Follow this guide and capture outstanding wildlife photographs.

Wildlife photography starts with research

The key to becoming a better wildlife photographer is to first know your subject. Learn about their habitat, diet, and behaviour, when they’re on the move etc. Is the animal dangerous, timid, or aggressive, are they found in packs or alone? Not only will this ensure you are fully prepared when out in the field, but you also will become better at anticipating their movements, keeping safe and, ultimately, taking great photographs.

It’s a good idea to seek out other wildlife photographers to learn from the best. Photographers like Mattias Klum, Will Burrard Lucas, Frans Lanting and Amy Gulick, to name just a few, will fill you with inspiration.

Have a look at the Wildlife Photographer of the Year past and present winners too as there are many wonderful images there. There is a vast array of articles on wildlife and nature photography in the Wildlife Photography section of this website, and if you know what type(s) of animal you want to photograph, then you should be able to find a specific guide to photographing them: be they birds, nocturnal animals, or Rhinos in Africa.

What kit do I need for wildlife photography?

If you are new to photography then you may think you need lots of fancy and expensive long lenses to shoot wildlife. This really is not the case. All you need to get going is a camera and lens.

We’ve spoken to many wildlife photographers who started out with kit they already had. For example, wildlife photographer Sam Hobson made his name using a wide-angle lens (not your typical go-to lens for wildlife). His wide-angle award winning Bristol city fox images are incredible and well worth checking out.

If you do want to invest in a more traditional long-zoom wildlife lens the Sigma 150-600mm f/5-6.3 Contemporary DG OS HSM is a great budget option. One of these second-hand can be picked up for around $800 / £600. There’s also a range of other lenses that are well suited to wildlife use, or for a simpler option, an ultra-zoom camera could be a good option. For more options check out our guide to the best budget telephoto lenses for wildlife and best lenses for wildlife photography.

An extender can help you get that extra bit of reach, as long as your lens is compatible.

For those with a smaller budget, an extender is worth considering. This piece of kit fits in between your lens and camera body so make sure you purchase one that is compatible with your camera system, and existing lens.

An extender’s job is to increase the focal length of a lens. For example, a 2x extender on a 200mm lens will convert the lens to 400mm. An x1.4 extender on a 200mm lens will increase the lens to 280mm. It’s worth noting that the extender will decrease your widest aperture setting. For example, if your lens can open up to f/2.8 with an x1.4 extender aperture setting will become f/4. With a x2 extender, you will lose 2 aperture stops so your widest setting will become f/5.6.

Extenders vary in price, and we’d recommend hunting around on the second-hand market to save money.

Which camera is best for wildlife photography for beginners?

The same applies: All you need is a camera and lens. You can check out our picks of the best cameras for wildlife photography, which have everything from budget-friendly models for beginners to the absolute best professional cameras on the market.

Watch and observe wildlife

It’s better to resist the temptation to start snapping as soon as you spot an animal. Stand back, observe and assess the subject and environment first. Watch how the animal behaves. Are they okay with your presence? Where is the light coming from? Where is the best background? Is their behaviour predictable? Are you in the best position?

Sometimes by slowing down and shooting less, we can achieve more. Be prepared to return to the same location and have perseverance to get a good shot. Don’t feel disheartened if you don’t achieve what you want right away – Rome wasn’t built in a day!

You also need to know when to stop. The welfare of the animal needs to be put above your needs to get a great shot. For example, mothers with newborns will feel very threatened if you are too close, and avoid clambering around on rocks when birds are nesting. This is why you need to research thoroughly as there is no excuse for ignorance. Leave each environment you’ve been in with no trace.

Read this guide to being an ethical wildlife photographer.

Atlantic puffin (Fratercula arctica) at clifftop edge, Hermaness National Nature Reserve, Unst, Shetland Islands, Scotland.

Wildlife camera setup and settings

What settings should I use for wildlife photography?

There is no right or wrong shooting mode for photographing wildlife. Each photographer will have their own approach – ensuring that the camera is setup and ready to go is the main thing. We want to be ready to capture action as it happens.

As a good starting point, I find it easiest to shoot in Shutter priority mode. In this mode you can fully control the shutter speed and leave the camera to work out the best aperture and ISO speed setting. Although your camera calculates these settings, you need to be aware of what your aperture and ISO speed settings are reading.

• Put your camera into Shutter priority (S or Tv)
• Check the light – increase your ISO setting if need be.
• Open the aperture wider if you need more light.

Using shutter priority will be of particular benefit for fast-moving subjects, and using a fast shutter speed such as 1/500s is a good starting point (more on this below). If you know your subject is slow moving, then you might want to use aperture priority so that you can more easily control the amount in focus in the shot.

If you don’t yet have a grasp on what shutter speed, aperture and ISO are, we suggest you spend some time getting to know these settings on your camera and to experiment with seeing the different effects they can achieve. For a refresher, have a look at our guide to exposure, aperture, ISO, shutter speeds and more.

Sumatran Tiger looks up at the treetops. Experiment with how you like to shoot with your camera. We recommend you trying aperture priority as a starting point. Justin Lo, Getty Images

Make sure it’s sharp

There are three main things to consider for achieving sharp wildlife shots, the shutter speed, aperture setting, and focus:

Use a fast shutter speed:

Make sure the shutter speed is reading at least 1/500sec if the animal you are photographing is moving or for very fast movements 1/1000sec. If it is stationary then you’ll be fine with a setting of 1/200sec or above (depending on the lens you’re using).

To capture and freeze the fast movement of a Hummingbird you may need to use a shutter speed of 1/2000sec

Aperture setting

How much of the animal do you want sharp? For example, if you are close and focus on the eye at f/2.8, the eye will be sharp but the face will blur. This can look great if that’s what you desire, but for other features like the nose to be sharp then you’ll need to close the aperture down. In this example, the Rhesus Macaque monkey in the foreground is in focus and the one behind is soft, as the image was taken at f/2.8 (on a full-frame camera).

In this image, the aperture has kept the foreground Rhesus Macaque monkey sharp and blurred the other in the background. Image credit: Claire Gillo.

Focus

You want to be spot-on with focus. Our preferred method is to use the single-point AF setting on our camera and set the focus to continuous AF tracking. That way if your subject is moving (even little movements) you’ll have more chance of keeping it sharp. Trying to predict where your subject will move into the frame helps with this aspect and again this is where your research will help.

The latest mirrorless cameras from Canon, Nikon, Sony, Olympus and Fujifilm offer subject detection AF for a variety of wildlife, depending on the camera model chosen, and subjects include birds (Olympus and Fujifilm), pets (cats and dogs), along with other animals. AND the system is designed to detect and focus on the subject’s eyes! This can help you greatly in this genre of photography!

Track your subject and predict where they will enter the frame to achieve sharp shots. Image credit: Jeremy Woodhouse, Getty Images

Motion and when not to be sharp

There are some circumstances in wildlife photography when a slow shutter speed is more appropriate than a fast one. For example, capturing the motion of flocks of birds flying across the sky, or panning with a moving animal to blur the background and give the feeling of motion. You can experiment with this technique to produce something different from the norm.

With the right subject slowing down the shutter speed setting can get you some great results. Image credit: John Fan Photography, Getty Images

Push the ISO

Any photographer will tell you that they love a low ISO setting as they then don’t have to deal with noise. However, when it comes to shooting moving subjects like wildlife you have to be prepared to push the ISO up and embrace the grain. It’s more important to have your subject sharp and a little grainy than completely unusable. If your image has too much noise, then you can always process the raw files, and reduce it further.

Technical perfection should not be the main aim of wildlife photography. Many great images of animals have been captured which are slightly blurred. The quality of a shot should be assessed on other factors, too – if it tells a story, is unusual or dramatic, then you’ll be inclined to overlook minor flaws.

It is more important to capture your wildlife shot than to worry about grain, consider using a higher ISO setting and embrace the noise. Image credit: Claire Gillo

The background is essential!

The background setting of your wildlife image is undoubtedly just as important as the main subject, whatever your approach, as it can completely change the look of an image. To shoot a strong animal portrait then look for a plain background to frame your subject against. In some circumstances (certainly not all) you may even be able to drop in a plain background behind the subject(s).

The background is just as important as your subject. Plain backdrops create the ideal setting. Image credit: Lillian King, Getty Images

For example, if you set up a bird feeder in the garden you could do so in front of a studio backdrop and choose whatever colour you want behind. Although there is much we can’t control in wildlife photography, sometimes we can create better conditions for ourselves to enhance our luck.

In a wide-angle wildlife image, the setting is vital as well. You want to use the scene to tell the story. Experiment with different camera angles – often coming down low gives an alternative take on a scene that we are not used to seeing.

Keep wildlife photography local

We recommend looking to see what’s on your doorstep and keeping your wildlife photography as local as possible – even in the city there are many wild animals around, including birds, squirrels, pigeons, foxes and more. Another advantage to shooting locally is you can keep returning to the same spot day after day or night after night, and eventually capture that amazing shot you set out to achieve.

Don’t travel to the other side of the world to find rare and exotic species to photograph. Concentrate what’s on your doorstep and tell the story there. Copyright: Claire Gillo

Stay in one spot

It may seem tempting to run after your subject. However, you’ll probably have more success by staying in one spot, camera ready. This is especially true for shooting small and fast animals. They get spooked easily and run away, or you end up with blurry shots of them on the move.

A great setting for wildlife photography is in the garden (or local park). Ten minutes sitting still in a backyard can reveal how much wildlife we have all around us. Observing first, watching for behavioural patterns, are preparation for getting great shots.

The garden is an excellent location for all kinds of wildlife. Image credit: Claire Gillo

Wildlife photography holidays

Test and improve your wildlife photography skills on one of our Wildlife photography holidays. Led by experts, we have a range of photo trips coming up in the UK and around the world. See all upcoming trips here.

Article: Claire Gillo and AP Staff, Lead image: James Warwick, Getty Images

The AP Improve Your Photography Series – in partnership with MPB – is designed to take your knowledge of photography to the next level, introduce different shooting skills and styles, and teach you how to grow as a photographer, so you can enjoy producing amazing photography (and video), whether that’s making money or simply mastering your art form. You’ll find further articles in this series.

Here are some more essential guides to have a look at:

• Part 1: Beginners guide to different camera types.
• Part 2: Beginners guide to different lens types.
• Part 3: Beginners guide to using a camera taking photos.
• Part 4: Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Part 5: Understanding white balance settings and colour
• Part 6: 10 essential cameras accessories for beginners
• Part 7: Guide to the Art of photography and composition
• Part 8: Beginners guide to Photoshop Elements and editing photos
• Part 9: Complete guide to Portrait Photography
• Part 10: Complete guide to Macro Photography
• Part 11: Complete guide to Street Photography
• Part 12: Guide to Landscape Photography
• Part 13: How to shoot Action and Sports Photography

Find the latest Improve Your Photography articles here.

Further reading:

• Wildlife conservation photography: Tom Svensson reveals all
• How to be an ethical wildlife photographer
• How to capture fast-moving birds (and animals)
• How to photograph butterflies
• How to photograph animals
• How to photograph pets

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The post Complete guide to wildlife photography appeared first on Amateur Photographer.

Professional photographer, Ian Plant travels the globe seeking out amazing places and subjects in his quest to capture the beauty of our world with his camera, with a particular interest in low-light wildlife photography. In this guide, Ian explains the nuances of animal and night photography and shares his best tips below.

‘Always shoot with the sun at your back’ is a mantra popular with many wildlife photographers. Not me. While front lighting can be attractive and is easy to work with, I prefer to photograph my wildlife subjects at the very edge of the light, pushing the limits of my equipment and my creativity.

Extreme and low-light wildlife photography presents many unique challenges, but the rewards for your efforts are moody and expressive images that really stand out from the crowd.

Polar bear, Arctic National Wildlife Refuge, USA. Ian waited until the setting sun was low enough for the light to be warm and colourful. Canon EOS 7D Mark II, 200-400mm with built-in 1.4x extender, 1/1000sec at f/6.3, ISO 320. Credit: Ian Plant

I have been a professional photographer for 12+ years, and along with landscape and travel photography, wildlife is one of my specialities. I love it because it adds an expressional dimension that is often missing when shooting landscapes; with wildlife, your subject’s pose, behaviour and expressions can enhance the overall visual design of your photographs, and connect emotionally with viewers in a way that is completely different from other types of photography.

With all of my imagery, however, I look to move beyond the literal, getting creative with composition, light, and exposure, to transform my subjects into something artistic and unexpected. When shooting wildlife, I work with extremes of light to help me create images that bring my vision to life.

