The Maasai Mara National Reserve stands out as one of Africa’s most spectacular wildlife photography destinations. You’ll find an incredible diversity of animals across the sweeping savannahs.

On my Maasai Mara photo safari, you can expect to have a good chance of seeing the Big Five (lions, elephants, leopards, buffalo, and rhinos), along with cheetahs, giraffes, zebras, wildebeest, hippos, crocodiles, and over 450 bird species throughout the year. The open grasslands and acacia woodlands make spotting and photographing these magnificent creatures surprisingly accessible, and an 8-day photo safari presents many opportunities.

One of the things that sets the Maasai Mara apart is the Great Migration spectacle, when millions of wildebeest and zebra travel from Tanzania’s Serengeti between July and October.

During these months, predators follow the herds, creating dramatic hunting scenes and river crossings. If you want once-in-a-lifetime photographic opportunities, this is the time to go.

Even outside migration season, the Maasai Mara teems with resident animals. I’ve often watched everything from massive elephant herds to leopards lounging in fever trees, no matter when I visit.

Key Takeaways

• The Maasai Mara is home to the Big Five plus cheetahs, giraffes, zebras, and hundreds of bird species for year-round photography opportunities.
• The Great Migration from July to October brings countless wildebeest and zebra, creating the most dramatic wildlife spectacle on earth.
• Expert guides and diverse habitats ensure exceptional animal sightings, whether you visit during migration season or throughout the rest of the year.

The Big Five of Maasai Mara

The Big Five animals in Maasai Mara include lions, massive elephants, elusive leopards, dangerous buffalo, and critically endangered black rhinos. These iconic species are the most sought-after wildlife encounters during game drives, and rhino’s can be some of the most difficult to find.

Lion: King of the Grasslands

Lions really are the stars here—they rule the Maasai Mara grasslands in large, social groups. The 850 to 900 lions living in the conservancies make this one of Africa’s best places for lion viewing.

Pride Structure:

• Males: 2-3 adult males per pride
• Females: 10-15 related females
• Cubs: Various ages, cared for communally

Lions live in complex prides where females do most of the hunting, while males defend the territory from rivals.

During the heat of the day, we often spot lions resting under acacia trees. They tend to get active around dawn and dusk when it’s cooler.

Best Viewing Times:

• Early morning: 6:00-8:00 AM
• Late afternoon: 4:00-6:00 PM
• Evening: 6:00-7:00 PM

Lions mainly hunt large ungulates like zebras, wildebeest, and gazelles. Their teamwork during hunts is impressive and often leads to dramatic moments on the savannah.

African Elephant: Gentle Giants

African elephants are the largest land mammals on Earth. I’ve watched these giants use their trunks—packed with over 40,000 muscles—for everything from drinking to communicating.

Physical Features:

• Weight: Up to 6,000 kg
• Height: 3-4 metres at shoulder
• Tusks: Used for digging and defence
• Ears: Large for heat regulation

Elephants live in matriarchal societies led by the oldest female. Family herds move single file, with mothers keeping calves safe in the middle.

These gentle giants can eat up to 300 kg of vegetation a day. It’s wild to see how much they shape the landscape, creating paths and water holes that other animals use.

Elephant Behaviour I’ve Observed:

• Mud bathing for sun protection
• Trunk greeting between family members
• Teaching young calves to use their trunks

Elephants show the most activity in the early morning and late afternoon. We often find them near the Mara River, drinking and socialising.

Leopard: Elusive Beauty

Leopards are by far the trickiest of the Big Five to photograph. These solitary, nocturnal cats love dense bush, where their spots blend in perfectly.

Leopards prefer early mornings and dusk. They’re insanely strong climbers and will stash kills in trees to keep them safe from scavengers.

Leopard Characteristics:

• Hunting style: Ambush predator
• Prey: Small antelopes, birds, rodents
• Territory: Solitary and territorial
• Adaptability: Thrive in various habitats

These cats move with incredible stealth and power. Watching a leopard drag prey up a tree is something you don’t forget.

Best Photography Tips:

• Use telephoto lenses (400mm minimum)
• Focus on tree branches during rest periods
• Watch for movement in dappled shadows
• Be patient and quiet during sightings

Buffalo and Rhino: Formidable Forces

Cape buffalo and black rhinos are the most dangerous of the Big Five. We always approach both species with serious caution—they’re unpredictable and fiercely defensive.

Cape Buffalo Facts:

• Travel in herds of 50-500 individuals
• Weigh up to 900 kg
• Known as Africa’s most dangerous animal to humans
• Require daily water access

Buffalo have incredible memories and can charge without warning. Massive herds move across the plains, kicking up dust you can see from far away.

Black rhinos in Maasai Mara are critically endangered, with fewer than 40 individuals left. They look almost prehistoric, with two horns and pointed lips for browsing shrubs.

Rhino Characteristics:

• Weight: 800-1,400 kg
• Diet: Leaves, shoots, thorny plants
• Behaviour: Solitary and territorial
• Vision: Poor eyesight, excellent hearing

Safety During Encounters:

• Maintain minimum 25-metre distance
• Never exit vehicles
• Avoid sudden movements or loud noises
• Respect their space and retreat routes

Both buffalo and rhino play big roles in the Maasai Mara ecosystem by shaping the landscape and dispersing seeds as they move and graze.

