My Favorite Focal Lengths for Wildlife in 2025 - and why

Every wildlife photographer has a “lens journey.” Mine started with humble beginnings, filled with compromises, missed shots, and a lot of trial and error. And honestly? That’s what makes it interesting.

From Kit Zooms to Super-Telephotos: A Lens Evolution

I started out with a Nikon 70-300mm DX. It was light, cheap, and just good enough to give me a taste of reach. But it was also frustrating. I remember trying to photograph a red deer through the trees during golden hour, only to end up with soft images and a jittery autofocus that couldn’t lock on. The lens simply didn’t perform in low light, and I knew I’d outgrown it.

So I upgraded to the Nikon 70-200mm f/2.8. Now that was a lens. Fast, sharp, beautifully built—and a dream for portraits and low-light forest scenes. But for wildlife? Still short. I was constantly cropping my shots and missing the intimacy that longer focal lengths bring. That’s when I started to realize: wildlife photography isn’t just about reach, it’s about compression, background control, and distance.

One from the archives. Nikon D850 with 500mm f4

Later I got the Nikon 500mm f/4, and it changed everything. Suddenly, I could isolate my subject, separate it from messy backgrounds, and shoot from a distance without disturbing anything. I loved that lens—it taught me what a super-telephoto can really do. But when I switched to Canon in 2022, the game changed again.

I started building out a new system with the Canon RF 600mm f/4, RF 100-500mm, and the 70-200mm f/2.8. At one point, I even added the 400mm f/2.8—incredible for big cats in soft light or closer subjects on foot. Now I’m about to add the Canon RF 100-300mm f/2.8, which with a 1.4x teleconverter becomes a magical 140-420mm f/4 lens. Bright, flexible, sharp—it might become my go-to for many future shoots.

Why the 600mm f/4 Is Still King

Let’s talk about the 600mm f/4, though. It’s heavy. It’s expensive. It’s not for casual walks in the woods. But when you’ve got the space, and you want separation, nothing beats it. Not even the 400mm f4.

The biggest advantage? Shooting from a distance. I’ve often found that the further you are from an animal, the more natural its behavior remains—and that distance helps compress the background into soft, buttery blur. It’s not just about reach; it’s about clean angles and visual storytelling. That’s why I reach for the 600mm when I’m set up at a waterhole, waiting for elephants to come in, or when I’m perched in a vehicle near open plains.

You also tend to get better compositions. When you can’t move much—say you’re in a hide or locked into a safari vehicle—600mm forces you to see differently. You’re not zooming in and out; you’re waiting for the moment. It disciplines your eye.

But I don’t always use it.

Canon R3 + 600mm f4

Why the 100-500mm Is My Workhorse

For all its power, the 600mm is also rigid. That’s where the Canon RF 100-500mm comes in. It’s lighter, more flexible, and incredibly sharp across the range.

This lens lives on my second body, but honestly, it sees the most use on safari. Why? Because things happen fast. A lion walks out of the bushes at 50 meters, then suddenly appears five meters from the vehicle. A cheetah climbs a termite mound, then bolts after prey. You can’t always follow that with a prime. With the 100-500, I can adapt.

Another huge plus? Framing flexibility. A wider focal length allows me to include more of the environment when I want to tell a bigger story. I love zooming out a bit to show animals in their context—the dust, the sky, the vegetation. That’s something a fixed 600mm can’t offer.

With the 100-500mm I can include more of the environment.

The 400mm f/2.8: The Portrait Specialist

I carried the 400mm f/2.8 for a few months, and wow—what a lens. The depth of field is razor-thin, and the subject separation is dreamy. I found it especially good for predator portraits, like tight headshots of leopards or lions at dusk. It’s shorter than the 600mm but offers incredible image quality and slightly more flexibility when working from ground level or on foot.

That said, I eventually let it go. It filled a niche, but with the 100-500 covering mid-range and the 600mm for ultimate reach, I wasn’t using it as often. Still, I think about it whenever I see a beautifully lit, tight portrait.

The Exciting New Arrival: 100-300mm f/2.8 + Teleconverter

Now this is the lens I’m most excited about: the Canon RF 100-300mm f/2.8. It’s a unicorn—fast aperture, internal zoom, excellent handling, and with a 1.4x teleconverter, it becomes a 140-420mm f/4. That’s near-perfect versatility for fast-paced fieldwork.

This lens could replace my 70-200mm in some cases and work alongside the 100-500 as a brighter, sharper option when I’m not sure what kind of conditions I’ll face. Especially in forest environments or overcast situations where every stop of light matters.

When Focal Length Shapes the Story

Focal length isn’t just about distance. It’s about how you tell a story. A 600mm compresses the scene—it isolates. A 100-300mm or 70-200mm includes the environment, giving context and scale. One isn’t better than the other. They’re tools for different narratives.

Which Lens for Which Job? A Quick Reference

Here’s how I break it down in practice:

• 70-200mm f/2.8: Close encounters, storytelling frames, wildlife in landscape, low light

• 100-300mm f/2.8 (with 1.4x TC): Fast-paced work, forest animals, handheld flexibility

• 100-500mm: Generalist lens for safari, birds, mammals, spontaneous shots

• 400mm f/2.8: Predator portraits, dusk/dawn conditions, handheld tracking

• 600mm f/4: Birds, distant subjects, clean backgrounds, patient observation

Sometimes we don’t need a crazy zoom. Shot this one with a 70-200 f2.8

📬 Want More Real-World Gear Talk and Wildlife Field Notes?

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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.

Best Wildlife Photography Camera Settings

Wildlife photography is all about capturing those fleeting, magical moments. But here’s the thing: no matter how incredible the moment is, if your camera settings aren’t dialed in correctly, you’ll end up with a blurry, noisy, or poorly exposed image. And that? That’s the fastest way to turn an epic shot into a missed opportunity.

I’ve been there. Early on, I remember photographing a leopard at sunrise in a private reserve in Namibia. The golden light was perfect, but I was so caught up in the moment that I didn’t check my exposure dial. The result? An overexposed fur - and an unusable photo. Since then, I’ve learned that understanding exposure settings isn’t just technical jargon—it’s the key to nailing sharp, detailed wildlife shots every single time.

In my early days I’d find quite difficult to nail exposure, especially in high contrast and fast changing conditions.

At its core, exposure is controlled by three main settings: shutter speed, aperture, and ISO. These work together like a finely tuned engine, and knowing how to adjust them based on lighting conditions and animal behavior will make or break your shot.

• Shutter speed determines how quickly your camera captures movement. A fast shutter speed (1/2000s or higher) freezes action, while a slow one introduces motion blur.

• Aperture controls the depth of field—how much of your image is in focus. A wide aperture (f/2.8-f/5.6) isolates your subject beautifully, while a narrower aperture (f/8-f/11) keeps more of the scene sharp.

• ISO affects brightness and noise. Modern cameras handle high ISOs well, but balancing it with the other settings is key to avoiding unnecessary grain.

In this quick video you will find a complete explanation of these concepts:

The trick is to adjust these settings dynamically. If the light changes or the animal moves, your settings should adapt instantly. That’s why knowing them inside and out is crucial—it lets you respond to the scene without fumbling through menus.

Best Shutter Speed for Wildlife Photography

Shutter speed can make or break a wildlife shot. Too slow, and you’ll get motion blur where you don’t want it. Too fast, and you might push your ISO too high, introducing noise. Finding that sweet spot takes practice, but once you get a feel for it, it becomes second nature. Let’s break it down based on different scenarios so you can confidently adjust on the fly.

Fast-Moving Subjects: Birds in Flight & Running Mammals

If you’ve ever tried capturing a bird mid-flight only to end up with a blurry mess, your shutter speed was probably too slow. For fast action, like birds in motion or cheetahs sprinting, you need a shutter speed of at least 1/3200s. Some birds—especially smaller, erratic ones like swallows—may even require 1/4000s or higher.

For fast subjects like birds you need to go as high as 1/4000s to get a sharp image.

For running mammals like wolves, deer, or big cats, 1/2000s is a good baseline. It freezes their motion while keeping enough detail sharp. I’ve learned this the hard way—one time in Namibia, I had a cheetah dashing past my Land Cruiser, and my shutter was at 1/800s. The result? A series of blurry spots instead of a crisp predator in action. Lesson learned.

Cheetah sprinting in Etosha NP, Namibia.

Walking Animals & Slower Movements

Not everything in wildlife photography is about freezing lightning-fast action. If an animal is walking or making slower movements—like a bear foraging or an elephant strolling—you can drop your shutter speed to around 1/500s to 1/1000s. This allows you to lower your ISO and get a cleaner image while still maintaining sharpness.

For example, on a recent shoot in Zambia I photographed a kudu moving through the golden grass in the fading evening light at 1/320s. It kept it sharp while allowing for a balanced exposure. Had I gone with 1/3200s, I would have needed to crank up my ISO, adding unnecessary noise.

Kudu at dusk in South Luangwa NP, Zambia.

When to Go Lower: Stationary Subjects

When an animal is completely still—like a sleeping lion, a perched owl, or a resting bear—you can go much slower, sometimes even down to 1/100s or lower. But there’s a catch: the longer your focal length, the faster your shutter speed should be to counteract camera shake.

With a 600mm lens, you generally don’t want to go below 1/600s unless you’re using a tripod or have impeccable hand-holding skills. With shorter focal lengths, like a 100mm, you can push it lower, even 1/50s in some cases.

Balancing Shutter Speed with ISO and Aperture

Wildlife photography is all about balancing the exposure triangle. If you need a fast shutter speed but don’t have much light, you have two choices: open up your aperture or raise your ISO.

• Aperture: A wide aperture (like f/2.8 or f/4) lets in more light, allowing you to use a higher shutter speed without cranking up the ISO too much. This is great for isolating your subject and blurring the background.

• ISO: Sometimes, you have no choice but to increase your ISO. Modern cameras handle ISO 3200 or even 6400quite well, so don’t be afraid to push it when needed. It’s better to have a slightly noisy shot than a blurry one.

A simple rule of thumb: if you’re shooting in low light and your shutter speed is too slow, first open up your aperture. If that’s maxed out, then bump up the ISO.

Wide Apertures (f/2.8 – f/5.6) for Isolation and Bokeh

Most of the time, especially when shooting wildlife portraits, you want to use a wide aperture (low f-number). Something like f/2.8 or f/4 helps separate the subject from the background, giving that creamy bokeh effect photographers love. This is crucial when shooting in dense environments—forests, tall grass, or busy savannahs—where you want to blur out distractions.