Low-light Wildlife photography – Aim towards the light

When working in strong light, I shoot at extreme angles for dramatic effect. For this shot of a polar bear (see above), I waited until the setting sun was low enough for the light to be warm and colourful, but still high enough for the light to be much brighter than the shadows, resulting in a significant amount of contrast. I aimed my camera towards the light, creating strong backlighting. I intentionally underexposed the image to show the highlights but allowed everything else to fall into deep shadow, revealing only the colourful rim lighting around the edge of the animal. The outline is instantly recognisable.

Gelada monkey, Simien Mountains National Park, Ethiopia. The combination of creative exposure and supplemental light can yield moody and expressive wildlife photos. Canon EOS 5D Mark IV, 24-70mm, 1/100sec at f/2.8, ISO 200, flash. Credit: Ian Plant

Low-light Wildlife photography – Work with flash

I love working in low light as well. I recently went on an extended backcountry trip to the Simien Mountains of Ethiopia, home to the beautiful gelada monkeys. These grass-eating monkeys have thick golden manes and distinctive red chest markings, making them ideal wildlife subjects.

One evening, a large troop of geladas came down to a dramatic wilderness gorge, getting ready to climb down the cliffs to their night-time roost. I took many pictures of cooperative geladas poised on the edge of the cliff overlooking the gorge, using fill flash at low power (-2 or -3 flash compensation) to gently illuminate the animals against the darkening landscape under a dramatic twilight sky.

I have found that the combination of creative exposure and supplemental light can yield moody and expressive wildlife pictures. When working with flash, I often use a number of accessories to avoid an obviously ‘flashed’ look: a flash bracket allows me to angle the light, for example, and attachments such as a flash grid or snoot allow me to narrow the flash beam so that I can selectively illuminate my subject. It’s always worth experimenting.

Illuminate the subject

One evening, while photographing lions in Kenya, I found a male lion resting under stormy skies. I chose a dark exposure (-3 exposure compensation) to capture the gloominess of the twilight sky while allowing the landscape to fall into shadow.

I used flash to selectively illuminate the lion in the grass. When a gap with a provocative shape appeared in the clouds above the lion, the composition finally came together. I was close enough to the lion that I could use a wide-angle lens and capture the entire scene.

Lion, Maasai Mara, Kenya. Ian used flash to selectively illuminate the lion in the grass, and used a wide-angle lens to include its surrounding environment. Canon EOS 5D Mark IV, 16-35mm, 1/60sec at f/3.2, ISO 640. Credit: Ian Plant

Add creative curviness

One of my favourite wildlife photo destinations is the rainforest of Sumatra in Indonesia. Not much light penetrates below the canopy, making wildlife photography in the forest interior difficult.

I had a lucky close encounter with a mother orangutan and her baby as they swung by me on their way through the forest, so I reached for my fisheye lens to add some creative curviness to the photo. I underexposed the background to emphasise the gloomy jungle environs and to minimise visual distraction caused by bright highlights where the sky was showing. I used my flash at low power to selectively illuminate the orangutans, bringing out the brilliant orange colour of their hair, and making them stand out from the dark background.

Orangutans, Sumatra, Indonesia. Creating wildlife photographs in the forest interior is difficult. Ian used his flash at low power to selectively illuminate the animals, bringing out the rich colour of their hair. Canon EOS-1D X Mark II, 8-15mm fisheye lens, 1/40sec at f/9, ISO 400, flash. Credit: Ian Plant

Low-light Wildlife photography – Try altering reality

For the image of elephants crossing in front of a water hole at sunset, I chose a dark exposure, obscuring the elephants and focusing the viewer’s attention on the sunset sky and reflections. Angle is very important when photographing reflections; here, my chosen angle of view created some ‘cognitive dissonance’; the landscape and its reflection don’t seem to match, as the elephants responsible for the reflection are deep in shadow. This is a good example of how a photographer can use composition and exposure to ‘alter’ the reality of a scene, creating a more interesting presentation for the viewer.

Elephants, Etosha National Park, Namibia. Photographers can use composition and exposure to ‘alter’ the reality of a scene. Here Ian ensured that the elephants were in shadow so only their reflection appeared. Canon EOS 70D, 70-200mm, 1/320sec at f/3.5, ISO 100. Credit: Ian Plant

Use a wide-angle lens

King penguins in the Falkland Islands are very tolerant of humans. In fact, if I stayed low and didn’t move much, the penguins walked right up to me. For this shot, I got on my knees and used a wide-angle lens, handholding the camera almost at ground level while using live view to compose. I waited for the three penguins to face one another, firing my flash at low power to illuminate the animals against the darkening twilight sky.

Penguins, Volunteer Point, Falkland Islands. The penguins were very tolerant of humans, allowing Ian to use a wide-angle lens to capture a relaxed moment. Canon EOS 5DS R, 11-24mm, 1/30sec at f/4, ISO 400, flash. Credit: Ian Plant

Make the most of dust

I love shooting through what I like to call ‘atmosphere,’ which is basically particles in the air that scatter light, including things like fog, mist, or dust.

Atmosphere softens the light – having a profound impact on light intensity and colour – and can also help to separate a subject from a busy background.

In this image, a bison is giving itself a ‘dirt bath’ stirring up plenty of dust into the air. I selected a position where the dust would be backlit by the setting sun and then waited for my subject to do something interesting to complete the composition. When the bison looked straight up from the ground and bellowed, everything came together perfectly. The backlit dust helps add a colourful and mysterious look to the image.

Bison, Yellowstone National Park, USA. A bison giving itself a ‘dirt bath’ stirred up plenty of dust. Ian selected a position where the dust would be backlit by the sun, and waited. Canon EOS 5D Mark II, 500mm, 1/1250sec at f/5.6, ISO 400. Credit: Ian Plant

Low-light Wildlife photography – Simplify the composition

This arrangement of snowy egrets seems like something out of Hitchcock’s film The Birds. The apparent visual mismatch between the birds and their reflections, caused by my choice of camera position relative to the scene, creates a picture that is unexpected, and one that tells a story to the viewer.

I chose an exposure that ensured the white birds weren’t overexposed and allowed their busy surroundings to fall into shadow, which helped to simplify the composition and focus attention on the birds. The dark exposure also helped to emphasise the eerie mood I wanted to convey.

Egrets, J.N. Ding Darling National Wildlife Refuge, USA. The apparent visual mismatch between the birds and their reflections is caused by the choice of camera position. Canon EOS 5D Mark III, 500mm, 1/500sec at f/9, ISO 800. Credit: Ian Plant

So, the next time you are out taking photographs of animals and wildlife, don’t be afraid to push past the ‘safe’ light so often utilised by others. Delve deep into extreme and low-light situations. If you embrace the technical and artistic challenges offered by these conditions, you will end up with shots that challenge perceptions and show viewers something they have never seen before.

Whether hanging over the rim of an active volcano, braving the elements to photograph critically endangered species, or trekking into the wilderness to places most people will never see, Ian Plant travels the globe seeking out amazing places and subjects in his quest to capture the beauty of our world with his camera. Ian is the Managing Editor of Outdoor Photography Guide, a Tamron Image Master, and the author of numerous books and instructional videos. You can see more of his work at www.ianplant.com.

Article originally published January 2018.

If you’d like to attempt wildlife photography without spending a fortune on an expensive telephoto lens, our Best Budget telephoto lenses for wildlife photography is a great place to start.

Related reading:

• How to be an ethical wildlife photographer
• Capturing nocturnal animals in low-light
• Best lenses for wildlife photography
• Check out the top wildlife photos!
• How to capture fast-moving birds (and animals) 
• How to master animal photography

Wildlife photography holidays

Test and improve your wildlife photography skills on one of our Wildlife photography holidays. Led by experts, we have a range of photo trips coming up in the UK and around the world. See all upcoming trips here.

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Low-light wildlife photography tips appeared first on Amateur Photographer.

There is no denying that being a full-time wildlife photographer is no easy ride, and it took a good few months to gain momentum and start being able to support myself.

The biggest challenge was getting my name out there, and while I may not be a household name yet, I’ve found that social media and word of mouth are highly valuable. With platforms such as Instagram focused heavily on photography and images, it’s an easy way to develop a following.

It’s also important to recognise that your time cannot be focused solely on photography, as the work that goes on behind the scenes is also vital in order to be successful.

A rare moment caught as a badger sits still. Olympus OM-D E-M1 Mark II, 300mm, 1/200sec at f/4, ISO 1250, Credit: Tesni Ward

Capturing nocturnal animals – photographing badgers

Before I made the decision to become a full-time photographer, I started a short-term project photographing badgers that quickly turned into a slightly unhealthy obsession.

European badgers are highly misunderstood and can be very difficult to work with due to the fact they are nocturnal, but I was determined to photograph them in natural-light conditions. It took many months before I was even able to find a suitable location, but the real challenge began once the badgers started appearing.

Rewarding time

We know more about whales than we do about badgers, as badgers live a highly elusive life. This has made them all the more appealing to work with.

Heavily persecuted since the early 1800s, badgers still suffer greatly at the hand of man despite being afforded some of the highest levels of protection in the UK. With little reason to trust humans, it makes the time spent with them all the more rewarding.

Deep in the forest very little light reaches the ground, so despite the badgers emerging fairly early while the sun is still relatively high in the sky, this light rarely reaches the badgers. This has forced me to develop a strategy that masters the art of low-light photography.

Working in low-light photography can be more challenging with wildlife than with static subjects. You can only do so much with your shutter speed before any subject’s movement becomes an issue. The available light can also change drastically with the slightest change of an animal’s position.

Badgers do not sit still for long, as they like to snuffle around and explore their surroundings. Their coloration can also be an issue, with their contrasting black and white markings making it difficult to expose each shade correctly.

While some people opt for flash to compensate for difficult or dark conditions, I like to work with the natural light available. This leaves me with a few options on how to achieve well-exposed, usable images in such challenging low-light photography conditions.

Olympus OM-D E-M1 Mark II, 40-150mm, 1/400sec at f/2.8, ISO 800

Capturing nocturnal animals – What camera kit do I need?

Gimbal head and tripod

A sturdy tripod and gimbal head will ensure that your kit feels weightless, while allowing smooth movement and stability when needed for those slow shutter- speed shots. See our guide to the Best tripod to buy for your camera.

Fast lens

A lens capable of achieving a wide aperture such as f/2.8 will make a big difference in poor light conditions. See our guide to prime lenses vs zoom lenses. If you’d like to view our pick of the finest lenses for wildlife photography head on over to our Best lenses for wildlife photography article.

Tesni prefers to work with natural light. Canon EOS 5D Mark III, 500mm, 1/160sec at f/4, ISO 4000, Credit: Tesni Ward

Tesni’s top low-light photography tips for capturing nocturnal animals

1. Slow your shutter speed

It is important to know the limitations of your equipment beforehand. When your aperture is wide open and you have pushed your ISO to its absolute limit, the last option is to slow your shutter speed. It is possible to capture pin-sharp images at 1/60sec or less.

2. Use a tripod

While nothing can be done about the movement of your subject, minimising camera shake will certainly help when you start to push your shutter speed to its limits. Use a suitable tripod and remember to turn off your image stabiliser if it doesn’t do this automatically when on a tripod.

3. Know your subject

Knowing your chosen species intimately will allow you to anticipate its behaviour. There may be occasions when your subject will pose in a certain way or stay relatively static. Anticipating this behaviour and preparing for it will help you capture pin-sharp images despite less-than-ideal settings.

4. Focus on one species

Start a project that involves photographing just one species. It can be a great way to develop your portfolio beyond standard images. Whether it’s a specific bird, mammal or even just an area, focusing your time will stack the odds in your favour to capture unique photographs.

5. Patience is a virtue

Any wildlife photographer can attest to the fact that wildlife will push your patience to its limits. Whether it’s a few days, weeks or even months and years, it can take time to merely find the wildlife, let alone photograph it. Perseverance will see your patience rewarded.

6. Focus on animals in their environment

Always take photographs that showcase animals in their natural environment, if you can do so without disturbing their habitat. This will give you the opportunity to photograph unique behaviours and fleeting moments that give viewers a glimpse into wildlife’s hidden world.

Nocturnal animals – one that didn’t work

Low light shot of a badger that didn’t work. Credit: Tesni Ward

I often use sequential or burst mode to maximise the chance of capturing at least one successful image. The downside is many images will be destined for the bin. This image was the last in a series of shots of a badger climbing a tree. As the badger attempted its descent, the last frame captured it falling out of the tree. With the shutter speed at 1/250sec due to fading light conditions and a maxed-out ISO, it resulted in motion blur. While this image may not have been a success, fortunately the first frame in the sequence was.

Article originally published October 2017, updated January 2024.