Other Predators and Iconic Wildlife

The Maasai Mara’s predators are some of nature’s most skilled hunters. From the lightning-fast cheetah to the complex social world of hyenas, these apex predators dominate the savannahs and grasslands.

They create dramatic photographic opportunities as they stalk and chase their prey.

Cheetahs: Masters of Speed

The fastest land animals love the Mara’s open plains and prefer areas with scattered acacia trees for a good lookout.

These spotted cats hunt during the day, making them perfect subjects for photographers. With their slender build and dark tear marks, you won’t mix them up with leopards.

Prime Cheetah Locations:

• Open grasslands near the Mara River
• Areas with termite mounds for elevated hunting positions
• Plains with scattered acacia cover

Cheetahs rest in the shade during the hottest parts of the day. I suggest heading out early or late for the best sightings when they’re on the move.

Hyenas: Social Hunters

Spotted hyenas live in clans—big, complicated social groups. These predators have bone-crushing jaws that can break through the toughest remains.

I’ve seen hyenas both scavenging and hunting together. Their whooping calls echo across the plains, especially at dawn and dusk.

Hyena Behaviour Patterns:

• Daytime: Rest in dens or shade
• Evening: Begin hunting activities
• Night: Most active period for hunting

Hyenas clean up what others leave behind, eating bones and hide. They’re nature’s ultimate cleanup crew.

These clever animals have a matriarchal society—females outrank all males.

Other Notable Predators

Beyond the famous big cats, the Mara hosts several other predator species that create exciting photographic opportunities. Wild dogs sometimes show up in the northern conservancies, but spotting them is rare.

Caracals and servals prowl the grasslands for smaller prey. These elusive cats reward patient photographers with unique shots if you’re lucky enough to find them.

Additional Predators to Watch For:

• African wild dogs (rare)
• Caracals and servals
• Black-backed jackals
• Various mongoose species

Jackals follow bigger predators to scavenge scraps. We sometimes see them near lion prides or at leopard kills, just waiting for a chance.

The Great Migration: Spectacle of the Savannah

The Great Migration brings over 1.5 million wildebeest and zebras through the Maasai Mara between July and October.

Wildebeest and Zebras on the Move

During my game drives in the Maasai Mara, I’ve seen countless wildebeest and zebras making this annual journey. The herds arrive from Tanzania’s Serengeti, forming endless columns across the savannah.

The timing is always fascinating—these animals follow seasonal patterns in search of fresh grazing and water. Wildebeest usually lead, with zebras often mixed in among them.

Peak season is just wild. I’ve seen herds stretching for kilometres, dust clouds billowing from thousands of hooves. The constant movement offers non-stop chances for action shots as the animals graze, mingle, and navigate the terrain.

Best Photography Times:

• Early morning: Herds head to water sources
• Late afternoon: Animals graze in golden light
• Midday: Dust clouds and moving herds

Predator Interactions During Migration

The migration attracts a stunning range of predators. Lions track the migration herds, usually staking out river crossings and grazing zones.

Cheetahs take advantage of the abundance, going after young or weak animals. Leopards stay elusive but get more active during migration. Hyenas follow the herds too, always ready to scavenge or steal a kill and vultures circle overhead, making dramatic silhouettes against the sky.

Predator activity always ramps up near water, where exhausted migration animals get vulnerable.

Other Remarkable Mammals and Birds

The Maasai Mara is packed with iconic and lesser-known wildlife—towering giraffes feeding on acacias, massive hippos, ancient crocodiles in the rivers, and elusive nocturnal creatures like bat-eared foxes and aardvarks.

Giraffes and Their Unique Behaviours

The Maasai Mara is home to the striking Masai giraffe, easy to spot thanks to its jagged-edged patches and deeper colour. These gentle giants can reach 5.5 metres, making them the tallest mammals around.

On safari, I often see giraffes stripping leaves from acacia trees. Their 45-centimetre tongues let them snag leaves from even the thorniest branches.

Key giraffe behaviours to photograph:

• Necking: Males swing their necks in territorial battles
• Tower formations: Groups of giraffes create stunning compositions
• Drinking postures: That awkward, wide-legged stance at waterholes

Hippopotamus and Crocodiles: River Dwellers

The Mara and Talek rivers are full of crocodiles and hippos. These waterways serve up some of the most dramatic wildlife photo moments in the reserve.

Hippos spend their days submerged, surfacing every few minutes to breathe. At night, hippos wander out to graze, sometimes up to 10 kilometres from water. Their jaws can snap a canoe in half—definitely not animals to mess with.

Nile crocodiles here can grow over 4 metres long. During migration, they are known to ambush wildebeest at river crossings.

Small Mammals and Nocturnal Species

The reserve hides all sorts of smaller species that most visitors miss. Bat-eared foxes are nocturnal and rare elsewhere in Kenya, so spotting them here feels special.

These foxes use their huge ears to find termites and beetle larvae underground. We were fortunate to spot them on our last 8-day safari!

Aardvarks are extremely elusive. They feed only on ants and termites, using pig-like snouts and powerful claws to dig into mounds all over the savannah.

The reserve is also home to around 470 bird species, like secretary birds, lilac-breasted rollers, and crowned cranes that stick around year-round.