Shallow depth of field at 600mm f4

However, be mindful of your depth of field. When shooting a close-up of an eagle at 600mm and f/4, you might end up with only the eye in focus. That’s where fine-tuning comes in—f/5.6 or f/8 can be a sweet spot for maintaining sharpness while still getting a nice blur.

Narrow Apertures (f/8 – f/11) for Group Shots & Environmental Portraits

If you're capturing an animal in its environment you’ll want more depth of field. This is where f/8 to f/11 comes in handy. These settings keep both the animal and part of the background in focus, giving the viewer a sense of place without overwhelming the subject.

Narrower apertures are also useful when photographing multiple animals in the same frame. If you’re shooting a pack of wolves or a group of lions resting together, a narrower aperture ensures all of them stay in focus, rather than just the closest one.

I shot this image at f11 to make sure both the elephant and the mopane trees were in focus.

Best ISO Settings for Wildlife Photography

Ah, ISO - the setting that used to haunt photographers back in the day. If you started out in the early digital era you probably remember cringing at the thought of pushing ISO past 800. Grainy, muddy images were the norm. But today? Modern cameras have changed the game. ISO isn't the enemy anymore; it’s a powerful tool that lets us freeze fast-moving wildlife, shoot in low light, and balance our exposure without worry.

How High Can You Go? Depends on Your Camera

The good news? Most modern cameras can handle high ISO settings really well. But the exact limits depend on what you're shooting with.

• Entry-level and mid-range cameras: If you're using a crop-sensor body (like a Canon R7, Nikon D7500, or Sony A6700), you’ll probably get clean results up to ISO 3200 or 6400. Beyond that, noise starts creeping in, but it’s still usable with some noise reduction in post.

• High-end full-frame cameras: If you’re shooting with a flagship model like the Canon R1, Nikon Z9, or Sony A1 II you can comfortably push ISO 12,800 or even 20,000 and still get solid files with plenty of detail. With my R3 I can sometimes go as far as 51.200 and still get usable files.

• High-resolution cameras (like the Canon R5 or Sony A7R V): These pack a ton of megapixels, which means noise becomes a bit more noticeable. Still, ISO 12,800 is totally usable—especially if you expose correctly and apply noise reduction wisely.

I shot this image on Canon R3 at ISO 20.000

How to Set ISO Based on Your Shutter Speed & Aperture

ISO is all about balancing your exposure triangle. The trick is knowing when to raise it.

• Fast-moving subjects (birds in flight, running predators) → You need a high shutter speed (1/2000s or more), which means your ISO will have to compensate, especially in lower light.

• Blue hour shots → At dusk or dawn you’ll need to bump ISO up, often past ISO 3200–6400, to keep a usable shutter speed.

• Low-light wildlife (forests, nocturnal animals) → This is where full-frame cameras shine. Don’t be afraid to push ISO 6400, 12,800, or higher if needed. Noise is better than motion blur.

Using Auto ISO with Manual Limits

One of the best ways to handle ISO efficiently is by using Auto ISO with manual limits. This lets you focus on adjusting your shutter speed and aperture while letting the camera tweak ISO automatically—within a range you’re comfortable with.

• Set a minimum shutter speed (e.g., 1/1000s for wildlife, 1/2500s for birds in flight).

• Set a max ISO limit based on your camera’s capabilities (e.g., ISO 6400 for entry-level cameras, ISO 12,800 or more for full-frame models).

• Use exposure compensation to fine-tune brightness when needed.

This way, you get the best balance of exposure without worrying about underexposed or blurry shots.

If you want to understand ISO more in depth I suggest you to check this video:

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Autofocus Settings for Wildlife Photography

You can have the best camera and the sharpest lens, but if your autofocus settings aren’t dialed in, you’ll end up with a blurry mess instead of a crisp, tack-sharp image of that once-in-a-lifetime moment. Over the years, I’ve tested different autofocus modes in all sorts of conditions—tracking cheetahs at full sprint in Namibia, following an eagle in flight over Patagonia and locking focus on a leopard hidden in the dense brush of South Luangwa. Each scenario requires a slightly different approach, so let’s break it down.

AF-C (Continuous Autofocus) vs. AF-S (Single Autofocus)

One of the biggest mistakes I made early on was relying too much on AF-S (Single Autofocus) for moving subjects. AF-S locks focus on a subject when you half-press the shutter, but if the animal moves even slightly, the focus doesn’t adjust. This works fine for completely stationary animals—like a lion lounging in the shade or an owl perched on a branch—but for anything moving, it’s a disaster. I once missed an entire sequence of a fox hunting in the snow because my camera was stuck in AF-S. Lesson learned.

For wildlife, AF-C (Continuous Autofocus or Servo AF) is the way to go 99% of the time. When set to AF-C your camera continually adjusts focus as long as you keep the shutter half-pressed (or use back-button focus, but we’ll get to that in a bit). This is essential for tracking animals in motion, whether it’s a bird taking off, a wolf running through the forest, or a bear fishing in a river. If you shoot wildlife, just leave your camera in AF-C by default - you won’t regret it.

Best Focus Modes for Wildlife Photography

Single Point AF → For Stationary Animals

If an animal is still, Single Point AF is your best bet. This lets you place the autofocus point exactly where you want - usually on the animal’s eye. I use this when photographing an animal at rest, like a leopard in a tree or a puffin standing on a cliff. The key is to be precise with your focus point. Even slight misplacement - like locking onto the nose instead of the eye—can make your image feel soft.

Dynamic AF / Tracking AF → For Fast-Moving Subjects

For wildlife on the move, Dynamic AF (Nikon) or Tracking AF (Canon/Sony) is a lifesaver. Unlike Single Point AF, which stays fixed, Dynamic AF allows the camera to use nearby focus points if the subject moves slightly. I use this when tracking running, flying, or swimming animals. When a lion charges, or a bird suddenly shifts direction mid-flight, this setting gives you a much better chance of keeping focus locked.

Eye-Detection AF → When Available for Animal Subjects

Not all cameras have Animal Eye AF, but if yours does, use it! Modern mirrorless cameras from Sony, Canon, and Nikon have AI-powered Eye-Detection AF for animals and it’s a game-changer. Instead of worrying about manually selecting the focus point, the camera automatically locks onto the eye, even if the animal moves slightly. This works best in good light and with clear visibility of the eye, but when it works, it’s pure magic.

How to Set Up Back-Button Focus for Better Control

If you haven’t tried Back-Button Focus (BBF) yet, do it. This technique separates autofocus from the shutter button, giving you better control. Instead of half-pressing the shutter to focus, you assign autofocus to a button on the back of the camera—usually the AF-ON button. This lets you:

✔️ Hold focus on a subject even if you recompose the shot
✔️ Prevent accidental refocusing when pressing the shutter
✔️ Quickly switch between AF-C and manual focus by simply releasing the button

Setting it up varies by camera, but here’s the basic process:

1. Go to your custom settings menu and find the "AF Activation" or "Shutter/AF-ON" setting.

2. Disable autofocus from the shutter button (this stops AF from activating when you press the shutter).

3. Assign AF-ON button to autofocus activation.

Once you get used to BBF, you won’t go back. It’s especially useful for situations where you want to lock focus on an animal, recompose, and shoot without refocusing—perfect for framing wildlife creatively without losing sharpness.

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Best Shooting Modes for Wildlife Photography

When you’re out in the field, trying to capture a perfectly sharp image of a lion mid-yawn or an eagle in flight, the last thing you want is for your camera settings to work against you. The shooting mode you choose can make or break your wildlife shots. Many beginners assume that Aperture Priority (Av or A mode) or Shutter Priority (Tv or S mode) are good choices, but both have major flaws when it comes to fast-moving wildlife. The best approach? Full Manual Mode with Auto ISO. Let’s break it down.

Why Aperture Priority Isn’t Ideal

Aperture Priority mode lets you control the aperture (f-stop) while the camera automatically adjusts the shutter speed to maintain proper exposure. In theory, this sounds great, especially if you want to control depth of field (DOF). For example, if you want to blur the background of a portrait-style shot of a cheetah, you might choose f/2.8 or f/4 and the camera will pick an appropriate shutter speed.

But here’s the problem: Wildlife is unpredictable. If a change in lighting conditions trigger your camera to suddenly drops the shutter speed too low, your fast-moving subject will be blurry. A running antelope or a flying bird requires a shutter speed of at least 1/2000s or faster, but in Aperture Priority mode, depending on the light, the camera might select 1/500s or lower, leaving you with motion blur. And sure, you can set a minimum shutter speed in some cameras, but it’s not a perfect solution - it still removes full control from you, which isn’t ideal for action photography.

Why Shutter Priority Falls Short

Shutter Priority mode flips the control - you select the shutter speed and the camera picks the aperture to balance exposure. This seems like a great idea for wildlife because you can lock in 1/2500s for birds in flight or 1/1000s for a walking elephant. No motion blur, right?

The problem is that you lose control over aperture, which is a huge issue for wildlife photography. The aperture dictates depth of field, which affects how much of your subject is in focus. If the camera decides to use f/16, you might get a busy, distracting background. If it picks f/2.8, your subject might not be entirely in focus—especially if it has long features like a bird’s beak or an animal’s horns.

You don’t want to leave aperture up to chance. That’s why Manual Mode is the best solution.

Why Manual Mode + Auto ISO is the Best

In Manual Mode, you take full control of both shutter speed and aperture, ensuring that neither changes unexpectedly.

• Shutter speed: Set this based on your subject’s motion. Use 1/1000s for walking animals, 1/2000s–1/4000s for birds in flight, and 1/500s for slow-moving subjects.

• Aperture: Choose based on how much of your subject you want in focus. Use f/4 or f/5.6 for isolating animals from the background and f/8–f/11 for groups or detailed shots.

But what about exposure? That’s where Auto ISO comes in.

How Auto ISO Works & Why It’s Essential

ISO controls the camera’s sensor sensitivity to light, and instead of manually adjusting it every time the light changes, Auto ISO allows the camera to do it for you while keeping your exposure balanced. This means you don’t have to worry about tweaking ISO while tracking a running cheetah or waiting for a leopard to emerge from the shadows.

• Most modern cameras let you set a maximum ISO limit (e.g., ISO 6400 or 12,800) to prevent excessive noise.

With this setup, you retain control over motion sharpness (shutter speed) and depth of field (aperture), while allowing the camera to handle exposure adjustments automatically with ISO. It’s the best of both worlds.

When light is even through the frame evaluative (or matrix mode) works perfectly.