Tesni Ward

Tesni Ward is a professional wildlife photographer based on the outskirts of the Peak District. While the majority of her work focuses on British wildlife, she also photographs projects across the world and has aspirations to promote conservation and education through her images.

Inspired by Tesni’s tips for taking better shots of shy nocturnal animals?

Wildlife photography can be wonderfully rewarding, and as Tesni’s article shows, you can get memorable images of shy nocturnal creatures without having to head off to an exotic destination.

We’ve got a lot of great content on this genre: check out our complete guide to wildlife photography, and our low-light wildlife photography tips. We’ve also got some great advice on how to be an ethical wildlife photographer, and how to get better at this genre by understanding animal behaviour.

If you’d like to attempt wildlife photography without spending a fortune on an expensive telephoto lens, our Best Budget telephoto lenses for wildlife photography is a great place to start.

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Tesni Ward on photographing birds with the OM-1

Tesni Ward using the OM System OM-1

Using the OM System OM-1 which is almost always fitted with the M. Zuiko Digital ED 150-400mm f/4.5 PRO zoom, Tesni likes that you can customise the camera for your own shooting needs. With the OM-1 (now with firmware v1.5), Tesni has noticed faster, and more responsive autofocus (AF), as well as notably improved bird tracking, which finds and locks on to the bird’s eye.

Tesni also found the blackout-free shooting, at up to 50fps with C-AF, extremely useful for tracking moving subjects. This shooting rate is with full-size Raws too. The viewfinder is also significantly improved, giving a great view, and the improved weather sealing is of particular benefit when shooting in extreme conditions. The camera is also easy to use when wearing gloves.

Tesni has spent a lot of time watching and studying birds, and says the best way to see them is in the real world, so you can see and hear them, and learn their behaviour. This will help you know when something (like flight, flapping, etc) is coming so you’re ready to take the shot.

Top settings to use when shooting wildlife with the OM-1:

• Set up a custom mode for specific shooting scenarios e.g. birds
• Customise buttons to give quicker access to the AF modes needed
• Customise the burst rate to suit you, and make sure you know your camera before shooting
• Ensure the shutter speed is right for the type of shooting, and use burst mode so you’re ready to shoot whatever happens
• Blackout-free 50fps C-AF is amazing for tracking animals in the frame
• Olympus / OMDS cameras are very customisable, which is great, but can be confusing if you don’t know the camera, and it’s worth working out before shooting

OM System OM-1, 150-450mm at 207mm (TC off), 1/800s, ISO 3200, f/6.3. Image credit: Tesni Ward

Top tips for shooting birds and wildlife:

• Look for background colour, and avoid distractions such as brightly lit tree trunks and reeds
• Be prepared for bad weather, look for areas where you can get better colour adding interest into the background
• Watch the weather, as blue skies and bright sun can be too harsh and make photography difficult
• Knowing your subject helps, so you can prepare for when they are about to fly, flap, or duck under water
• You can always crop in post but can’t un-crop if you’ve used too much zoom

OM System OM-1, 150-450mm at 400mm (TC off), 1/1250s, ISO 500, f/4.5. Image credit: Tesni Ward

Join Tesni Ward on an AP Zoom Tours event

Tesni Ward is running a number of different photo holiday tours with Amateur Photographer and Zoom Photo Tours, and you can get great advice from Tesni, as well as the opportunity to shoot several different birds and wildlife.

Joshua Waller photographing wildlife with the OM System OM-1

The vari-angle touch-screen makes it easier to shoot at low-angles

Using the OM System OM-1 for bird photography was particularly easy, once the camera’s Bird Detection AF was correctly setup. This was activated using the camera’s menu, but quicker access to this setting is possible by customising the camera’s function buttons.

The camera can shoot at extremely rapid speeds, and in some cases may be too quick, for example, I personally don’t need to shoot hundreds of Raw files at 120fps, so opted for a slower continuous shooting speed. If you do want to shoot at 120fps, then Pro Capture can help here as it can shoot images before you’ve even pressed the shutter release button. To fine-tune drive settings, in the menu, go to the green Camera 1 icon and scroll to page 7 entitled Drive Mode. Under ‘Sequential Shooting Settings’ you can configure frame rates in the various drive modes as well as limit the number of frames you get in a burst.

Shooting so many frames so quickly means you need to load up with the fastest SD cards you can afford to keep buffering to a minimum. The current fastest SD cards have quoted write speeds of around 250MB/s although in practice you might not get such performance. However, even with fast cards you need to manage your buffer, so don’t overshoot or you might miss a great image because your long sequence of shots is still writing to card.

The camera has an AI (Artificial Intelligence) autofocus system that can detect different subjects including airplanes, animals, motor vehicles, trains as well as birds. There’s also face and eye detection. This combined with the Quad-pixel AF system, with 1053 AF points covering the sensor, makes for an extremely fast AF system, that can work at speeds up to 50fps in SH2 mode with continuous AF tracking – with specific Olympus PRO lenses.

AF settings for subject detection on the OM-1

How to customise and setup Bird Detection AF on the OM-1

• In the Menus – you can find the settings in the AF section, or you can also add “Subject Detection” to the MyMenu section for quicker access
• You can setup a custom button so that you can quickly change the subject detection, by pressing the button and scrolling through the options using a command wheel
• Check your continuous shooting mode, you’ll need SH2 which enables continuous AF and metering, and not SH1 (super high-speed) – SH1 sets AF to fixed / single-AF, rather than continuous. SH2 gives up to 50fps with specific PRO lenses.
• Check your AF setting is set to C-AF + Tracking
• You’ll be able to see the tracking appear in real-time on the screen when the camera detects the subject

OM System OM-1, 40-150mm f/2.8 with 1.4x TC, 210mm, 1/500s, ISO1250, f/4 – Click to view full-size JPEG photo. Image credit: Joshua Waller

Shooting wildlife with the camera, and in this case, birds, was particularly impressive, as the camera’s bird detection AF system is extremely rapid, and reliable, locking onto the bird’s eye, even when the bird was dark in colour. The camera also gave sharp detailed images, even when shooting wide-open at f/4 with the 40-150mm f/2.8 PRO lens and 1.4X Tele Converter.

Jessica Miller photographing wildlife with the OM System OM-1

Jessica Miller using the OM System OM-1

I bought my DSLR as a final year university student just getting into photography. I’ve had plenty of time to get to know my camera well, so it’s quite daunting to use a different system, especially a mirrorless system. However, when the opportunity to try out the OM System OM-1 came about, I was excited to try a new system to me.

OM System ’Olympus’ OM-1 IP53 weather-sealing coming in handy

On the day I took my DSLR camera along to the shoot with Tesni – I certainly noticed the difference when I switched between the two. Firstly, the size and weight. Being able to hold and grip the camera comfortably is quite an important factor for me, and I also like to carry my camera around wherever I am.

The OM-1 body is much more compact than the DSLR, so overall was easier to handle. My camera with an 18-135mm lens attached together weighs over 1.1kg (the body alone is just under 700g). Whereas the OM System OM-1 body on its own weighs 599g – with the 40-150mm f/2.8 lens and 1.4x TC we were using, weighs around 1010g.

Although there isn’t much difference between the numbers here, adding an equivalent lens on the DSLR would it a hefty camera to carry around. Having less weight on your shoulders certainly feels more appealing.

OM System OM-1, 40-150mm f2.8 with 1.4x TC, 90mm, 1/640s, ISO640, f/4 – Click to view full-size JPEG photo. Image credit: Jessica Miller

Another factor I would be looking for in a new camera would be how easy it is to learn and use. On this workshop we set up the Bird Detection AF mode – which was an easy process, and the menu itself was very user-friendly and well designed. The Bird Detection AF mode was particularly helpful in our situation and quick to operate and focus, ensuring we got sharp shots whether the bird was stood still or in flight.

OM System OM-1, 40-150mm f/2.8 with 1.4x TC, 110mm, 1/500s, ISO1250, f/4 – Click to view full-size JPEG photo. Image credit: Jessica Miller

I had a go at using my DSLR for photographing the same birds, and the camera felt slow and clunky after using the OM-1. Overall, I was very impressed with the system and the versatility this camera could have across different genres.

More links:

Read our full OM System ‘Olympus’ OM-1 review

How to edit your wildlife photos (Tesni Ward)

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The post Why the OM System Olympus OM-1 is great for bird photography appeared first on Amateur Photographer.

Bird Photography Tips from Rachel Bigsby

Seabirds provide me with a portal into another world. I am mesmerised by their epic voyages, resilience, characterful behaviours, unique beauty and by the staggering fact that they are the only animal capable of surviving on the water, under the water, in the air and on land. They are the true masters of living life to the fullest, and perhaps my fascination is fuelled by a longing to be a part of their world. Photography allows me to connect to these species that I hold so dear to my heart while connecting a global audience to their story through the natural artistry of our seabirds and their homes.

Understand the behaviour

It’s no secret that our great seabird cities can be incredibly overwhelming and as a result, it’s easy to leave without feeling fulfilled with your photographs. So, upon arriving at a seabird colony, take a good moment to stand back, observe and identify the behaviour(s) you wish to photograph – for example, a bird stretching out its wings. Keep focused on that bird and look at what they do in the moments before exhibiting that behaviour. Being able to recognise those simple signs will help you better predict when to hit your shutter and capture your desired shot.

When hitting that shutter, make sure your camera is ready to go. I recommend a minimum shutter speed of 1/2500sec and an f-stop above your widest and select the continuous focus mode.

Image: Rachel Bigsby

Commit your composition

It’s easy to get carried away chasing a seabird with your lens, but a more considered approach will lead to a much more satisfying result. I like to discover my composition first then patiently wait for the seabird to enter my frame. By doing this, I can capture images with my desired elements like bokeh, backlighting or a white background that also include my chosen subject. If I were to track the bird aimlessly, it is unlikely that I would achieve everything that I wanted in one shot. This method can be a little risky, but I personally think that it leads to quality over quantity.

Image: Rachel Bigsby

Follow the ‘check, clean, close’ rule

Predators like rats and stoats can wreak havoc among seabird eggs and chicks if they arrive in a colony. So, it’s vital that if you visit a seabird colony, you prioritise biosecurity (the practice of protecting places from the threats posed by introducing new diseases or types of plants/animals that do not naturally occur there). All seabird colonies have emergency response plans, but the best way to keep precious chicks and eggs safe is to stop predators reaching them. So, if you’re planning a trip to an island, be sure to check your bag for stowaways, clean your boots or shoes with disinfectant and tightly close any food containers (since they can attract unwanted attention).

Image: Rachel Bigsby

Focus with your eyes first

Smaller seabirds, such as auks, have rapid wingbeats. In fact, a puffin beats its wings 400 times per minute. This means that their flight pattern is erratic and incredibly fast, making tracking and focusing (particularly with longer lenses) feel like an impossible task. But there are two solutions.

Firstly, observe the bird. Most seabirds will wheel around their nest/ledge before landing to avoid any lurking predators and this behaviour will give you multiple chances to follow them or to identify where they might land and remain focused on that spot.

Secondly, it can be useful to focus on the bird from a distance and keep them in your frame as they fly closer towards you. This can be an easier technique than expecting your lens to lock onto focus on a close-up, fast-moving subject.

To photograph a bird in flight, it is best to make sure your camera is in a continuous focusing mode such as AF-C or continuous servo. It is also very important to choose the correct focusing area such as Dynamic, 3D, Group or Zone.

Image: Rachel Bigsby

Work with the weather

Conditions at a seabird colony are unpredictable and of course, out of your control. Whether you’re shooting on a remote island or a mainland cliff, you need to be technically prepared for what the weather throws at you and know how to adapt with your camera settings to the conditions you have. This means that you can begin to work with the weather and use it to your creative advantage. On a rainy day, you could slow your shutter down to incorporate the rain drops and add some mood to your image. On a sunny day, try positioning the light behind your subject for a backlit effect.

It’s easy to resent bad weather but arriving prepared with a backup plan as well as practising with your settings means that you can maximise your chances of success, whatever the weather. It’s important to remember that dark and dull weather will drive your ISO higher. Ideally, you should be keeping your ISO as low as possible but as high as needed to get your desired exposure with the shutter speed and aperture you require.

Rachel’s Kit List

Nikon Z 9
As Nikon’s flagship mirrorless camera, the Z 9 is unstoppable and never misses a shot. With 45.7MP, 120fps, pre-release image capture, deep learning AI and an AF system that redefines tenacity, the Z 9 has no misses, no limits, and no boundaries!

Nikon M7 + binoculars
A good pair of binoculars will help you to identify your subject from a distance or to focus in on a behaviour that looks interesting.