Wildlife Habitats and Photo Safari Experiences

The Maasai Mara National Reserve offers everything from open grasslands to acacia woodlands, each with its own photo opportunities. Game drives and walking safaris let you explore these landscapes in different ways.

The Open Plains and Acacia Woodlands

The Maasai Mara’s habitats stretch from open grasslands and savannahs to acacia woodlands, offering perfect backdrops for wildlife shots. These landscapes support different animals at different times of day.

The open savannahs seem to go on forever. We find big herds of zebras, wildebeest, and gazelles grazing in the morning light.

Acacia trees dot the plains, giving shade to resting lions and leopards. They also make natural frames for wildlife photos.

The grasslands shift colour with the seasons. In the dry months, golden grass adds warmth to your images.

Best photography spots include:

• Open plains near the Mara River
• Scattered acacia groves
• Rolling hills with sweeping views
• Seasonal wetlands that draw in birds

Exploring the Reserve: Game Drives

Game drives are the main way to explore the Mara. My photo safaris run from dawn to dusk (with some rest time over lunch and early afternoon) to maximise wildlife encounters.

Early morning drives offer the best light. Animals are most active while it’s still cool.

Evening drives are all about golden hour, think sunsets and silhouettes! Predators often hunt at this time, so there’s a good chance for action shots.

I’d suggest doing several game drives in different areas of the reserve. Each spot has its own wildlife mix and scenery. That’s a big part of why I opted to make my photo safari’s 8 days long.

Game drive timing:

Time	Best For	Wildlife Activity
6:00-10:00 AM	Golden light, active animals	High
10:00 AM-3:00 PM	Resting animals, harsh light	Low
3:00-7:00 PM	Golden hour, hunting	High

Photography Tips for Capturing Wildlife

Camera settings change a lot with light and animal behaviour. Go for fast shutter speeds when animals are on the move, and slow things down if they’re just hanging out.

For action shots, set your shutter speed as fast as possible. That way, you can actually freeze the moment when something wild happens—like a chase or a sprint.

Portrait photography often feels better with a shallow depth of field. Use wide apertures like f/2.8 or f/4, which softens the background and really makes the animal pop, especially when you get their eyes in focus, looking straight at you.

Essential equipment includes:

• Telephoto lens (300-600mm)
• Sturdy tripod or a bean bag (I have photographers’ bean bags available on my photo safaris)
• Extra batteries and memory cards
• Lens cleaning kit for all the dust

Early mornings and late afternoons? That’s when the light is honestly at its best. Midday sun just makes everything look harsh and flat, so we usually take a break, get lunch and relax at the safari lodge.

Composition techniques make a huge difference. Use the rule of thirds, follow lines from acacia branches, and experiment with framing shots using leaves or grass.

Patience is everything out here. Animals do their own thing, so I’ve learned to wait for those real, unscripted moments.

Frequently Asked Questions

Most people heading to the Maasai Mara ask which animals they’ll get to photograph—and when. The reserve pretty much always delivers on the big stuff, though the vibe changes with the seasons.

Which species can be commonly spotted during a Maasai Mara photographic safari?

I see elephants, buffalo, giraffes, zebras, and all sorts of antelope every time I go. They’re around all year, in big numbers.

Lions show up a lot, too, usually snoozing under acacia trees when it gets hot.

Spotted hyenas are busy both day and night. You’ll usually find them near kills or grabbing a drink at the waterholes.

Hippos hang out in the Mara River pools during the day.

What are the prime wildlife photography opportunities in the Maasai Mara?

River crossings during the Great Migration are wild, especially from July to October. Wildebeest and zebras take their chances with the river while crocodiles wait below.

Predator hunts happen most in the early morning or late afternoon. Keep an eye out near likely prey when the light’s golden.

Mating behaviours and births happen all year, and February through April bring a bunch of newborns. Those are some of the most intimate moments to catch on camera.

Watering holes pull in a crowd during dry spells.

Are big cats like lions and cheetahs regularly seen on Maasai Mara safaris?

Lions are a permanent fixture in the Maasai Mara, with around 850-900 individuals. I see them on nearly every safari, especially near kopjes and riverine forests.

Cheetahs stick to open grasslands, so they’re a bit harder to find but we still spot them regularly.

Leopards? They’re the real hide-and-seek champs, usually tucked away in thick brush or rocky spots. The high concentration of leopards at Maasai Mara does mean we have a good change of spotting them.

Morning game drives are best for big cat photos. They’re up and about before the heat kicks in—usually before 10 AM.

What notable bird species might one encounter on a Maasai Mara safari?

The Maasai Mara has over 450 bird species. We often see raptors like secretary birds, martial eagles, and a mix of vultures.

Ostriches wander the plains in small groups. They’re massive and look incredible against the open savanna.

Lilac-breasted rollers love perching on acacia branches. Those colours are unreal—makes for a killer portrait.

Ground hornbills, crowned cranes, and bee-eaters are all over the place too. Migrant birds show up between November and April, which really boosts the variety.

How likely is it to see the ‘Big Five’ during a single Maasai Mara safari?

You will likely spot four out of the Big Five on most three-day safaris. Elephants, buffalo, lions, and leopards all live here in good numbers.

Black rhinos are the tricky ones. There are fewer than 70 in the reserve, so they’re tough to find and photograph.