Using Manual Mode + Auto ISO for Exposure Control

One of the best tricks I’ve picked up over the years is using Manual mode with Auto ISO and controlling the exposure with exposure compensation. Here’s how it works:

• In Manual mode you set your shutter speed (to freeze motion) and aperture (to control depth of field).

• Auto ISO adjusts automatically based on the light conditions, so you’re not constantly fiddling with settings when an animal moves from sunlight to shade.

• Exposure compensation (+/-EV) lets you override the camera’s automatic adjustments to brighten or darken the image as needed.

For example, if I’m photographing a dark-furred bear against a snowy background, the camera might underexpose the image because it sees all that bright snow. I’d dial in +1 or +2 EV to compensate. The opposite happens when shooting a bright white bird against a dark background—I’d reduce exposure compensation to avoid blowing out the highlights on the bird.

This method gives me full control while letting the camera handle the tricky, fast-changing lighting situations.

Daylight vs Cloudy WB → Adjusting for Warm or Cool Tones

While these days AUTO White Balance works for most situations, I often use specific white balance presets to keep colors consistent. Daylight WB (usually around 5200K) works well in bright sun, giving a natural, balanced look without overcompensating. But if I want to enhance warmth—like during sunrise or sunset—I switch to Cloudy WB (6000K–6500K). This makes golden tones pop without looking unnatural.

On the flip side, if I’m in snowy conditions (like photographing ibex in the Alps), I sometimes dial my WB slightly cooler to keep the whites crisp and prevent them from looking too warm. That’s the beauty of manual white balance - tiny tweaks can make a big difference.

Why Shooting in RAW Gives More Flexibility for Color Correction

Now, let’s talk RAW vs JPEG—because this is where color really comes into play.

When you shoot in RAW your camera captures all the data from the sensor without applying compression. This means if your white balance is slightly off, you can adjust it later in post-processing without any loss in quality. If you shoot in JPEG? You’re stuck with whatever WB the camera decided at the moment of capture.

Pros and Cons of RAW vs JPEG

If you're serious about wildlife photography, RAW is the way to go—especially for controlling white balance and color accuracy. The only real downside? You will need to spend time editing. But for me, that’s a small price to pay for perfect colors and more creative control.

Pro Tips for Adjusting Settings in the Field

Nature doesn’t wait for you to fiddle with your settings. The best moments happen in an instant and if you’re not prepared to adjust fast you’re going to miss the shot. Here’s how to stay ahead of the curve when conditions change in the field.

How to Quickly Adjust Settings Based on Changing Light

Light changes fast, especially at dawn and dusk. One moment, you’ve got perfect golden-hour glow, and the next, the sun dips behind a cloud, throwing your scene into shadow. If you’re not ready, you’ll either underexpose your shot or end up with a noisy mess from cranking ISO too late.

As we’ve seen ISO Auto with a max limit can save you when light changes mid-shot; you just have to keep an eye on your shutter speed and aperture, adjusting settings as light condition changes, and let the camera handle the rest.

Using Custom User Modes (C1, C2, C3 in Canon) for Quick Recall

Every wildlife photographer should be using custom user modes. If you’re not, you’re leaving speed on the table. Most modern cameras let you pre-program custom settings under C1, C2, and C3 (Canon) or U1, U2, U3 (Nikon). Think of these as instant presets for different scenarios.

For example, I use:

• C1: Fast-moving wildlife (1/3200s, f/5.6, Auto ISO, Tracking Autofocus) – perfect for birds in flight or running predators.

• C2: Low-light wildlife (1/200s, f/4, Auto ISO, Single Point Autofocus) – for dawn/dusk moments when every bit of light matters.

• C3: General mammal subjects (1/800s, f/4, Auto ISO, Tracking Autofocus with eye detection) – for portraits of resting animals where sharpness is key.

With one flick of a dial I can instantly swap between settings, instead of frantically adjusting exposure, autofocus, or drive mode. It’s a lifesaver when the action shifts fast!

Burst Mode & Silent Shooting → Capturing Multiple Frames Discreetly

Wildlife rarely poses for you. That’s why burst mode is a must - but knowing when to use it is just as important. I shoot in continuous high (15+ fps) for fast action and I switch to silent burst (or electronic shutter) when dealing with skittish subjects. Some birds can react to the shutter sound, so silent mode helps get natural behavior instead of a startled reaction.

Important tip: Don’t just hold down the shutter and pray. Unless some real action is happening use short bursts of 3-5 shots to avoid filling your card with duplicates. Look for peak action—wings at full extension, an animal’s eyes perfectly sharp - and time your bursts accordingly.

Using a Tripod vs Handheld Techniques for Stabilization

Tripods are great but in fast-paced wildlife photography they can be kinda limiting. I almost only use a tripod when I’m shooting from a photographic hide.

For everything else, I prefer handheld shooting with proper technique:

• Tuck your elbows in and brace against your body for stability.

• Use your left hand under the lens to control movement.

• Lean against trees, rocks, or kneel down to reduce camera shake.

• Often the safari vehicle provides a perfect shooting support, but turn off the engine to avoid vibrations.

Download My Complete Wildlife Photography Guide for Beginners

If you’re just getting started with wildlife photography, you probably have a million questions. I remember struggling with all of these things when I first picked up my camera and I know it can feel overwhelming. That’s exactly why I put together my Complete Wildlife Photography Guide for Beginners—a 100-page resource designed to give you clear, actionable advice so you can start capturing stunning wildlife images right away.

Ready to take your wildlife photography to the next level? Sign up now and grab your free copy!

Join One of My Workshops – The Best Way to Learn Photography

There’s only so much you can learn from blog articles and YouTube videos. Trust me, I tried. But the real game-changer? Hands-on experience in the field. There’s no substitute for being out in nature, camera in hand, with an experienced mentor guiding you through the challenges of wildlife photography in real time. That’s why my in-person photography workshops are designed to give you practical experience in breathtaking locations where you’ll refine your skills, get immediate feedback, and capture portfolio-worthy shots.

I run workshops in some of the world’s most stunning wildlife destinations, from Namibia and Botswana to Patagonia and the Italian Alps. These aren’t just tours; they’re immersive learning experiences designed to push your skills to the next level.

If you’re serious about improving your wildlife photography, join one of my workshops. It might just be the best investment you ever make in your photography journey.

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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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Best Wildlife Photography Cameras for Beginners in 2025 (Top Picks & Buying Guide)

Wildlife photography is an exciting yet challenging genre that requires the right gear. But if you're just starting out, finding the best beginner-friendly camera can feel overwhelming. Should you go for a DSLR or mirrorless? What about sensor size, autofocus, and burst speed? Don’t worry—I’ve got you covered!

In this guide, we’ll break down the best wildlife photography cameras for beginners in 2025, covering top choices for different budgets and needs. Whether you're capturing birds in flight or big cats on safari, these cameras will help you get stunning shots without breaking the bank.

How to Choose a Beginner-Friendly Camera for Wildlife Photography

When I first got into wildlife photography I was coming from almost a decade of commercial, lifestyle and sports photography. This made me feel like I knew what I needed in terms of camera performance. I quickly learned that capturing sharp, detailed shots of fast-moving animals wasn’t as easy though. Wildlife photography throws a lot of challenges your way - unpredictable motion, tricky lighting, and the need for serious telephoto capabilities, not to mention wildlife is the most demanding autofocus genre in photography. If you’re just starting out, picking the right camera can make all the difference between frustrating missed shots and stunning captures that make you fall in love with the craft. Here’s what I’ve learned over the years about choosing a beginner-friendly camera for wildlife photography.

Sensor Size: APS-C vs. Full-Frame – Which is Better for Wildlife?

This is one of the biggest debates in photography, and honestly, there’s no one-size-fits-all answer. But if you’re just starting, an APS-C sensor is often the better choice. Why? Crop factor. An APS-C sensor gives you a 1.5x or 1.6x crop (depending on the brand), which means a 300mm lens effectively becomes a 450mm or more. That extra reach is a game-changer for wildlife because telephoto lenses can get crazy expensive.

Full-frame cameras, on the other hand, have better low-light performance and higher dynamic range, but they come at a cost—literally. They’re pricier, and you’ll need longer (more expensive) lenses to get the same framing as an APS-C setup. If budget isn’t a concern and you plan to shoot in low-light conditions a lot (like deep forests or early mornings), a full-frame might be worth it. But for most beginners, APS-C is the smarter, more affordable choice to get started with wildlife photography.

DSLR vs mirrorless

Dslr have been the standard cameras for decades but in recent years they’ve been almost entirely replaced by mirrorless systems. Without going too much into technical details, one of the biggest advantages of mirrorless is much faster and intelligent autofocus. So while you could still go for Dslr systems (and save a lot of money) if you’re shooting landscapes, for wildlife a mirrorless system will be much better.

Autofocus System: Why Fast & Accurate Autofocus is a Must

Wildlife doesn’t wait for you to nail your focus. I’ve missed countless shots because my camera’s autofocus just couldn’t keep up. If you’re shooting birds in flight or a running cheetah, you need a fast and reliable AF system. Period.

Look for a camera with:
✅ Phase-detection autofocus (PDAF) – It’s much faster than contrast detection.
✅ Animal Eye AF – Some newer mirrorless cameras have this, and it’s a game-changer for sharp wildlife portraits.
✅ Tracking modes – You want a camera that can continuously focus on a moving subject without losing it.

Mirrorless cameras have been killing it in the AF department lately, with models like the Canon R7 or Sony A6700 offering insanely good subject tracking. But even if you go DSLR, make sure your camera has a solid autofocus system, or you’ll spend more time cursing than shooting.

Burst Rate: Why Continuous Shooting Speed Matters

Wildlife photography is all about catching the perfect moment, and most of those moments happen in the blink of an eye. Whether it’s an eagle taking off or a lion yawning, having a high burst rate (frames per second, or FPS) can mean the difference between a great shot and a missed opportunity.

For beginners, aim for at least 8 FPS or more. Some budget-friendly options, like the Canon R7 (15 FPS mechanical, 30 FPS electronic) or Nikon Z50 (11 FPS) give you excellent burst rates without breaking the bank. If your camera can shoot at 10 FPS or higher you’re in a great spot. Anything lower, and you might struggle with fast-moving subjects.

Low-Light Performance: Why It’s Critical for Wildlife

Some of the best wildlife action happens in low light—sunrise, sunset, or deep in the forest. A camera with poor low-light performance will leave you with grainy, unusable images when the sun starts dipping below the horizon.