Seabird Identification Guide
Just under eight million seabirds from 25 species breed in Britain and Ireland, so it’s important to know how to identify them, where to find them and when to see them.

Rachel Bigsby
Considered to be a leading wildlife photographer amongst her contemporaries, Rachel Bigsby has achieved a wealth of accolades as a finalist in five of the world’s leading wildlife photography competitions at the age of just 26, with her passion for photographing seabirds and natural artistry. See more of her work at www.rachelbigsby.com or on Instagram @rachelbigsby

Bird Photography Tips from Jake Levin

The best thing about photographing in the woods is the variety of birds that you can take advantage of throughout the year. In Canada, we have four distinct seasons, and each one brings different opportunities for photography. You get warblers coming through one month, wetland birds another month, and winter owls in another, all at the same exact location. Furthermore, the fall foliage season and winter snow both allow for some beautiful backgrounds, ranging from a kaleidoscope of colours to simple, minimal white. There are as many creative possibilities in the forest as you can come up with.

Photo: Jake Levin

ILCE-1 · f/7.1 · 1/320s · 840mm · ISO1250

Keep the background soft, distant, and simple

You don’t ever want the viewer to be distracted by what’s behind your subject, so make sure it doesn’t compete for attention. My ideal background is a simple wash of colour, with little to no detail at all. I want whoever is looking at the photograph to see the bird first, and then allow the eye to explore the rest of the composition. The further behind the subject you can place the background, the more it will blur itself out and serve as a pleasing complement to whatever is in front of it.

Don’t worry if every single bit of the bird isn’t razor-sharp

If you have the eyes and head, that’s what counts. I often shoot in overcast conditions, whether in the woods at home or in the Costa Rican jungle, so I’m using large apertures all the way up to f/4 in order to have enough shutter speed (since even with a mirrorless camera, there is a limit to how slow you can go and still keep things sharp). It’s not unusual for depth of field to be measured in millimetres when you’re using long lenses, and even though stopping down won’t increase your depth of field by much, it will create a lot of unwanted detail in the background, where you don’t want it at all.

Photo: Jake Levin

ILCE-1 · f/8 · 1/400s · 600mm · ISO1250

Match the light to the subject and its surroundings

If you’re shooting shorebirds in a river or at the beach, you want gorgeous, golden sunlight. Overcast will turn your water an unimpressive grey and dull down the already subtle colours of species like sandpipers and plovers. On the other hand, overcast works quite well for woodland birds, and strong evening light can be tough to manage when you’re surrounded by trees throwing off long shadows. Birds aren’t models, and there’s no union to call, so it pays to watch the forecast and make note of when the most favourable conditions are expected for the type of shooting you want to do.

Photo: Jake Levin

Make sure the subject isn’t looking away

Many photographers use a general rule stating that the bird’s head should be turned no further away than parallel to the back of the camera. In an even better scenario, he will have turned his head toward you just a little bit for a more engaging pose. It is worth noting, however, that the rest of the bird’s body doesn’t have to follow this rule. In fact, one of my favourite poses is the ‘lookback’ or ‘over-the-shoulder’, where the bird is facing away from me, but has his head turned back around to look over his shoulder at the camera.

Photo: Jake Levin

ILCE-1 · f/7.1 · 1/640s · 441mm · ISO1600

Manual mode is your friend

Even with all the advances in autofocus that have appeared over the past few years, you still have to expose the image properly. Working in manual mode gives you the maximum amount of control over the ISO, shutter speed, and aperture, all of which can come into play when you’re faced with a challenging subject. Unfortunately, as far as camera tech has progressed, the in-camera meter’s best guess at the correct exposure often requires adjusting, and with automatic mode, you’re beholden to whatever exposure the camera thinks it needs. However, in manual mode, you’ll find that you can shoot a far greater range of subjects with a much higher level of control.

Photo: Jake Levin

ILCE-1 · f/7.1 · 1/250s · 840mm · ISO1600

Jake’s Kit List

Long, fast lens
The longest focal length lens with the largest aperture that is reasonable for you to acquire. Several good-quality zoom lenses are now available that can work well if you’re just starting out.

A good, sturdy tripod and a gimbal head
Having a steady platform to shoot from is invaluable. Benro and Really Right Stuff both make excellent tripods. Gimbal heads like the Wimberley give you maximum control over your camera and lens while it’s mounted on the tripod.

Colour calibrator
This will allow you to consistently reproduce colour on your monitor in post-processing. Without calibrating your screen, you’re just guessing that the colour you see is correct. Calibration takes that variable out of the equation, and as an added plus, the calibrator handles almost everything automatically, no IT experience needed.

Jake Levin
Born in Washington, DC, Jake Levin is a Spanish professor and researcher in Montreal, Canada. His work can be seen at birdsbyjake.com and on Instagram: @birdsbyjake

Bird Photography Tips from Jack Zhi

I have been photographing birds for six years. I live in Irvine, California. When I first moved here from the Midwest, my son and I went on our bikes to discover the area. He found a place called San Joaquin Wildlife Sanctuary. We loved it. Pretty soon this place became my own sanctuary. I found myself taking a walk there all the time. I saw so many beautiful birds and it didn’t take long before I picked up a camera and started to photograph these amazing creatures.

Capture the story and the emotions

Birds are beautiful. It’s okay to capture a fly-by bird or a perched bird when they aren’t doing anything, but it’s much better if you can capture something that tells a story with emotions involved too. This was a shot of two bald eagles working on their nest. You can see the interaction and the eye contact between them. Two birds are usually better than one in this case. I went to this location many times and waited for something like this to happen. So yes, a side note is to be patient.

Photo: Jack Zhi

ILCE-9M2 · f/8 · 1/800s · 1200mm · ISO1250

Look out for unique moments

You’ve probably seen enough take-off shots, birds are simply beautiful when they take off. But keep in mind you want something different, something above and beyond a usual take-off, for example, a bird taking off with a prey in the talons. But even that is not all that unique nowadays. So, in this shot I captured the feather flying. The key is anticipation. Don’t tell yourself you’ve already got too many of these take-off shots and let go of a precious opportunity like this.

Photo of a peregrine falcon, taken in Los Angeles, USA. This was wildlife behaving naturally in the wild. No bating or any human intervention. Photo: Jack Zhi

ILCE-9M2 · f/4 · 1/1600s · 600mm · ISO1000

Think about the background

With a spectacular background, even a simple perched bird can make a beautiful shot. With a terrible background, however, even the most exciting action may not look good at all. That’s the importance of thinking about your background as well as your subject. Always position yourself to get the best possible backdrop. For this shot, I went to this location 30 times and I stayed in the same spot where the background worked for me. I couldn’t control the birds, but I knew I could try my luck. Yes, if I chased the birds, I could have gotten lucky, but I stayed patiently in my spot every visit I made and eventually I got my lucky break!

Photo: Jack Zhi

ILCE-1 · f/4 · 1/1600s · 600mm · ISO3200

Putting it all together

An award-winning photo must stand out in multiple areas – storytelling, uniqueness, spectacular lighting, gorgeous background, top of the world image quality, perfect focus, etc. So, as you go out and have fun shooting, practise each of these tips and try to nail as many in your shots as you can.

Photo: Jack Zhi

ILCE-9M2 · f/5.6 · 1/3200s · 840mm · ISO1000

Look for light

Shooting in the wild is completely different from shooting in studios. You don’t get to control the lights; all you can do is to take what nature gives you. But believe me, Mother Nature is fair, and it is fantastic. So, pay attention to the light conditions you’re in and always try to take advantage of it. Quite often a few steps one way or another can present you with a change in light. So keep exploring. In this scene I was able to line up my shot with an area in dark shadow to bring out the diving osprey. With some luck, there was a bush in the background reflecting the sun, making it look like smoke coming out of the osprey as he dove into the water.

An osprey diving in for its prey, taken in Orange County, California, USA. This was wildlife behaving naturally in the wild. No bating or any human intervention. Photo: Jack Zhi

ILCE-9M2 · f/4 · 1/3200s · 600mm · ISO1250

Jack’s Kit List

Sony A1
I use a Sony A1 with the Sony 600mm f/4 lens and I also have the Sony 1.4x and 2x Teleconverters for when I need that extra reach. If you don’t want to break the bank the Sony A9 II or a Sony A7R V with the Sony 200-600mm lens is a good combo.

Sony Imaging Edge Mobile app
If you’re a Sony user, the Sony Imaging app is a helpful tool to have. It allows you to transfer images or video to a smartphone or tablet, perform remote shooting, and add location information to images.

Additional but important accessories
To carry my kit, I use a waist bag for easy access. I also carry spare batteries, a remote control and extra memory cards. A good lens blower ball is a must – don’t go cheap on this because you’ll need it for a lifetime

Jack Zhi
Jack is a full-time computer engineer from the USA, and wildlife photography is his passion. He spends his weekends looking for birds and other wildlife in his area and it’s important to him to capture the beauty of nature as it happens. Jack was recently named this year’s overall winner of Bird Photographer of the Year. See more of his work on Instagram @jack.zhi.photo

Related reading:

• How to capture birds in flight and fast-moving animals
• Winging It: Photograph garden birds on a budget

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The post Top Bird Photography Tips by Award-winning Photographers appeared first on Amateur Photographer.

Our accessories for wildlife photographers quick list:

• Arc’teryx Acrux TR GTX Boot (M&F) – Check best price
• Camelbak stainless steel bottle – Check best price
• Snugpak Snugnut Hat – Check best price
• Wildlife Watching Supplies camera and lens cover – Check best price
• Helinox Chair Zero – Check best price
• Silva Terra Scout H head torch – Check best price
• Helly Hansen All Mountain gloves – Check best price
• SanDisk Extreme PRO SDXC UHS-II – Check best price
• Vanguard VEO Active 53 – Check best price
• Tenba Axis v2 4L Top Loader – Check best price
• Paramo Halkon Jacket
• Arctic Patrol Down Parka Jacket
• The North Face Antora Rain Trousers – Check best price
• Benro Mach3 TMA38CL tripod – Check best price
• GH5C Mini Gimbal Head – Check best price
• Wildlife Watching Supplies Double Bean Bag – Check best price
• Hide Tragopan V6

Essential Accessories for Wildlife Photographers

Arc’teryx Acrux TR GTX Boot (M&F)

• £220
• www.arcteryx.com

Not everyone’s happy to wear leather or animal products these days, for plenty of good reasons. Arc’teryx Acrux GTX Boot is a heavy-duty trekking boot but it’s surprisingly lightweight, suitable for being out all day in challenging and changeable terrain. It’s stylish, flexible, comfortable, with breathable Gore-Tex, a good solid grip and dependable waterproofing. And with all that, it’s also made without leather or other animal products in any materials or adhesives.

Camelbak stainless steel bottle

Buy now

• £35
• www.camelbak.co.uk/bottles-c2

A little warmth goes a long way in the great outdoors, providing a bit of fuel for long days in the rain or cold, and it’s important to stay hydrated. I usually carry the same 1-litre double wall insulated stainless-steel bottle, which is leakproof, strong enough to withstand plenty of knocks and scratches, and means not having to buy plastic bottles from shops. Camelbak’s carry cap vacuum-insulated bottle keeps water cool for 24 hours and hot drinks warm for ten hours.

Snugpak Snugnut Hat

Buy now

• £43
• snugpak.com/products/snugnut-hat

The vast majority of the time I’m out taking photos, I’m wearing a cap to keep the sun out of my eyes and off my head. On colder days, a simple beanie does the job. For a bit of extra warmth, Snugnut hats are made from the same cosy high-performance fabric as Snugpak’s sleeping bags, and have flaps on either side to keep ears and face warm and protected from the elements. It packs down into a light, small travel bag.

WWS camera and lens cover

Buy now

• From £34.20
• wildlifewatchingsupplies.co.uk

Though many weather-sealed cameras can handle a bit of rain, it pays to look after your camera. A C80R camera and lens cover is a useful item to keep in your kit bag to prevent rain damaging your gear. They’re light to carry and can be easily fitted over your camera when the rain comes on suddenly, with the added bonus of camouflage for wildlife photography. They come in a range of sizes to fit different lenses.

Helinox Chair Zero

Buy now

• £134.95
• helinox.eu/products

Inside a hide or out in the open, if you’re in front of a tripod for long periods, a chair makes life more comfortable. Helinox’s Chair Zero is ridiculously light, just 490g, with a frame made from a DAC aluminium alloy. At that weight, it’s an obvious choice for photographers heading into the wilderness, carrying everything on their back, and it packs down to a remarkably small pack, most likely smaller than your water bottle.

