrificing Sharpness

I now have zoom capability from 100mm to 300mm, without compromising sharpness or performance. That’s perfect when working in fast-changing scenes, or when I want to adjust framing without moving position.

Easier to Handle, Especially on the Move

Whether I’m shooting from a car window, trekking on foot, or filming handheld, the 100-300mm is compact enough to manage comfortably. This means I shoot more, move faster, and react better in the field.

Works Seamlessly with Teleconverters

With a 1.4x teleconverter, the lens becomes a 140–420mm f/4, which still delivers superb quality. On a Super35 crop (an option that I can switch on and off when I film with the R5C), that gives me up to 630mm equivalent. That kind of flexibility is hard to beat.

Replaces Multiple Lenses

It’s rare that one lens can take the place of three, but in my case, it does. With this new addition, I’ve effectively replaced:

• 70-200mm f/2.8

• 100-500mm f/4.5–7.1

• 400mm f/2.8

For someone who travels often and packs for self-drive safaris or remote locations, simplifying my gear like this is a huge win.

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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 About the 600mm?

Don’t worry—the 600mm isn’t going anywhere. I’m not replacing it, I’m complementing it. My field setup for the upcoming season looks like this:

• 600mm f/4 on Canon R3 – used with beanbags or monopods for long-range wildlife photography

• 100-300mm f/2.8 on Canon R5 – my handheld go-to for dynamic stills and video

• 100-500mm on the R5C – mounted on a fluid head for long-form horizontal video content

This 3-lens system gives me reach, flexibility, and creative control, whether I’m tracking lions in the Kalahari or filming rhinos in Damaraland.

Final Thoughts

Adding the Canon RF 100-300mm f/2.8 was a big investment, but after using it in the field, I can confidently say it’s going to change how I work. It solves real-world problems that the 600mm couldn't—and it simplifies my gear without sacrificing quality.

As I prep for my next adventures across Namibia, Botswana, and Zambia, I’m genuinely excited to see what this lens can do. It’s rare to find a tool that makes you feel more nimble and more capable—but this is one of them.

Let me know what lens setup you’re using for wildlife—especially if you’ve tested the 100-300mm yourself. Is it worth the hype for you too?

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Featured 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

Ultimate Autofocus Trick: Use Servo and One-Shot AF at the Same Time!

I've been photographing wildlife professionally for years now, primarily using cameras like the Canon R5 and Canon R3. After countless hours tweaking settings, customizing buttons, and experimenting in the field, I've discovered something that completely changed my workflow - something I wish I'd known sooner. Today, I'm sharing my new favorite autofocus customization that allows you to use continuous (SERVIO) autofocus and single (ONE-SHOT) autofocus simultaneously—without ever diving into your camera menu while you're out shooting.

If you photograph wildlife, birds, or any fast-moving subjects, this autofocus setup could transform your photography as well.

Understanding Autofocus Modes: Servo AF vs. One-Shot AF

Before we dive into the setup, let's quickly recap the two main autofocus modes that photographers use most frequently:

• Continuous Autofocus (Servo AF / AF-C):
  In this mode, your camera continuously adjusts the focus to track and keep a moving subject sharp. It's ideal for wildlife, sports, or action scenes where subjects move unpredictably.

• Single Autofocus (One-Shot AF / AF-S):
  Here, your camera locks focus once, and it remains fixed until you refocus manually. It’s excellent for stationary subjects, precise framing, or scenes where you don't want the autofocus to shift unexpectedly.

Why Servo AF Isn’t Always Perfect

Servo AF is powerful, especially with modern mirrorless cameras. However, even the most advanced autofocus tracking systems sometimes struggle, particularly:

• In cluttered scenes (branches or leaves in front of your subject).

• Low-contrast lighting (foggy mornings or dusk conditions).

• When you want to deliberately lock focus on a specific element in the frame and recompose.

In these situations, continuous autofocus can get confused, causing missed shots and frustration in the field.