Here’s what matters:
✅ ISO performance – Look for a camera that can handle at least ISO 3200-6400 with minimal noise.
✅ A wide aperture lens helps – A camera alone won’t fix low light; pairing it with an f/2.8 or f/4 lens can make a difference.
✅ In-body image stabilization (IBIS) – Helps reduce blur when shooting handheld at slow shutter speeds - even though you can’t use slow shutter speeds with fast moving subjects.

Full-frame sensors generally perform better in low light, but some APS-C models—like the Canon R7—do a pretty solid job. If you shoot in dawn or dusk often, test a camera’s high ISO performance before buying to avoid frustration later.

A QUICK NOTE: I will now go through the best models available in 2025 in the different price ranges; note that I never used the models listed in the entry level and mid level categories; my considerations there are only based on tech specs applied to wildlife scenarios.

Best Entry-Level Cameras for Wildlife Photography in 2025

For beginners looking to get serious without breaking the bank, there are three standout options in 2025: the Canon EOS R10, Nikon Z50 II, and Sony A6400. Each of these cameras has its strengths and weaknesses, so let’s break them down.

Canon EOS R10 – A Speedy All-Rounder

Tech Specs

• Sensor: 24.2MP APS-C CMOS

• Autofocus: Dual Pixel AF II with 651 points

• Frame Rate: 15 fps (mechanical), 23 fps (electronic)

• Low Light Performance: ISO 100-32,000 (expandable to 51,200)

• Memory Card: Single UHS-II SD slot

Usability for Wildlife

The Canon EOS R10 is an absolute beast when it comes to speed. With 15 fps burst shooting using the mechanical shutter and 23 fps with the electronic shutter, it’s a fantastic option for tracking fast-moving animals. The Dual Pixel AF II system is snappy, with deep-learning AI to detect and track birds, mammals and even reptiles. The APS-C sensor crop also gives your lenses extra reach - ideal for wildlife photographers who can’t afford a massive telephoto lens yet. However, the single UHS-II SD card slot means no redundancy, so be extra careful with storage and only use high quality memory cards.

Video Capabilities

• Resolution & Frame Rates: 4K 60p (cropped), 4K 30p (oversampled), Full HD 120p

• Codecs & Bitrates: MP4 (H.265/H.264), 8-bit & 10-bit via HDMI

• Dynamic Range & Color Profiles: Canon Log 3 available via HDMI output

On the video side the Canon EOS R10 offers sharp 4K 30p from 6K oversampling, delivering excellent detail. But the 4K 60p mode comes with a crop, which isn’t ideal if you’re already working with a cropped APS-C sensor. There’s no internal 10-bit recording but Canon Log 3 is available via HDMI, meaning you can pair it with an external recorder for serious grading flexibility. The autofocus in video mode is superb, making it good to record some video clips for social media. However the lack of 10bit recording is an issue when it comes to more serious video editing.

Nikon Z50 II – Great Low-Light Performance

Tech Specs

• Sensor: 20.9MP APS-C CMOS

• Autofocus: 273-point hybrid AF

• Frame Rate: 11 fps (mechanical/electronic)

• Low Light Performance: ISO 100-51,200 (expandable to 204,800)

• Memory Card: Single UHS-II SD slot

Usability for Wildlife

The Nikon Z50 II improves upon its predecessor with better autofocus tracking, particularly for animals. While it doesn’t match the EOS R10 in terms of burst speed (11 fps vs. 15-23 fps), it makes up for it with excellent low-light performance. The higher native ISO (51,200) and solid noise reduction make this a strong choice for dawn or dusk wildlife shots. Nikon’s ergonomics are also fantastic—the grip feels natural, and the menus are intuitive.

Video Capabilities

• Resolution & Frame Rates: 4K 30p (oversampled), Full HD 120p

• Codecs & Bitrates: MP4 (H.265/H.264), 8-bit internal

• Dynamic Range & Color Profiles: Flat profile, no N-Log

If you’re focused on video, the Z50 II is a bit behind. While 4K 30p is sharp due to oversampling, there’s no 4K 60p option, which limits slow-motion flexibility. Nikon also doesn’t include N-Log on APS-C bodies, so color grading potential is more restricted than with Canon or Sony. However, Full HD 120p looks great, and the rolling shutter performance is well-controlled. Overall, it’s better for photographers than videographers.

Sony A6400 – Best Autofocus and Lens Selection

Tech Specs

• Sensor: 24.2MP APS-C CMOS

• Autofocus: 425-point phase detection

• Frame Rate: 11 fps (mechanical/electronic)

• Low Light Performance: ISO 100-32,000 (expandable to 102,400)

• Memory Card: Single UHS-I SD slot

Usability for Wildlife

Sony’s Real-Time Eye AF is what makes the A6400 stand out. It locks onto animal eyes better than any other camera in this price range, making it perfect for birds and fast-moving mammals. The lens selection is also the best—Sony’s E-mount has tons of affordable telephoto options compared to Canon RF-S and Nikon Z DX. The downside? Only 11 fps burst shooting, and the buffer fills up fast, so you need to be selective with your shots.

Video Capabilities

• Resolution & Frame Rates: 4K 30p (no crop), Full HD 120p

• Codecs & Bitrates: XAVC S (H.264), 8-bit internal

• Dynamic Range & Color Profiles: S-Log2, S-Log3, HLG

For video, the A6400 is solid but showing its age. It offers sharp, uncropped 4K 30p, but no 4K 60p. The biggest advantage is the inclusion of S-Log2, S-Log3, and HLG, which gives you the most color grading flexibility among these three cameras. However, rolling shutter is an issue in 4K, and there’s no IBIS, so handheld footage can be shaky. It’s still great for wildlife videography if you use a tripod or gimbal.

Which One Should You Get?

• For speed and autofocus: The Canon EOS R10 is the best bet, especially with its 23 fps burst rate and top-tier tracking.

• For low-light shooting: The Nikon Z50 II wins with expandable ISO 204,800 and better noise control.

• For video and lens flexibility: The Sony A6400 stands out with S-Log profiles and better E-mount lens options.

All three are great beginner-friendly choices for wildlife photography, but it ultimately depends on what features matter most to you. If you want speed and tracking, go for Canon. If you need better low-light performance, Nikon is your friend. And if you prioritize video, Sony is the way to go.

Best Mid-Range Cameras for Wildlife Photography in 2025

Moving to the mid-range options things start looking interesting; in 2025 the best contenders are: Nikon Z6 III, Canon EOS R7, Canon EOS R6 Mark II, Sony A7C II, and Sony A7 IV.

1. Nikon Z6 III

Specs & Performance:

• Sensor: 24.5MP Full-Frame BSI CMOS

• Frame Rate: Up to 20 fps (electronic), 14 fps (mechanical)

• Autofocus: 493-point phase-detection AF, improved subject tracking

• Low Light: Native ISO 100-51,200 (expandable to 204,800)

• Memory Cards: Dual slots (CFexpress Type B + SD UHS-II)

Wildlife Usability:
The Z6 III is an excellent all-rounder for wildlife photographers who need a rugged body with great high-ISO performance. Its autofocus is much improved over previous generations, with subject-detection AF capable of locking onto animals and birds. The burst rate is decent, though not the fastest in this lineup. The CFexpress slot allows for quick buffer clearing, a big plus when shooting in RAW bursts.

Video Capabilities:

• Resolution & Frame Rates: 6K 60p (RAW), 4K 120p (10-bit)

• Codec: N-RAW, ProRes RAW, H.265

• Log Profiles: N-Log, HLG

• Dynamic Range: Around 14 stops

• Other Features: Full-size HDMI, no recording limit

The 6K 60p RAW recording is a huge deal for wildlife videographers looking for flexibility in post-production. The N-Log profile provides a great dynamic range, making this a strong hybrid camera.

2. Canon EOS R7

Specs & Performance:

• Sensor: 32.5MP APS-C CMOS

• Frame Rate: 30 fps (electronic), 15 fps (mechanical)

• Autofocus: Dual Pixel CMOS AF II, deep-learning subject detection

• Low Light: Native ISO 100-32,000 (expandable to 51,200)

• Memory Cards: Dual UHS-II SD slots

Wildlife Usability:
For wildlife photographers on a budget the R7 is a killer APS-C option. The crop factor extends the reach of telephoto lenses, making a 100-400mm behave like a 160-640mm—perfect for distant subjects. 30 fps electronic shutter is blisteringly fast, but the buffer can fill up quickly. The weather sealing is solid but not on par with full-frame models.

Video Capabilities:

• Resolution & Frame Rates: 4K 60p oversampled, 1080p 120fps

• Codec: H.265, H.264

• Log Profiles: C-Log 3, HDR PQ

• Dynamic Range: ~12.5 stops

• Other Features: No overheating, IBIS

The 4K 60p oversampling from 7K delivers crisp footage but there’s no 4K 120p for extreme slow motion. 10 bits C-Log 3 provides some flexibility in post, but it’s not on the level of Canon’s full-frame options.

3. Canon EOS R6 Mark II

Specs & Performance:

• Sensor: 24.2MP Full-Frame CMOS

• Frame Rate: 40 fps (electronic), 12 fps (mechanical)

• Autofocus: Dual Pixel CMOS AF II with deep-learning AI

• Low Light: Native ISO 100-102,400

• Memory Cards: Dual UHS-II SD

Wildlife Usability:
The 40 fps burst rate in electronic mode is one of the fastest in this range, making it great for fast-moving wildlife. The AI-powered AF locks onto birds, mammals, and even insects with ease. Its low-light performance is excellent, though dynamic range lags behind Sony models.

Video Capabilities:

• Resolution & Frame Rates: 4K 60p oversampled, 4K 120p (cropped), 1080p 180fps

• Codec: H.265, H.264

• Log Profiles: C-Log 3, HDR PQ

• Dynamic Range: ~13 stops

• Other Features: IBIS, no record limit

The 4K 120p crop is a bit of a letdown, but oversampled 4K 60p looks fantastic. It’s a solid hybrid camera, ideal for photographers who shoot video as well.

4. Sony A7C II

Specs & Performance:

• Sensor: 33MP Full-Frame BSI CMOS

• Frame Rate: 10 fps (mechanical/electronic)

• Autofocus: Real-time Tracking, AI-powered AF

• Low Light: Native ISO 100-51,200

• Memory Cards: Single UHS-II SD

Wildlife Usability:
The compact size makes it a dream for travel photographers but 10 fps is slower than competitors. Autofocus is excellent, but buffer performance isn’t as strong. If portability is key, this is a solid choice.