Silva Terra Scout H head torch

Buy now

• £59.99
• silvasweden.uk

Whether setting out before dawn or moving around in a tent at night, it’s useful to carry a bit of light and keep your hands free. The Silva Terra Scout H is a rugged, water-resistant head torch, made from recycled plastic materials, with a hemp headband. It’s lightweight and compact but gives off plenty of light, with settings to adapt it from close-in floodlight to a long-reach spotlight. Battery times go up to 70 hours.

Helly Hansen All Mountain gloves (unisex)

Buy now

• £65
• www.hellyhansen.com

Keeping that all-important trigger finger warm and functional is vital. Some gloves can be used with camera screens, but I prefer to keep my hands toasty when I’m not taking pictures and to go glove-free while taking photos, to give me as much control as possible over camera settings. Helly Hansen’s unisex All Mountain gloves keep hands very warm. They’re durable, waterproof and windproof, with elasticated wrists.

SanDisk Extreme PRO SDXC UHS-II Card

Buy now

• £64.99 (32GB) to £489.99 (512GB)
• www.westerndigital.com/en-gb

Wildlife photography eats up memory like
no other genre. It’s recommended to carry more than enough memory cards to cover your needs. SanDisk’s Extreme PRO UHS-II cards have write speeds of up to 260MB/s, which allows you to fire lots of shots in quick succession, and they can store thousands of images. Read speeds up to 300MB/s allow rapid copying for editing.

Check out our ultimate guide to buying memory cards

Vanguard VEO Active 53

Buy now

• £249.99
• www.vanguardworld.co.uk

Vanguard’s VEO Active 53 is a tough, dependable 45-litre backpack with plenty of padding, so it can take a few knocks and still keep gear safe inside. Available in green and grey, it’s made from water-resistant material and has waterproof zips, and comes with a waterproof cover. It’s designed to carry a DSLR and 6-7 lenses, and can also hold a 16in laptop or a tablet. The bag has padded straps and cushioned back, so you can carry it comfortably, while the bright orange interior can be personalised, so you can organise it to fit your needs. The camera cube also lifts out. Inside and outside, the bag has additional storage pockets to hold everything from batteries to a rain jacket. Tripods can also be attached to the back or side.

Tenba Axis v2 4L Top Loader

Buy now

• £70
• uk.tenba.com

I take a full bag of gear on professional assignments and most wildlife adventures, but there are times when I want to travel lightly on my feet, if the subject allows, with just a single camera body and lens. Tenba’s 4L Top Loader will fit a mirrorless or DSLR camera with an attached lens up to 6in, but it can also be expanded to fit a longer lens – I can easily carry a Canon EOS 5D Mark III body with a 100-400mm lens in it.

It’s a sturdy, hard-wearing, weather-resistant bag that can be carried on a shoulder strap or attached to a waist belt, with a lid that opens away from the body, so you can take the camera out quickly when it’s needed. It also comes with a ‘weather wrap’ for when the rain is full-on.

Paramo Halkon Jacket (M/F)

• £380
• www.paramo-clothing.com

Keeping dry and warm in the great outdoors matters – you’re unlikely to take your best photos if you’re shivering, hypothermic or dead. Available for both men and women, Paramo’s Halkon Jacket is great for being outside for long periods.

The Nikwax Analogy waterproof fabric provides effective protection from wind and rain. The jacket has good ventilation, but for a light, relatively thin jacket, it’s also surprisingly warm and windproof when bad weather hits. It has a wired hood that keeps your vision clear and zips up at the front to help keep your neck and face warm. Lower pockets on the front are big enough to keep a lens or compact binoculars handy. It’s available in muted green, too, which is advised for many wildlife situations.

Arctic Patrol Down Parka Jacket (M/F)

• £470
  
• www.hellyhansen.com

Fittingly for wildlife photography, this Helly Hansen jacket is a bit of a beast. Is the Arctic Patrol Down Parka Jacket warm? The clue is in the word ‘Arctic’. With responsibly sourced duck down and a heat-conductive graphene lining, wearing the extremely light, flexible jacket is like being tucked inside an extremely comfortable sleeping bag. It’s durable, waterproof, and windproof, with a hefty hood that’s also insulated to keep the head super-warm, and large pockets with Velcro covers to keep contents dry.

The jacket’s made with Arctic pros in mind, which means it’s spot-on for being out for long periods in cold weather. Just be sure to get it in green, not bright red, which will send animals packing.

The North Face Antora Rain Trousers (M&F)

Buy now

• £90
• www.thenorthface.co.uk

A decent pair of waterproof trousers is another essential, especially for British weather. If you’re spending a lot of time in wet conditions, you might want to invest in a serious pair of waterproof trekking mountaineering trousers, for extra comfort and high performance. But for many situations, a light pair of waterproof trousers that go over your normal clothes does the trick.

The North Face’s Antora Rain Trousers will keep you dry and warm when the downpours hit, with waterproof, sealed seams. They’re breathable, so you won’t get too sweaty when moving around the hills, with lower-leg zips to make it easy to take them on and off over hiking boots. Available for men and women (men’s shown here).

Benro Mach3 TMA38CL tripod and GH5C Mini Gimbal Head

Buy now

Buy now

• Tripod £485, Gimbal £345
• uk.benroeu.com

Personally, I don’t use tripods much with wildlife photography – I prefer to be able to move around, camera in hand, as wildlife situations rapidly change. But a camera with a big lens attached can be heavy, and when a beanbag isn’t possible, a tripod is useful if you’re stationary and focusing on a subject for longer periods.

Benro’s Mach3 TMA38CL is a strong, stable, but relatively lightweight (2.05kg) carbon-fibre tripod that will support up to 16kg. It can operate from right down at almost ground level up to a maximum height of 177cm. The GH5C Mini carbon gimbal is lightweight (1kg) and compact, suitable for wildlife photographers who spend hours looking for wildlife or locations. It has a weight capacity of 30kg, with ultra-smooth panning and tilting.

The ultimate guide to tripods

Wildlife Watching Supplies Double Bean Bag

Buy now

• £25.74
• wildlifewatchingsupplies.co.uk

Such a simple piece of kit, but a beanbag is incredibly useful for supporting heavy lenses, especially in situations such as the backs of safari vehicles, when a tripod isn’t possible and when you want the flexibility to shift quickly to different positions as the animals move. They’re also useful for setting up your camera close to the ground for low-level shots.

When filled, they can be quite a weight, not ideal for carrying on overseas assignments or in a camera backpack. I prefer to carry them unfilled, and often use local materials, such as sand or soil, to fill mine, which can be emptied before travelling home. Code C14 Double Bean Bag works well with a wide variety of lenses, from wideangle to a 600mm.

Hide Tragopan V6

• £250
• tragopan-shop.com

From deer to birds, there’s plenty of wildlife around the UK that gets nervous and tends to move away if it sees people. It can be helpful
if it doesn’t even know you’re there, which is where hides or blinds come in.

Tragopan’s Photo Hide Tragopan V6 is light to carry (3.3kg), and quick and simple to put up. It’s made from a waterproof material designed to keep photographers cool inside on warm, sunny days, and to keep the interior dark, so movement or shadows won’t notify the local wildlife of your presence. The hide has several windows for poking your camera through; it’s also adaptable to be used with accessories, including extra ‘tent’ space, connecting tunnels, or a roof canopy to keep long lenses dry in rainy weather.

Wildlife photography holidays

Test and improve your wildlife photography skills on one of our Wildlife photography holidays. Led by experts, we have a range of photo trips coming up in the UK and around the world. See all upcoming trips here.

Further reading:

• Best cameras for wildlife photography
• The best budget telephoto lenses for wildlife photography
• How to be an ethical wildlife photographer

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post 16 essential accessories for wildlife photographers appeared first on Amateur Photographer.

As I’m writing this, I’m on a ship in the Antarctic leading a photo tour to the Falklands, South Georgia and Antarctica. We’re on our way back now to Ushuaia, Argentina, after spending three weeks on and around the wildest and most remote continent on our planet. Antarctica is so inhospitable that, for six months of the year, you can’t even get here because there is too much ice and the conditions are too brutal.

As the distances between our destinations are quite long, we have spent quite a bit of time on the ship sailing from one place to the next. On those days, I have given lectures and we have done many image review sessions during which I analyse the images of our guests and give constructive critique on how to improve them – either in the field or in post-processing.

An Arctic tern rests on rusty machinery at an abandoned whaling station, Grytviken, South Georgia Nikon Z9, Nikkor Z 70-200mm f/2.8 at 185mm, 1/50sec at f/16, ISO 64, focus blend, Photo: Marsel van Oosten

NIKON Z 9 · f/16 · 1/50s · 185mm · ISO64

During one of these sessions, we talked about something that I have addressed here before: the difference between reactive and proactive photography, and the power of previsualization. Most wildlife photography is reactive: the photographer reacts to what he or she sees. Proactive photography is to previsualise an image, to first create the image in your head and then actively work towards it.

One of our landings on South Georgia was a visit to Grytviken, a former whaling station that closed in 1962. It’s very different from all other landing sites on South Georgia because it’s not wild. It’s full of rusty machinery and whale blubber drums, and there is not as much wildlife there. While very interesting from a historical point of view, it’s not an easy place for a wildlife photographer.

Left: An Arctic tern flies in front of blubber tanks at an old whaling station, Grytviken, South Georgia Nikon Z9, Nikkor Z 70-200mm f/2.8 at 200mm, 1/1600sec at f/13, ISO 800. Photo: Marsel van Oosten

NIKON Z 9 · f/13 · 1/1600s · 200mm · ISO800

Whaling was once a very popular industry when there were still a lot of whales everywhere in the region. Whalers from various countries around the world built these whaling stations, where the whale blubber was collected and boiled. All the stations closed in the middle of the last century. Grytviken station is the only one that has been preserved as a historical site, all others are off limits because they are dangerous, with lots of asbestos and loose metal sheets etc.

When I set foot on land, I didn’t have a creative plan. I like rusty things because of the colours and the texture, but I had photographed it on previous trips, so I wasn’t keen on doing more of the same. While I was walking around the site, I noticed there were quite a few terns flying around – they are beautiful little birds. And, while I generally don’t really enjoy photographing small birds, I suddenly saw an opportunity to create a series of images featuring terns in this world of metal and rust – nature vs man, pure vs decay. Depressing on the one hand, but with a positive note: in the end, nature will always conquer.

I started searching for terns that were flying close to these huge whale blubber tanks; towers of rusty sheet metal. For three hours, I did only that with my Nikon Z9 and ended up with a series of three images that only consist of two elements: a bird and a ton of rusty metal. I’m very happy with the results because it was not only fun to do, but it is also the result of coming up with a creative idea and then working towards that. Proactive photography will almost always lead to more interesting images than the reactive approach.

Now let’s hope the notorious Drake Passage will be kind to us…

As told to Steve Fairclough.

Marsel van Oosten

Marsel van Oosten was born in The Netherlands and worked as an art director for 15 years. He switched careers to become a photographer and has since won Wildlife Photographer of the Year and Travel Photographer of the Year. He’s a regular contributor to National Geographic and runs nature photography tours around the world. Visit www.squiver.com

Related content:

• How to capture birds in flight and fast-moving animals
• Best cameras for wildlife photography
• How to be an ethical wildlife photographer
• Photographing wildlife by studying animal behaviour

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Marsel van Oosten: How to be creatively proactive in your photography appeared first on Amateur Photographer.

MFT vs full-frame: the cameras

• Read our Best Full Frame mirrorless cameras to buy in 2023 

The MFT format OM System OM-1 body sells for $2000 / £1979 while the full-frame Canon EOS R5 is $3399 / £3999. Image credit: Will Cheung

Canon EOS R5 · f/22 · 1/160s · 105mm · ISO100

MFT vs full-frame: the lenses

While just two MFT camera brands share the same lens mount, the picture is very different for lenses. See our guide to the Best Micro Four Thirds lenses in 2023. There are options from Olympus/OM-System, Panasonic, and third party providers including Laowa, Samyang, 7Artisans, Tamron, Voigtlander, MEIKE, Sigma and more.

Understandably, the full-frame market enjoys massive support, but there are many more lens mounts out there. Some systems are better provided for than others. A key comparison is the very limited third party lens support for Canon EOS R mirrorless cameras, with just a few manual focus lenses available; compared with Sony’s E-mount, which is more widely supported.

There is plenty of lens choice to attract users of both formats but, availability aside, those in the smaller format have the advantage of being more compact.

The MFT format might be much smaller than the full-frame format but that doesn’t always translate to the kit itself. Here the OM 100-400mm f/5-6.3 IS lens (left) towers over the Canon RF 100-400 f/5.6-8 IS USM. However, the OM lens and MFT format with its 2x crop factor does give an equivalent 200-800mm. If a Canon 200-800mm lens of comparable maximum aperture did exist, it would very likely dwarf the OM optic.