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👉 Quick tip: If you're into wildlife photography and want more field-tested tips, download my free 100-page wildlife photography eBook. It’s packed with gear advice, camera settings, and in-field techniques to elevate your photography.

My Previous Workarounds (and Why They Didn’t Work)

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Initially, I separated autofocus from my shutter button, assigning AF activation exclusively to the back AF-ON button. This setup (also known as "back-button focusing") gave me good control but still required frequent switching between SERVO and ONE-SHOT modes depending on the situation.

I tried assigning different buttons - front buttons on the R3, FN buttons on the R5 - to quickly switch modes, but this still meant fiddling with camera settings during critical moments. Inevitably, I would sometimes forget to switch modes back, resulting in out-of-focus shots at the worst possible times.

I needed a solution to have both autofocus modes instantly accessible at any given moment—without diving into camera menus.

The New Autofocus Setup: Servo and One-Shot AF Simultaneously

After experimenting extensively, I've finally found the perfect customization that lets me seamlessly use Servo and One-Shot AF at the same time. Here’s exactly how I set it up on my Canon R5:

Step-by-Step Autofocus Setup (Canon R5)

1. Go to the Autofocus Menu:

   • Set AF Operation to SERVO AF.

   • Set AF Method to Tracking + Subject Recognition.

   • Choose your subject (Animals, People, Vehicles).

   • Disable Continuous AF (to conserve battery life and avoid unnecessary AF movement).

2. Customize Your Buttons:

• In the "Customize Buttons" menu, set the Shutter Button to trigger both Exposure Metering and AF. This activates continuous autofocus with tracking when half-pressed.

• Set the AF-ON button similarly to trigger Exposure Metering and AF, but now press the INFO button to access the sub-menu:

  • Change AF Operation to ONE SHOT AF.

  • Change AF Method to SPOT AF (for precise, single-point focusing).

This simple yet powerful setup lets you instantly switch autofocus modes with a single button press:

• Half-pressing your shutter button triggers Servo AF with tracking, ideal for action and moving subjects.

• Pressing and holding the AF-ON button activates precise One-Shot AF, ideal for stationary or carefully composed scenes.

In the field with the R3

Adjustments for Canon R3 Users:

On the Canon R3, subject tracking is always activated and cannot be completely disabled, so you slightly adapt this setup (which I fully explain in detail in my YouTube video).

SEE FULL VIDEO TUTORIAL

Real-World Benefits of This Autofocus Setup

With this setup, you gain instant access to both autofocus modes in the field. For example:

• Tracking a running cheetah? Half-press your shutter button and let Servo AF keep it sharp.

• Suddenly spot a perched bird hidden among branches? Instantly press the AF-ON button, lock your focus precisely, and recompose confidently.

One Additional Autofocus Tip for Telephoto Users

If you're using super-telephoto lenses, occasionally the autofocus might jump to a distant background or foreground, losing your subject completely. When this happens, it takes precious seconds for your camera to find your subject again.

The solution: use your lens’s focus preset feature. Many telephoto lenses allow you to set a specific focus distance and instantly recall it with a single twist or button press. This vastly reduces focus-hunting and ensures you never lose critical moments.

I've created a full tutorial dedicated to making the most out of this underrated telephoto function. Don't head out on your next photography adventure without checking that out.

Final Thoughts and Next Steps

By implementing this autofocus setup I drastically improved my hit rate for sharp images - especially in complex, fast-changing wildlife scenarios. Give it a try on your camera and see how it transforms your own shooting experience.

Don’t forget to subscribe to my YouTube channel for more practical wildlife photography insights like this!

Happy shooting!

What’s in My Safari Camera Bag (2025)

A Wildlife Photographer’s Gear Guide for African Safaris

Planning your first (or fifth) African photo safari? Choosing the right gear is one of the biggest factors in whether you come home with just memories or jaw-dropping images. In this guide, we’ll break down my professional safari camera kit built for serious wildlife work in 2025.