If you can swing a longer trip, your odds go way up. That’s part of why my Maasai Marai photo safari’s are 8 days long, giving us a really good chance of spotting them all (plus many more)

What are the best months for wildlife photography in the Maasai Mara?

July through October brings the Great Migration—millions of wildebeest and zebras flood the plains.

January to March is great for general wildlife shots. The dry season leaves the grass short, so you’ll spot animals more easily.

April to June, everything turns lush and green. Fewer tourists are around, and you’ll catch a lot of newborns with their families.

December gets tricky. Heavy rains and thick vegetation make things tough, but if you’re after moody skies and quiet scenes, it might just be your month.

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.

Professional wildlife photographer and photo tour leader, Michael Snedic, shares his best tips for shooting stunning wildlife shots.

Wildlife photography is as challenging as it is rewarding. While wild animals are naturally interesting photographic subjects, they are also cunningly elusive and difficult to photograph! For most wildlife photographers, the road to success follows thousands of hours of practice. That said, there are a few things you can do to accelerate your development in this notoriously challenging field of photography. In this series, I’ll take a look at some of the things I’ve learned over the years that can help you quickly improve your wildlife results; from learning to anticipate the behaviour of the animal you’re shooting, to making sure your camera is setup to deliver sharp, well exposed images.

01 – Watch and Anticipate

Even before you pick up a camera, take the time to sit and watch the animal you want to photograph. Getting to know your subject gives you a much higher chance of ‘nabbing’ the shot. In a lot of cases, you will see a pattern emerge. It could be a specific movement the animal makes just before jumping away or flying off. Or it could be the fact that each day, at a particular time, the subject (or subjects) turn up briefly at one spot to feed, preen or perform a courtship display. If you know the animal’s habits, you’ll have a better chance of being there, with a camera to your eye, when the best moments happen!

02 – Aperture is a priority

I strongly recommend aperture priority for wildlife photography. That way, you are in control of aperture and depth-of-field while the camera takes care of shutter speed. Keep in mind that if you want to photograph a moving animal, you’ll need a faster shutter speed. In aperture priority, this can be done by increasing the ISO, which in turn increases the shutter speed. Another option is to use aperture priority with Auto ISO so you have one less thing to think about. In the Auto ISO settings, some cameras will allow you to specify a minimum shutter speed, say 1/2000s, and a maximum ISO, say ISO 6400. That way, the shutter speed will not drop below your specified minimum, and you can stop the camera from selecting an ISO that introduces an unacceptable amount of noise. Yet another option is to set your camera to manual, choose the aperture and shutter speed you require and select the auto ISO option. By doing this, you are in control of both the depth-of-field you require and the minimum shutter speed, while letting the ISO change accordingly.

03 – The Eyes Have It

When I started in wildlife photography some 20 or so years ago, one of the first things I learned was to focus on the eyes. If the eyes are out of focus, the image is ruined. One of the things you can do to help get the eyes in focus is to choose a single focus point and move it around until it is on the animal’s eye. Another option, when using the camera’s single focus point, is to focus on the eye using the central focus point. Then, half-depress the shutter button, and while keeping your finger on the button, move the camera to recompose as required.

04 – Well Exposed?

Many photographers, especially beginners, struggle to achieve correct exposure with bright and dark coloured animals. When photographing a white animal in a bright environment, such as an egret in the sun, you need to use positive exposure compensation, or the camera’s metering will tend to turn the scene grey. If using exposure compensation with aperture priority, try using plus one (+1) to start. Take a quick shot and then look at the histogram or the image on the back of the camera’s LCD screen. If the image is still too grey/ dark, increase the exposure a tad more, to say +1.3 , +1.7 or even +2 until you have the desired exposure (i.e. clean whites). For a black subject in a dark environment, do the reverse and use negative exposure compensation. This will bring out the detail in the blacks.

05 – Back-Button Focus

Many SLR cameras offer back-button focusing. This setting is invaluable for wildlife photography, especially for capturing birds in flight and other moving subjects. Explained simply, back-button focusing allows you to focus on the animal you are photographing by pressing a button on the back of your camera, then depressing the shutter button to take the shot. This setting is very useful for photographing a bird flying in a parallel line. With the camera’s focus-point on the bird, keep following it as it is flying, finger half depressed on the shutter. When the bird is in a good position, simply let go of the focus button and take a series of shots (make sure you also use continuous shot or ‘burst’). Even though you have let your finger off the focus button, the focus will remain on the bird as it is flying past, rather than focusing on the background. It may take a bit of practice to get used to back-button focus, but with practice it will become second-nature.

06 – Composition is King

One of the most critical aspects of creating a great wildlife image is good composition. You can own the most expensive photographic equipment, use all the correct settings and be in all the right places at the correct times, but without good composition, your images just won’t grab people’s attention. Avoid putting your subject directly in the centre of your image. Try composing in a way that the subject’s eye or head is positioned over one of the intersecting ‘rule of thirds’ lines. (The ‘rule of thirds’ is a method of composition that sees the image divided into imaginary thirds, similar to a ‘noughts and crosses’ grid. The key element of the picture is positioned over one of the four intersecting points.) Using a wide aperture can be an effective way to blur the background, reduce distractions and put the emphasis on the main subjects.

