Embarking on a safari is a thrilling experience—one that offers the opportunity to witness the natural beauty and raw power of wildlife in their undisturbed habitats. For photographers, this experience presents the chance to capture unique and breathtaking images.
In this post, I report my experience after my first photographic safari, the difficulties that I've encountered, the considerations in hindsight. detailed advice on equipment, camera settings, composition, lighting, and more.
1. Choosing the Right Equipment
Camera Body
When it comes to safari photography, a DSLR or mirrorless camera is essential for capturing high-quality images. Here’s what to consider:
Full-frame sensors offer better image quality, especially in low light, due to their larger sensor size.
APS-C sensor cameras are also an option if you're looking for extra reach, as they provide a crop factor that increases the effective focal length of your lenses (e.g., a 200mm lens becomes a 300mm equivalent on an APS-C sensor).
Weather sealing is crucial, as safari environments can be dusty, wet, and unpredictable. Look for a camera with a durable, weather-resistant build.
As I will say later, it is essential to have focal lengths of at least 500 mm; I have used in most cases the 150-600 on an APS-C, often at the maximum focal length (which considering the crop factor is equivalent to 900 mm focal length); but a wide angle is also necessary, even if it will be used much less often. The need for at least two lenses also makes the use of two camera bodies almost indispensable; having two camera bodies is almost mandatory because in the environmental conditions of a safari it is unthinkable to change the lenses even just once a day, without irreparably dirtying the sensor; furthermore, having a second camera body is useful in case of malfunction (you don't want to find yourself with only the camera you brought broken down after having spent a lot of money on the safari...).
Lenses
The choice of lens is one of the most critical decisions for safari photography. Since animals are often at a distance, a variety of focal lengths is required.
Telephoto lenses (200mm to 600mm) are a must. Wildlife often won't come close, and you'll need the zoom to capture detailed shots without disturbing the animals. A 100-400mm or 200-600mm lens offers versatility, while prime lenses like 500mm or 600mm provide superior sharpness.
Wide-angle lenses (14mm to 35mm) can be used for capturing landscapes or animals in their habitat, giving context to the scene. This lens is perfect for showcasing the vastness of the savannah or the intricate beauty of the jungle.
A fast lens with a large aperture (f/2.8 or f/4) will help in low-light conditions, such as early morning or dusk when many animals are active.
Teleconverters can extend the focal length of your lens, but be aware they may slightly reduce image quality and slow down autofocus.
During my first (and, so far, only) safari I mainly used a Nikon D7100, on which I mounted a Tamron 150-600 G2 zoom, (which, considering the crop factor, actually reached a focal length of 900 mm) and a Nikon Z5 with a Nikkor Z 24-200 zoom. I used the D7100 for 90% of the photos; in fact, the 24-200, in most cases, had a focal length that was too short in relation to the distance of the animals. In terms of speed, the Nikon D7100 shoots, in burst mode, at 6fps, which I have never considered a limit, so I would suggest this speed as the minimum speed for continuous shooting; the Z5, with a speed of 4.5 fps is a little slower, but having used it very little I did not feel it as a limitation.
Regarding the Tamron 150-600 G2 zoom, I have to say that I was extremely satisfied with the quality of the images, considering that it is a relatively inexpensive lens; I was also pleasantly surprised by the speed and precision of the autofocus, which was above my expectations, always in relation to the price. If I had to find faults, I would identify them in the handling, inevitable, considering the size, in the quality of the bokeh, also inevitable considering the low light and above all in the extreme hardness of the zoom ring, which becomes annoying when you have to quickly change the focal length to follow a moving animal. For the rest I have to say that I am fully satisfied. In particular, considering the characteristics of the lens, I was worried that many photos would be ruined by micro-blur; this undoubtedly happened on some occasions, but overall I am very satisfied with the results; a valid alternative, however, considering the fact that a safari is an expensive trip that you don't get to undertake many times in your life, could be to rent professional lenses.
As I said, the use of the Z5 with the 24-200 was relegated to occasions when large animals approached close to the car, and for low-light conditions such as sunset photography; I would go as far as to say that more than 50% of the shots were taken with the maximum focal length (900mm, taking into account the crop factor), either because the subject was often far away, or to capture details such as eyes or paws.