This list reflects current best-in-class Canon gear, trusted accessories, and field-tested choices optimized for safari conditions, power limitations, and airline weight restrictions.

Safari along the Chobe River, Botswana

Camera Bodies: What I Still Trust in 2025

Let’s start with the core: the camera bodies. In 2025, Canon’s R3, R5, and R5C remain incredibly capable—even with newer models like the R1 and R5 Mark II entering the scene. While the newer models are indeed more powerful, these “old” bodies still deliver all the image quality, autofocus performance, and reliability you need on safari.

• Canon R3: My go-to for fast action and low light situations. It provides incredible AF system and low light handling, and the built-in vertical grip make it ideal for long days shooting wildlife on the move.

• Canon R5: A perfect all-rounder. Lightweight, high-res (45MP), and great dynamic range. It usually stays on my 100-500mm.

• Canon R5C: If you shoot video as well, this hybrid body handles 8K RAW and gives full manual video control with active cooling—perfect for BTS safari content or cinematic work. These days I am pairing it with the new Canon 100-300mm f2.8. I can make the most of this lens when filming in S35 crop mode, that gives me a 150-450mm f2.8 equivalent, or even add in a 1.4 TC resulting in an impressive 210-630mm f4 equivalent. A total beast for wildlife filming.

So no, you don't need the latest bodies to produce great work. These three still cover 99% of pro-level needs, at least for me.

• Canon Powershot V1: I just added this new compact camera that seems to be a very capable piece of tech. Of course it’s not a great fit when it comes to wildlife but I think it will fit well in my equipment lineup to film more BTS during self drives and guided safaris, allowing me to share more content with you. During and after my upcoming trip to Botswana and Zambia I’ll be sharing a lot of “from the field” content, so make sure you follow me on Instagram and subscribe to my Youtube channel. Detailed field review coming soon!

Lenses: Covering Every Focal Range

Africa’s varied terrain demands a flexible lens lineup. From dusty open plains to dense forests, choosing the right focal length can make or break a shot. Here’s what goes in the bag:

• RF 600mm f/4: The staple for long-range wildlife. Especially critical in open areas like CKGR and Etosha, where getting close is rarely possible. I still prefer this one to the 400mm f2.8 as, forcing me to stay a bit further away from the subject, I often get a better angle and a cleaner background.

• RF 100-500mm: A flexible workhorse. Great for self-drives where you must always be ready for unexpected action. Lightweight, versatile, perfect for subjects on the move.

• RF 70-200mm f/2.8: One of my go-to in places like South Luangwa, where I’m often closer to the action in lush surroundings. Great for both portrait-style animal shots and bigger shots that show the habitat.

• RF 24-70mm f/2.8: Always useful for general storytelling, vehicle shots, landscapes and camp life. Essential for giving context to your wildlife subjects.

• NEW: RF 100-300mm f/2.8: During my upcoming trips I will test this new beast that will hopefully replace the 70-200 + 100-500 mm. Constant 2.8 is great for low light, and early tests suggest phenomenal sharpness. Plus I can pair it with a 1.4x TC getting a powerful 140-420mm f4. A full field review is coming soon.

A shot from back in my Nikon days. Nikon D850, 500mm f4. Etosha NP, Namibia.

➡️ Planning to photograph in Namibia’s open desert landscapes? Check out the Complete Namibia Photo Guide to see how different focal lengths perform in extreme terrain.

Accessories That Make Life Easier in the Field

Accessories might not be flashy, but they’re what keep your kit running smoothly day after day.

• Canon RF 1.4x Teleconverter: Perfect for boosting reach on the 600mm or 100-300mm when you need it. Minimal quality loss, especially in good light.

• Angelbird CFexpress Cards: Fast, reliable, and tough. When you’re recording 8K or rapid bursts of action, these cards won’t choke.

• Electronic Blower: Dust is inevitable in Africa. This is safer than canned air and more effective than manual blowers. Use it at camp or mid-drive when changing lenses.