Canon EOS R5 · f/22 · 1/160s · 56mm · ISO100

MFT vs full-frame: the crop factor

The Micro Four Thirds format is based on a sensor size measuring 17.3x13mm, while the full-frame format is nominally 36x24mm.

The diagonal of MFT measures 21.6mm against 43.2mm for full-frame, so almost precisely double, which gives us the 2x crop factor that’s always mentioned in format comparisons.

Micro Four Thirds sensor. Image credit: Will Cheung

Canon EOS R5 · f/22 · 1/160s · 100mm · ISO100

The 2x crop factor is important when we consider lenses. A lens’s focal length is a fixed parameter so a 50mm lens is a 50mm lens regardless of the camera format in use. In practice, though, use a 50mm focal length lens on an MFT camera and you get the ‘equivalent’ field of view of a 100mm lens.

With the lens off you can see how small the MFT sensor is, while the full-frame sensor seems huge. Image credit: Will Cheung

Canon EOS R5 · f/22 · 1/160s · 100mm · ISO100

This 2x crop applies to all focal lengths but the real practical benefit kicks in with longer focal length lenses. This is a plus point for nature photographers.

A 400mm lens used on MFT gives the equivalent of a 800mm view (in 35mm equivalent terms). With both lenses a distant subject will be the same size, but on the smaller MFT format it will be more frame-filling compared with the 35mm shot which will need cropping to give the same composition. See our examples below.

Taken on an OM System OM-1 with 100-400mm zoom at 400mm (800mm equivalent). Image credit: Will Cheung

OM-1 · f/6.3 · 1/1600s · 400mm · ISO3200

Taken on a Canon EOS R5 with RF 100-400mm zoom at 400mm. These shots were taken at the same focal length and from the same spot, so the size of the subject is rendered the same size on each sensor, but the 2x crop factor of the smaller format means the subject fills the frame more. The images are shown uncropped. Image credit: Will Cheung

Canon EOS R5 · f/8 · 1/160s · 400mm · ISO400

MFT vs full-frame: weight and bulk

Let’s look at some actual products to illustrate possible weight savings. The OM System 300mm f/4 IS PRO lens sells for $2800 / £2399, weighs 1.47kg and measures 22.7cm long. Canon’s RF 600mm f/4 L IS USM weighs twice as much at 3.1kg, is more than double the length at 47.2cm. It costs $12,999 / £14,179.

This is to compare apples with pears, but is as close as we can get. The fact remains that the MFT 300mm lens, which gives a 600mm equivalent in 35mm equivalent format, is a much more compact package, not to mention a great deal cheaper.

The weight savings with cameras are less dramatic and it depends on the models being compared. The full-frame Nikon Z7 II body weighs 615g while the MFT Panasonic Lumix GH6 body only is actually heavier at 833g although the OM System OM-1 is lighter at 599g body only.

Spread weight savings across a camera or two, plus several lenses and that is potentially a huge practical benefit for nature workers, especially those who travel, but it is just one factor, albeit an important one.

The OM 300mm f/4 IS PRO IS is half the length of the Canon RF 600mm lens and half the weight, but thanks to the MFT’s crop factor you get the same field of view on both formats.

MFT vs full-frame: handling

You’ve seen how much larger full-frame telephoto lenses are compared with MFT options, and this has an impact on many aspects of camera handling.

Clearly, there are challenges to carrying and using heavier kit, and many photographers are now downsizing to the MFT format, accordingly. 

Lugging heavy kit around is one thing, but it’s quite another to handhold a hefty telephoto lens for a length of time. A support of some sort is advised. Of course, we then have to consider shutter speeds to ensure sharp shots. The physically longer and heavier lenses demand a solid tripod, and that in turn adds to the burden. To protect and carry larger kit demands a bigger and heaver backpack; further increasing your overall weight of kit.

Many cameras have in-body image stabilisation (IBIS). This is a great benefit, but your shutter speed still can’t be dropped down too slow. As a hand-holding guide, the reciprocal rule still applies – ie a 300mm lens needs a shutter speed of at least 1/300sec – and while having IBIS means you can drop one or two stops slower, care is required. How slow you can actually go depends on your hand-holding skills, the lens; even a breeze is a factor.

It’s not always practical to use a monopod or tripod in nature photography, so some handholding skill is required. Supporting the lens with the left hand while keeping the left elbow tucked into the body is really important. Breathe gently while squeezing the shutter release smoothly. Image credit: Will Cheung

Canon EOS R5 · f/8 · 1/500s · 81mm · ISO800

MFT vs full-frame: image quality

It wouldn’t be fair to make definitive image quality comparisons across different formats because the sensors and lenses are different. But let’s look at some stats and shots taken at the same time using the Canon EOS R5 and OM System OM-1.

The OM-1 is a 20MP MFT camera and its raw files open up to give an image size of 5184 x 3888 pixels. Assuming 300ppi, and no software interpolation, that gives a print size of 17.2 x 12.9in / 43.6 x 32.7cm. The full-frame 45MP EOS R5’s raw files open up to 8192 x 5464pixel files which translates to a print size of 27.3 x 18.2in / 69.3 x 46.2cm.

This illustrates the relative size different in the Micro Four Thirds and full-frame formats. The diagonal of the MFT 17.3x13mm format is almost exactly half that of 36x24mm full frame.

Clearly, the larger format has more possibilities for making big prints, and has many more pixels to play with for a small subject that you want to magnify.

Cropping an MFT picture to make a small subject a decent size can mean a less crisp, more fuzzy image especially if a high ISO is used. However, with good editing such issues are easily resolved. 

Image credit: Ann Healey

OM-1 · f/5.6 · 1/500s · 300mm · ISO200

This meadow pipit was taken with a 300mm f/4 lens on the 20MP OM System OM-1. The full, unedited image measures 5184 x 3888 pixels so there is plenty of potential to crop into the file. The cropped image measures 1888 x1416 pixels so it’ll print out to 6.2 x 4.6in / 16 x 12cm at 300ppi. Of course, that is without any software interpolation (resizing) with Photoshop or a dedicated resizing software such as Topaz Gigapixel AI; so you can get a much larger print with no problem. Image credit: Ann Healey

OM-1 · f/5.6 · 1/500s · 300mm · ISO200

MFT vs full-frame: ISO matters

The general premise is that the smaller the image sensor the greater the amount of digital noise produced as you progress up the ISO ladder. Digital noise looks like tiny coloured or neutral specks in your picture and it’s more noticeable when shooting in very low light especially in the shadows area.

As sensor technology has advanced, the negative impact of digital noise spoiling pictures has lessened and recent cameras with back-side illuminated (BSI) or stacked sensors are impressive even at higher ISO speeds like ISO 6400.

Long lenses and sub-optimal lighting are part and parcel of nature photography; the ability to use higher ISO settings with confidence is important. You can see in our example how good it can be with images on an OM System OM-1 and Canon EOS R5.

The great news is that the latest noise reduction software is very capable when dealing with grainy pictures. Adobe Lightroom has recently gained Denoise AI to embellish its all-round workflow skills. Topaz Denoise AI and DxO PureRaw 3 are also staggeringly good at cleaning up high ISO files.

A lime swallowtail at the Stratford Butterfly Farm was the subject for this ISO comparison using an OM System OM-1 with a 60mm macro and a Canon EOS R5 full-frame camera with a 100mm macro lens. The raw files were processed in Lightroom with default noise reduction. The sectional blow-ups show the image at roughly 100%. Image credit: Will Cheung

Canon EOS R5 · f/4 · 1/250s · 100mm · ISO800

Click to view enlarged images:

ISO 800 on Canon EOS R5

Canon EOS R5 · f/4 · 1/250s · 100mm · ISO800

ISO 800 on OM System OM-1

OM-1 · f/4 · 1/250s · 60mm · ISO800

ISO 1600 on Canon EOS R5

Canon EOS R5 · f/4 · 1/500s · 100mm · ISO1600

ISO 1600 on OM System OM-1

OM-1 · f/4 · 1/500s · 60mm · ISO1600

ISO 3200 on OM System OM-1

OM-1 · f/4 · 1/1000s · 60mm · ISO3200

ISO 3200 on OM System OM-1

OM-1 · f/4 · 1/1000s · 60mm · ISO3200

ISO 6400 on Canon EOS R5

Canon EOS R5 · f/4 · 1/2000s · 100mm · ISO6400

ISO 6400 on OM System OM-1.

OM-1 · f/4 · 1/2000s · 60mm · ISO6400

ISO 12800 on Canon EOS R5

Canon EOS R5 · f/4 · 1/4000s · 100mm · ISO12800

ISO 12800 on OM System OM-1

OM-1 · f/4 · 1/4000s · 60mm · ISO12800

ISO for ISO the full-frame images show less noise and are crisper but the MFT raw files are not far behind, and are improved hugely when processed with software noise reduction.

In the above example, we used Lightroom’s Denoise AI on the ISO 12,800 raw files and the results are amazingly good.

ISO 12800 on Canon EOS R5 Treated with Lightroom Denoise AI using an amount of 100

Canon EOS R5 · f/4 · 1/4000s · 100mm · ISO12800

ISO 12800 shot on OM System OM-1, treated with Lightroom Denoise AI using an amount of 100

OM-1 · f/4 · 1/4000s · 60mm · ISO12800

MFT vs full-frame: depth-of-field and bokeh

Our focus here is on nature photography, where depth-of-field and bokeh can be as important as they are with portrait and landscape work.

With macro, depth-of-field lessens as you approach the subject, so having as much as possible is a good thing. With long lenses, that are often used at wider aperture values in nature shooting, depth-of-field is shallow and again there are times when you might need more. Whatever the scenario, focusing, as ever is crucial, and MFT has its benefits.

Comparing like with like, the MFT format gives more depth-of-field and less background blur by a factor of two – the 2x crop factor. Shooting the same scenario with a 50mm at f/2 lens on MFT gives twice as much depth-of-field as a 100mm at f/2 on full-frame. This is incredibly handy with macro because to shoot at f/8 on MFT, the 2x crop factor gives the equivalent depth-of-field of using f/16 on full-frame.

However, this is a minor matter for those who like shallow depth-of-field. Portraitists often shoot with an 85mm f/1.8 wide open for selective focus and lovely blurry backgrounds so with MFT you need to use a 42.5mm at f/0.9 (NB the Panasonic 42.5mm f/1.2 is close-ish). A 85mm f/1.8 is a modest telephoto and 85mm f/1.4 and 85mm f/1.2 are very popular portrait lenses – you would struggle to get a comparable effect on MFT if those lenses were used at maximum aperture.

To check out the theory, I took a pair of shots featuring a four spotted chaser with an OM Digital OM-1 and Canon EOS R5 using the equivalent focal length and aperture: 210mm at f/4 and 420mm and f/8 respectively. The out of focus grasses in the background look similar and a close look at the insect shows the same zone of sharp focus, so the depth-of-field is more or less identical.

Shot with the OM-1 partnered by the 40-150mm zoom and 1.4x teleconverter giving the equivalent of 420mm. The exposure was 1/1500sec at f/4. Image credit: Will Cheung

OM-1 · f/4 · 1/1500s · 210mm · ISO400

Shot with the Canon EOS R5 partnered by the 100-500mm zoom at 420mm. The exposure was 1/500sec at f/8. Image credit: Will Cheung

Canon EOS R5 · f/8 · 1/500s · 428mm · ISO400

MFT or full-frame: Conclusion

Nature and wildlife photography are enjoyed by many and as with any discussion about camera format, there are pros and cons to both MFT and full-frame. Much depends on your budget, expectations and your needs, be that physical, pictorial or logistical.

So, if you currently own an extensive full-frame system and it’s becoming too much of a burden to lug around (and we’re all getting older by the day!), going MFT is worth considering. It’d make life easier for travelling too.

If you are looking at this option, you should get online and check the weight and dimensions of your prospective outfit just to make sure any savings are actually worth the upheaval and cost.

The other key consideration is ultimate image quality. MFT sensors are less capable quality-wise when it comes to high ISO performance – nature photography often needs high ISOs – and if you did a side-by-side test you’d see that full-frame is superior. But being superior means nothing if you only enjoy your work on-screen and don’t need files for outsized prints. MFT is very capable especially when treated with the latest software.

Related reading:

• Best full-frame mirrorless cameras
• Best Olympus / OM-System MFT cameras
• Best Panasonic cameras

Follow AP on Facebook, Twitter, Instagram, and YouTube.

