600mm vs 100-500mm: Which Wildlife Lens Should You Pack?

Choosing the right wildlife lens can feel overwhelming, especially when you're gearing up for a big trip. If you're torn between packing a 600mm prime lens or a versatile 100-500mm zoom, you're not alone. Both are phenomenal tools — but each comes with different strengths, weaknesses, and trade-offs.

In this post, we'll dive deep into the pros and cons of both lenses, real-world field performance, and which one you should prioritize based on your photography goals. By the end, you’ll know exactly which lens deserves a spot in your bag.

Why This Matters

Wildlife moments are often fast, unpredictable, and challenging to frame. Having the right focal length and setup can mean the difference between nailing the shot or missing it altogether. To make an informed decision, you need to weigh image quality, flexibility, portability, and field practicality.

If you're new to thinking about how focal length impacts your wildlife photography, make sure you check out my guide: My Favorite Focal Lengths for Wildlife in 2025 – and Why.

600mm Prime Lens: The Unbeatable Heavyweight

Pros:

  • Exceptional image quality: Sharpness, contrast, and color rendition are simply unmatched.

  • Ultimate reach: Perfect for distant wildlife, especially in wide-open areas like Etosha or the Central Kalahari.

  • Beautiful background separation: With a wide f/4 aperture, your subject will pop against creamy, blurred backgrounds.

Cons:

  • Heavy and bulky: Harder to handhold for extended periods, often requiring beanbags or tripods.

  • Fixed focal length: No zoom flexibility; you're stuck with the frame you get.

  • Expensive: A 600mm prime is a serious financial investment.

In static environments, like photographing predators at a waterhole during the dry season, the 600mm is king. But what happens when you need more adaptability?

Not familiar with safari seasons? Learn more in Best Time to Visit Africa for Photography - full article here!

100-500mm Zoom Lens: The Adaptability King

Pros:

  • Massive focal length flexibility: Zoom from 100mm to 500mm without switching lenses.

  • Lightweight and manageable: Easy to handhold for hours, even while tracking moving subjects.

  • Affordable compared to primes: A great way to cover a huge range without breaking the bank.

  • Incredible field efficiency: Perfect when animals come closer than expected or when you want to include more environment in your storytelling.

Cons:

  • Slightly less sharpness at 500mm: Still excellent, but doesn't match a prime's edge-to-edge sharpness.

  • Variable aperture: Aperture narrows as you zoom in (f/4.5-7.1 on the Canon 100-500mm), meaning less light at full zoom.

When photographing fast-moving animals, flexibility often outweighs minor image quality gains. Having a zoom lens also makes it easier to quickly adapt your framing — especially during a spontaneous moment. To maximize your action shots even further, don't miss my tip on Using Servo and One-Shot AF at the Same Time.

Real-World Field Scenarios

Let's say you're on a game drive in Botswana's Savute region. At one moment, you're photographing an elephant herd from 200 meters away — the next, a pack of wild dogs darts right past your vehicle.

  • With a 600mm prime, you might struggle to frame the fast-moving, close-range action without cutting off limbs or missing the shot entirely.

  • With a 100-500mm zoom, you can quickly pull back to 150-200mm, adjust composition, and stay in the moment.

This difference becomes even more pronounced during unpredictable events — exactly why my Safari Camera Bag always includes a zoom lens.

See my full safari packing list with explanations of all the pieces of gear I travel with!

Which Lens Should You Pack?

If you can only bring one wildlife lens, I strongly recommend a flexible zoom like the Canon 100-500mm.

Here’s why:

  • You’ll capture a wider variety of shots.

  • You’ll react quicker to fast-changing scenes.

  • You'll be better equipped for everything from distant cheetahs to close-up elephants.

  • You’ll travel lighter — especially if you're shooting handheld.

Of course, if you're building a two-lens wildlife kit, the 600mm prime remains an unbeatable tool for focused, long-range work. But if you have to choose only one lens, versatility wins.

Other excellent zoom options worth considering:

  • Sony 200-600mm f/5.6-6.3 G OSS — A fantastic value and reach combo.

  • Nikon 180-600mm f/5.6-6.3 Z — Sharp, affordable, and newly designed for mirrorless.

  • Sigma 150-600mm f/5-6.3 DG DN OS Sports — Budget-friendly with great image quality.

Zooms are becoming increasingly popular among ethical photographers too, because they allow you to maintain distance without stressing wildlife.

Learn more in Ethical Wildlife Photography: 7 Rules Every Photographer Should Follow.

Final Takeaway

Choosing the right wildlife lens isn’t just about sharpness or brand loyalty. It's about:

  • Flexibility

  • Field performance

  • Real-world shooting conditions

  • Your creative vision

If you're gearing up for your next adventure, my honest advice is: choose versatility first. And if you're curious about how these lenses perform across real-world safari conditions, don't miss joining me on one of my upcoming trips!

See all my upcoming trips and workshops!

Featured Articles

What’s in My Camera Bag for 2 Months of Safari Filming and Photography

Planning a photography trip to Africa can feel overwhelming—especially when you're preparing for multiple weeks in remote locations with limited access to electricity, internet, or gear shops.

