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wildlife photography tips

The Art of Predator Photography: An Introduction

This is part one of a six part blog photography series.

African Lion. 1/1000, f/7.1, ISO 1000

There’s something about locking eyes with a predator through the lens—knowing that, for a brief moment, you're in their world, capturing something raw, something untamed.

Whether it’s the silent stare of a lion in the Savannah, the calculated movement of a jaguar stalking its prey, or the raw power of a brown bear charging through a river, predators make for some of the most exhilarating and challenging subjects in wildlife photography.

But photographing these apex hunters isn’t just about pressing the shutter—it’s about understanding them, respecting them, and learning how to capture their power and presence in a way that tells a story.

This series is all about that.

There’s a reason why predators command attention in photography. They are the ultimate survivors—designed by nature for speed, strength, and strategy.

Unlike prey animals, predators don’t blend into the background. They are the ones doing the chasing, the ones shaping the balance of the ecosystem. And when you’re lucky enough to capture them in action, the result is an image that demands attention.

But that’s also what makes them so incredibly difficult to photograph.

Crossfox off Churchill. 1/1250, f/5.6, ISO 800

The Challenge of Predator Photography

Predators don’t pose for the camera, and they definitely don’t wait for the perfect lighting.

To capture them properly, you have to:

  • Understand their behavior – What triggers a hunt? What signs show aggression or curiosity?

  • Anticipate movement – Where will they go next? How do you stay ahead of the shot?

  • Adapt quickly – Lighting, distance, angles—every moment is different.

  • Stay safe – Knowing how to get close without becoming part of the food chain.

This is what makes predator photography a game of patience, skill, and respect. You’re not just taking a picture—you’re stepping into their world, and you have to be ready for whatever happens next.

North Carolina Black Bear. 1/1250, f/5.6, ISO 640

Ethics & Respect: Photographing Without Disturbing

One of the biggest responsibilities of a wildlife photographer is knowing when to shoot and when to back off.

Predators are not models. They are hunters, mothers, and territorial defenders.

Disrupting their behavior—even unintentionally—can mean the difference between a successful hunt and a failed one.

Florida Bobcat with sunset colors. 1/1000, f/5.6, ISO 400

A few rules I follow:

  • Never interfere with a hunt – Let nature take its course.

  • Give them space – A long lens is your best friend.

  • Learn to read their behavior – If a predator starts reacting to you, it’s time to back off.

  • Stay hidden when possible – A concealed presence means you see them as they truly are.

A great predator photo isn’t just about proximity—it’s about capturing their world without intruding on it.

What’s Coming Next in This Series?

Predator photography is about more than just pointing a camera—it’s about knowing your subject, understanding your gear, and being prepared for anything.

Over the next few posts, we’ll dive into:

  • Safety tips for photographing predators in the wild

  • Best cameras, lenses, and settings for predator photography

  • How to track and anticipate a predator’s movements

  • Techniques for capturing motion, power, and personality

  • Post-processing techniques to enhance your images

Jaguar in the Pantanal, 1/3200, f/5.6, ISO 1600

Capturing a predator is more than just a photo—it’s an experience. A moment where you connect, even briefly, with the untamed wild.

And once you get that first shot, the one where the eyes lock, the muscles tense, and you realize you just captured something extraordinary… you’ll understand why we keep coming back for more.

The Euphotic Zone: Your Best Friend in Natural Light Photography

Beluga Whale off Churchill, Canada. 1/400, f9, ISO 1000.

This is Part 2 of 10 Part Underwater Natural Light Photography Series.

When shooting underwater using natural light, the euphotic zone is your playground. This is the uppermost layer of water that sunlight penetrates, and it’s where natural light photography truly comes to life. Understanding how light interacts with water in this zone is essential for creating stunning underwater images.

What is the Euphotic Zone?

The euphotic zone is the part of any body of water that receives bright and clear sunlight. Even in turbid, murky water, there’s always a euphotic zone—though it might only extend a few inches deep. In the tropics, where water clarity is exceptional, the euphotic zone can extend well beyond 260 feet—far past recreational diving depths.

This zone is where sunlight, or ambient light, allows photographers to capture natural, vibrant underwater scenes. For those relying on natural light, the euphotic zone is your best friend.

Pink Dolphin in the Amazon River, Brazil. 1/320, f5.6, ISO 2000

Here are two examples of wildlife thriving in very different Euphotic Zones: the pink dolphin of the Amazon River and the lemon shark of the Bahamas. Each represents the unique beauty and diversity of life in their distinct aquatic worlds. The pink dolphin thrives in the dim, low-light conditions of the Amazon River, navigating its murky waters with remarkable adaptations that allow it to flourish in this unique environment. In stark contrast, the lemon shark thrives in the clear, sunlit waters of the Bahamas, where high visibility and abundant light create the perfect conditions for this sleek predator to navigate and hunt.

Lemon Shark at Tiger Beach, Bahamas. 1/320, f8, ISO 400

How Light Behaves Underwater

Light behaves very differently underwater than it does on land. Water is about 800 times denser than air, which causes light to scatter and absorb quickly as it penetrates. The deeper you go, the more light—and color—you lose.