The post Micro Four Thirds vs Full Frame for Wildlife and Nature Photography appeared first on Amateur Photographer.

It’s always a huge treat to take a look at the winning and highly commended images from Wildlife Photographer of the Year, and 2023’s selection is no different.

Over the years, there’s been a noticeable shift away from what you might call “classic” wildlife photography, towards more artistic representations of certain subjects, as well as journalistic approaches.

More than 100 extraordinary photographs will be displayed at the exhibition in London which runs at the Natural History Museum until 30 June 2024. After it completes its run in London, it will travel across the UK and internationally. A book, Wildlife Photographer of the Year Portfolio 33, edited by Rosamund Kidman Cox and with a foreword by Kathy Moran (chair of the judging panel), is also available to buy now (RRP £28) if you can’t make it to the exhibition yourself.

This year, there were an incredible 49,957 entries from photographers of all ages and experience levels from 95 different countries. An international panel of experts judged the images anonymously, looking for evidence of creativity, originality and technical excellence.

The winners of each category, along with the overall Grand Title and Young Grand Title Awards were announced on 10 October at a ceremony hosted by wildlife TV presenters and conservationists Chris Packham and Megan McCubbin.

If you’ve been inspired by this year’s winners, the next installment of the competition – its 60th anniversary – is now open for entries. You’ve got until 11.30am GMT on Thursday 7 December to submit your work.

Winner, Portfolio Award and Wildlife Photographer of the Year 2023

The ancient mariner by Laurent Ballesta, France

Technical details: Nikon D5 + 13mm f2.8 lens; 1/25 at f22; ISO 800; Seacam housing; 2x Seacam strobes

The ancient mariner by Laurent Ballesta, France. Portfolio Award winner and Wildlife Photographer of the Year 2023. Nikon D5 + 13mm f2.8 lens; 1/25 at f22; ISO 800; Seacam housing; 2x Seacam strobes. © Laurent Ballesta, Wildlife Photographer of the Year

Photographed in the waters off Pangatalan Island in the Philippines, this intriguing image shows a tri-spine horseshoe crab, with a trio of juvenile golden trevallies poised ready to dart down for edible morsels ploughed up by the crab’s passage.

Marine biologist and photographer Laurent Ballesta has spent his working life dedicated to exploring the oceans. It’s paid off as this is now the second time he has taken home the grand title of Wildlife Photographer of the Year. He was first awarded Wildlife Photographer of the Year in 2021 for his intriguing image of camouflage groupers exiting a milky cloud of eggs and sperm in Fakarava, French Polynesia.

He humbly acknowledges that his success is not just his alone. He told me, “I am very happy, mainly for my team, because I have guys supporting me and working hard, sometimes taking risks, very often being cold and exhausted during these dives to make the best out of the shots. This award is a tribute to the beautiful places I was lucky to visit and explore.”

“Honestly, I can’t tell you how happy I am to receive this award and be recognised by people who have inspired me since I was a teenager! During the first two decades of my career, I didn’t dare to enter this prestigious competition. I don’t know why. On one hand, I regret it because it could have been motivating and an opportunity to meet and make myself known to serious professional media. On the other hand, I’m happy that I waited this long, since together with my best friend and studies colleague, we were able to build our own company: Andromède Oceanology, which has 15 employees (all divers and biologists) and has provided me with the opportunity to lead real explorations.”

Speaking about the images in his portfolio, Laurent says, “photography takes a new dimension in Pangatalan. Usually, it’s a question of enhancing reality: making what is wonderful more beautiful, making what is disastrous more dramatic. It’s different here – everything must be nuanced to illustrate hope, to look for signs and the symbols of a possible renewal. For most of the Portfolio images, it was hard to find the right moment to take the shot. The water is muddy and makes it difficult to find horseshoe crabs. I had to do them again and again and again – because when it becomes too muddy, you have to be very patient and wait for a very long time for the mud to come down.”

Laurent’s top photography tips:

• Don’t try to make images that are better than those made by other photographers.
• Have a passion for your photography – don’t only pursue it for career purposes.

Young Wildlife Photographer of the Year 2023

Owls’ road house by Carmel Bechler, Israel

Owls’ road house by Carmel Bechler, Israel. Young Wildlife Photographer of the Year 2023. © Carmel Bechler, Wildlife Photographer of the Year

Seventeen-year-old Carmel Bechler from Israel was awarded Young Wildlife Photographer of the Year 2023 for his ‘Owls’ road house’, a dynamic frame of barn owls in an abandoned roadside building. Using the family car as hide, Carmel made the most of natural light and long exposure times to capture the light trails of passing traffic.

Carmel was just 11 years old when he began wildlife photography, and this is his first award in the annual competition. ‘I hope to share with my photography that the beauty of the natural world is all around us, even in places where we least expect it to be, we just need to open our eyes and our minds,’ says Carmel.

Winner, Photojournalist Story Award

The unprotected by Karine Aigner, USA

Technical details: Sony RX1R II + 35mm f2 lens; 1/40 at f8; ISO 1600

The unprotected by Karine Aigner, USA. Photojournalist Story Award. Sony RX1R II + 35mm f2 lens; 1/40 at f8; ISO 1600. © Karine Aigner/Wildlife Photographer of the Year

For this portfolio, award-winning photojournalist Karine Aigner explored the sad reality of hunting competitions. In this shot, we can see contestants lining up to have their bobcats weighed in the March 2022 West Texas Big Bobcat Contest, which is the highest paying predator-hunting contest in the USA. The heaviest bobcat prize is US $35,530 (around £28,000.)

This is obviously a fraught and highly sensitive subject, which needed to be approached with care. As Karine explains, “There were many challenges with my story. Access and trust being the top two issues. The topic is very controversial, and has very opposing sides, and is completely legal. I overcame some of the issues by being honest – and documenting what I was shown, and having no judgements.

“It’s an extremely satisfying feeling winning at WPY. Having colleagues, photo editors and media actually see the work you’re doing. Some stories, especially ones that are “hard” to look at, on difficult topics, sometimes get no press, because publications only want “positive” stories. But what is going on in the world, especially the natural world, is not always positive. But it doesn’t mean those stories should be ignored. When you do well in WPY, it gets a whole different set of eyes on them – which feels good, and hopefully creates a larger awareness of the issues.”

Karine’s top photography tips

• Share your work with editors and colleagues that are willing to be honest with you. Do not ask your family which images you should choose to enter a competition.
• Grow a backbone. A competition is not personal. The winners are a product of the opinion of a set of judges. If you don’t win, take a good hard look at your images, and try again.

Winner, Animals in their Environment

Life on the Edge by Amit Eshel, Israel

Technical details: Canon EOS R5 + 24–70mm f2.8 lens at 45mm; 1/800 at f8; ISO 500

Life on the Edge by Amit Eshel, Israel. Winner: Animals in their Environment. Canon EOS R5 + 24–70mm f2.8 lens at 45mm; 1/800 at f8; ISO 500. © Amit Eshel/Wildlife Photographer of the Year

This dramatic clash between two Nubian ibex was captured after Amit hiked to an excellent vantage point on the clifftop. The battle lasted for about 15 minutes before one of the males surrendered, without serious injury.

Amit is clearly thrilled by his win, “Having my work recognised at this level is something I have always dreamed about since I started practicing wildlife photography seriously,” he says. “I never knew if I would be able to fulfil this dream. I was notified in March about my success in this year’s contest and it brought me to tears – keeping it as a secret for such a long time was one of the hardest things I have ever done.”

Part of a long-term project about the Nubian ibex, Amit has photographed the animals across different seasons and locations to tell the story of the species. “I was very excited when I spotted these adult males just after sunrise on the cliff above me as they started battling. I wanted to include the Zin valley and the mountains in the image, so I knew I had to hike up and position myself above them. Getting close enough to the Ibex in order to effectively use a wide lens is key for achieving such an image – especially while also making sure not to interfere with their natural behaviour.”

Amit’s top photography tips

• Don’t think about winning photo contests – enjoy the creative process and the time spent in nature.
• It’s fine to look at previous years’ winning images for inspiration, but don’t use it as a guideline on what to enter – the judges are looking for a fresh and creative approach.
• It does not matter if the image was taken in your backyard or in the remotest corner of the world, a good image speaks for itself.

Winner, Behaviour: Mammals

Whales making waves by Bertie Gregory, UK

Technical details: DJI Mavic 2 Pro + Hasselblad L1D-20c + 28mm f2.8 lens; 1/120 at f4; ISO 10

Whales making waves by Bertie Gregory, UK. Winner, Behaviour: Mammals. DJI Mavic 2 Pro + Hasselblad L1D-20c + 28mm f2.8 lens; 1/120 at f4; ISO 10. © Bertie Gregory/Wildlife Photographer of the Year

Bertie was fortunate enough to embark on a two month-long expedition searching for orcas. This group specialises in hunting seals by charging towards the ice, creating a wave that washes the seal into the water. This kind of behaviour is under threat from climate change, as seals are spending more time on land as the ice floes melt. It’s estimated that there are just 100 of these particular killer whales in existence, with estimaets suggesting their population is declined by 5% per year.

“These particular killer whales love ice as this is where their seal prey is found,” explains Bertie. “Boats don’t like ice so keeping up with them was a real challenge. It required a huge amount of teamwork between the boat’s captain as he weaved through the ice, his deckhands helping to spot obstacles, our onboard killer whale scientists Leigh Hickmott keeping track of the killer whales and predicting their behaviour, and because I was in the air with the drone, I could also recommend the best route for the boat through the ice and keep and eye on the killer whales if we started to lag behind them.”

This is the first time Bertie has won an award at WPY, having been entering the competition since he was 15 – a testament to persistence and perseverance paying off. He’s incredibly passionate about wildlife photography, “It has the power to stop people in their tracks and take notice. I think images are best when they’re immediately striking but then the more you look at them, the more they reveal.”

Bertie’s top tips

• Think about originality. Has the animal been photographed before? If yes, how can you make your image unique?
• In my case I had an unfair advantage as these killer whales are very rare, but, even if your subject has been photographed before, try a unique angle – such as with a remotely controlled camera – or think about context, where the animal is found in a surprising location.

Winner, Underwater

Hippo Nursery by Mike Korostelev, Russia

Technical details: Canon EOS 5D Mark III + 17–40mm f4 lens; 1/320 at f7.1; ISO 640; Seacam housing

Hippo Nursery by Mike Korostelev, Russia. Winner, Underwater. Canon EOS 5D Mark III + 17–40mm f4 lens; 1/320 at f7.1; ISO 640; Seacam housing. © Mike Korostelev/Wildlife Photographer of the Year

Here we have another photographer who shows that patience is a virtue. Mike has been visiting the hippos in this lake in South Africa for over two years, helping them to get accustomed to his boat. Amazingly, he spent just 20 seconds underwater with them – just enough time to get this beautiful photograph from a safe distance and to avoid alarming the mother.

As hippos only produce one calf every two to three years, they have a slow-growing population which is vulnerable to habitat degradation, drought and illegal hunting for meat and ivory.

Although Mike has won several other wildlife photography contests, he says that WPY has a special meaning for him. “It was always my dream – it’s like the Oscars of wildlife photography so I’m extremely happy that this year I crossed the finish line first after ten years of trying.”

Explaining some of the challenges of capturing this shot, he says, “This animal has a reputation as one of the most dangerous animals in Africa. Before I went into the water to them for the first time I put in hours of preparation, research and watching them – working with the same group every day. Only after a year when I was almost sure that it was safe did I dive to them. I swam slowly with my mask, fins and my camera in my hands. My heart was beating so fast because it felt like I was first in the water with hippos – like Yuri Gargarin in space or Neil Armstrong on the moon! I just knew that if I got some shots, I’d be coming to London next year (for WPY).”

Mike’s top tips

• Be a perfectionist. Don’t be satisfied by your first couple of good shots – you can do more, and do better. Think to yourself – could this photo be a winner of WPY? If not, you must continue.
• Respect the place where you work and the animals. Think about how your photos can protect them – and of course, don’t disturb them. Remember that their life and safety are more important than your photos.

Winner, Natural Artistry

The art of courtship by Rachel Bigsby, UK

Technical details: Nikon D850 + Sigma 60–600mm f4.5–6.3 lens; 1/1600 at f11; ISO 5000

The art of courtship by Rachel Bigsby, UK. Winner, Natural Artistry.
Nikon D850 + Sigma 60–600mm f4.5–6.3 lens; 1/1600 at f11; ISO 5000. © Rachel Bigsby/Wildlife Photographer of the Year

This pair of gannets are framed against the guano-painted curves of sandstone cliffs in Shetland, Scotland. Each summer, the Isle of Noss hosts more than 22,000 northern gannets – the species was hit hard by the 2022 avian flu outbreak.