07 – Flash Tricks

Over the years, many of my photo workshop participants have said they struggle to get decent shots using flash. The settings I’m about to explain here are tried-and-tested and work well. They are my own, personal settings that I have explained to lots of workshop students for many years, and they work! For SLRs, set the camera to manual mode. Use a wide aperture (as you would normally for wildlife) and set the shutter speed to 1/125s and the ISO to 100. Connect the external flash to the camera’s hot shoe and select TTL (Through The Lens) or B-TTL metering. Take a shot and check the exposure. As long as you aren’t too far away, you should get decent exposure, as most external flash units aren’t powerful enough over long distances. If quite close to the subject, I recommend adding a diffuser to the flash, which helps to create soft, natural lighting. If the image is still too bright, even with an added diffuser, most flash units allow you to reduce the power of the flash in third-stop increments. There are various ‘twin’ flash arms that can be connected to the hot shoe and allow you to use two flash units. The benefit of a dual-flash setup is that the image is more evenly lit and it minimises the chance of ‘red eye’.

08 – Super Silhouettes

One of the ultimate wildlife shots is to photograph the animal silhouetted against a fiery, orange sunset. This can be achieved by exposing for the background, rather than the animal. The result is a lovely orange sunset (rather than a totally burnt-out background), with the animal rendered as a deep black silhouette on the horizon. This can be a tricky shot to achieve, and it works best with big animals like giraffes!

09 – Good Gear

There are a number of photographic accessories that are invaluable when photographing wildlife. Handholding a large lens can be quite difficult and tiring, especially for long periods of time. If your subject is stationed in one spot (the subject could be preening, displaying, bathing, feeding etc), then a tripod with some type of gimbal, like a Wimberley, is highly recommended. A gimbal lets you move the camera and lens in all directions quite easily without getting sore arms and shoulders. If your plan is to walk a reasonable distance with a heavy camera and lenses, a carbon fibre monopod with a dedicated monopod head might be the way to go. Much lighter than a tripod, a monopod doesn’t offer quite the same degree of stability but it does give you more freedom to move around. Another useful piece of equipment is a photographer’s beanbag, handy for stabilising heavy lenses. Beanbags can be filled with rice, birdseed or beans and can be placed on car bonnets or half-opened car windows, rocks or fence posts. You’ll be amazed at how much beanbags help minimise the movement of your camera and lens, allowing for shots to be taken at quite low shutter speeds. I recommend using some sort of neoprene covering for your lenses and tripods, to protect them from scratches, bumps and dust. I use a brand called ‘Lenscoat’. I also suggest some type of rain cover for your camera and lens, especially if you do a lot of outdoor photography.

10 – Keep Moving

For many photographers, it seems the most important aspect of wildlife photography is purchasing a lens with the longest focal length. As much as it is beneficial to own a lens with a longer focal length, especially when trying to photograph smaller birds and wildlife, great shots can also be taken of animals as part of a larger landscape. You might be in a place like Antarctica, photographing a stunning, icy vista, with a penguin just visible in the foreground. The viewer’s eyes naturally go towards the penguin, then to the rest of the scene. Rather than a close up-image of an animal, photographed with a long lens and wide aperture (which creates a smooth, blurred out background), an image of an animal, taken with a wide-angle lens gives you a sense of space. It clearly shows the environment the animal lives in and gives the image a sense of scale.

11 – It’s All About the Light

One aspect of wildlife photography that cannot be underestimated is shooting in decent light. Rarely do I head out in the middle of a sunny day to photograph birds. Post-dawn and pre-dusk light is the most subtle and evocative. No harsh shadows and over-blown highlights, just even, diffused light on your subject. It may not always be possible to photograph pre-dawn or pre-dusk. You may happen to be in an environment, with lots of wildlife around to photograph, and it’s the middle of a bright, sunny day. In these instances, experiment to see what works best. Photographing with the sun behind you (or to the side), usually produces the most consistent results but shooting into the sun can create some interesting results too. I like to move around and take my wildlife shots at various angles to the sun, eventually settling on a position that works best.

12 – Think Outside the Box

One of the joys of photography is that there are so many different ways to take images. Try different compositions and lighting and experiment with different lenses too. Sure, most photographers think of telephoto or zoom lenses with longer focal lengths for wildlife but why not try a wide-angle lens really close? If your subject is used to people, more likely at a zoo or wildlife park, then try getting down to eye level, very close and getting a totally different perspective. It’s a lot of a fun and you may well be surprised at the results! I hope the photographic tips and techniques in this article will help you take your wildlife photography to another level. Enjoy your photography!

 

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.

Text and images by Australian wildlife and nature photographer, Michael Snedic

Africa is a true wildlife photographers ‘paradise’. Yes, the phrase ‘paradise’ may be a cliché and overused but in the case of Africa, it certainly is true. The African continent is, of course, made up of many different countries, with most of them having plenty of unique wildlife photography opportunities. I have travelled to Africa many times over the years to present photographic safaris to destinations such as Kenya, Tanzania, Sabi Sabi Reserve, Namibia, Botswana, Madagascar and the Volcanoes National Park in Rwanda (Mountain Gorillas). Each and every location has been truly awesome!

Best Way to Get Around

There is no doubt in my mind that the best way to visit countries in Africa with the aim of photographing wildlife is to seek out a reputable African Safari company. Once you find one, they will work with you to stylise an individual itinerary that suits your requirements and budget. I have been working with one African safari specialist for many years now and I wouldn’t go any other way! You may want to photograph particular wildlife species which are most prevalent at certain times and in particular areas, so having a professional to fine-tune your itinerary is a definite advantage.

