Learning to See: The True Challenge of Photography

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

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

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

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

Why We Struggle to See as Photographers

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

Here’s why:

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

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

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

The Difference Between Looking and Seeing

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

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

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

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

How Memory Shapes Our Perception of Photography

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

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

Why Imperfection Can Make a Photo More Powerful

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

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

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

How to Train Yourself to See Like a Photographer

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

Here are a few exercises that helped me:

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

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

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

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

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

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

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

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

The Art of Seeing

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

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

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

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

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

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

Understanding Sensor Size in Wildlife Photography

What is a Full-Frame Sensor?

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

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

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

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

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

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

Sensor size affects image quality in several ways:

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

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

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

Shooting with canon R5 in Sossusvlei, Namibia

The Crop Factor Explained and How It Affects Focal Length

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

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

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

Pros and Cons of Full-Frame Sensors for Wildlife Photography

Advantages of Full-Frame Sensors

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

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

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

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

Disadvantages of Full-Frame Sensors

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

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

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

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

Pros and Cons of Crop Sensors for Wildlife Photography

Advantages of Crop Sensors

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

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

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

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

Disadvantages of Crop Sensors

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

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

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

Key Considerations When Choosing Between Full-Frame and Crop Sensor

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

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

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

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

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

Final Verdict – Which One Should You Choose?

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

Ready to Take Your Wildlife Photography Further?

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

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

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Safari Photography Gear Guide: What I Pack for Africa

An African safari is the ultimate experience for wildlife photographers—one filled with incredible sightings, dramatic landscapes, and thrilling adventures. But capturing Africa’s stunning wildlife and vast landscapes requires thoughtful preparation as we have to travel through international airports and often reach our final location via small charter planes where space is limited or with long 4x4 transfers, where we must be careful not to damage our precious gear. As a consequence we cannot bring all the gear we want to on a safari; on the opposite, we have to be very selective so that we carry all we need and nothing more.

Over the years I've refined my gear choices balancing quality, versatility, and portability, ending with a gear kit that allows me to cover all situations while still keep it minimal.

Below, you'll find the exact gear list I rely on plus practical advice and scenarios illustrating why each item is essential. With the right equipment you’ll be ready to create stunning images under any condition on your next African adventure.

Shooting with R5 + Canon 100-500 somewhere in Damaraland, Namibia

📷 Cameras

Canon EOS R5

The Canon R5 is my primary choice for landscape photography and detailed wildlife portraits due to its exceptional 45-megapixel resolution and superb image quality. The R5’s advanced autofocus tracking system is incredibly reliable, ensuring your subjects are always perfectly sharp. The image quality is incredible and even in 2025 I don’t really feel the need to upgrade to the R5mk2. The 15 fps of the R5 are good for most situations and the autofocus is already incredible, and if I miss any photos with the R5 it certainly won’t be a camera’s fault. In terms of ISO, if properly exposed the R5 files are fully usable till 12.500 iso and, if careful, even up to 20.000.

When I’m using it mostly:

• Landscapes

• Adventure reportage

• Wildlife scenes without a lot of action

• Situations requiring heavy cropping without losing quality

Canon EOS R3

The R3 has a 24 mp sensor, shining in low light situations and in fast-paced wildlife photography, where animals often move unpredictably and rapidly. The autofocus is lightning-fast, even more than the already excellent R5, and when paired with the high frame rate of up to 30fps makes for an incredible tool that rarely (if ever) misses a shot. It’s also the best low-light performing camera on the market (together with the R1 that seems to be just matching the R3 low light capabilities), allowing me to go for fast shutter speeds even at dusk and opening new creative possibilities. I am confident shooting well above ISO 20.000, with usable files even at iso 50.000.

When it's most useful:

• Action photography (running mammals, birds in flight)

• Early morning or dusk photography when lighting conditions are challenging

• Tracking fast-moving animals with absolute precision

Canon EOS R5C

With the same photo capabilities as the R5 (it doesn’t have IBIS - in body image stabilization - that doesn’t really matter when shooting wildlife with faster shutter speeds), the R5C features a video mode with the same operating system of Canon cinema line (C70, C80 etc.). This not only allow for a higher dynamic range than the R5 or the R3, but also makes the camera much more usable and the controls much more efficient when in video mode. Also the R5C has a built in cooling system, very handy to prevent the camera from overheating in the often hot safari days. I did some testing against the more recent R5mk2 but the R5C still looks a better option to me when it comes to video. It still has a slight advantage in dynamic range and the customizable controls make it for the perfect tool if you want the best quality in both photos and video.