• Goal Zero Sherpa 100 Power Bank: On self-drives or multi-day bush camps without power, this keeps everything charged—bodies, phones, even laptops. Compact enough to bring as carry-on.

Off the grid in the Kalahari region.

Big Lenses: Pros and Cons for Safari Travel

There’s a constant debate in the field: bring the big glass or not?

Pros of Big Lenses (like 600mm f/4):

• Sharpness and subject isolation are unmatched.

• Allows you to shoot tighter from farther away—essential for shy species.

• Pairs beautifully with teleconverters without killing image quality.

Cons:

• Heavy and bulky—harder to travel with, especially on small aircraft.

• Not as flexible when shooting in tight or fast-paced environments.

• Requires a solid monopod or beanbag setup for best results.

If you’re traveling by charter or bush planes with strict carry-on limits, consider shipping gear ahead with your operator or swapping the 600mm for a more versatile and compact zoom like the 100-300mm f/2.8, paired with a 1.4x extender.

Tips for Safari Carry-On & Packing

• Always carry your camera bodies and lenses onboard. Never check them in, especially if flying through hubs like Johannesburg or Addis Ababa.

• Use a modular camera backpack, like an F-Stop Tilopa (my go-to) and keep weight under the stated limit.

• Bring a small shoulder camera bag as your “personal item” to distribute weight.

• If questioned at check-in, calmly explain the value of your gear and your need to keep it protected. In most cases, airline staff will allow exceptions.

Crossing the Namib desert on a small bush plane.

Packing for a safari is about knowing your destination, planning for the unexpected, and bringing only what helps you create your best work in the field. The gear above has been tested across deserts, forests, wetlands, and remote tracks—and it's built to perform when the action happens fast.

🎒 Want to see how this gear performs in real conditions—and learn how to use it in the wild? Join one of my upcoming wildlife photography workshops. From Namibia’s dunes to Botswana’s wild rivers and the predator-rich South Luangwa, every trip is handcrafted for photographers who want to improve their craft and walk away with shots that matter.

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Decoding the Creative Process in Wildlife Photography

I’ve often asked myself: What makes a successful photographer? Is it raw talent—some genetic gift that lets certain people see the world differently—or is it just relentless practice and a stubborn refusal to quit? I’ve swung between both ideas over the years. There were times when I looked at a National Geographic spread and thought, Wow, that photographer must have been born with a sixth sense for light and composition. And then, other times, I’d remind myself of those endless, frustrating days in the field, tweaking my camera settings over and over, waiting for the perfect moment, missing more shots than I’d like to admit.

It’s human nature to attribute our successes to innate ability and our failures to external circumstances. If I capture an award-winning shot of a leopard in the golden light of the Serengeti, it’s easy to think, That’s just my eye for composition, my instincts kicking in. But when I completely botch a once-in-a-lifetime moment—say, a bald eagle swooping down for a fish and I miss focus—I’m quick to blame the gear, the light, or pure bad luck. The truth, though? Real mastery in wildlife photography means paying just as much attention to what goes wrong as what goes right.

The Myth of Natural Talent

There’s a lingering idea that every world-class photographer was born with an exceptional gift. But let’s break that down. Reinhold Messner, the legendary mountaineer, was once portrayed as some sort of genetic superman—built differently, destined to conquer the world’s highest peaks without supplemental oxygen. Yet, when he was tested in labs, physiologists found nothing remarkable about his body. What set him apart? His ability to relentlessly focus on a goal, stretching the limits of what he knew was possible.

I think about this every time I hear someone say, I could never take photos like that—I just don’t have the talent. If there’s one thing I’ve learned, it’s that success in photography isn’t about an inborn eye for beauty, but about dedication, repetition, and a deep understanding of your craft. The best photographers I know aren’t just talented. They’re obsessive. They go out when the light is terrible just to experiment. They take thousands of photos that never see the light of day, all in the pursuit of that one perfect frame.