Video Capabilities:

• Resolution & Frame Rates: 4K 60p (10-bit), 1080p 120fps

• Codec: XAVC HS, XAVC S

• Log Profiles: S-Log3, S-Cinetone

• Dynamic Range: ~14 stops

• Other Features: No overheating

Sony’s S-Log3 and S-Cinetone deliver beautiful video, though no 4K 120p is a limitation. Good for travel-friendly hybrid shooting.

5. Sony A7 IV

Specs & Performance:

• Sensor: 33MP Full-Frame BSI CMOS

• Frame Rate: 10 fps (mechanical/electronic)

• Autofocus: AI-based Real-Time Eye AF

• Low Light: Native ISO 100-51,200

• Memory Cards: CFexpress Type A + UHS-II SD

• Price: ~$2,500

Wildlife Usability:
The A7 IV is a workhorse—not the fastest, but fantastic dynamic range and color science. The CFexpress Type A slot speeds up buffer clearing, making it more reliable for action shooting.

Video Capabilities:

• Resolution & Frame Rates: 4K 60p (10-bit), 4K 120p (cropped)

• Codec: XAVC HS, XAVC S

• Log Profiles: S-Log3, S-Cinetone

• Dynamic Range: ~14+ stops

• Other Features: Great rolling shutter control

For hybrid shooters, Sony’s color science and dynamic range make it a go-to. The rolling shutter is better controlled than older models, making it a solid video and photo hybrid.

Best Professional Cameras for Wildlife Photography in 2025

The latest professional models keep improving, offering insane autofocus capabilities, lightning-fast burst rates, and high-resolution sensors that, compared the best DSLRs of the past, are in another league. Below are the top professional wildlife cameras of 2025, followed by a comparison with some still-relevant models from previous years.

Top Wildlife Photography Cameras of 2025

1. Nikon Z8

• Sensor: 45.7MP full-frame BSI stacked CMOS

• Frame Rate: 20 fps RAW, 30 fps JPEG, 120 fps at 11MP

• Autofocus: 493-point phase detection with Deep Learning AI

• Low Light Performance: ISO 64-25,600 (expandable to 102,400)

• Memory Cards: Dual slots (CFexpress Type B + SD UHS-II)

Wildlife Photography Performance

The Nikon Z8 is essentially a “mini Z9,” packing the same powerhouse sensor and AF system into a more compact body. With its stacked sensor the Z8 delivers blackout-free shooting, very helpful for tracking birds in flight or fast mammals. The 20 fps RAW burst is fast enough for most wildlife scenarios, while 120 fps at 11MP can be useful for behavioral series.

Video Capabilities

• Internal recording: 8K 60p (N-RAW), 4K 120p (ProRes 422 HQ)

• Color profiles: N-Log, HLG

• Dynamic range: Around 14 stops

• Codec support: ProRes RAW, H.265, and H.264

The Z8 is an absolute beast for wildlife videographers, supporting 8K 60p RAW and 4K 120p for slow-motion shots. The N-Log profile provides great dynamic range, making it ideal for grading.

2. Canon EOS R5 Mark II

• Sensor: 45MP full-frame stacked CMOS

• Frame Rate: 30 fps RAW, 60 fps JPEG

• Autofocus: Dual Pixel AF II with Deep Learning AI

• Low Light Performance: ISO 100-51,200 (expandable to 204,800)

• Memory Cards: Dual slots (CFexpress Type B + SD UHS-II)

• Price: $4,599

Wildlife Photography Performance

Canon's upgrade to the legendary R5 brings improved burst speeds (30 fps RAW) and a new AI-driven autofocus system, making it one of the best cameras for fast action. The expanded ISO range improves its usability in low light, making dawn and dusk shooting much more manageable.

Video Capabilities

• Internal recording: 8K 60p RAW, 4K 120p 10-bit 4:2:2

• Color profiles: Canon Log 3, HDR PQ

• Codec support: RAW, H.265, All-I, IPB

A huge leap for video, the 8K 60p RAW recording makes it future-proof for high-end productions. 4K 120p with 10-bit 4:2:2 recording is perfect for slow-motion wildlife sequences.

3. Canon EOS R1

• Sensor: 24MP stacked full-frame CMOS

• Frame Rate: 40 fps RAW

• Autofocus: Next-gen Dual Pixel AF with AI tracking

• Low Light Performance: ISO 100-102,400 (expandable to 409,600)

• Memory Cards: Dual CFexpress Type B

• Price: $6,999

Wildlife Photography Performance

The Canon EOS R1 is designed for sports and wildlife shooters who need speed over resolution. Its 40 fps RAW burst rate makes it the fastest Canon ever, with superb tracking AI that locks onto subjects like a dream. The low-light performance is also a massive upgrade, making it perfect for nocturnal wildlife.

Video Capabilities

• Internal recording: 6K 120p RAW

• Color profiles: Canon Log 2 & 3, HDR PQ

• Codec support: RAW, XF-AVC

Canon's flagship features 6K 120p recording, a game-changer for high-speed wildlife videography.

4. Sony A9 III

• Sensor: 24.6MP global shutter full-frame

• Frame Rate: 120 fps RAW

• Autofocus: 759-point hybrid AF

• Low Light Performance: ISO 100-51,200

• Memory Cards: Dual CFexpress Type A

• Price: $5,499

Wildlife Photography Performance

Sony’s first global shutter camera eliminates rolling shutter issues, ensuring perfect motion capture at 120 fps RAW. The instant readout sensor makes it ideal for fast-paced wildlife like birds and big cats.

Video Capabilities

• Internal recording: 4K 120p, 6K oversampled

• Color profiles: S-Log3, S-Cinetone

This camera is an absolute monster for wildlife action photography, but lacks 8K capabilities.

5. Sony A1 II

• Sensor: 50.1MP full-frame stacked CMOS

• Frame Rate: 30 fps RAW

• Autofocus: AI-enhanced real-time tracking

• Low Light Performance: ISO 100-102,400

• Memory Cards: Dual CFexpress Type A

• Price: $7,499

Wildlife Photography Performance

The successor to the legendary A1 improves autofocus tracking, faster burst rates, and increased low-light performance. The 50MP sensor gives unparalleled detail for wildlife, allowing deep crops.

Video Capabilities

• Internal recording: 8K 60p, 4K 120p

• Color profiles: S-Log3, S-Cinetone

• Codec support: RAW, H.265

For wildlife videographers, the 8K 60p and 4K 120p are outstanding. The S-Log3 profile allows for incredible color grading.

Test shot, R3, ISO 102.400

Previous-Gen Cameras Still Worth Buying in 2025

Canon EOS R3 vs. R1

The Canon R3 remains a wildlife powerhouse in 2025, featuring a 24MP stacked sensor, 30 fps RAW burst, and low-light ISO 204,800. Compared to the R1, it lacks the 40 fps burst speed and pre-capture shooting, but the price lowered significantly since the launch of the R1, making it a very interesting choice. I personally shoot with the R3 for 60-70% of my wildlife photos and I don’t feel any need to upgrade to the R1.

Canon EOS R5 vs. R5 Mark II

Also the Canon R5 is still a killer camera when compared to its successor. Here the difference is a bit more noticeable when it comes to autofocus performance, but the original R5 is already so good that I don’t really feel the need of something more performing.

Sony A1 vs. A1 II

In the same way, the original Sony A1 still competes with the A1 II, where this last one got lot of improvements but the previous model was already incredibile and will still be a workhorse camera for several years.

Final Thoughts

Wildlife photographers in 2025 have an incredible selection of cameras, from insanely fast burst rates to high-res sensors and 8K video, and anyone can find a perfect fit in the different budget ranges. Whether you go for the latest flagship or a previous-gen bargain, any of these models will elevate your wildlife photography.

Wanna join me on one of my exclusive wildlife photography workshops or safari trips?

I regularly organize guided photographic safaris and workshops to incredible locations, including Namibia, Botswana, Zambia and other amazing destinations worldwide. These trips are designed to offer photographers of all levels the chance to apply these techniques in the field, all while receiving personalized coaching and feedback.

Ready to embark on the photography adventure of a lifetime? Check out my upcoming photography trips and workshops and book your spot today:

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Wildlife Photography Workshops: Best Locations to Elevate Your Skills in 2026

Imagine standing in the middle of the Serengeti, camera in hand, as a pride of lions moves through the golden grass at sunrise. Or capturing the mesmerizing dance of the Northern Lights above a herd of reindeer in Svalbard. Wildlife photography workshops offer the perfect blend of adventure, learning, and hands-on experience in breathtaking locations around the world!

In this guide we’ll explore the best destinations for wildlife photography workshops, detailing what makes each location unique, what wildlife you can expect to photograph, and key factors to consider when choosing the right workshop for your skill level.

Whether you’re a beginner looking to master camera settings or a seasoned pro seeking rare wildlife encounters, these destinations will take your photography to the next level!

A young ibex in the Italian Alps

What Makes a Great Wildlife Photography Workshop?

I’ve been on both sides of a wildlife photography workshop - first as an eager participant, then as an instructor leading groups into some of the world’s most breathtaking ecosystems. And let me tell you, not all workshops are created equal. A great wildlife photography workshop isn’t just about snapping cool pictures; it’s about learning, growing, coming home with shots you never thought you’d be able to capture and with memories you’ll cherish for a lifetime. But what is that separates an unforgettable experience from a mediocre one?

Expert Guidance from Seasoned Wildlife Photographers

A workshop is only as good as the person leading it. I’ve been on trips where the “guide” was just a tour operator with a camera, and let’s just say... it showed. A real wildlife photography mentor doesn’t just know their way around a camera; they understand animal behavior, lighting conditions and how to adapt when nature doesn’t cooperate (because trust me, it won’t always).

Look for workshops led by photographers with actual field experience - not just in photography, but in the specific environment you’re visiting. Someone who has spent years photographing African lions or Arctic foxes will have a sixth sense for when and where to be for the best action. They’ll teach you how to anticipate behavior, work with natural light, and fine-tune your settings in real time. That kind of expertise is invaluable.

Prime Locations with Diverse Wildlife Populations

You can be the best photographer in the world but if the location isn’t right, you won’t get the shots. I’ve made the mistake before - signing up for a trip that promised incredible wildlife but delivered little more than distant specks through a telephoto lens.

A great workshop takes you to prime locations during the best seasons. Think of the Serengeti during the Great Migration, the Pantanal for jaguars or Alaska for grizzly bears fishing in rivers. These aren’t just scenic places - they're where you’ll have the highest probability of witnessing jaw-dropping animal behavior.

And don’t overlook local knowledge. The best workshops often partner with expert guides who live in the area, ensuring you get to the right spot at the right time. A workshop that skimps on local expertise? Big red flag.

Wild camping in Damaraland, Namibia. I visited the country more than 20 times before I led my first workshop there.