After years of refining my safari setup, I’m finally happy with my current packing system. In this post, I’ll walk you through the exact gear I’m bringing for a two-month expedition across Botswana and Zambia, including everything from camera bodies to power management, data backups, and the tiny accessories that save the day in the field.

Whether you're planning your first one-week safari or a multi-stop adventure across Southern Africa, this post will help you decide what’s worth bringing—and what you can safely leave behind.

📥 Before we dive in, make sure to grab my free wildlife photography eBook—it’s packed with practical gear advice, shooting tips, and field-tested techniques for your next trip.
👉 Download it here

My Camera System & Bag Setup

For this trip, I’m using the f-stop Tilopa backpack with an XL Pro ICU, which I’ve found to be the most airline-compliant way to carry big lenses and multiple bodies without checking them in.

My Main Camera Body Lineup for Safari and Adventure Filmmaking

When you're spending weeks in the field, facing everything from dusty deserts to humid forests, your camera setup needs to be more than just good—it needs to be flexible, reliable, and ready for anything. Here’s a deeper look at the core bodies I’m bringing on my upcoming trips, and how each one fits into my shooting strategy:

Canon R5 – My High-Resolution Workhorse

The Canon R5 remains one of the most versatile cameras I’ve ever used. It’s my go-to for high-resolution stills, offering 45 megapixels of sharp, detailed images without sacrificing autofocus speed or burst rate. Whether I’m photographing wide landscapes, intimate wildlife portraits, or environmental scenes that require cropping flexibility, the R5 handles it with ease.
It also excels at hybrid shooting—quickly switching from stills to 4K or even 8K video when needed. On safari, that ability to adapt to different storytelling needs on the fly is absolutely priceless.

Canon R3 – The Wildlife Action Specialist

When the action heats up—whether it’s a leopard sprinting across the plains or birds darting through golden light—the Canon R3 is the camera I grab first.
Its incredible autofocus tracking, ultra-fast frame rates, and low-light performance make it the ultimate body for fast-moving wildlife. It’s especially well-paired with my 600mm f/4 lens, giving me maximum reach while still being able to react instantly to the unexpected.
With the R3, I can track and capture split-second moments with a confidence that no other body in my kit quite matches.

Canon R5C – The Cinema Powerhouse

For true cinematic storytelling, I rely on the Canon R5C. This camera gives me the best of both worlds: the stills quality of the R5 combined with the video power of Canon’s Cinema EOS line.
It shoots full-frame 8K RAW, offers 10-bit C-log 3, and most importantly, doesn’t suffer from overheating issues during long recording sessions—something critical when filming wildlife behavior or behind-the-scenes content.
The R5C is my main body for professional wildlife filmmaking, slow-motion sequences, and BTS storytelling that needs high production value.

Canon Powershot V1 – My Everyday Vlogging Tool

This tiny but powerful camera fills a crucial gap in my kit. The Canon Powershot V1 is designed specifically for creators who need quick, spontaneous recording without sacrificing color fidelity or editing flexibility.
It shoots 4K 10-bit C-log 3, meaning it matches perfectly with the footage from my R5C. That’s a huge deal for a compact camera.
I’ll be using the V1 for handheld vlogging, dashboard driving stories, time-lapses, and casual BTS updates—giving me lightweight, ready-anytime access without pulling out my main bodies.
Its portability and ease of use are game-changers for creating daily content during long expeditions.

GoPro Hero 9 – Creative B-roll Machine

Mounted inside the vehicle or on lightweight arms, the GoPro Hero 9 gives me another layer of storytelling.
I use it primarily for dashcam recordings, driving sequences, and unique perspectives that would be impractical or risky for larger gear. Its stabilization, waterproof housing, and compact size allow me to capture immersive, adventurous footage even during rough drives or river crossings.
It's an essential part of the creative kit when I want to bring viewers deeper into the experience without worrying about damage or weight.

Why This Multi-Camera System Matters

Each of these camera bodies has a specific role to play—and together, they give me the ability to seamlessly capture anything that happens.
From wide scenic shots, to fast action bursts, to cinema-grade documentary sequences, I can cover all angles simultaneously, often with multiple cameras rolling at once.
This multi-body setup not only improves the variety and richness of the final content—it also ensures I’m ready for whatever surprises the wild throws at me.

If you want to see exactly how I use this gear on real African safaris, join me on one of my upcoming photography workshops—limited spots are still available for Botswana, Namibia, and Zambia tours.

My Wildlife Lens Kit for Safari Adventures

On a trip that spans multiple ecosystems, from open savannahs to dense woodlands, versatility and redundancy are absolutely key. Every lens in my kit has a very specific role, ensuring I can adapt quickly to different subjects, distances, and lighting conditions without missing a beat.
Here’s a closer look at the glass I’m relying on for this expedition:

Canon 15–35mm f/2.8 – For Storytelling and Scenic Impact

The Canon 15–35mm f/2.8 is my primary wide-angle lens, essential for capturing landscapes, night skies, and behind-the-scenes moments.
When the Milky Way rises over a campfire, or when I want to include dramatic skies and environmental elements around wildlife, this lens delivers stunning results.
Its fast aperture also makes it excellent for low-light situations, allowing me to shoot handheld at dawn or dusk without cranking the ISO too much.