When I’m using it mostly:

• When I want to alternate still photos and videos while getting the top quality in both

Pro Tip:
An additional benefit of carrying two camera bodies is that you always have two different lenses ready to use without switching, that would cause exposing your sensor to dust—a constant concern on safari.

Friend and fellow photographer Jandre Germishuizen with a R5 and 400mm 2.8

📸 Lenses

Canon RF 15-35mm f/2.8

It’s one of my favorite lenses. It’s too short for wildlife but is always useful to have it around, allowing me to cover landscapes and documenting the adventure behind the scenes. Reaching 15mm in the wider range allows to get big scenes all into a photo, as well as shooting in tight spaces like a safari vehicle or inside a photo hide. If zoomed at 24mm or 35mm it becomes an excellent lens for environmental portraits. The aperture of 2.8 also plays a role as it’s just enough to use it for astrophotography as well.

When it's most useful:

• Wide-angle landscape shots

• Capturing environmental portraits, including your safari vehicle or camp life

• Starry skies and astrophotography at remote African lodges

• General reportage images

Canon RF 100-500mm f/4.5-7.1

My go-to lens for flexibility and responsiveness. It allows me to zoom quickly from mid-range wildlife portraits to distant action scenes, reducing the need to constantly reposition the vehicle and allowing me to include more or less of the habitat in my compositions. Of course the aperture is a bit of a limit, especially at dusk, but the flexibility given by the zoom range and the compact building makes it for an incredible tool that I always bring along; it often stays on my R5 or R5C.

When it's most useful:

• Versatile for wildlife photography

• Quickly adapting to changing wildlife scenarios without changing lenses

• Capturing unexpected wildlife encounters that unfold rapidly as you can keep it always at hand and ready to shoot

Canon RF 400mm f/2.8 or 600mm f/4

The ultimate tools for dedicated wildlife photography, these lenses excels at isolating subjects and producing beautiful background blur. The price doesn't make them for everyone but the exceptional sharpness and large aperture ensure clear, dramatic wildlife portraits, even in low-light situations. While I own both I usually go for a 600mm on a safari, with some exceptions for the situations where I know I’ll be able to get really close to my subjects and also where I won’t be photographing very small subjects. In fact the bigger aperture of the 400m is an advantage only if we don’t need to crop the image in post processing. If we crop the relative noise will increase and we will loose that one-stop advantage, plus we loose some of the image resolution. For this reason my go-to for safari situations is still the 600 f/4.

When it's most useful:

• Photographing shy or elusive animals like leopards, which require significant reach

• Capturing animals at dawn or dusk with limited natural light

• High-quality, intimate wildlife portraits with gorgeous bokeh

Pro Tip:
Using teleconverters like a 1.4x extender can extend the reach of your 600mm lens even further, providing unparalleled opportunities to photograph distant wildlife clearly.

Bee eaters. Canon R3, 600mm f/4 + 1.4x for an equivalent of 840mm f5.6

🔋 Essential Accessories

• Extra Batteries:
  We usually have regular access to electricity even in the most remote safaris, but it’s always a good idea to carry enough batteries to last at least a full day of shooting. During safari drives charging isn’t available and you'll be shooting thousands (sometimes tens of thousands) of images. You surely don’t want to find yourself trying to save battery in front of some amazing wildlife encounters.

• High-Speed Memory Cards:
  Fast cards (such as CFexpress or high-speed SD cards) ensure your camera keeps up with rapid-fire sequences without filling the buffer. This is essential for action photography. Another benefit of high performing memory cards is that they tend to be more reliable and less prone to failure. Bring at least double the cards you expect to use on a full day - again, you don’t want to be in a situation where you can’t shoot because of a card. Cards are cheap compared to your cameras and lenses or even compared to the cost of being on a safari, so buy big and reliable cards. My choice is Angelbirds AV PRO CFexpress Type B; I carry 6x 256GB cards, that ensures me a couple days of shooting before I have to download them.

• Reliable Tripod:
  It’s not mandatory for a safari, but if you plan on photographing also sunrise/sunset landscapes, low-light wildlife shots, astrophotography, and long-exposure photography then a light carbon fiber tripod will be very handy.