Small Group Sizes for Personalized Attention

This one’s non-negotiable. I’ve been on trips where there were too many photographers crammed into a single safari vehicle, and it was a mess - elbows knocking, lenses clashing and everyone fighting for the same angle.

A great wildlife photography workshop keeps group sizes small, usually around 4 to 6 participants. This ensures that the instructor has time to give personalized feedback and that everyone gets a fair shot (literally). Small groups also mean more flexibility. If a leopard suddenly appears on the opposite side of the vehicle, you want to be able to reposition quickly - not wait for five people to shuffle out of the way.

Ethical Wildlife Photography Practices

This is a big one. I’ve seen workshops where photographers push too close, bait animals, or otherwise disrupt wildlife just to get “the shot.” It’s frustrating and, frankly, unethical.

A responsible wildlife photography workshop follows ethical guidelines, keeping a respectful distance, never baiting or disturbing animals, and educating participants on how to capture images without causing harm. If a workshop doesn’t have a clear stance on ethics, that’s a major red flag. The best leaders prioritize conservation and responsible storytelling over sensationalist images.

Ideal Seasons for Capturing Stunning Animal Behavior

Timing is everything in wildlife photography. If you’re hoping to photograph brown bears fishing for salmon, you need to go in late summer. Want snow leopards? Winter in the Himalayas is your best bet. Migration patterns, mating seasons, and even daily weather conditions affect what you’ll see and how you’ll photograph it.

A high-quality workshop isn’t just set in the right location—it’s scheduled during the ideal time to capture dynamic wildlife moments. A good leader will also help you understand how to work with the seasonal conditions, whether it’s low light in the Arctic winter or the harsh midday sun in the savanna.

Our local guide looking for animals on the banks of Chobe river, Botswana.

Best Locations for Wildlife Photography Workshops in 2025

Wildlife photography workshops are one of the best ways to improve your skills while immersing yourself in some of the most incredible natural environments on the planet. Whether you’re after big cats on the hunt or mountain wildlife in the Alps, 2025 is shaping up to be an exceptional year for wildlife photography. Here are the top destinations for workshops, each offering something unique for photographers of all levels.

1. Serengeti National Park, Tanzania

If there’s one place that consistently delivers mind-blowing wildlife photography opportunities, it’s the Serengeti. This iconic park is home to the Great Migration, where over a million wildebeest, zebras, and gazelles thunder across the plains, pursued by lions, cheetahs, and crocodiles lurking in the rivers. The sheer density of wildlife means incredible sightings are almost guaranteed.

Best time to visit: January to March is prime time if you want to photograph the baby boom—when thousands of wildebeest calves are born each day, attracting big cats and scavengers. The lush green season offers stunning contrasts, dramatic skies, and fewer crowds.

A well-planned workshop here will take you to key areas where the action is unfolding, ensuring you get the best vantage points for predator-prey interactions, intimate portraits, and stunning landscape shots with wildlife in scale.

2. Damaraland and Etosha National Park, Namibia

Namibia is wild, remote, and surreal - a true photographer’s paradise. The combination of rugged desert landscapes and unique wildlife makes it one of the most special places for a wildlife photography workshop. Damaraland, in particular offers a rare chance to track desert-adapted elephants and rhinos across Mars-like terrain, while Etosha National Park provides incredible wildlife congregations around the waterholes.

Waterhole scene in Etosha.

Best time to visit: May to October is the dry season, when wildlife congregates around water sources, making sightings more predictable.

A workshop here often includes exclusive access to off-the-grid locations - far from tourists, where you can spend time tracking animals, photographing against Namibia’s golden light and capturing scenes that feel truly untouched. Then, there’s Etosha, famous for its mirage-like salt pan, where lions, oryx, and giraffes gather in striking compositions.

See my full Etosha NP photography guide

Desert elephants in Damaraland.

3. Yellowstone National Park, USA

I’ve not been there myself yet, but according to a few trusted friends and fellow photographers, Yellowstone is America’s crown jewel for wildlife photography. The mix of majestic landscapes and powerful wildlife makes it an incredible destination. Bison moving through steam-filled geysers, wolves in the early morning mist, and grizzly bears hunting in meadows—this place is pure magic.

Best time to visit: Winter. It’s cold, challenging, and absolutely worth it. The snow-covered landscapes create the perfect contrast for wildlife, and the animals are more active in their search for food.

Winter workshops focus on capturing the raw beauty of wildlife in extreme conditions, perfect for honing skills in exposure, composition, and storytelling. If you want those National Geographic-style shots of a wolf piercing through the white-out conditions, this is your place.

More Yellowstone infos here

After sunset during a workshop in South Luangwa, Zambia.

4. South Luangwa National Park, Zambia

Leopards are notoriously elusive…except in South Luangwa. This park is one of the best places in the world for spotting and photographing these sleek, nocturnal hunters. It’s also home to wild dogs, one of Africa’s rarest and most exciting predators to photograph.

Best time to visit: The dry season (July - October) is the best time for photography, as water sources shrink and wildlife congregates. During the wet season (December to April) most camps and lodges are closed due to access and flooding problems.

A standout feature of workshops here is the option for walking safaris, a totally different experience from photographing from a vehicle. You’ll learn to anticipate animal behavior, practice low-light photography and capture intimate images without disturbing the scene.

Leopardess with her meal on a tree in South Luangwa NP, Zambia.

5. Svalbard, Norway (Arctic Wildlife)

On of my top-of-the-list destinations for 2025, Svalbard is as wild as it gets. It’s one of the few places on earth where you can photograph polar bears in their natural habitat, along with walruses, Arctic foxes, and breathtaking ice landscapes.

Best time to visit: April - September, when there’s still plenty of ice, but enough daylight for long shooting hours.

Workshops here teach the unique challenges of cold-weather photography, ensuring your gear doesn’t fail when you’re face-to-face with a polar bear on the ice. The Arctic light is soft and ethereal, making even the simplest shots look otherworldly.

6. Torres del Paine National Park, Chile

If you dream of photographing a wild puma in Patagonia, this is where you need to be. Torres del Paine is the world’s best location for puma tracking, with skilled local guides knowing exactly where to find these elusive big cats.

A female puma during my last trip to Patagonia.

Best time to visit: October to May, when pumas are most visible, and the landscapes are at their most dramatic.

In addition to pumas you’ll photograph guanacos, Andean condors, foxes, and jaw-dropping mountains, often with dynamic weather adding an extra layer of drama to your shots.

7. Europe

Europe might not always come to mind first for wildlife photography, but it offers a diverse range of incredible workshops:

Fox in Gran Paradiso National Park, Italy.

• Slovenia, Slovakia, Croatia, and Finland: Perfect for brown bear photography, using professional hides to capture natural behavior.

• The Alps (Italy, France, Switzerland): Stunning backdrops for ibex, chamois, golden eagles, and bearded vultures.

• Spain: The Iberian lynx, one of the rarest wild cats in the world, is an absolute must-photograph.

• Norway: Musk oxen in Dovrefjell, an experience that takes patience and endurance.

• Finland and Sweden: Wolves, owls, and birds of prey, often from hides designed for ultra-close encounters.

Best time to visit: Varies depending on the species—winter for owls, summer and autumn for bears, early spring for ibex, early winter for chamois. Most of these environments are close to human settlements so workshops here often involve tracking skills, long-lens techniques, and ethical photography practices.

Brown bear in Slovenia.

8. Antarctica

This is the ultimate adventure for wildlife photographers. You’ll find yourself surrounded by thousands of penguins, seals, and ice formations that defy imagination.

Best time to visit: November - March, when the Antarctic summer provides better access and light.

Workshops here focus on extreme environment photography, capturing the essence of isolation, survival, and untouched beauty.

9. Central Kalahari Game Reserve, Botswana

The Central Kalahari is raw, untamed, and utterly mesmerizing. This vast, arid wilderness is home to the famous black-maned lions, cheetahs, and desert-adapted wildlife that thrive in one of the toughest ecosystems on Earth.

Best time to visit: December - April for the zebra migration and lush landscapes, but year-round for incredible wildlife encounters.

Workshops here emphasize tracking skills, patience, and understanding light in a harsh environment. It’s an exclusive, off-the-beaten-path experience—perfect for those wanting a truly wild adventure.

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Want expert guidance and a front-row seat to some of the best wildlife encounters on the planet?

Check out my upcoming wildlife photography workshops and join me on an unforgettable journey to capture nature’s most extraordinary moments!

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How to Choose the Right Wildlife Photography Workshop

Picking the right wildlife photography workshop isn’t just about finding an exciting destination; it’s about choosing an experience that matches your skill level, goals, and expectations. Trust me, I’ve seen photographers make the mistake of jumping into a trip that was way beyond their ability, and it can be frustrating. You don’t want to be that person struggling with camera settings while everyone else is nailing the shot of a lifetime.

Consider Your Skill Level

Paolo looking for ibex during a recent workshop in Gran Paradiso National Park, Italy.

This is the first and probably most important factor. If you’re a beginner, avoid workshops that focus on highly technical or fast-paced photography, like birds in flight or nocturnal predators. I’ve met people who booked expensive safaris to places like Svalbard, only to realize they had no idea how to track focus on a polar bear, let alone the abundant birds you can find up there. Start with something more forgiving, like bear photography in Europe or a trip to Etosha in Namibia, where stationary wildlife around waterhole makes conditions not as challenging and where you can practice composition and settings without too much pressure.

Intermediate photographers can take on slightly more challenging environments, where light, speed, and weather conditions become more unpredictable. This might mean photographing predators on the hunt or learning to work in low-light conditions. And if you’re advanced, you’ll likely want a workshop that offers more than just photography basics - think specialized trips focusing on rare wildlife behaviors, remote locations, or advanced post-processing techniques.

Group Size Matters

Bigger isn’t better when it comes to photography workshops. A small group means more one-on-one instruction, better shooting positions, and a more immersive experience. I once joined a 12-person workshop in Africa, and let’s just say it wasn’t ideal—half the time, we were fighting over space in the vehicle, and the instructor barely had time for individual feedback. Now, I always recommend workshops with six participants or fewer, especially if you’re serious about improving.

Choose an Instructor Who Knows Photography, Not Just Wildlife

Not all guides are photographers and not all photographers are good teachers. Look for workshops led by professionals with strong wildlife photography experience - someone who understands camera settings, light, and composition in tough environments. The best instructors blend technical expertise with field experience, ensuring you’re in the right place at the right time and can actually get the shot.