Canon 24–70mm f/2.8 – The Storytelling Backbone

The 24–70mm f/2.8 is the ultimate storytelling lens. It's perfect for blending wildlife portraits with environmental context, giving a sense of scale and atmosphere that tighter lenses often miss.
When an elephant herd crosses the plains under golden light or lions rest beneath stormy skies, this lens allows me to frame both the subject and the stunning environment together.
It’s also a crucial tool for travel documentation, lodge photography, and casual moments during downtime in camp.

Canon 100–300mm f/2.8 – My New Go-To Action Lens

Replacing both my 70–200mm f/2.8 and the 100–500mm, the Canon 100–300mm f/2.8 has quickly become my workhorse for handheld action photography.
It offers the flexibility of a zoom with the speed and light-gathering power of a prime, making it ideal for dynamic wildlife encounters where subjects move fast and distances change constantly.
Mounted on the Canon R5, this lens will be my main tool for fast, spontaneous stills, and its compact size makes it perfect for long handheld sessions from the vehicle window.

Canon 600mm f/4 – The King of Wildlife Portraits

When it’s time for serious wildlife portraiture, the Canon 600mm f/4 remains unbeatable.
This lens delivers stunning background separation, incredible sharpness, and enough reach to photograph shy or distant animals without disturbing them.
I'll typically use it for static setups—beanbag-mounted shots of predators, birds, or distant mammals in open terrain—especially in places like South Luangwa or Etosha, where long-range opportunities are common.

Canon 100–500mm – Dedicated Video Zoom

While the 100–500mm used to be part of my stills kit, on this trip it’s taking on a new role: it will stay permanently mounted on the R5C for long-form wildlife video capture.
Its extended range allows me to frame wide environmental scenes or tight animal behavior shots without needing lens changes during critical moments.
At f/7.1 on the long end, it’s not the fastest lens, but for well-lit daytime filming, it's more than adequate—and the flexibility it offers is unbeatable.

Canon 1.4x Teleconverter – Smart Extra Reach

Finally, I’m bringing the Canon 1.4x Teleconverter, a small but powerful addition to the kit.
When paired with the 100–300mm f/2.8, it turns into a 140–420mm f/4, still razor-sharp and fast enough for action. When attached to the 600mm, it creates an 840mm f/5.6 setup, perfect for smaller subjects or distant wildlife scenes, particularly useful in open environments like the Central Kalahari or Etosha’s vast pans.

Tripods & Support Gear for a Safari Photography Expedition

Capturing sharp, cinematic wildlife footage—and even tack-sharp stills in challenging light—requires much more than just good camera technique. Stable support gear is essential, especially when working from vehicles, in windy open environments, or when filming long, smooth sequences.
Here’s the full support system I’m relying on for this safari adventure:

Fluid Head Video Tripod – My Foundation for Cinematic Wildlife Filming

For high-quality wildlife video, a fluid head tripod is non-negotiable.
I’m bringing along my trusted Manfrotto 755B tripod, paired with a Manfrotto 501 fluid head.
Even though this setup is a bit older, it remains incredibly reliable and delivers exactly what’s needed: smooth, controlled panning and stable lock-offs during long filming sessions.
The 501 head allows for consistent drag when tracking moving animals like lions or elephants across open terrain, creating that cinematic feel that handheld shooting simply can’t replicate.
It’s sturdy enough to handle heavier setups like my Canon R5C with the 100–500mm lens, even when fully zoomed in.

Lightweight Travel Tripod – Compact Stability for Stills and General Use

For photography-specific work and general support, I’m bringing my Manfrotto 190CXPRO4—a lightweight carbon fiber tripod that offers the perfect balance between portability and stability.
This tripod comes into play when shooting landscapes, night photography (like Milky Way shots in Namibia), or low-light wildlife scenes where slower shutter speeds demand rock-solid support.
Thanks to its compact size and relatively light weight, it easily fits into my checked luggage or straps neatly onto the side of my camera backpack.
And with the center column that can flip horizontally, it’s also great for creative low-angle compositions.

Gorillapod – The Ultimate Tool for Quick Setups and Creative Angles

Rounding out my support kit is the trusty Joby Gorillapod.
This flexible mini-tripod is a game-changer for on-the-fly setups—perfect for mounting cameras on dashboards for dashcam footage, wrapping around branches or railings for creative vlogging angles, or setting up quick timelapses and roadside b-roll without hauling out a full tripod.
It’s light, packable, and incredibly versatile—a small tool that punches way above its weight.

Together, this trio covers everything I need:

  • Smooth cinematic pans for professional-looking wildlife footage

  • Stable long exposures and low-light stills

  • Flexible creative options when documenting behind-the-scenes moments

  • Lightweight, manageable setups that won’t bog me down in the field

All three pieces fit efficiently into my checked luggage or are integrated into my vehicle setup once I’m on location.
This careful balance between stability and portability means I’m always ready—whether I’m filming from a moving 4x4, shooting dramatic landscapes, or quickly capturing a spontaneous wildlife encounter.