• Camera Cleaning Kit:
  African safaris are notoriously dusty, especially during dry seasons (that tend to be the best for wildlife viewing). Regularly cleaning your gear prevents sensor dust spots and maintains image quality. I bring several brushes, a kit for cleaning lenses, a battery powered blower to dust off the gear and a classic manual blower. I also have with me a sensor cleaning kit with wet wipes; I rarely have to use it but I always have it in my bag.

• Laptop and Portable SSD Drives:
  You can’t bring enough memory cards for a whole safari, and even if you can, it’s not recommended to leave your valuable files there without backing up your photos daily. To do that you will need a laptop and some hard drives. SSD drives offer fast, reliable file management and ensure your images remain safe throughout your trip. I usually bring my MacBook Pro 13’’ and 2x 4TB ssd hard drives; this will allow me to save 2 copies of everything, protecting my files from a possible disk failure.

• Binoculars:
  Crucial for spotting wildlife from a distance before setting up your camera. They enhance your safari experience, giving you ample time to anticipate and capture unique behaviors.

🧢 Safari Apparel

Comfort and practicality are crucial during an African safari. Here’s a comprehensive clothing list to stay comfortable and safe:

• Neutral-colored Clothing (khaki, olive, brown):
  Helps blend into the environment. Avoid bright vivid and bright colors that stand out too much.

• Long-sleeve Shirts and Pants:
  Provide sun and insect protection while remaining breathable and lightweight.

• Wide-brimmed Hat:
  Essential sun protection during long game drives.

• Fleece or Light Jacket:
  Early mornings and late evenings can be surprisingly cold out in the savannah. Always bring a light insulated and windproof jacket. If you are going in the winter season (May to August in Southern Africa) consider also some light gloves and a beanie for morning game drives.

• Waterproof Jacket:
  During rainy seasons unexpected downpours can occur quickly and having a waterproof layer will prove very handy. If you are traveling during the dry season you can leave it home.

• Buff or Scarf:
  Shields you from dust and provides sun protection.

Pro Tip:
Avoid dark colors, especially blue or black, as they attract biting insects like tsetse flies.

👞 Footwear

• Comfortable Hiking Boots or Trail Shoes:
  Ideal for walking safaris, camps, and uneven terrains. These are very specific situations and you won't need it in most cases.

• Closed-toe Shoes:
  Your main safari shoes must offer protection from insects, thorns, and rough terrain. While you won't be spending much time out of your safari vehicle you want something that will allow you to move comfortably on the rough savannah and bush, protecting your feet from rocks, vegetations and insects.

• Sandals or Flip-flops:
  Great for downtime around lodges or camps.

Pro Tip:
Ensure all shoes are well-broken-in to prevent discomfort during your adventure.

🎒 Additional Safari Accessories

• Insect Repellent: Vital, especially at dawn and dusk, in humid areas or during rainy season.

• Sunscreen and Lip Balm: African sun is intense, even on cloudy days.

• Headlamp or Flashlight: Essential at camps, especially at night.

• Reusable Water Bottle: Hydration is crucial throughout safari days. While you can always get single-use plastic bottles, having a personal steel bottle is a much better option. You can fill it up anytime at the lodge or camp. If you can, bring an insulated bottle to prevent your water from getting boiling hot.

• Dry Bags: Protect gear from dust, sand, and unexpected rain.

• First Aid Kit: Include basics like antiseptic, painkillers, bandages, and any personal medications, a good first aid kit is essential if you are on a self drive safari adventure, where you must be able to solve any problem you might encounter. Not necessary if you are joining a guided safari tour.

📅 Join Me on an Exclusive African Safari!

Put these gear recommendations into action on one of my exclusive guided photography trips. We’ll explore stunning wildlife destinations like Namibia, Botswana, Zambia, and South Africa, where you'll have the chance to refine your skills and create unforgettable images.

Patagonia Photography Adventure: Chasing the Perfect Puma Photo

Patagonia is a place of rugged mountains, dramatic skies and elusive wildlife. It's the kind of place every photographer dreams of visiting, especially if, like me, you're drawn to the majestic - and often elusive - Patagonian puma.

I recently traveled to Patagonia with a clear vision in mind: capturing the perfect photograph of a wild puma against the breathtaking backdrop of Torres del Paine. With only three days on the ground I knew the odds were stacked against me. But as any wildlife photographer knows, patience, persistence and a bit of luck can make dreams a reality.