Hard Work > Luck

I once heard an NPR interview with a prodigy violinist. The host gushed over her “natural talent,” but she immediately shut it down. She said she was sick of people assuming she was just born gifted. What they didn’t see were the thousands of hours she had spent practicing, the moments when she sacrificed normal teenage fun to perfect her craft. And here’s the kicker: when she slacked off, her performances suffered.

That struck a chord with me because I see the same thing in wildlife photography. If I go weeks without shooting, my first few rolls (or memory cards, in today’s world) feel rusty. My reaction times are slower. I hesitate when I should just trust my instincts. Early in my career, I used to think this meant I wasn’t cut out for it—that “real” photographers could just pick up their cameras and create magic. Then I attended a National Geographic seminar and heard seasoned pros admitting the same thing. Turns out, performance swings are universal. Even top-tier photographers struggle when they’ve been away too long.

The lesson? Photography isn’t like riding a bike. If you don’t use it, you lose it.

The Power of Observation

One thing I’ve noticed about truly great wildlife photographers is that they don’t just see things—they study them. They aren’t just snapping away at every bird or animal that crosses their path. They observe, anticipate behavior, and position themselves accordingly. It’s a habit that often starts in childhood. Studies have found that many of the world’s most creative minds were obsessive collectors as kids—whether it was fossils, stamps, or even beer cans. It wasn’t about the objects themselves, but about learning how to categorize and make sense of the world.

Photography follows a similar pattern. At first, we’re all just collectors—capturing random moments, experimenting, clicking away without much thought. Then, we move into the organization phase, where we start refining what we shoot, becoming selective, and thinking about composition. The real magic happens in the third phase, when we take all that accumulated knowledge and start seeing patterns and possibilities that others don’t. That’s when our work starts to feel truly unique.

Why the Best Photos Feel Personal

I’ve come to believe that our best photographs don’t come from a perfectly planned shot list. They come from moments where we feel deeply connected to what we’re shooting. Have you ever taken a picture that made your heart race? That moment when you just know you’ve captured something special? It’s not about technical perfection. It’s about emotional resonance.

Somebody standing a few feet away from you could take a picture of the same scene, but their version will be different—because creativity isn’t in the camera; it’s in the mind’s eye. Every great image is a product of a lifetime of memories, experiences, and emotions. When we bring all of that into our work, photography stops being just documentation. It becomes art.

Final Thoughts

If you take one thing from this, let it be this: creativity isn’t a gift. It’s a process. Wildlife photography—like any creative pursuit—follows a natural progression. You start by collecting, then organizing, then, with enough time and practice, you begin to create something truly original.

So, the next time you feel like you’re not talented enough, remember: your best work is still ahead of you. Keep shooting, keep learning, and most importantly—stay curious. That’s where the magic happens.

Ready to turn passion into progress, I’d love to invite you to join one of my wildlife photography workshops. We go deep—not just into wild places, but into the craft itself. Whether you’re just starting out or looking to refine your skills in the field, these trips are designed to help you grow, connect with like-minded photographers, and create your best work yet.

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FEATURED ARTICLES

Learning to See: The True Challenge of Photography

Photography isn’t just about pressing the shutter button at the right time—it’s about learning how to truly see. This might sound simple, but I can tell you from years of experience that it’s one of the hardest skills to master.

We often assume that seeing is something we just do, instinctively, like breathing. But in reality, we don’t see the world as it is—we interpret it based on years of accumulated memories, experiences, and subconscious associations. Our brains aren’t cameras; they’re storytellers, filtering and shaping everything we perceive.

When I first started photography, I thought I was paying attention to the world around me. I’d go out with my camera, excited to capture the beauty of nature, only to come home and realize that my photos looked… well, flat and boring. Something was missing, but I couldn’t put my finger on it. The images had all the elements—good lighting, an interesting subject—but they didn’t feel alive.

It took me a long time to understand what was happening. I wasn’t seeing the scene—I was just looking at it.