Best Countries to Visit for Wildlife Photography

Kenya

For a photographer who is planning to go to Africa for the first time, I highly recommend visiting Kenya first. Each and every time I have gone there with a group, I am blown away by the sheer variety and number of wildlife species we get to see and photograph (and often at very close proximity.) I personally like to choose private game reserves in Kenya, where you are able to go ‘off road’ to reach the wildlife rather than having to stay on the designated roads. Also, safari vehicles are limited to just a handful at any one time so you don’t have scenarios where dozens of vehicles are racing to get the best position for an individual animal. In these reserves, the safari guides know each and every corner of the place and can take you to where different individuals or herds go to eat, rest, play or groom each other. On one occasion we drove out to a particular tree that an individual leopard climbed every morning around sunrise. Sure enough, just as the sun was rising, the said leopard walked to that exact tree and started climbing. The perfect opportunity to photograph the quintessential ‘leopard silhouette’. Another example is where lions form a herd where males, females and cubs will often all be together. The experienced safari guides usually know where they usually stay and rest/play and at what times.

Within Kenya, the Massai Mara is a great area to visit. Here the wildlife numbers are quite amazing and wildlife are generally quite relaxed. So often we have had cheetahs walking metres from our safari vehicles (often they jump on the bonnet of the car!), as do herds of elephants and giraffes. To be so incredibly close to these majestic animals and to be able to photograph them easily is a very special experience indeed.

Botswana

Botswana is another great country to visit if you are wanting to photograph a variety of African wildlife. There are the usual methods of going out with safari guides in vehicles but you can also take guided canoe trips on places like the Chobe River. Here you experience wildlife in a completely different way, including hippos in the water, which is their natural habitat. You may see elephants drinking or wallowing in the mud or various birds perched on trees along the river’s banks. In Botswana you can regularly see and photograph the ‘Big Five’: the lion, leopard, rhino, African elephant and Cape buffalo. Apart from the diversity of wildlife, the country is also has stunningly beautiful landscapes. The fact that the animals are so habituated and used to people and vehicles makes approaching them quite easy.

Tanzania

The fact that Tanzania , in east Africa, boasts an impressive number of wildlife (over four million!), which include an amazing 430 species, makes this African country another favourite on many wildlife photographers.

One popular destination is the Serengeti, Tanzania’s oldest National Park. At almost anytime throughout the year, it offers fabulous game drive experiences. The annual wildebeest migration, as they travel north, is a favourite for many wildlife photographers. Between July and August (??)is generally the best time to go to experience this once-in-a-lifetime event, as the wildebeest move in staggering numbers into Kenya’s Massai Mara, crossing the Mara River.

A personal favourite of mine is Ngorongoro Conservation Area. The area includes vast expanses of forests, savanna and highland plains. It includes the incredible Ngorongoro Crater, the world’s largest caldera. The Ngorongoro Conservation Area covers more than 809 000 hectares and the sheer number of wildlife that live there has to be seen to be believed. Being watched and protected around the clock by multiple anti-poaching teams means that species such as rhino are relatively safe from poachers.

Volcanoes National Park – Rwanda

For a truly breathtaking experience, you can’t go past a stay at Volcanoes National Park in Rwanda, to see and photograph the ‘gentle giants’ of Africa – the Mountain Gorillas. I have had the privilege of going on treks to see the gorillas on six occasions and each time I have been so incredibly moved by the experience. You can stay at one of the lodges or guestahouses in the valley and get driven to the base of the national park early in the morning. There you are assigned a group to go with and experienced guides will take you on a hike in search of a designated Mountain Gorilla family. For photographers, I strongly recommend you pay for a porter (relatively cheap) to carry your camera gear. This not only makes your climb easier but gives much-needed work to locals.

Sometimes you may only need to hike a very short distance to reach the gorillas and other times you may spend many hours climbing up to find the group you are seeking. No matter how long it takes to get to your gorilla group, you are guaranteed an hour with the Mountain Gorillas. Each time I have visited the national park I have gone to a different family group and each time they have been very relaxed by our presence. Taking a photo of a lone Silverback as he walks straight past you or a group of young Mountain Gorillas wrestling is an experience you will never forget.

Best Times of Day to Photograph African Wildlife

On most of the safari camps I haver stayed at, we awake pre-sunrise and start the day with a tea or coffee, before heading out in small groups in safari vehicles, driven by experienced guides. We are already out before sunrise, as we want to be amongst the wildlife as the sun is rising. This is definitely the best time to see and photograph most wildlife. On a recent photo safari I presented in Kenya, our guide drove my group and I to a couple of locations right on top of the savanna plains where giraffes regularly walked. He then positioned the vehicle so the rising sun was behind them. We then photographed giraffes silhouetted against the vivid orange sunrise. After this, we drove around looking for any wildlife we could find. The ‘golden hour’, as it is known in photography circles, is a magical time to be out photographing animals. That subtle, golden light is hard to beat. We normally return back to camp before lunch where we have a bit of a rest, download photos or wander around the base with your camera. We then have lunch and relax, before heading out a few hours before sunset in the safari vehicles ,once again in search of wildlife.