Audio, Filters & Must-Have Accessories

When you’re filming professional wildlife content—or even just documenting your own adventures—good visuals are only half the story.
Clean, immersive audio and creative control over light are what really take your work to the next level.
Here’s the essential kit I’m bringing to make sure every piece of content sounds great, looks polished, and survives the rough realities of safari life:

Audio Setup – Capturing Clean, Professional Sound in the Field

Even the most beautiful footage feels amateur without strong audio, so I'm building redundancy into my setup:

🎤 Rode VideoMic NTG – Directional Shotgun Mic for Natural Soundscapes

Mounted directly on the camera, the Rode VideoMic NTG is my go-to directional microphone.
It picks up clear, isolated audio from the subject while rejecting ambient noise from the sides and rear—perfect for recording commentary, vehicle sounds, or distant wildlife calls without capturing too much wind or background chatter.
Its compact size and USB-C recharging capability make it ideal for fieldwork where weight and charging logistics matter.

🎙️ Rode Wireless Pro – Lavalier System for Interviews and Mobile Vlogging

The Rode Wireless Pro system is essential when I want freedom of movement without losing audio quality—whether it's capturing interviews at lodges, gear talks in the field, or mobile BTS vlogging during drives.
It’s ultra-compact, has great range, and records internally as a backup—a lifesaver if the wireless signal gets sketchy in remote areas.

🛡️ Backup Shotgun Mic – Redundancy Is Key

Gear fails—it’s just a fact when you’re deep in the bush, hours from the nearest camera store.
That’s why I always pack a backup shotgun mic. It adds minimal weight but provides peace of mind, ensuring that I can always record clean sound even if my primary mic encounters problems.

Filters – Managing Harsh Light and Boosting Creative Control

Shooting in Africa often means dealing with intense, harsh light. Filters are essential tools to stay in control of exposure and color:

🛡️ ND Filters – Essential for Proper Exposure in Bright Conditions

I bring neutral density (ND) filters to cut light without affecting color, allowing me to shoot at slower shutter speeds or wider apertures even in midday sun.
They are critical for maintaining cinematic motion blur in video and for controlling depth of field creatively.

🌀 Polarizer – Cutting Glare and Enhancing Skies

A circular polarizer helps reduce glare on water, wet surfaces, and animal fur, while also deepening blue skies and enhancing contrast.
It’s a simple but powerful tool for making safari scenes pop without heavy post-processing.

Must-Have Field Accessories – Keeping Gear Running Smoothly

The boring but absolutely essential category: the stuff that keeps the entire production going smoothly day after day in remote locations.

🔋 10+ Spare Batteries (Canon R5 & R5C) + 2x R3 Batteries

When you’re shooting long days, capturing early morning light, midday wildlife, sunset scenes, and nighttime BTS footage, battery life becomes mission-critical.
I pack more than 10 spare LP-E6NH batteries (for the R5 and R5C) and at least two LP-E19 batteries (for the R3) to avoid ever running out of power mid-shoot.

⚡ Dual and USB-C Chargers – Fast, Flexible Recharging

Keeping batteries topped up while traveling between lodges or charging off a solar setup means I need multiple chargers, including USB-C options that plug into portable power banks or in-car outlets.

🧽 Cleaning Tools – Protecting Sensors and Lenses

  • Blower for removing dust and debris from sensors and lenses

  • Sensor wipes for careful on-site sensor cleaning when needed

  • Microfiber cloths for wiping lenses without scratching Daily cleaning routines prevent frustrating problems like sensor spots or soft images caused by dirt.

🛠️ Gaffer Tape and Cable Ties – Ultimate Field Repair Kit

Whether it's securing loose dashcams, fixing gear to a vehicle, or temporarily patching tripods and bags, gaffer tape and cable ties are absolute lifesavers.
I always carry a few rolls tucked into every gear bag.

Backup Strategy & Power Management

When you're traveling deep into remote wilderness—days away from reliable electricity—protecting your databecomes just as important as capturing it.
Wildlife photography trips are often once-in-a-lifetime experiences, and losing footage or photos simply isn’t an option. That’s why I build serious redundancy into my backup system:

📂 Backup Workflow – How I Keep My Files Safe in the Wild

🎞️ Multiple SD and CFexpress Cards – Room to Shoot Freely

I carry enough SD and CFexpress cards to shoot for several days without having to format or overwrite anything.
This approach means I can work with confidence during intense days in the field—even if unexpected sightings or creative bursts fill my cards faster than planned.

💾 Two 4TB SSD Drives – Fast Daily Backups

Each evening, I back up all new footage and photos to two identical 4TB SSDs.
SSD drives are not only shockproof and durable (important when you're bouncing around on rough roads), but they also allow for fast transfers—saving precious time when you're exhausted after a long day out.

🖥️ Two 5TB HDD Drives – Long-Term Storage & Extra Redundancy

In addition to my SSD backups, I maintain a third backup copy on 5TB rugged hard drives.
While slower and bulkier than SSDs, these drives are perfect for archival storage, ensuring that even if something happens to the faster drives, the data is still safe.