Accessories
A few other pieces of equipment are indispensable:
Beanbags: If you're shooting from a vehicle, a beanbag can stabilize your camera on the vehicle’s window or roof; this is a completely essential and indispensable accessory for a safari.
Tripod or monopod: While safari vehicles often provide stability, a monopod or tripod will help with heavier lenses and improve shot consistency, especially during long shoots. In my case the tripod remained almost completely unused, having only used it to take a few photos of the night sky.
Lens hood: Essential for cutting out lens flare and protecting the lens in harsh sunlight.
Extra batteries and memory cards: Safaris can last for hours, and you won’t always have time to switch out or recharge. Bring more than you think you'll need; as a rule, I changed an SD card at the end of each day, so that I could back up and secure the day’s shots.
Rain covers and cleaning kits: The weather can change quickly, and dust is a constant challenge. Keep your gear protected and clean.
Backup equipment: (Ravpower Filehub, Portable NAS, Portable Hard Drive, USB Sticks... whatever suits your needs) in the field you will take thousands of photos and you don't want to lose that photo of the cheetah...
2. Understanding Light and Timing
In safari photography, natural light plays a crucial role. Since you can't control lighting as you might in a studio, you’ll need to adapt to what nature provides.
Golden Hour Magic
The "golden hours"—the hour after sunrise and the hour before sunset—provide soft, warm lighting, which is ideal for capturing stunning wildlife shots. During these times, the light is diffused, creating long shadows and adding depth and dimension to your photographs. This is also when many animals are most active. Under normal circumstances, your guide will plan your entry and exit times for the parks, which will generally not coincide with these hours, so you will have to negotiate, and a tip may be useful to convince the guide to work overtime.
Midday Challenges
Midday light is harsh and can create strong contrasts and washed-out images. To mitigate this:
Use spot metering to expose for the animal’s fur or features, rather than the background.
Shoot in RAW format to recover blown-out highlights or deep shadows during post-processing.
Look for subjects in shaded areas to avoid overexposure.
Low-Light Conditions
During dawn, dusk, or cloudy weather, the light can be low and challenging. To manage this:
Increase ISO to maintain a fast shutter speed without underexposing the image. Modern cameras can handle higher ISOs with minimal noise.
Use a larger aperture (f/2.8 or f/4) to allow more light in.
Stabilize your camera on a beanbag to avoid camera shake at slower shutter speeds.
The bean bag will not always be usable, on some occasions you will find yourself moving inside the jeep to chase the movement of an animal, in which case remember to increase the shutter speed; as I said, I often shot with focal lengths greater than 600mm and consequently, I tried to always use shutter speeds at least equal to 1/1000 sec.
3. Essential Camera Settings
Having the correct camera settings will make the difference between a sharp, clear shot and a blurry or poorly exposed image. Here are some essential settings to master:
Shutter Speed
Wild animals move unpredictably, and capturing their motion requires a fast shutter speed. As a rule of thumb:
For small or fast-moving animals (e.g., birds or cheetahs), use a shutter speed of at least 1/1000s, or faster.
For larger animals that move more slowly (e.g., elephants, rhinos), you can use a shutter speed of 1/500s to 1/1000s.
If you're photographing in low light or want to introduce motion blur for creative effect, reduce the shutter speed but stabilize the camera carefully.
You will notice that the guides do not always turn off the engine; do not be shy and always ask to turn it off when you want to take a photo, otherwise it will inevitably be ruined. The following photo was taken with the jeep engine running, which significantly compromised its quality.
Aperture
For wildlife photography, depth of field is crucial. A wide aperture (small f-number like f/2.8 or f/4) will:
Isolate the subject from the background, making the animal stand out.
Allow more light into the camera, helping with low-light situations.
However, be cautious of using too wide an aperture if the animal is very close or if you want more of the environment in focus. In hindsight, I've found that 90% of the photos I took were at the widest aperture my lens would allow. The important thing is to get the focus right, from 100 meters away, with 600 mm or more of focal length, using the maximum aperture when taking a photo of a lion can easily mean finding the mane in focus and the eyes out of focus.