Why We Struggle to See as Photographers

The biggest mistake many beginners make (myself included) is assuming that the camera will do the seeing for them. We point, focus, and shoot, expecting the image to match the magic we experienced in person. But more often than not, we end up with disappointing results.

Here’s why:

• Our brains are wired to filter out clutter. When we look at a beautiful landscape, we automatically ignore distractions—power lines, dead branches, trash on the ground. But the camera captures everything, and suddenly those distractions become glaringly obvious.

• We rely on memory and association more than we realize. A place that holds deep emotional meaning for us might feel powerful in person, but to someone else, a photo of that same spot might feel ordinary.

• Our visual perception is biased by past experiences. Have you ever thought you captured a sharp, well-composed shot, only to find that it’s actually cluttered and unbalanced when you review it later? That’s because, in the moment, your brain fills in the gaps, making you believe the image is better than it really is.

The Difference Between Looking and Seeing

One of the most valuable lessons I ever learned came from an art teacher who told me: “If you want to take better photos, put the camera down.”

At first, this sounded ridiculous. But he explained that before we can create meaningful images, we need to train our eyes to see composition, light, and emotion—without relying on the camera.

One way to do this is through sketching. And no, you don’t have to be an artist on that. The goal isn’t to create a masterpiece but to force yourself to simplify a scene. When I started doing this, I realized how much unnecessary clutter I had been including in my photos. My sketches were clean and balanced, yet my photos felt chaotic. That exercise alone transformed the way I approach photography.

Another exercise is to spend at least five minutes observing a scene before taking a single photo. Look at the light, the shadows, the small details you might have missed at first glance. Ask yourself: What is the true subject here? What do I want the viewer to feel?

How Memory Shapes Our Perception of Photography

A fascinating thing about photography is that every viewer brings their own memories and associations to an image. What moves one person deeply might feel completely unremarkable to another.

A powerful photograph isn’t just about what is in the frame—it’s about creating an emotional connection that transcends personal experience. This is why the best photographs often rely on universal themes: solitude, adventure, nostalgia, resilience. These emotions are woven into our collective memory, and when an image taps into them, it becomes timeless.

Why Imperfection Can Make a Photo More Powerful

If you’ve ever wondered why some of the most famous photographs in history aren’t technically perfect, this is why.

Take Robert Capa’s D-Day photograph of a soldier struggling through the water. It’s grainy, slightly out of focus, and yet it’s considered one of the greatest images ever taken. Why? Because it feels real. The imperfection adds to the story—it makes us feel like we’re right there in the chaos.

Too often, photographers obsess over sharpness, perfect lighting, and technical precision, but these things don’t always make an image more powerful. In fact, they can sometimes make a photo feel sterile. Real life is messy. Emotion is messy. And sometimes, the best images embrace that.

How to Train Yourself to See Like a Photographer

So, how do you go beyond just looking and start truly seeing?

Here are a few exercises that helped me:

1. The "No Camera" Challenge: Spend a day exploring without taking a single photo. Instead, pretend your eyes are the camera. Mentally compose shots, study the light, and note the details you would include or exclude.

2. The Sketching Exercise: Before snapping a photo, quickly sketch out your composition. You’ll be surprised at how much cleaner and more intentional your framing becomes.

3. Shoot with One Prime Lens: Using a fixed focal length (like a 50mm or 35mm) forces you to move your feet and compose with intention, rather than lazily zooming in and out.

4. Limit Yourself to 10 Shots: When you’re in the field, challenge yourself to take no more than ten images of a scene. This forces you to be selective and deliberate rather than mindlessly snapping away.

5. Study the Masters: Look at iconic photographs and ask yourself—what makes this image powerful? Is it the composition? The emotion? The use of light?

Join My Photography Workshops and Transform the Way You See the World

Learning to truly see is the key to creating powerful, unforgettable images—and that’s exactly what we focus on in my photography workshops. Whether you're a complete beginner or you already have a good photography background my workshops are designed to sharpen your vision, refine your technique, and push your creativity to the next level.