Rachel says, “As our boat chugged toward the island, I was quick to see potential, but I realised my vision would be tricky abord a small boat in turbulent sea swell, handholding a heavy telephoto lens. I wanted a courting pair, but among the 22,000, I couldn’t find one. Then, I spotted the perfect pair, isolated on a lower ledge, intertwining their necks and framed meticulously by the streaks of guano. Concentration was key, as well as a fast shutter speed to capture sharp images while moving with each wave. In a few seconds, the boat aligned with the rocks and everything came together.”

As a young photographer, Rachel is extremely pleased to have done so well at this year’s competition. “As a 26-year old self-taught photographer, I feel speechless to be a winner in such a prestigious competition so early on in my career. I also feel very grateful for the opportunity to showcase the Northern Gannet to the world.”

Rachel’s top tips

• Understanding the behaviour of your subject and the logistics of your location before you photograph is one of the greatest advantages you can give yourself – by doing this, you can better predict when the opportune moment will occur.
• Sometimes it takes experience, but other times you can take advantage of local knowledge and apps to understand where you should be situated and at what time.
• A strong caption can go a long way in enhancing the story that surrounds your image and draw judges in.

Winner, Animal Portraits

Face of the Forest by Vishnu Gopal, India

Technical details: Nikon D850 + 14–24mm f2.8 lens at 14mm; 1/30 at f6.3; ISO 1600; torch

Face of the Forest by Vishnu Gopal, India. Winner, Animal Portraits. Nikon D850 + 14–24mm f2.8 lens at 14mm; 1/30 at f6.3; ISO 1600; torch. © Vishnu Gopal/Wildlife Photographer of the Year

This subtle image reveals the moment that a lowland tapir steps cautiously out of the swampy Brazilian rainforest.

The tapir is threatened by habitat loss, illegal hunting and traffic collisions – they rely on the forest for their diet of fruit and other vegetation.

Finding a tapir to photograph wasn’t easy, as Vishnu explains. “Fortunately, luck was on my side, as an individual tapir showed up to the forest edge near my campsite. Technically, the big challenge was the lighting conditions. The available illumination was inadequate so I used a warm and non-pointed torchlight, with my travel companion operating it. Since my goal was to get up close using a wide-angle lens, I had to exercise patience and move cautiously.”

Visnu believes that the success of the image is important not just to him personally, but the species itself. “It’s absolutely incredible to do well in this competition, and it also highlights the beauty of wildlife and the importance of conservation. This is truly inspiring and pushing me to do more.”

Vishnu’s top tips:

• My mentor often said that luck smiles on those who keep trying. He advised me to spend more time in nature to take better pictures – it’s something you can’t gain from anywhere else.
• Instead of rushing to take a photo, value your time and enjoy your moments in the wild.

Winner, Behaviour: Amphibians and Reptiles

The tadpole banquet by Juan Jesús Gonzalez Ahumada, Spain

Technical details: Canon EOS R6 + 100mm f2.8 lens; 1/80 at f5.6; ISO 320; ring flash

The tadpole banquet by Juan Jesús Gonzalez Ahumada, Spain. Winner, Behaviour: Amphibians and Reptiles. Canon EOS R6 + 100mm f2.8 lens; 1/80 at f5.6; ISO 320; ring flash. © Juan Jesús Gonzalez Ahumada/Wildlife Photographer of the Year

Toad tadpoles feast on a dead fledgling sparrow in this striking image. It was taken close to Juan’s home – showing you don’t necessarily need to travel to far-flung locations to get a winning shot.

Juan admits there was some luck involved too. He says, “At first, I didn’t know what I was looking at, I just saw a dark shadow floating on the water. When I got closer and discovered what was happening, I was impressed. To get the desired result, I had to wait patiently on the edge of the irrigation pond, leaning with my elbows on the wall – it was uncomfortable. Because the body of the inert brd and all the larvae around it were moving slowly in circles in unison, I needed the lifeless eye of the bird to be visible, which contrasted with the life transmitted by the tadpoles feeding on it. The most important thing was not to touch the water because this formation of tadpoles could break and therefore this unique moment could be lost. To compensate for the harsh early summer light, I used a ring flash to give more texture in the dark areas.”

Juan’s top tips

• Perseverance and determination is absolutely necessary to improve your photographic work.
• Face new challenges, don’t stay stuck in what you already know or do – try new techniques and learn how to make the most of them
• Have good knowledge of the animal species that you want to photograph – their habits, activity schedules, and behaviour in general.

Wildlife Photographer of the Year 59 exhibition

• Opens Friday 13 October 2023 and closes Sunday 30 June 2024.
• The exhibition is open Monday – Sunday, 10.00-17.50 (last admission at 16.30), and weekends sell out quickly.
• Adult tickets from £17.50*, concession tickets £14.00*, and child £10.50*. Off-peak Ault tickets from £15.00, off-peak concession ticket £12.00, and off-peak child ticket £9.00 (*Prices excluding optional Gift Aid donation to the Museum.)
• Get behind the lens of some of the world’s best wildlife photographers with a new Wildlife Photographer of the Year exhibition tour: www.nhm.ac.uk/events/wildlife-photographer-of-the-yeartour
• Book your tickets: www.nhm.ac.uk/visit/exhibitions/wildlife-photographer-of-the-year
• #WPY59

Wildlife Photographer of the Year 60 competition

• Opens for entries on Monday 16 October 2023.
• Closing for entries at 11.30am GMT on Thursday 7 December 2023.
• Entrants to the adult competition may enter up to 25 images for a £30 fee, which increases to £35 in the final week of the entry period from 11.30am GMT 30 November to 11.30am GMT 7 December 2023.
• An entry fee waiver has been introduced for photographers entering the adult competition who live in Africa, Southeast Asia and Central and South America.
• Entrants aged 17 and under may enter up to 10 images for free.
• Find out how to enter: www.nhm.ac.uk/wpy/competition

Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. For more information on both the exhibition and the competition, visit nhm.ac.uk/wpy/competition

See more of the best photography competitions to enter and photography exhibitions to see.

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Trigger warning: detailed mention of shark attack experience

Your new book is called Shark: Portraits. Are sharks open to having their portraits taken?

Some sharks like the camera. They’ll come close and seem really interested in you and your camera. But some sharks are skittish. With tiger sharks, a lot of people jump in the water and start chasing after them. You need to give them time and let the animals come towards you. That’s when you get the best photos. 

Photo: Mike Coots

What kinds of portrait techniques do you apply to sharks? 

When I’m underwater, I’m mainly trying to nail the focus and composition. It’s more in the post-production. I gravitate towards images where I can see the shark sort of having a human characteristic: a smirk, a smile maybe, a highlight in the eyes that catches the light. I look for those same things you would if you were going through a portrait session with a person. 

I’m trying to get people to love sharks. Hollywood has done a good job of showing the scary side of sharks. It’s refreshing to show the other side.

What is it you find fascinating about sharks? 

After I was attacked, I was more curious about shark attacks than the sharks themselves. I was curious why I got attacked. I had a lot of questions and read a lot of books. 

The first time I went diving with sharks, I saw a whole other world. I’d spent a lot of time, as a surfer, above the water. But when you’ve got eye contact and you’re below the water with a shark, it’s mesmerising. They’re beautiful creatures. You’re looking at a living dinosaur.

Photo: Mike Coots

Can you talk through what happened in the attack?

It was in Kaua‘i, in 1997. I was 18 at the time. We have a good surf spot on the west side of the island. I’d been in the water less than five minutes. I was paddling for a wave. I didn’t see a fin breach or have any forewarning – I was just blindsided. It grabbed onto me – a big tiger shark, around 12 to 14 feet. I stuck my right hand into its mouth to try to get my legs out. That didn’t work, and I felt a huge amount of pressure – zero pain, but a lot of pressure. The shark lifted me out of the water and ragged on me back and forth. It felt like I was watching myself in a movie. I punched the shark in the nose. It let go as soon as I hit it a few times.

Photo: Mike Coots

Did your survival instinct kick in? 

Yes, it was a primal instinct – “A large animal is attacking me and I need to fight back.” I got back on my board and started paddling in. My right leg did a weird ‘shake’. I thought the shark was finishing me off, but I looked behind me and my leg had severed right off, big squirts of blood coming out every time my heart beat. Fortunately, a wave came and I rode it all the way to the sand. My friend Kyle used my board’s leash as a tourniquet and saved my life. I went in and out of shock as we drove to the hospital. I woke up a day later as an amputee, and spent a week in hospital and a few weeks bedridden at home. I was back in the water in a little over a month.

At Tiger Beach, the Bahamas. This great hammerhead shark is a large female named Pocahontas. Surviving a shark attack prompted Mike to learn about the importance of sharks. Photo: Mike Coots

Canon EOS 5D Mark III · f/7.1 · 1/640s · 50mm · ISO250

Was there a chance you’d never go back in the ocean? 

No. I knew it was a statistical anomaly that I got attacked. The fear of losing out on good surf and being with my friends in the ocean was much greater than feeling I’d be attacked by a shark again. The second I could get back in the water, I did.

Do you have any idea why the attack happened? 

When we turned up at the beach that morning, there was a foul smell in the air. I think there were dead fish in the water. The shark probably thought I was a turtle or something. The water was murky that day as well. 

Photo: Mike Coots

Canon EOS R5 · f/3.2 · 1/1000s · 50mm · ISO640

What made you channel your experience into protecting sharks? 

One thing led to another. After the attack, I was out of the water for a while. Sitting on the beach, I fell in love with shooting photos of my friends surfing. That transformed into going to art school to study photography, and then that transformed into learning about the importance of sharks on Youtube. Later, I got into the policy-making side of things. I’ve talked to congress (in Washington?) about shark legislation. I’ve been able to speak out as a shark attack survivor and use the irony of my shark attack, along with science, to say why we need to protect sharks. 

Why are sharks so endangered?

One of the biggest threats is shark fin soup, a delicacy in Asia, which has no nutritional value. It’s barbaric. People go out to sea, catch the sharks, and then cut off the fins, which are used in the soup – the rest of the body is thrown overboard. 

Another big issue is bycatch from the commercial fishing industry. Sharks are inadvertently caught in longlines for tuna and swordfish. 

For shark fin soup, there are upwards of 70 million sharks being killed each year. For the commercial fishing industry, I don’t know the number because the industry’s hidden in secrecy. 

Photo: Mike Coots

How vital are sharks to healthy oceans? 

As a keystone species and apex predator, they get rid of the sick, diseased, dying and weak, and they keep the food chains below them in balance, so other populations don’t get wildly out of control. If we don’t have sharks in our oceans, we won’t have healthy oceans or a healthy planet. 

What’s the best location in the world for photographing sharks? 

For great whites, it’s Guadalupe Island in Mexico. For tiger sharks, it’s either Fuvahmulah in the Maldives or Tiger Beach in the Bahamas.

Fish are Friends. Tiger shark at Tiger Beach, the Bahamas. Mike says Hollywood has done a good job of showing the scary side of sharks and it’s refreshing to show the other side. Photo: Mike Coots

Are sharks difficult to photograph, when you need to keep a close eye out?

Sometimes you can get so locked on to what’s in your viewfinder that the space around you disappears. It won’t be the shark in front of you that you’re photographing that’s a problem – it’s going to be the shark that you don’t see. It’s good to pull your head away from the camera regularly to get a good visual sense of what’s around you. 

Since the first attack, have you had any other close calls? 

I was in an underwater submersible in Mexico, a cage that moves with propellers. You have a guy driving, and you can hang half your body out the front. I had a great white shark, who was irritated by those propellers, come straight at me – it was within millimetres of my face. I thought it was going to bite my head off. I couldn’t talk for a while after that.

The ocean is unpredictable and wild, but I control everything that’s in my power. If you know the sharks are getting agitated or the water is getting murky, you get out of the water. You never want to push yourself, or say “Five more minutes, I’m getting the best shots.” Safety is Number One – photography is second. 

Shark: Portraits by Mike Coots (Rizzoli, £42.50) is out Sept 19. For more on Mike’s work, see sharksbymikecoots.com and Instagram @mikecoots

Featured image: Mike taking another of his stunning pictures, of a tiger shark. Photographed at Tiger Beach, in the Bahamas

Wildlife photography holidays

Test and improve your wildlife photography skills on one of our Wildlife photography holidays. Led by experts, we have a range of photo trips coming up in the UK and around the world. See all upcoming trips here. 

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Revealed! The world’s best underwater photographs

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Best cameras for wildlife photography

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The post Diving with sharks: shark attack survivor turned photographer appeared first on Amateur Photographer.