Suggested Photographic Equipment

Long Lens

Even though the wildlife in Africa may often at close proximity to you, there are many occasions where they are further away. This is why I always recommend bringing along a lens with a large focal length. Telephoto lenses such as a 500mm or 600mm f4 are incredibly sharp and fast to focus, but they are also very heavy to transport around. Using a zoom lens with a decent focal length is handy as you are able to recompose your shot quite easily by zooming your lens in or out.

Photographer’s Beanbags and Gimbals

For larger, heavier lenses beanbags are an essential item in your safari vehicle (I always request beanbags at every safari camp I stay at), as they help stabilise the heavy lenses, especially in low light. These are filled with either rice, seeds or beans, but NOT polystyrene, as this filling is way too light to stabilise heavier lenses and cameras. By nestling the heavy lens and camera into the beanbag, you will be surprised as to how well they stabilise your gear.

Some safari vehicles are fitted out especially for photographers. They have permanently affixed gimbals which you attach a heavy lens and camera to. These gimbals are designed to help you move your camera effortlessly in most directions, using a very smooth, non-jerking action.

Monopod

A monopod can also be used to help stabilise larger lenses and are quite easy to cart around with you. I prefer using a dedicated monopod head attached to the monopod, which then attaches to the collar of the heavier lenses. Monopods are especially useful when your safari vehicle is stationary or when you are actually on land with your guide, such as back at base.

Capturing Fast-Moving Animals

There aren’t many things more exciting than photographing a cheetah chasing down its prey or a pride of female lions hunting! To do this, you definitely need to use a very fast shutter speed, with a minimum of at least 2500th of a second . I suggest setting your camera to either manual mode or shutter priority so that your camera’s shutter speed will take priority. In lower light situations, you may need to increase your ISO settings quite high. Too much noise can easily be removed by programs such as Topaz DeNoise, but an image taken at a lower ISO and therefore a lower shutter speed, creates a blurry image which in most cases cannot be ‘saved’.

For many of the current mirrorless cameras out on the market nowadays, the eye-tracking focus features are quite amazing. When you have locked focus on the eye of a fast-moving animal such as a cheetah running, you simply follow the individual and press the shutter button. Combine eye-tracking focus with burst mode and you have a much higher change of nailing that exact action shot you were hoping for.

Animals in the Environment

There is an ever-growing trend in the world of wildlife photography to capture animals in stunning environments, rather than close-up portraits of animals. This is where the use of a wide-angle lens comes in extremely handy. Many of the premier wildlife photography competitions in the world have categories called ‘Animals in the Environment’ or similar and they are becoming more and more popular with photographers. Try capturing images of a variety of African wildlife species, set amongst truly beautiful African landscape backdrops.

Get Creative!

ICM – Intentional Camera Movement

When light conditions are low (such as sunrise, sunset or when dark, brooding clouds have rolled in) and its tricky to capture sharp images of wildlife, then you can also get creative by trying some intentional camera movement (ICM). This is where you set your camera to manual mode at around 30th of a second and pan with a moving mammal or flying bird. Yes, it takes a bit of practise to get it right but it’s a lot of fun trying!

Overview

Many photographers who planned on visiting Africa to photograph its wildlife as a one-off ‘bucket list’ destination, keep returning over and over again. I have heard this so many times and as someone who has been to many countries on the continent (and countries such as Kenya and Rwanda multiple times), I fully understand why. Apart from some of the countries I have recommended visiting, there are so many more choices to choose from. Countries such as Zambia, South Africa, Zambezi or Ethiopia are also well worth worth visiting. All I can say is that if you are even thinking of going to Africa to photograph its incredible array of species and in great numbers, don’t think about it. Just do it! You won’t be disappointed.

For photographers looking to hone their African wildlife photography skills, I run an 8-day Maasai Mara Photo Safari in Kenya. Make sure to register early to secure your place.

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.

Birds are fabulous subjects to photograph, something I have been enjoying immensely for the past 28 years. Rather than capturing standard portrait shots of well-focused birds, sitting on a stick in nice light, there are other ways you can photograph birds which can be quite pleasing to the eye.

Close Ups

Photographing an area of a bird is one way to achieve interesting shots. People usually don’t get to see, at close range, the feather detail of a bird or a close-up of its eye. This method can accentuate a bird’s feathers or it can show the intricate detail of its eyes. I suggest using a lens with a long focal distance (such as 400mm or 500mm) to hone in on one area, concentrating on that detail. Alternatively, if you have a camera with decent megapixels, take the shot as close as you can, then crop the image during post processing to create the image you want.

Birds in the Environment

Photographing birds as part of a landscape is becoming more and more popular and you don’t need to use a lens with a long focal length. Bird photography competitions such as the Birdlife Australia Photography Awards and Bird Photographer of the Year (UK based) both include the category ‘Birds in the Environment’, where the bird is a small part of the image. Basically, the idea is to find a beautiful landscape and photograph a bird (or birds) in that landscape. Using a wide-angle lens such as a 16-35mm or even a 24-70mm enables you to capture the whole landscape and using an aperture such as f16 allows greater depth of field so that the whole landscape is in focus. When a bird enters the landscape you choose, it is important to focus on the bird as this will be the first object the viewer of the image normally looks at.