Pay Attention to Seasonal Factors

Wildlife photography is all about timing. Seasons affect everything, from migration patterns to breeding behaviors to light quality. A winter trip to Yellowstone, for example, gives you dramatic snowy landscapes and frost-covered bison, while the same location in summer might feel overcrowded and uninspiring. If you’re after specific animal behavior, research the best time of year to see it. Many pros schedule workshops around peak action, like the wildebeest migration in the Serengeti or the puffin breeding season in Iceland.

Prioritize Ethical Wildlife Photography

Finally, choose workshops that respect wildlife and their habitats. Ethical wildlife photography means no baiting, no disturbing animals for the shot, and no overcrowding sensitive areas. I once saw a group of photographers surround a stressed-out fox just for a close-up—completely unacceptable. Responsible workshops follow ethical guidelines, keep a respectful distance, and focus on conservation. Some even contribute to local projects, ensuring that your trip supports wildlife protection rather than exploitation.

Not only wildlife…here our safari vehicle during a transfer between locations in Namibia.

Do Research on the Location and Species You’ll Photograph

One of the biggest mistakes I see people make is showing up unprepared. If you’re heading to the Maasai Mara, for example, you should know that early mornings are prime time for lion activity. If you’re doing a wildlife photography workshop in Borneo, understanding the habits of orangutans will help you anticipate their movements.

Before your trip, dig into the details of your destination. What time of year offers the best sightings? What’s the typical behavior of the animals you’ll be photographing? I remember my first trips to Namibia, when I was struggling a lot to find any big cats. Back then I thought it was just a matter of driving around and hoping for the best. Now I know the truth: back then I had no idea where to look. If I had done more research, I would have avoided midday hours as lions and leopards are hiding in the shade at that time of the day. I would have then looked for waterholes in late evenings, or checked on scavengers activity to locate lions kills.

A little prep goes a long way. Watch documentaries, read wildlife guides and check recent trip reports from photographers who have been there. This kind of groundwork means you won’t waste time figuring things out when you’re already in the field.

Practice Camera Settings Before the Trip to Avoid Missing Shots

Wildlife doesn’t wait for you to fumble with your camera. I’ve seen it happen too many times. Someone spots a cheetah sprinting across the plains, they raise their camera… and miss the shot because they were still in landscape mode from the day before.

Before your workshop, practice adjusting settings on the fly. Get comfortable switching between shutter speeds, ISO, and aperture without looking. A good exercise? Go to a park within your city and photograph birds in flight; it’ll teach you how to track fast-moving subjects and adjust settings quickly.

Be Patient—Wildlife Photography Requires Time and Persistence

Patience isn’t just helpful, it’s essential. Unlike landscape photography, where mountains don’t run away, wildlife photography is unpredictable. You could wait hours for a leopard to descend from a tree or a bear to step into the perfect patch of light.

During a wildlife photography tour in Zambia, I spent three days tracking a pride of lions. Just when we thought we’d lost them, they suddenly appeared at sunset, playing in golden light. That one moment made all the waiting worth it.

Bring a mindset that embraces the process. Enjoy the quiet moments in nature. Even if the perfect shot doesn’t happen, you’re still experiencing something incredible.

Boat safari on the Kwando river, Namibia.

Engage with Instructors and Fellow Photographers for Learning Opportunities

Your instructor has years of experience, so don’t be shy about asking questions. Need help with wildlife photography camera settings? Ask. Curious about composition techniques? Pick their brain. And don’t overlook your fellow participants. Some of the best tips I’ve picked up have come from chatting with other photographers over dinner.

Respect the Wildlife and Follow Ethical Photography Guidelines

No photo is worth disturbing an animal. Ethical wildlife photography means keeping a respectful distance, avoiding baiting and not stressing animals for the sake of a shot. In national parks, follow guidelines and listen to guides; they’re there to protect the wildlife as much as to help you get great images.

A simple rule? If an animal changes its behavior because of you, you’re too close. I once watched a photographer in Chobe NP, Botswana, get too close to a desert elephant. The elephant flared its ears - a clear warning - but the guy didn’t back off. Moments later, the elephant mock-charged, sending dust flying. It could’ve ended badly.

Be patient, stay respectful, and you’ll capture authentic, natural moments—without harming the animals in the process.

Conclusion

Wildlife photography workshops are more than just a chance to take amazing pictures—they’re immersive experiences that push you to grow as a photographer while exploring some of the world’s most breathtaking ecosystems. Whether you’re tracking pumas in Patagonia, waiting for the perfect shot of a lion in the golden light of the Serengeti or braving the Arctic chill to capture polar bears on the sea ice, the right workshop can elevate your skills and deepen your connection to the wild.

The best part? You don’t have to go at it alone. A well-structured workshop puts you in the right place at the right time, surrounded by like-minded photographers and experienced guides who can help you refine your craft. You’ll return home not just with stunning images, but with new techniques, a sharper creative eye, and unforgettable memories.

Want expert guidance and a front-row seat to some of the best wildlife encounters on the planet?

Check out my upcoming wildlife photography workshops and join me on an unforgettable journey to capture nature’s most extraordinary moments!

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Never Miss the Shot Again: How to Use the Focus Preset Feature for Wildlife Photography

When photographing wildlife very often speed is critical. You've likely experienced the frustration of missing focus on fast-moving animals, even with high-end telephoto lenses and the latest camera systems. And the worse situation is when your autofocus is stuck on the background and refuses to jump back and lock into a subject just in front of you. This happens especially with the longest focal lengths, as the foreground can sometimes be so blurred that the camera’s brain can’t recognize a subject close to us.

Luckily there's an incredibly useful feature designed exactly for these situations—yet surprisingly overlooked by beginner and intermediate photographers: the Focus Preset.

What is the Focus Preset?

Most high-end telephoto lenses have a built-in focus preset ring and button. This handy feature allows you to instantly recall a pre-set focus distance without waiting for the camera and lens to hunt for focus again. This will force your autofocus back in a fraction of a second. Despite being incredibly useful it remains one of the less-known tools in wildlife photography.

How to Set Up and Use the Focus Preset (for Canon)

Most high-end Canon, Nikon and Sony telephoto lenses come equipped with this feature (check the full lens list at the bottom).

Here's how to quickly set up and use Focus Preset on your lens:

1. Activate: Make sure the focus preset selector on your lens is set to ON.

2. Focus (either auto or manual focus, doesn’t matter) on the spot where you expect your subject to appear—like a common perch or the edge of a waterhole.

3. Press and hold the pre-focus set button for a couple of seconds to save that distance.

Now anytime your subject moves back into that predetermined area you can simply turn the preset ring or press the recall button and your lens will immediately snap back to your saved distance.

It’s also possible to set two different pre-focused distances that you will then access by rotating the pre-focus ring either left or right.

NOTE that if you are a Nikon or Sony user the setting process might be slightly different; check your lens user manual.

When to Use the Focus Preset

• Birds on Perches or at Waterholes: Set your preset to a branch or landing spot to instantly capture birds as they land.

• Birds in Flight: Save a pre-focused distance at the expected landing area, allowing instant focus acquisition.

• Fast-Moving Animals: Set a focus point in the foreground or background so you can rapidly switch between close and distant subjects without delay.

Example Scenario

Imagine you're photographing eagles from a hide. You focus precisely on the perch where you anticipate them to be. By using the focus preset, the moment the eagle comes into your frame, you instantly achieve focus without delay—capturing sharp, perfectly composed images every time.

Watch the Full Tutorial

For more detailed insights and a visual walkthrough of the focus preset feature, check out this complete guide.

Compatible Telephoto Lenses

Here's a comprehensive list of lenses featuring the Focus Preset button:

Canon Lenses:

• RF 100-300mm f/2.8 L IS USM

• RF 200-800mm f/6.3-9 IS USM

• RF 400mm f/2.8 L IS USM

• EF 300mm f/2.8 L IS II USM

• EF 400mm f/2.8 L IS III USM

• EF 500mm f/4 L IS II USM

• EF 600mm f/4 L IS III USM

Nikon Lenses:

• AF-S 400mm f/2.8E FL ED VR

• AF-S 500mm f/4E FL ED VR

• AF-S 600mm f/4E FL ED VR

• AF-S 800mm f/5.6E FL ED VR

Sony Lenses

• Sony FE 400mm f/2.8 GM OSS

• Sony FE 600mm f/4 GM OSS

• Sony FE 300mm f/2.8 GM OSS

Final Thoughts

Mastering the focus preset feature can significantly increase your keeper rate in wildlife photography, making your expensive telephoto lenses even more valuable. Give this powerful feature a try on your next outing—your photography will never be the same!

Enhance Your Autofocus Skills

To further improve your photography, consider mastering back button autofocus—a technique that separates focusing from the shutter button, offering greater control and precision. Learn more in our detailed guide: Mastering Back Button Autofocus: A Game-Changer for Your Photography

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.

Ultimate Guide to Safari Photography: Tips and Techniques for Capturing Amazing Wildlife Photos

A photo safari is one of the most rewarding experiences for photographers. It offers incredible opportunities to photograph wildlife in their natural habitat, but it also comes with challenges unique to this environment. After more than ten years as a professional wildlife and nature photographer, I've gathered techniques that significantly improved my photography during safaris—and today, I'm sharing these insights with you.

In this comprehensive guide I'll cover essential tips including equipment recommendations, optimal camera settings, practical advice for the field, and advanced composition techniques. Let's dive in!

Timing is Everything: Early Mornings and Late Afternoons

Wildlife is most active during the early morning and late afternoon hours. Unfortunately, this is precisely when many photographers would rather rest. Resist the temptation! The golden hours of sunrise and sunset provide the best natural lighting conditions, dynamic animal behavior, and increased activity.

In contrast, midday brings harsh, high-contrast light, often causing your subjects—particularly big cats—to seek shade. While you might spot wildlife, capturing compelling images will be difficult due to harsh shadows and static animals.

My recommendation:

• Wake up early, capture stunning photos, then rest during midday when wildlife activity declines.

• Plan your photography outings around animal behavior—not your comfort.

Too often, photographers head out too late, staying out during the harsh midday sun, resulting in missed opportunities and less appealing lighting. Instead, structure your day around the wildlife schedule:

• Early Morning Session: Head out before sunrise for active wildlife and optimal lighting conditions.

• Midday Rest: Return to your lodge or camp during midday for rest and meal breaks.

• Afternoon Session: Head out again in the late afternoon, staying as late as possible.

Adhering to this schedule significantly improves your odds of capturing memorable wildlife encounters in beautiful, soft light.