ISO
Modern cameras handle high ISO settings well, which is essential for wildlife photography. When shooting in low light, increase the ISO to maintain a fast shutter speed without underexposing the image. Be mindful of noise at high ISOs, but don’t hesitate to push ISO to 1600, 3200, or even higher on newer cameras. Of course, in most cases, it is possible to quickly change the shutter speed, but keeping this setting fixed allows for quick shots that, in most situations, ensure you get the desired result.
As a default setting, I always kept the aperture at maximum aperture and the shutter speed at 1/1000 sec., setting the camera to automatically select the ISO; I would suggest this setting because, except in exceptional cases of low light, the ISO rarely went above 400.
Focus Mode
For moving subjects, use continuous autofocus (AI Servo on Canon, AF-C on Nikon/Sony). This mode tracks the animal’s movement and keeps it in focus as it moves across the frame.
Use back-button focusing to lock focus independently from the shutter button, giving you more control over when to refocus.
Select single-point or dynamic-area focus to avoid your camera focusing on distracting elements like branches or grass.
Drive Mode
Set your camera to burst mode, which allows for continuous shooting when you hold down the shutter button. This increases your chances of capturing the perfect moment, especially when photographing fast-moving animals or birds in flight. In particular, I noticed that pressing the shutter button affects camera shake even when conditions are apparently stable and that shooting a burst of static subjects can be useful, because the first shot in the burst, due to the movement caused by pressing the button, tends to be blurrier; furthermore, jeep suspensions are very elastic, and even the slightest movement from anyone on board is enough to make the vehicle swing enough to move the car, even when using the bean bag.
4. Composition Tips
While technical settings are crucial, composition is what turns a good photo into a great one. Here are some tips to consider when framing your shot:
Rule of Thirds
Use the rule of thirds to create a more balanced and interesting image. Place the animal off-center, positioning it in one of the thirds of the frame. This composition helps guide the viewer's eye and creates a more dynamic scene.
Eye Level
Whenever possible, shoot at eye level with the animal. This creates a more intimate and engaging photo. To achieve this, try lowering your camera to ground level or, if shooting from a vehicle, position yourself to capture the animal’s gaze head-on.
In safari jeeps, the most comfortable and natural position is standing, with the lens sticking out of the roof; in this position, however, with the exception of elephants and giraffes, you tend to be about two and a half meters above the level of the animals, which will result in many cases in uninteresting perspectives; do not be lazy and try to stay on your knees as much as possible, leaning the camera against the window, rather than standing with the camera sticking out of the roof.
Negative Space
Leave space in front of your subject, especially if the animal is moving. This allows for a sense of direction and movement in your shot. Negative space also adds a natural balance to the composition.
Capture Behavior and Interaction
Action shots and behavioral photography often tell a more compelling story than static portraits. Be patient and wait for unique behaviors—whether it’s a lion yawning, a bird in flight, or elephants playing in water. Capturing these moments adds life and drama to your portfolio.
Contextualize with the Environment
While close-up portraits of animals are stunning, don’t forget to capture wider shots that place the animals in their natural habitat. Whether it’s a herd of zebras in the grasslands or a lion framed by the vast horizon, environmental shots offer a deeper narrative.
5. Bottom line
After my first safari, I am satisfied with the photos I took and they turned out to be better than my expectations. On the other hand, comparing my photos with those of some very good amateurs who regularly go on safari and publish their photos online, there is still a significant quality gap between the photos I took on my first experience and those of more experienced photographers, so take my advice with a grain of salt, trusting that my advice will allow you to take excellent photos, but that everything can always be improved.
As a point of comparison, and for inspiration, I cite the site of Buddhilini De Soyza, amateur photographer and winner of the Wildlife Photographer of the Year in 2024, who is an expert safari photographer and publishes photos of a sensational quality.
6. Gallery and enlargements
I publish below some shots that I am particularly satisfied with, with the relative shooting data and some enlargements taken directly from the RAW file.
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