⚡ Power Management – Staying Charged Off-Grid

🔋 Goal Zero Sherpa 100 – Versatile, High-Capacity Power Bank

When you're away from lodges or grid power for days at a time, a strong power solution is non-negotiable.
The Goal Zero Sherpa 100 lets me recharge cameras, laptops, batteries, and phones multiple times.
It has USB-C PD outputs (essential for fast charging modern devices) and AC ports for added flexibility.

☀️ Small Foldable Solar Panel – Infinite Recharging Option

For extended periods in remote campsites, I bring a compact, foldable solar panel.
When paired with the Sherpa, it gives me an essential renewable energy source to keep the mission alive—especially important on longer trips into the Central Kalahari, Savuti, or South Luangwa.

🔄 Why This Backup Routine Matters

Backing up every evening has become a non-negotiable habit for me—it’s part of the rhythm of the trip, just like charging batteries and cleaning gear.
Three separate copies of every file (cards, SSD, HDD) gives me total peace of mind, knowing that no technical issue, theft, or accident will erase the irreplaceable images and footage collected in the field.

🎯 Want to learn how to build your own bulletproof field workflow?
👉 Join one of my upcoming wildlife photography workshops where I’ll teach you not just how to shoot better—but how to safeguard your hard-earned files like a pro.

Daily Vehicle & Field Kit

When you're on a safari, you can't afford to be rummaging through bags when an opportunity appears—or worse, realizing you forgot something essential back at camp.
That’s why I always keep a compact, carefully thought-out field kit within immediate reach.

🧰 Key Items Always Within Arm’s Reach

🛠️ Multitool or Knife – The Unsung Hero

A solid multitool or knife is invaluable for quick fixes—whether it’s tightening a tripod screw, adjusting a dashcam mount, cutting cable ties, or even helping with small vehicle or gear repairs.
It’s amazing how often it saves the day.

🔦 Headlamp – Essential for Pre-Dawn and Night Shoots

A good headlamp is a total must for early morning drives, camp setups, or nighttime photography.
I always use one with a red-light mode to preserve night vision, making it easier to see without disturbing animals or wrecking my own eyes' adjustment to darkness.

📓 Notebook & Pen – Capturing Creative Sparks

Despite the digital age, I never leave camp without a small notebook and pen.
I use it for sighting logs, story ideas, shot lists, or just capturing fleeting creative thoughts that pop up while spending hours in the field.

🧵 Velcro Strips & Straps – Field Multi-Tool

Velcro strips and cable straps are among the most underrated items in my kit.
They’re endlessly useful for securing dashcams, organizing cables, mounting microphones, or even keeping lens caps handy.
They weigh almost nothing, take no space, and solve countless problems on the fly.

🧳 How It All Fits

All of these essentials stay packed in a secondary shoulder bag or small daypack that I keep by my side inside the safari vehicle at all times.
This means I’m ready for anything—whether it's a sudden downpour, a flat tire, an impromptu roadside shooting opportunity, or just needing to jot down a new creative idea without missing the moment.


This might sound like a lot of gear—and it is—but when you're shooting professionally over several weeks in extreme conditions, it’s better to have exactly what you need than to scramble last-minute in the field.

Everything I’ve listed here is battle-tested. It’s designed to support stills, video, BTS content, data safety, and smooth workflows while moving between camps and locations in Botswana and Zambia.

If you're planning your own trip soon—whether it's your first or your fiftieth—hopefully this guide gave you some clarity.

🎒 Don’t forget to download my free wildlife photography eBook—it’ll help you choose the right gear, prep for the field, and start shooting smarter on your next adventure.

Featured Articles

When to Go on Safari: A Wildlife Photographer’s Guide to the Best Safari Seasons

Planning a safari isn’t just about where you go—it’s about when. The timing of your trip will completely shape your wildlife encounters, photography conditions, and even your level of comfort in the bush.

I’m writing this as I prepare for an incredible journey through Central Kalahari Game Reserve (CKGR), Khwai and Savuti in northern Botswana, and South Luangwa National Park in Zambia. Each destination was picked with the season in mind—not just for weather or sightings, but for the specific kinds of shots I’m hoping to bring home.

If you’re a wildlife photographer (or planning your first safari), understanding safari seasons will help you choose the perfect time to go.

Rainy season in Okonjima Nature Reserve, Namibia

What Are Safari Seasons?

Let’s start with the basics. Safaris in Africa don’t follow spring/summer/fall calendars. Instead, they track the rhythms of rainfall and dryness, which directly impact wildlife behavior and vegetation.

Most of Southern and East Africa operates on two main safari seasons:

  • Dry Season: Usually May to October

  • Green (Wet) Season: Typically November to April

These aren’t hard cutoffs, but they do influence what kind of safari experience you’ll have—from visibility to sightings, lighting, and landscape conditions.

The Dry Season: Best for Classic Safari Photography

The dry season is the go-to time for many photographers—and for good reason.