Here’s the story behind my unforgettable adventure, and what it taught me about photography itself.

Day 1: An Exciting Start

After a long trip with a one night stop in Santiago, we finally landed in Punta Arenas were we started the long transfer north, with a quick lunch in Puerto Natales and then the final destination, Torres del Paine National Park.

The anticipation was high as we headed into Patagonia’s stunning terrain. We had only three days and with wildlife photography, you know, nothing is guaranteed. Our main objective was clear: a wild puma framed against the spectacular peaks of Torres del Paine.

From the first morning we had amazing encounters. We woke up under an unexpected layer of snow and the guide warned us about the very low chances to see anything in those conditions. Yet, only a few hundreds meters out of the gate, while Nana, our guide, and Andrea, my friend and fellow photographer are chatting, I see the unmistakable shape of a big cat in the darkness. My first puma.

After a few shots we moved on and we soon spotted a new one with a guanaco kill. We positioned ourselves for the shots but after a while the weather started deteriorating and we had no choice but to go back to our lodge.

Day 2: Busy Pumas

On the second day Patagonia rewarded us with an incredible sunrise and some more stunning wildlife experiences. We spent the day tracking across rugged landscapes, following hints from local guides and scanning every rock and ridge.

We found a puma on the hunt; we tried to follow for a while but the fear of interfering with the process forced us to leave it alone. We then spotted one sleeping close to a kill, but after a while it became clear that it woudln’t have moved anytime soon.

At one point we stumbled upon a fresh kill—a clear sign a puma was nearby. We waited, camera ready, hearts racing. Minutes turned into hours, yet our elusive subject stayed just beyond our view.

Even without our desired shot, the experience was thrilling. Patagonia's landscape alone is magical—every turn offered new compositions, dramatic lighting shifts, and captivating moments. Still, as photographers, we can’t help but strive for the image we’ve envisioned. With only one day left, hope—and pressure—were mounting.

Day 3: The Final Chance

On our final day we started early, determined not to leave Patagonia without capturing our perfect puma image. Conditions were perfect: the golden glow of sunrise illuminated Torres del Paine’s granite peaks in the distance, providing the perfect backdrop for the photo I’d dreamed of capturing.

Just as the day was drawing to a close, everything suddenly aligned.

Our guide spotted her first—an elegant puma slowly making her way across the ridge line. Then we realized it was more of them, a whole group of 4 pumas. Silently, carefully, I adjusted my position and waited. They were all resting just under the skyline. I framed the shot, balancing exposure and composition while quietly hoping one of them would stand and move to the right spot. And then it happened. Against the grandeur of Torres del Paine, the puma stood perfectly still, giving me a few fleeting moments to press the shutter.

In that brief moment, after three days of patience, persistence, and anticipation, I captured the image I had traveled thousands of kilometers to get.

This experience made me reflect deeply on the value of photography in our modern world. Today, we can effortlessly generate stunning visuals—even AI can create flawless images. But what makes photography truly valuable and meaningful?

For me, the real value lies in the journey itself.

Photography isn’t just about capturing a moment; it's about living an experience fully, with all your senses awake. It’s about feeling the cold Patagonian wind, witnessing wildlife in their natural habitats, and immersing yourself in landscapes that leave you speechless.

When I look at my puma photo I don’t just see a beautiful image - I see the patience, the excitement, the disappointment, the joy, and the adventure behind it. The photograph becomes a powerful reminder of an unforgettable experience that no AI or shortcut could ever replicate.

Experience Patagonia Yourself

Inspired to embark on your own photographic adventure? Join me on one of my photography workshops and expeditions in Patagonia and other incredible destinations around the globe. Together we'll chase extraordinary moments, craft powerful images, and most importantly, share unforgettable journeys.

Check out the full video from my trip:

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

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

1. Secure Accommodation Inside the Park

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

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

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

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

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

2. Plan Your Shoots Around Optimal Lighting

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

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

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

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

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

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

3. Equip Yourself with Essential Gear

The unique environment of Sossusvlei demands specific equipment:​

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

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

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

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

4. Explore Iconic and Lesser-Known Locations

Sossusvlei offers a plethora of photographic opportunities:​

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

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

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

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

5. Respect the Fragile Ecosystem

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

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

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

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

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

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

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

Join Our Photography Workshops

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

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

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