The Advantage of Booking Guided Game Drives

Booking game drives with professional safari guides is highly beneficial for photographers. Guides have extensive training and experience spotting wildlife, often seeing animals that you might miss. They also enjoy privileges like extended park hours and access to restricted areas not available to regular visitors.

Your experience (and results) will dramatically improve by joining guided safari tours. Guides have insider knowledge of animal behavior, preferred locations, and access to private areas or extended park hours.

Benefits of guided safari photography tours:

• Extended Access: Professional guides often have permits allowing them to stay longer or enter exclusive wildlife areas.

• Better Mobility: Shooting from an open safari vehicle allows unrestricted movement with your gear, offering more angles and fewer distractions.

• Focus on Photography: Without worrying about driving, you can fully dedicate yourself to capturing the perfect shot.

• Time Control: Choosing private or small-group tours ensures you’re not rushed, allowing you to patiently wait for action to unfold without frustrating fellow travelers.

If possible, choose private game drives or join a group of fellow photographers to ensure everyone's objectives align. Non-photographers typically prefer to move quickly between sightings, whereas photographers benefit from extended stays, allowing scenes and behaviors to unfold naturally.

Choosing the Right Equipment: The Power of Telephoto Zooms

While many photographers associate safari photography with giant prime telephotos these lenses, although powerful, aren't always the most practical option. Instead, a high-quality telephoto zoom lens such as a 100-500mm or a 200-600mm provides superior flexibility, lightweight handling, and faster reaction times.

Telephoto zoom lenses allow you to quickly adapt to changing wildlife situations without the burden of carrying and maneuvering heavy gear. A lens offering at least a 400mm reach is sufficient for most scenarios.

A recommended setup for maximum versatility is:

• Primary Camera: Equipped with a versatile zoom lens (100-500mm or 200-600mm).

• Secondary Camera: (optional) Fitted with a long prime lens (400mm f2.8 or 600mm f4) for specialized situations.

For more details on what I bring on a safari trip check out this video:

Essential Camera Settings for Safari Photography

Being ready for anything is crucial on safari. Using manual mode with Auto ISO offers an ideal balance between creative control and ease of use. This mode allows you to adjust your aperture and shutter speed manually while the camera compensates for changes in lighting through ISO adjustments.

Here's a quick breakdown:

• Manual Mode + Auto ISO: Allows consistent creative control and correct exposure.

• Exposure Compensation: Adjust exposure for challenging lighting conditions.

  • Sidelit/Backlit Subjects: Slightly underexpose.

  • Low Light Situations: Slightly overexpose to capture sufficient detail and improve post-production flexibility.

Mastering Composition from a Safari Vehicle

One major challenge on safari is achieving compelling compositions from within a vehicle. Typically, we want eye-level perspectives for natural, engaging images, which are difficult to achieve when restricted to a vehicle's elevated vantage point. Here are techniques to help overcome these constraints:

• Front Row Seating: Sit in the front seats of the safari vehicle, usually lower, to improve your angle.

• Vehicle Positioning: Position the vehicle in depressions or low points to achieve eye-level perspectives. Alternatively, position yourself further from your subject to reduce angle steepness.

• Utilize Elevated Subjects: When wildlife is elevated (on trees or termite mounds), your angle improves significantly, enhancing your composition.

Always respect park regulations and wildlife by never leaving your vehicle unless explicitly permitted.

Tackling Low Light Photography

Much wildlife activity occurs during low light hours. Mastering low-light photography techniques is crucial to maximizing photographic opportunities at dawn and dusk.

Mastering low-light techniques will set you apart:

• Use fast lenses (wide aperture lenses, e.g., f/2.8 or f/4) to gather maximum light.

• Increase ISO strategically: Modern cameras handle higher ISOs well. Choose ISO settings carefully to balance shutter speed and image quality.

• Shoot in RAW: This format allows better flexibility to correct exposure and reduce noise during post-processing.

For a deeper dive, check out this dedicated low-light photography guide.

Free Wildlife Photography E-book

Planning a safari? Get fully prepared by downloading our free e-book covering everything from gear selection, camera settings, composition, and how to handle various lighting conditions.

Download your Free Wildlife Photography Guide.

Ready for your safari?

The techniques shared above have transformed my own wildlife photography over the years. Remember:

• Wake up early for the best lighting.

• Take advantage of local guides.

• Choose versatile gear for maximum flexibility.

• Master your camera settings and be ready for any situation.

• Carefully plan your compositions for stronger images.

Wanna join me on one of my exclusive wildlife photography workshops or safari trips?

I regularly organize guided photographic safaris and workshops to incredible locations, including Namibia, Botswana, Zambia and other amazing destinations worldwide. These trips are designed to offer photographers of all levels the chance to apply these techniques in the field, all while receiving personalized coaching and feedback.

Ready to embark on the photography adventure of a lifetime? Check out my upcoming photography trips and workshops and book your spot today:

Stop editing your photos like this

Editing wildlife photos can be a tricky process. While capturing the image in-camera is essential, the real magic often happens during post-production. But without a structured workflow, it’s easy to feel overwhelmed—or worse, ruin a great shot with poor editing choices.

In my latest YouTube video, I reveal the 5 most common editing mistakes photographers make and how to avoid them. If you want to elevate your editing game, this is a must-watch!

Here’s what you’ll learn:

🗂️ How to create a consistent folder structure to stay organized and find your files easily.
✂️ The best way to cull and select your top images efficiently.
🎨 How to “listen” to what each image needs and apply the right adjustments.
🚫 Why over-editing can harm your photos—and how to keep it natural.
📸 The importance of focusing on better shots in-camera instead of trying to rescue bad ones.

These tips work with any editing software, whether you’re using Lightroom, Photoshop, Capture One, or something else.

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

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!

Struggling to Get Sharp Photos? Watch This!

Have you ever returned from an incredible photography session excited to review your shots, only to find that they’re soft or blurry? It’s a frustrating experience every photographer has faced at some point. But don’t worry—sharp photos aren’t just about having expensive gear; it’s about understanding and applying the right techniques.

In this video I dive deep into the common mistakes that lead to blurry images and share actionable tips to ensure you capture tack-sharp photos every time.

Here's a sneak peek of what you'll learn:

📸 The importance of shutter speed and how it affects sharpness.
📸 How to freeze motion with the right settings.
📸 Why aperture and ISO settings impact sharpness—and how to optimize them.
📸 Pro tips for using a tripod effectively, even in challenging conditions.

And finally, I remind you why sharpness, while important, isn’t everything. Crafting an engaging image goes beyond technical perfection!

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!

Master your camera: 3 best tricks for Canon

I recently published a video sharing my top 3 custom settings that I use all the time when shooting wildlife photography, especially when shooting with big lenses, when handling the camera is not always easy.

When shooting wildlife I find it very important to focus as much as possible on what the animal is doing and even with todays cameras where the LCD screen is so good, I still like to do it mostly through the viewfinder. It allows me to be more focused and more responsive to action.

So the more time I can spend with my eye on the viewfinder the bigger the chance that I will be able to capture a great photo. It’s that small moment when the animal does something different, that might be as simple as staring through the lens, that makes the difference between a decent photo and a great photo.

So, here’s the video with my 3 favorite settings to make sure I will not miss a single shot:

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Negative space in wildlife photography

A compelling wildlife photograph goes beyond capturing a moment. It’s about creating an image that resonates emotionally, draws the viewer in, and tells a story. Composition is the framework that transforms a technically good photograph into a great one. By mastering composition techniques you can elevate your wildlife photography to new heights.

In this shot the kudu is looking to the right so I left more negative space in that direction for a more balanced composition. Canon R3, 600mm, 1/800s, f 4, ISO 2500

Negative Space: Let Your Subject Breathe

Negative space is the “empty” or neutral area in your frame that surrounds the subject. While often overlooked, it is one of the most powerful compositional tools, especially in wildlife photography. Used effectively, negative space can add drama, balance, and a sense of scale to your images.

Why Negative Space Matters

In wildlife photography, animals are often on the move or positioned against complex surroundings. Negative space helps to simplify the scene, ensuring that the subject remains the focal point.

In this case the subject is slightly off-center towards the bottom left corner of the frame, leaving negative space up and right to match with the bird’s movement. Canon R3, 600mm, 1/2500, f 4, ISO 320

1. Balance and Harmony:

A well-balanced negative space complements the subject rather than competing with it. This harmony creates a more visually pleasing image.

2. Storytelling:

Negative space can be used to imply movement, mood, or even tension. For instance, a bird flying toward open space in the frame creates a sense of freedom, while one flying out of the frame can feel rushed or incomplete.

Practical Tips for Negative Space

1. Follow the Subject’s Direction:

Always leave space in the direction the animal is looking or moving. For instance:

◦ If a lion is walking to the left, position it on the right side of the frame and leave more space to the left.

◦ A perched bird looking up into the sky should have more space above than below.

In this shot the kudu is looking to the right so I left more negative space in that direction for a more balanced composition.

2. Proportion of Subject to Negative Space:

◦ For portraits, limit negative space to keep the focus on details like eyes and facial expressions, but be careful to still leave some breathing space around your subject.

◦ For environmental shots, expand the negative space to emphasize the subject’s habitat and create a sense of scale.

3. Avoid Clutter:

Negative space should be clean and unobtrusive. Distracting elements like bright spots or competing shapes can diminish the subject’s impact. While we can’t move our subject to a different location, we can move our position or use camera settings (for example a wider aperture would blur the background) to simplify our background.

Creative Uses of Negative Space

• Minimalism:

Create minimalist images by using expansive skies, open fields, or calm waters as negative space. These scenes focus attention on the subject while conveying a sense of peace or isolation.

• Dynamic Framing:

Experiment with off-center compositions to create tension or curiosity. The rule of thirds is a goodstarting point but feel free to break it when it serves the story.

While the subject is the star of your photograph, the background sets the stage. A well-managed background can enhance the subject, while a distracting one can ruin an otherwise perfect shot.

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Mastering Back Button Autofocus: A Game-Changer for Your Photography

Are you looking to take your photography skills to the next level? Back button focus (BBF) might be the secret weapon you’ve been missing. This technique, very popular among professional photographers, separates the autofocus function from the shutter button, giving you unparalleled control and precision.

With BBF you can lock focus on your subject while freely recomposing your shot—perfect for capturing wildlife, fast action, or any scenario where split-second decisions matter. Plus, it minimizes accidental refocusing, ensuring you get the sharpest images every time.

Curious about how to set it up and use it effectively? I’ve created a detailed video guide walking you through the entire process. Check it out!

This simple adjustment could revolutionize the way you shoot. Watch now and see the difference for yourself!

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