  • Water is scarce, so wildlife congregates at rivers and waterholes.

  • The bush thins out, making animals easier to spot and photograph.

  • Animals become more predictable in their movements.

  • There's less mud and fewer bugs (always a win).

If you’re dreaming of sharp silhouettes, lions in golden light, elephants kicking up dust—it’s all here. The conditions are clean, the backgrounds uncluttered, and the animals active. This is the best season for high-probability sightings, especially if you’re new to safari photography.

Dry season in Etosha NP, Namibia

The Green Season: Dramatic, Lush, and Underrated

Then there’s the green season, sometimes called the wet season. It gets a bad rap, but for creatives and seasoned shooters, it’s a goldmine.

  • Verdant landscapes create stunning compositions.

  • Dramatic skies—think thunderclouds, soft evening light, and atmospheric scenes.

  • It’s birthing season, which means adorable newborns and heightened predator action.

  • Migratory birds return—perfect for bird photographers.

  • Fewer tourists, lower rates, and quieter parks.

There are trade-offs: thicker vegetation makes it harder to spot animals, roads can get muddy, and some camps close due to flooding. But if you’re patient and looking for unique, intimate moments—this season can truly reward you.

Dramatic skies during a rainy season sunset

Why I’m Traveling Now: My Seasonal Safari Strategy

Here’s how I planned my current trip across three iconic parks, based entirely on seasonality:

📍 Central Kalahari Game Reserve (Botswana)

I’m going at the tail end of the green season—just as the landscape is still lush but predator sightings peak. Big cats are on the move, skies are dramatic, and the crowds are nonexistent.

📍 Khwai & Savuti (Northern Botswana)

For these wetter regions, I chose May - the early dry season. This gives me drying terrain, increasing sightings near water, and vegetation that still holds some softness and color.

📍 South Luangwa National Park (Zambia)

June is a sweet spot. The park is transitioning into the dry season, so water sources are shrinking and animals are easier to find—but it’s still early enough to avoid peak tourist season.

👉 Want to follow my journey in real time? I’m sharing daily Stories from the field on Instagram with gear tips, wildlife moments, and behind-the-scenes updates. And I’ll be releasing vlogs and tutorials soon from this trip—don’t miss them.

Late dry season in South Luangwa NP, Zambia

Best Times for Iconic Safari Destinations

Choosing the right time to visit Africa’s top wildlife destinations can make the difference between a good trip—and an absolutely unforgettable one. Here’s when (and why) you should plan your safari—and if you want to experience it firsthand with expert guidance, I lead safari workshops that are planned around the seasons to provide the best possible experience.

🇧🇼 Botswana

Central Kalahari Game Reserve, Kgalagadi Transfrontier Park: December–May

The Green Season transforms the arid Kalahari into a lush, living desert. Seasonal rains bring dramatic skies, short grass plains, and an explosion of life—this is prime time for witnessing predator activity such as lions and cheetahs hunting in open landscapes. It’s raw, remote, and truly wild.

Khwai, Savuti, Chobe, and Moremi: May–October

During the Dry Season, Botswana’s northern regions offer classic safari experiences. As water sources shrink, animals concentrate along river systems and waterholes, making sightings both more frequent and more dramatic. Expect excellent predator-prey interaction, large herds of elephants, and picture-perfect golden light.

📍 I’ll be leading a dedicated safari to the Kgalagadi Transfrontier Park in early May, right at the transition between lush landscapes and drying plains—a perfect window for predators, big skies, and raw storytelling opportunities.
👉 Explore the Kgalagadi safari here.

🇿🇲 Zambia

South Luangwa National Park & Lower Zambezi: June–October

Zambia’s premier parks hit their stride in the heart of the dry season. As the bush thins out and water becomes scarce, predator density skyrockets. South Luangwa, in particular, is famed for incredible leopard sightings, thriving wild dog packs, and atmospheric riverbank photography.

📍 Join me in late September for a specially timed trip to South Luangwa—an epic period when the Luangwa River pulls in huge concentrations of wildlife and the soft, dusty light creates perfect conditions for storytelling photography.
👉 View full South Luangwa trip details.

🇳🇦 Namibia

Etosha National Park: July–October

As the dry season progresses, Etosha’s waterholes become magnet-like gathering points for animals. Towering elephants, rhinos, lions, and countless antelope converge in dusty, cinematic scenes. It’s an extraordinary opportunity for high-drama, high-density photography, with stark backdrops and powerful light.

Namib Desert & Damaraland: Year-round, but June–September are ideal

While these regions are photogenic year-round, winter months bring cooler temperatures, crystal-clear skies, and incredible side lighting—perfect for photographing Namibia’s iconic desert-adapted wildlife and surreal landscapes.

📍 Every year I’m leading two distinct Namibia adventures:

  • A full Namibia photography tour in the second half of May, covering desert landscapes, wildlife, astrophotography and cultural highlights.

  • A focused wildlife-specific expedition in early October, designed around waterhole photography, elusive desert predators and exclusive photography hides.

👉 See the full Namibia safari itineraries here.

