What first inspired you to pursue wildlife photography, and how did you get started in this field?
Growing up in Zambia I was fortunate to get numerous opportunities to explore the flora and fauna of this spectacular region of Africa. Between the metropolitan capital city of Lusaka, where I grew up, and the numerous trips to various national parks in Southern Africa, I appreciated the glaring contrasts at a young age; ecological, physical, visual, but mental as well. The serenity of these vast lands and the excitement of spotting wildlife often transpired within me; more so when I found photography (or when photography found me).
Photography, like most great things in life, came by chance. I experimented with my father’s film camera, but the expense of buying film and the development was a bit much. Fast forward to me living in London, my interest in photography afforded me a basic Nikon DSLR. It was a massive upgrade to the string of compact digital cameras I was used to. I wanted to rekindle a creative hobby, especially as I found myself spending most of my time working or thinking about my day job.
My first trip to Masai Mara some years back quickly narrowed down the type of photography that spoke to me; a new telephoto lens may have had something to do with it! The sheer density of the wildlife was astounding for me; each day seemed more exciting than the last. As I sat outside my tent on the first evening and went through the hundreds of photos I had taken in the day, my adrenaline spiked, and I felt this overwhelming excitement as it took me back to that very moment of making the photo. It happened again a month later whilst I was post-processing images from that trip – I was hooked. It was a convergence point for me that connected wildlife and photography, and with time the underrated importance of conservation. The pieces of my creative puzzle fell together nicely.
Among the various species you’ve photographed, do you have a favourite animal or scene, and why?
I have a soft spot for leopards—their beauty, perfect symmetry, and elegance draw me in every time. There’s something almost mystical about them, especially since they’re notoriously difficult to spot in the wild. That rarity makes each sighting feel like a special privilege. And when they do appear, they’re incredibly photogenic—like the supermodels of the wild, effortlessly commanding the camera.
That said, I don’t focus on one species alone. I’m always on the lookout for unique moments, whether it’s capturing something I’ve never seen before or experimenting with a new technique. The beauty of wildlife photography is that there’s always another challenge, another opportunity to grow and learn. It’s an endless journey of discovery and that’s what keeps it exciting.
Can you share a memorable experience or encounter in the wild that left a lasting impression on you?
There are many memorable experiences I’ve had in the wild—almost every trip leaves a lasting impression.
A recent encounter in Akagera National Park, Rwanda, stands out. This park is an amazing conservation success story; about four years ago, black rhinos were reintroduced here, and they’ve since thrived.
One early morning, I set o f with my guide, Isaac (who, coincidentally, is also Zambian). Within half an hour, we spotted three black rhinos, peacefully snoozing. Seeing black rhinos in the wild is rare enough, but watching them without them immediately fleeing was even more special. We sat in silence, listening to their heavy breathing and snoring – so meditative I might add.
After about an hour, the larger female slowly got up and began making her way toward us—not in a threatening way, but out of curiosity. She came right up to our vehicle and, to our surprise, started sharpening her horn on the bull bar at the back of the car! The entire car shook. Moments later, a second rhino joined in, sharpening his horn as well. It was surreal. We were hesitant to start the car, not wanting to scare them o f, so we just sat there, our heads bobbing from side to side, in awe of the experience.”
What are some of the biggest challenges you face when photographing wildlife, and how do you overcome them?
One of the biggest challenges I face when photographing wildlife is continually finding new ways to capture familiar subjects. When you’ve photographed the same animals or landscapes multiple times, the real creative challenge is seeing them with fresh eyes—finding new angles, lighting, or behaviours that tell a different story.
But this is a challenge I thoroughly enjoy. It’s a fundamental part of the creative process that keeps me engaged and motivated. To overcome it, I consciously push myself to experiment with different techniques, whether it’s playing with light and shadow, using motion blur to convey movement, or focusing on the smaller details that often go unnoticed. I also draw inspiration from other forms of art and photography, which helps me approach familiar subjects in innovative ways.