Join me in some of the world’s most breathtaking locations—from the wild plains of Namibia to the dramatic peaks of Patagonia—where you'll get hands-on experience, personalized coaching, and a chance to immerse yourself in the art of storytelling through photography.

The Art of Seeing

Learning to see is a lifelong journey. Even after years behind the camera, I still catch myself falling into old habits—rushing my shots, overlooking distractions, failing to truly connect with the scene.

But that’s the beauty of photography. It’s not just about capturing the world as it is—it’s about discovering how we experience it.

So, next time you pick up your camera, slow down. Look deeper. Challenge yourself to go beyond just looking—and start seeing. Because the most powerful photographs aren’t the ones that simply show a subject—they’re the ones that make us feel something.

Full-Frame vs Crop Sensor for Wildlife Photography: Which One is Best for You?

Wildlife photography demands the right gear; what camera should I choose? What lens should I bring?

One of the biggest debates is full-frame vs crop sensor cameras. Which one is better for capturing fast-moving animals and render images in the best way? Some swear by the better low-light performance and dynamic range of full-frame cameras, while others prefer the extra reach and affordability of crop sensors. But which is truly the best for you? Let’s break down the key differences to help you make an informed decision!

Understanding Sensor Size in Wildlife Photography

What is a Full-Frame Sensor?

A full-frame sensor is a digital camera sensor that matches the size of 35mm film - 36mm x 24mm. It gets its name from the fact that early digital cameras had smaller sensors, so when manufacturers released one with the same size as classic film, they called it "full-frame."

A full-frame sensor has larger individual pixels, which help capture more light, improving performance in low-light conditions. This results in better image quality, higher dynamic range, and reduced noise at high ISO settings, making full-frame cameras a popular choice for wildlife and landscape photographers.

What is a Crop Sensor? (APS-C, Micro Four Thirds)

A crop sensor is any sensor smaller than full-frame. The two most common types in wildlife photography are APS-C (roughly 22mm x 15mm, depending on the brand) and Micro Four Thirds (17mm x 13mm). These sensors crop the field of view compared to full-frame, which means they provide an apparent magnification effect on lenses - a key advantage for wildlife photography.

Crop sensors are popular among entry-level and enthusiast wildlife photographers because they are cheaper, lighter, and offer extended reach. For example, an APS-C sensor with a 1.5x or 1.6x crop factor makes a 300mm lens behave like a 450mm or 480mm lens, getting you closer to distant wildlife without spending thousands on super-telephoto lenses.

How Sensor Size Impacts Image Quality, Depth of Field, and Low-Light Performance

Sensor size affects image quality in several ways:

• Larger sensors (full-frame) generally capture more light per pixel, improving dynamic range and low-light performance. This means cleaner images at high ISO and better detail in shadows and highlights.

• Smaller sensors (crop sensors) introduce more noise at high ISO due to smaller pixels, but they increase depth of field, which can be beneficial for certain wildlife shots where you need more of your subject in focus.

If you often shoot in low light (dawn, dusk, or dense forests), full-frame has a clear advantage. However, if reach and portability are your top priorities, a crop sensor might be the smarter choice.

Shooting with canon R5 in Sossusvlei, Namibia

The Crop Factor Explained and How It Affects Focal Length

The crop factor refers to how a smaller sensor crops the field of view compared to full-frame. APS-C sensors typically have a 1.5x crop factor (Nikon, Sony) or 1.6x (Canon), while Micro Four Thirds has a 2x crop factor.

For wildlife photographers, this means a 400mm lens on a Canon APS-C camera (1.6x crop) gives an effective focal length of 640mm. This is a huge advantage when photographing distant animals, as it gives more reach without needing a longer (and more expensive) lens.

However, the crop factor doesn’t increase actual optical magnification—it just narrows the field of view, which can sometimes make composing shots a bit tricky.