🇰🇪 Kenya & 🇹🇿 Tanzania

January–February: Calving season in Ndutu, Tanzania, combined with clear skies and active predators make this one of the most dynamic times for wildlife photography.

July–October: The Great Migration peaks, with river crossings in Kenya’s Masai Mara and excellent predator action across the Serengeti.

November & March: Shoulder seasons offer fewer crowds, lush green landscapes, and unique photographic opportunities with more intimate sightings.

Mount Kenya at sunrise

Ready to Turn Your Dream Safari into Reality?

If these destinations and timings got you dreaming, why not turn those dreams into real-world images? My upcoming trips are designed specifically for photographers who want guided access, small group experiences, and hands-on support to capture the best possible shots.

👉 See all upcoming safaris and reserve your spot here.

Spots are limited, and many of these trips are already generating early interest, so don’t wait too long to start planning your ultimate photography adventure!

There’s no perfect time for everyone—only the best time for your specific vision. Want stark, powerful portraits? Go dry. Prefer emotion, drama, or baby animals? Green season is calling.

Whether you're planning your first safari or your tenth, let the seasons guide your choices. Your camera—and your future self—will thank you.

Featured Articles

Why I Switched from Capture One to Lightroom Classic in 2025

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

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

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

Why I Originally Chose Capture One

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

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

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

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

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

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

What Made Me Switch Back to Lightroom Classic

1. Built-In AI Noise Reduction

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

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

2. Smarter Masking for Wildlife

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

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

3. Mask Intersections = More Creative Control

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

4. A Smoother, More Intuitive UI

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

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

What I’ll Miss About Capture One

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

1. Sessions for Travel Shoots

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

2. Full Layer-Based Local Adjustments

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

3. Advanced Color Editor

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

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

Final Thoughts: Choose the Tool That Serves You Now

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

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

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

Watch the Full Video

Featured articles

Why I No Longer Use ETTR for Wildlife Photography

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

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

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

What is ETTR (Expose to the Right)?

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

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

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

A photo captured with Canon R3 at 20.000 ISO

Why ETTR is Now Outdated for Wildlife Photography

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

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

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

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

My New Approach: Smart Underexposure

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

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

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

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

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

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

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

Is ETTR Ever Still Useful?

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

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

In low-light situations, I:

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

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

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

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

Final Thoughts: Smart Underexposure is the Real Wildlife Photography Hack

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

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

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

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

Featured articles

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

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

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

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

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

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

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

Why Servo AF Isn’t Always Perfect

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

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

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

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

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

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

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

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

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

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

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

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

Step-by-Step Autofocus Setup (Canon R5)

  1. Go to the Autofocus Menu:

    • Set AF Operation to SERVO AF.

    • Set AF Method to Tracking + Subject Recognition.

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

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


2. Customize Your Buttons:

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

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

    • Change AF Operation to ONE SHOT AF.

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

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

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

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

In the field with the R3

Adjustments for Canon R3 Users:

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

SEE FULL VIDEO TUTORIAL

Real-World Benefits of This Autofocus Setup

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

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

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

One Additional Autofocus Tip for Telephoto Users

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

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

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

Final Thoughts and Next Steps

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

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

Happy shooting!

2025 Guide to Etosha National Park Photography

Etosha National Park is one of the most iconic safari destinations in Africa—and for good reason. Its vast white salt pan, scattered acacia trees, and floodlit waterholes set the stage for some of the most dramatic and consistent wildlife photography anywhere on the continent. Whether you're hoping to capture dust-kicking elephants, backlit black rhinos, or lion prides in the dry grass, Etosha offers an ideal mix of accessibility, wildlife density, and visual drama.

Read More

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.

Best Time to Visit Africa for Photography

Choosing the best time to visit Africa for safari photography is one of the most important decisions when planning a photo trip. With its vast landscapes, varied ecosystems, and dynamic wildlife movements, Africa offers exceptional photographic opportunities year-round—but not all months are created equal. Timing impacts everything from light conditions to animal behavior, vegetation cover, and travel logistics. This guide will help you navigate the differences between seasons and regions, understand key wildlife events, and plan an itinerary that matches your photographic goals.

Dry vs. Wet Season: Understanding the Basics

Africa’s safari destinations generally fall into two main seasonal categories: the dry season and the wet (or green) season. Each has distinct advantages and challenges for photography.

Dry Season (typically May–October)

  • Wildlife visibility is at its peak. Water becomes scarce, concentrating animals around rivers, waterholes, and pans—creating consistent photographic opportunities.

  • Vegetation thins out, improving visibility and making it easier to track and photograph wildlife from a distance.

  • Clear skies and golden light dominate, especially in the mornings and late afternoons—ideal for dramatic backlighting and clean subject isolation.

  • Roads and trails are dry and easier to navigate, reducing travel complications.

Wet Season (typically November–April)

  • Lush landscapes make for vibrant, moody backgrounds—excellent for wide compositions and storytelling shots.

  • Birdlife is at its best, with migratory species in breeding plumage and increased activity around water bodies.

  • Many species enter breeding or calving seasons, leading to unique behavior, new life, and predator-prey interaction.