Hawksbill Sea Turtle off Playa Del Carmen, MX. 1/320, f5, ISO 800

Here’s how color disappears at different depths:

  • Red vanishes around 15 feet.

  • Orange fades by 30 feet.

  • Yellow disappears by 60 feet.

  • Green is absorbed around 100 feet, leaving only blues.

This means that the deeper you dive, the more muted and monochromatic your images will appear. Natural light photographers need to work within these limitations to create vibrant and well-exposed photos.

Whale Shark off Isla Mujeres, MX. 1/320, f9, 1/800

Tips for Working in the Euphotic Zone

  1. Stay Shallow:
    The closer you are to the surface, the more light and color you’ll have. For the best results shoot wildlife above 30 feet where reds and oranges are still visible.

  2. Time Your Dives:
    Early morning and late afternoon offer soft, diffused light that can add mood and dimension to your photos. Midday dives provide the most light penetration, which is great for capturing vibrant colors at deeper depths.

  3. Understand Water Clarity:
    Clear tropical waters extend the depth of the euphotic zone, while murky or nutrient-rich waters will reduce it significantly. Adjust your expectations and camera settings accordingly.

  4. Position the Sun Behind You:
    Just like on land, keeping the sun at your back ensures your subject is well-lit and shadows are minimized. Unless you are going for an artsy image and then you want your subject to be backlit by the sun.

Tiger Shark at Tiger Beach, Bahamas. 1/250, f8 ISO 400

The Challenges of the Euphotic Zone

Natural light photography in the euphotic zone is not without its difficulties. Clouds, tides, and weather can all affect light penetration. Additionally, the further you descend, the harder it becomes to maintain vibrant colors without proper camera settings and techniques like custom white balance (which I’ll cover in a future post).

Why the Euphotic Zone is Worth It

Despite the challenges, the euphotic zone offers unparalleled opportunities for natural light photographers. The sunlight filtering through water creates breathtaking effects, like god rays that cut through the blue, or the shimmering light patterns on the ocean floor. These natural phenomena can add depth and drama to your images, creating compositions that feel both authentic and otherworldly.

Sealion off Baja, MX. 1/400, f9, ISO 640

ALWAYS Bring Your Camera!

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There’s a stretch of country road I drive almost daily here in South Texas, whenever I’m home. It runs alongside a wide brush field—raw land growing wild with cactus, tall grasses, and scattered mesquite trees. As soon as I hit that road, I instinctively slow down and start scanning the field. There’s almost always a herd of wild nilgai grazing out there.

They’re never close. But they’re there. Every day.

I usually pull over for a few minutes to watch them. Even from a distance, their size is impressive—nilgai are massive antelopes, striking and out of place in a way that makes you look twice.

I’ve always wanted to photograph them. Not from across two football fields, but up close. Close enough to show the texture in their coats, the power in their build, the wary look in their eyes. But they always keep their distance, so I’ve contented myself with just watching—at least for now.

Still, it makes me happy. Happy to know that places like this still exist. That here, in my own backyard, there’s land wild enough for animals to stay wild.

nilgi 2.jpg

Of course, nilgai don’t actually belong here in South Texas. They’re native to the northern Indian subcontinent. But in the 1930s, the King Ranch imported a few for game hunting. The species adapted quickly and flourished. Today, the population in South Texas is estimated at around 37,000.

Because they’re considered invasive, nilgai can be hunted year-round—and they know it. The local population is incredibly skittish. Anytime I pull over, even at a distance, their ears snap to attention. Moments later, they begin their slow retreat into the thick brush, taking no chances.

But then... magic happened.

After seeing them out there for weeks, one afternoon I spotted them much closer to the road. Close enough for some clean shots with a 400mm lens. It was a group of male bachelors—the kind of moment I’ve been waiting for. The males are giants, sometimes tipping the scales at 700 pounds. They are powerful, beautiful animals.

And guess what? I didn’t have my camera.

Not even my backup. Gloria (my main camera) was sitting at home. All I could do was watch in frustration, cussing and kicking myself for leaving it behind. It was one of those perfect wildlife moments… and I missed it.

Lesson learned. Again.

bucks.jpg

After that brain fart, I’ve been bringing my camera with me every time. Of course, since then, I’ve only seen the nilgai way out in the distance again. But I’m happy to report I did manage to capture a few images—nothing I’m crazy about, but a few decent landscape-style shots, and some with the early morning fog rolling in, which gave them a nice moody feel.

What I’m really after, though, is a close-up of a big buck—face forward, looking straight into the lens, that massive neck filling the frame. That’s the shot I want. So I’ll keep showing up, camera in hand, waiting for the day the nilgai get brave enough to wander in close and give me that moment.

This a good perspective shot to see the size difference between a nilgai buck near a white tailed deer

This a good perspective shot to see the size difference between a nilgai buck near a white tailed deer

I’ll be back out there tomorrow, hoping it’s my lucky day.
Until next week, my friends…

Thanks for reading.