Pros and Cons of Full-Frame Sensors for Wildlife Photography

Advantages of Full-Frame Sensors

✅ Better Low-Light Performance – Larger pixels capture more light, leading to less noise and better detail at high ISO. Essential for early morning or twilight wildlife shots.

✅ Higher Dynamic Range – Full-frame sensors handle high-contrast scenes better, retaining details in both bright highlights and deep shadows.

✅ Shallower Depth of Field – Using a longer lens to get the same magnification helps to create a more natural background blur (bokeh), helping isolate subjects from busy backgrounds.

✅ Better Image Quality at High ISO – A must-have for night safaris or dense forests, where high ISO settings (3200-12800) are often needed.

Disadvantages of Full-Frame Sensors

❌ More Expensive – Full-frame cameras cost more upfront, and their lenses are also more expensive.

❌ Larger & Heavier – Carrying a full-frame setup with a 600mm lens on a long trek is no joke. Heavier gear can be tiring, especially for handheld shooting.

❌ Less Effective Telephoto Reach – A 500mm lens on a full-frame camera is just 500mm, whereas on an APS-C crop sensor, it effectively acts like 750mm. If reach matters, crop sensors have the edge.

Alpine wildlife safari with a Canon R3 and 600mm f4.

Pros and Cons of Crop Sensors for Wildlife Photography

Advantages of Crop Sensors

✅ Extra Reach with Crop Factor – A 1.5x or 1.6x crop factor makes a 300mm lens act like 450mm or more, perfect for distant wildlife shots.

✅ More Affordable – Crop sensor cameras and lenses are cheaper, making them ideal for beginners and those on a budget.

✅ Lighter and More Compact – Perfect for hiking, travel, and handheld shooting. A crop sensor body with a 100-400mm lens is far easier to carry than a full-frame with a 600mm prime.

✅ More Depth of Field – More of the subject remains in focus, which can be useful when photographing fast-moving animals.

Disadvantages of Crop Sensors

❌ Lower Low-Light Performance – Smaller pixels struggle in dim conditions, leading to more noise at ISO 6400+.

❌ Reduced Dynamic Range – Shadows and highlights clip more easily, making it harder to recover details in high-contrast scenes.

❌ Limited Lens Selection – Many pro wildlife lenses are designed for full-frame, so crop shooters have fewer options for high-end glass.

Key Considerations When Choosing Between Full-Frame and Crop Sensor

📌 Budget: Full-frame costs more, but offers better image quality. Crop sensors are affordable and great for reach.

📌 Shooting Style: If you shoot low-light or high-contrast environments, full-frame is better. If you need extra reach, crop sensors win.

📌 Portability Needs: Traveling or hiking? Crop sensor setups are usually lighter and easier to carry.

📌 Future Goals: If you plan to go pro, investing in full-frame early may be the best move.

All of this said, I’ve been shooting with several different cameras, both full frame and aps-c, over the years. In my opinion, full frame is always the winner. The only disadvantage, if we can call it like that, is that we need a longer focal length to fill the frame. This might also be seen as an advantage, as the compression of longer lenses looks much better than just “cropping in” as we do with aps-c sensors.

Final Verdict – Which One Should You Choose?

🔹 If you need the absolute best image quality, dynamic range, and low-light performance → go Full-Frame.
🔹 If budget, extra telephoto reach, and portability matter more → go Crop Sensor.
🔹 If you want to build your setup over time, consider getting a Crop Sensor camera paired with full frame lenses. This will allow you to build your lens collection and, when you will be ready, you can upgrade your camera body to a full frame one.

Ready to Take Your Wildlife Photography Further?

Put these techniques into action on an unforgettable adventure! Join me on one of my guided wildlife photography workshops or safari trips to Namibia, Botswana, Zambia and other incredible destinations worldwide.

You’ll receive personalized instruction, visit spectacular wildlife hotspots, and dramatically improve your photography in a once-in-a-lifetime adventure.

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