Ultimately, the challenge of constantly reinventing my work is what keeps wildlife photography exciting. It forces me to stay curious, patient, and open to the unexpected, ensuring that each shot feels as thrilling as the first.
How do you balance getting the perfect shot with respecting the animals and their habitats?
I don’t see it as a balance but rather as a matter of common sense and responsibility. As a wildlife photographer, respecting the animals and their habitats is integral to my work, which is deeply tied to conservation e forts – and it has to be! My role as a wildlife photographer exists partly due to these efforts. This means prioritising the well-being of wildlife and their environments above all else.
The other factor I consider is that photography for me is about documenting what I am witnessing. It is about non-intervention, to the extent possible – we are driving around in a large safari vehicle hence hard to go unnoticed.
How much time do you spend on post-processing your images, and what software do you prefer?
I’ve been using Adobe Lightroom for a few years and have found it to be a versatile and effective tool for post-processing my images – I started with this software and have not looked back.
The amount of time I spend on post-processing can vary widely, ranging from as little as 10 minutes to several weeks. This variability depends on several factors:
•Initial Editing: For some images, I might do a quick edit to enhance colours, contrast, or texture. These are typically straightforward adjustments that don’t require much time.
•Detailed Refinements: For more complex edits, I revisit photos multiple times, making incremental adjustments until I’m satisfied with the final result. This can be a more time-consuming process.
•Creative State: My mood and energy levels play a significant role in how I approach editing. When I’m calm and relaxed, I enter a state of flow that feels almost meditative. This allows me to engage deeply with the creative process and make intuitive decisions. Conversely, when I’m stressed or in a hurry, I tend to rush through the editing, which is often reflected in the output.
I don’t impose strict time limits on myself during this process. Instead, I let the quality of the final image guide my efforts, ensuring that each photo receives the attention it needs to achieve the desired result.
How do you approach storytelling in your wildlife photography? Do you have a specific narrative in mind when capturing images?
Storytelling is at the heart of (wildlife) photography for me. The moments we capture are fleeting and become rarer as time goes on, reflecting both the challenges and triumphs in conservation. While there have been positive breakthroughs, the overall progress in preserving our natural world often feels like it’s lagging behind – I hope this is just the pessimist in me thinking this.
This sense of urgency and concern drives the overarching story I aim to tell through my work. My goal is to evoke an emotional response from viewers. I seek to capture moments that resonate deeply, whether it’s the intensity of a predator’s gaze, the tenderness of a mother and her young, or the stark reality of environmental degradation. Understanding the intricate relationship between humans and wildlife helps me create visuals that not only depict but also provoke thought and inspire action.
What have you learned about animal behaviour through your photography that surprised you?
What has surprised me about animal behaviour through my photography is their remarkable predictability. In contrast to human interactions, which are often complex and influenced by language, deception, and manipulation, the natural world operates on a more straightforward set of principles.
Over time, observing wildlife has revealed how their actions are largely driven by the fundamental needs of survival and reproduction. This simplicity in their behaviour is one of the reasons I find wildlife photography so compelling. For example, witnessing a mother cheetah calling her cubs or a baboon’s alarm call in response to a nearby leopard shows how communication in the animal kingdom is direct and immediate.
When we begin to empathise with what we are witnessing in the wilderness and start to think in this way, it’s easy to notice and observe the subtle signs and appreciate nature’s simplicity.
Are there any photographers, artists, or experiences that have influenced your style or approach to wildlife photography?
Many photographers and artists have inspired me over the years, and their influence is too extensive to list comprehensively. Engaging with the work of other photographers and artists has provided valuable insights and fresh ideas, helping me refine my approach, which was ever changing.
The beauty of nature has been a constant source of inspiration. Spending time in various natural environments, observing wildlife, and learning from each encounter has allowed me to develop a unique perspective and style. Each experience in the wild contributes to my understanding and appreciation of the intricate details and patterns in nature. It’s remarkable how much nature can teach you if you remain open to its lessons and embrace the creative process with curiosity and patience.
