I'm a Professional Photographer and These Are My Safari Photo Secrets

I learned my first lesson about safari photography the hard way. There I was, at a small airstrip in Botswana, buying an extra plane ticket for my camera bag. I'd neglected to consider the strict luggage weight restrictions on most bush planes, and I was over the limit. (It was lucky that the plane could accommodate the extra bag at all.)
By the end of the trip, I hadn't touched the wide-angle lens I packed; the tripod in my bag was unused. Over 10 days, I also got a real-world education in camera settings, working in dusty conditions, and with the very real threat of running out of space on my memory cards. And to think that I had already been doing this for a living for several years.
Since that fateful first trip, I've gone on several other, more successful safaris—during which I've honed the following strategies for maximizing my time in the field. Zebras in Botswana's Makgadikgadi Pans.
While I'm careful about overpacking, one thing I won't compromise on is traveling with two camera bodies. I carry two Sony full-frame mirrorless cameras, an Alpha 7R III and an Alpha 7R V. I fit each one with a different lens so I don't have to swap lenses in the middle of whatever action I'm trying to capture. I typically use a 24-70 mm for wider shots of the landscape, animal herds, and creatures that come close, and a 200-600 mm super telephoto for tighter shots. I also bring along a 70-200 mm, just in case.
When it comes to rare sightings—a cheetah feasting on a fresh kill, a hyena, a sable antelope—you might only have a split second to capture the moment. 'Too often, guests arrive in Africa with brand-new camera equipment they have never used,' says Shaun Stanley, the founder of Stanley Safaris. 'Practice prior to your arrival and consider investing in a photography course.'
I always carry Zeiss lens wipes, microfiber cleaning cloths, and a rocket air blaster for removing dust without the risk of scratches. My lenses are also fitted with UV filters, which protect them from scratches and harsh sunshine.
For sharp images, stability is key—but a traditional tripod is cumbersome inside the confines of a safari vehicle. I've learned to love the Kinesis SafariSack, a beanbag-style pouch you can rest on the side of a Land Rover or over a seat. 'Many lodges and camps have them, but you can never be certain, so I always bring my own,' says Ian Proctor, a member of the T+L A-List and president of Ultimate Africa Safaris. 'I pack it empty and then ask the lodge for some beans to fill it when I arrive.'
I've gotten the dreaded 'SD card full' message many times, and it always seems to happen when I'm capturing some thrilling moment. 'It is not out of the norm to shoot upwards of a thousand images per day,' says Julian Harrison, another A-List advisor and the CEO of Premier Tours. Many lodges stock extra memory cards, but I've yet to find a solid camera shop in the bush—and you don't want to run short of space mid-game drive.
Every safari is different, but I tend to rely on a few common settings. To capture fast-moving wildlife, I use quick shutter speeds, typically 1/1000 or faster. Burst mode, which takes a series of rapid-fire shots, is also essential. Fast shutter speeds often call for higher ISO settings, but too much sensitivity can create 'noise,' so I try to stay at 1600 or lower. When taking close-up or zoomed-in photos, I always focus on the animal's eyes, using an f-stop between f/2.8 and f/6.3 to give a shallow depth of field that makes for a beautiful blurred background.
Whether your equipment cost $2,000 or $20,000, you'll want to protect that investment: camera-specific plans from Lemonade, Progressive, and State Farm cover your gear almost anywhere in the world. Some homeowner's policies also include coverage.
'If you're serious about photography, I suggest paying extra for a private safari vehicle,' Stanley says. 'That way you can bring all your equipment without imposing on other guests.'
With their plentiful game and spectacular scenery, big-name national parks are famous for a reason—but also draw larger crowds. 'Photographers should seek out private concessions, where no more than three vehicles can gather around a particular animal sighting,' Stanley says. These also tend to have fewer restrictions on access, meaning you can arrive before sunrise or stay out after sunset to capture wildlife in the dreamy light of dawn or dusk.
I'm certainly guilty of spending too much time behind the lens, so I've made a point of, every now and then, simply putting down my camera and soaking it all in.
A version of this story first appeared in the July 2025 issue of Travel + Leisure under the headline "Animal Magic.'

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