  • Rain showers can lead to dramatic skies, mist, and cloud formations, creating rich atmosphere for landscape and wildlife shots alike.

Month-by-Month Guide Across Regions

To make the most of your safari photography, it’s essential to consider both timing and location. Here’s a month-by-month breakdown of key regions and what photographers can expect:

January to March

  • Central Kalahari Game Reserve (Botswana): The wet season transforms the desert into a blooming savanna. Plains game like oryx, springbok, and hartebeest are plentiful, and big cats are highly active, using the thick grasses for cover.

  • South Luangwa (Zambia): The emerald season begins. Lush vegetation and flooded lagoons create mirror-like reflections, while elephants, hippos, and birdlife dominate the scene. Most places, however, are unreachable due to flooded roads.

  • Ngorongoro Crater & Southern Serengeti (Tanzania): Calving season for wildebeest attracts predators like lions and hyenas. Cloud cover offers diffused light, great for soft, low-contrast portraits.

April to June

  • Khwai & Moremi (Botswana): Early dry season brings clearer skies and optimal game viewing without the crowds. Ideal for leopard tracking and elephant herds crossing the Khwai River.

  • Ruaha & Selous (Tanzania): Fewer tourists, and wildlife becomes more concentrated as seasonal rivers begin to dry.

  • Etosha (Namibia): Shoulder season begins in May. Wildlife begins congregating near waterholes, offering dramatic interactions between prey and predators.

July to September

  • Masai Mara (Kenya): Peak of the Great Migration. Expect dramatic river crossings, dust clouds, and intense predator action. Also, large gatherings of photographers—planning ahead is essential.

  • South Luangwa (Zambia): This is prime time for leopards and lions. Dry riverbeds and orange skies make for classic African safari frames.

  • Mana Pools (Zimbabwe): Elephants standing on their hind legs to reach trees—a unique behavioral photo opportunity.

October to December

  • Chobe & Savuti (Botswana): Late dry season heat draws huge herds to remaining water sources. Excellent for elephant photography, lion dynamics, and dramatic dust light.

  • Khwai: High predator concentration continues. Expect golden light, low vegetation, and clean backgrounds.

  • Namibia’s Skeleton Coast & Sossusvlei: The contrast of wildlife against stark, arid desert backdrops is at its best. Think desert-adapted elephants, oryx on dunes, and lone giraffes under glowing skies.

Photographic Highlights by Season

Each season offers something unique for photographers:

  • Calving & birthing seasons: January–March in Serengeti (Tanzania) and Kruger National Park (South Africa)

  • Predator activity peaks: mostly in August–October in Etosha NP, South Luangwa NP, Lower Zambezi NP (dry season)

  • Bird migrations: November–February in Botswana, Zambia, Northern Namibia and Kenya

  • Elephant behavior: Best in dry season months (July–October), especially in Chobe, South Luangwa, and Tarangire

  • Big cat tracking: Stronger in Khwai (year-round), Mara (July–Sept), and South Luangwa (June–October)

Sample Itineraries Based on Season

Here’s a look at some of the real-world itineraries from my guided wildlife photography workshops, designed to align with peak conditions for photography and wildlife activity:

March – Patagonia Puma Tracking
Track wild pumas in the dramatic landscapes of southern Chile. This trip focuses on low-angle stalking shots, golden backlight opportunities, and minimalist compositions in open terrain.

May – Kalahari Safari Adventure (CKGR & Beyond)
A deep dive into Botswana’s Central Kalahari Game Reserve. Expect big cats, dramatic desert light, and the feeling of true wilderness—far from the crowds.

May – Iconic Namibia
From the dunes of Sossusvlei to the wildlife-rich pans of Etosha, this itinerary is built for diversity: landscapes, desert elephants, and classic big game.

September – South Luangwa (Zambia)
Leopard central. This trip takes place during the dry season, when wildlife congregates around the Luangwa River. Incredible for predator action, dust, and light.

October – Wild Namibia
This itinerary explores Damaraland, Etosha, and beyond—perfect for backlit elephants, dramatic skies, and a mix of arid and savanna ecosystems.


Final Tips for Choosing When to Go

  • Define your style: Do you prefer storytelling scenes, clean portraits, or intimate behavior? Let that guide your timing.

  • Understand trade-offs: Wet season offers mood and action; dry season gives you clarity, access, and consistency.

  • Factor in travel style: Self-drive safaris (e.g., Namibia or Botswana) are easier during dry months due to road conditions.

  • Use location-specific knowledge: Some parks are excellent year-round, like Khwai, while others—like CKGR—are best only during a short window.

📚 Need help deciding which safari fits your style? Download the free Wildlife Photography eBook for a deeper breakdown of gear, planning, and field techniques.

Ready to Experience These Seasons for Yourself?

If you’re serious about building a powerful wildlife photography portfolio—and doing it in a small group led by professionals who understand the light, the timing, and the animals—consider joining one of my upcoming workshops.

We photograph in the best locations at the best times, with itineraries built around real field experience. From the Kalahari to South Luangwa and Namibia’s deserts, every trip is crafted for photographers who want results.

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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