What advice would you give to someone who is just starting out in wildlife photography?
Experiment, experiment and then experiment some more.
Not only is this learning-by-doing technique a way to find your niche, where your passions and interests lie, but it is also a great path to self-discovery. The better you know yourself, the better you will be able to find the areas that make you tick. You may even discover that another genre of photography is where your interests lie, or maybe you discover that photography should be best kept as a hobby.
As you explore, remember that wildlife photography is a long and reflective journey. It’s important to be deeply committed and passionate about it, especially if you’re considering a career in this field. The dedication required is significant, and the drive should come from within. For me, this commitment also aligns with a broader sense of purpose and meaning in my life, as part of a global agenda in conservation.
Even if you choose to keep photography as a hobby, it can still be incredibly rewarding. The journey of creative exploration and personal growth can be immensely fulfilling, regardless of external recognition or commercial success. Ultimately, let your passion guide you and embrace the learning process. You never know where this creative journey might take you or how it might enrich your life.
How has social media influenced your work as a wildlife photographer, and do you see it as a positive or negative influence?
Social media has had a significant impact on my work as a wildlife photographer, offering both positive and negative influences. On the positive side, it provides a valuable platform for exposure, showcasing my work to a broader audience, and facilitates networking opportunities.
I initially struggled with the temptation to validate my work based on social media engagement. It’s easy to fall into the trap of focusing on likes, comments, and shares, which can shift your attention away from creating authentic and meaningful content. This can cloud your creative process and lead you to question whether your work will receive approval or criticism. Seeking external validation can detract from the true essence of your work and the message you wish to convey.
It’s important to create a balance of utilising social media. Whilst it is useful and arguably necessary for content creators, it must be used sparingly – at least for me.
How do you balance the passion for wildlife photography with the demands of making it a profession?
You do not become a wildlife photographer to make money—those who do often find themselves disillusioned and burnt out. This sentiment resonates across various vocations, particularly in creative realms. I understand very well that this vocation is unlikely to create significant wealth for me, or if it does, it will be very difficult. Perhaps it may, but I’m not banking on it.
Therefore, I do not see it as a balance. I do this because I love it. I have found a purpose and vocation that brings my creative passion alive, contributes to making an impact in the world, and is something I can share. I come from a finance and consulting background, so I bring an element of that experience into how I approach this vocation to make a living.
What do you hope your photography will achieve in terms of awareness, conservation, and inspiring others? How do you use your photography to support wildlife conservation e forts, and why is this important to you?
Through my photography, I aspire to achieve several goals: raising awareness, supporting conservation e forts, and inspiring others. Photography is a powerful tool for conservation, providing a visual voice that can evoke deep emotional connections. While technical reports and donation requests have their place, I believe real change it comes from a much deeper emotional connection, a profound sense of empathy and compassion – one with nature and one with an understanding of the impact we have had on this planet that not only threatens the wild and its natural habitats, but our very future existence. Photography evokes this through its visual narrative and storytelling, and I will continue to do all I can to support the most impactful causes and organisations.
The creativity and the art of photography combined with wildlife hooked me into the space, but therein opened a whole new world in creating impact that is driven through my work in conservation. So, this not only gives me a personal agenda, but also a global one. It is one thing to focus and spend your time doing something you are passionate about and that excites you – it’s yet another level to do something that also has great potential to create impact and make a difference in the world. I’ve found a purpose.
My role as a wildlife photographer exists because there are beautiful and spectacular moments to capture in the wild, but therein exists an important duty to show my continued support for promoting (impactful) conservation.
This gives me a bigger sense of responsibility as a human being and photographer to use my work to showcase the beauty of the once abundant wildlife we had on the planet.
This is not just a business for me, it is part of a revolution to protect the planet and its wildlife inhabitants using the most powerful weapon I own – my camera.