Birds as Silhouettes

Rather than seeing the colours of a bird and the texture of its feathers, a silhouette of a bird, when photographed correctly, allows you to identify it simply by its shape or outline. If the silhouette is taken during an amazing sunrise or sunset, it also creates a stunning background for your image.
To be able to create great silhouettes, you need to use certain settings for the shots to work. Firstly, compose your shot by placing the bird in front of beautiful light. This can be a sunrise, a sunset or a bright or overcast sky. The settings on your camera are similar to taking standard bird images but the important thing is to use the correct metering setting. This is Matrix metering for Nikon cameras, Evaluative for Canon, Multi Pattern for Sony, ESP for OM Systems (Olympus), Multi for Fuji and Multi Zone for Panasonic.

By exposing for the background, your subject ends up being black. Basically, you have just created a beautiful silhouette!

Capturing Action

One of my favourite types of bird photography is capturing ‘action’. To me, it’s the ‘thrill of the chase’ that makes this type of photography so exciting. Capturing that split-second moment in time, frozen forever in-camera, is very rewarding. I suggest picking a bird species you would like to photograph, then do some research as to the best locations to photograph them. Doing a reccy beforehand is something I have always done. And thoroughly recommend. This allows you to see where the birds are, as well as observing their behaviour.

Once you have done this, it’s time to start shooting. I suggest using shutter priority, setting the camera’s shutter speed to 2000th of a second. That way if the bird is flying, fighting or any other behaviour where it is moving rapidly, the action sequence can be ‘freeze-framed’. You will also need to set your camera to burst mode, where the camera takes multiple shots while you press down the shutter button. That way you are capturing the full sequence of action.
Different camera brand sand models have different types of focusing modes, so there isn’t one straight answer as to which one to use to capture split second moments in time. If you own a mirrorless camera, especially some of the more recent models, many have bird-tracking focus modes which when used correctly can achieve incredible results. Some models have 3D tracking, which helps you to follow moving subjects and with others you need to use a single focus point based in the centre of your screen and try and track the bird that way. Yes, it can be tricky to ‘nail’ that shot with a single focus point but practice certainly will help you achieve sharp action shots.

Black and White or Monochrome

You can photograph birds in colour with the aim of editing them later as black and white images. Alternatively, most cameras have a black and white mode as a setting. By shooting or editing an image in black and white, it isn’t the colour of the bird that wows the viewer of your images. It ends up being the mood of the landscape the bird is situated in or the behaviour you have captured.
I always shoot using RAW and in colour, then when I’m editing my images I can choose the type of image I want as the end result. There are different black and white settings available in Lightroom, for example, where all you need to do is click on the style of black and white and see which one works best for you. Easy!

Intentional Camera Movement (ICM)

If you like to experiment with your bird photography and prefer the more artistic approach, then Intentional Camera Movement (ICM) is well worth trying. This is where you intentionally capture slowed-down movement of birds in action, especially in flight. The best results are achieved by photographing flying birds on an overcast day. My favourite settings for ICM are anything between 1/10th to 1/30th of a second shutter speed, especially on a cloudy or overcast day. I either pan with the bird as its flying past or let the bird fly past without my moving the camera. If conditions are bright, you can also use a neutral density filter to lower the camera’s shutter speed.

Whatever method of bird photography you choose, the best way to get great shots is by experimenting and practising. Above all, enjoy the process!

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.

As regent of England in the early 1800s, the future George IV redecorated Windsor Castle and Buckingham Palace, built the highly ornamental Royal Pavilion at Brighton and adored pomp and ceremony. One of his alleged namesakes, Australia’s majestic black and gold regent bowerbird, exhibits somewhat similar inclinations

I had been bird-watching since dawn, my binoculars scouring the rainforest canopy. The morning was serene, the air crisp and clean. Suddenly a flash of black and gold grabbed my attention. I followed the bright movement until it stopped in a nearby tree. My first ever sighting in the wild of an adult male regent bowerbird (Sericulus chrysocephalus)! I was in a subtropical rainforest remnant known as the Big Scrub Flora Reserve near Rocky Creek Dam in northern New South Wales. The sight of that stunning, colourful bird contrasted against the various shades of green and brown in the canopy is a memory I will always savour.

The other bird has the blues

In much of its habitat, the regent bowerbird lives side by side with the more common satin bowerbird (Ptilonorhynchus violaceous). The males of both species exhibit the unusual and distinctive behaviour of bower building: creating a special structure solely for the purpose of enticing a female (or females) to mate with them. Glossy black male satin bowerbirds are famous for collecting a sea of blue ornaments – leaves, flowers, snail shells, bottle caps, clothes pegs – to decorate their bowers, which are often quite visible. Over many years of guiding, bushwalking, bird watching, photographing or assisting wildlife documentary makers, I have found dozens of satin bowers, many active, in forests, clearings, near buildings, roads and car parks.

Over that same period, I have only ever found four regent bowerbird bowers.

It’s not due to a lack of looking.

The regent bowerbird prefers subtropical rainforests on the coasts and hinterlands of Queensland and New South Wales, although it is found in warm temperate rainforests as well. Much of their former range has been destroyed by clearing, but fortunately, they can still be found in protected areas, including coastal rainforests at Iluka (coastal NSW), the Nightcap and Border Ranges (NSW) and Lamington National Park (Qld) – one of the best wildlife photography locations in Australia, in my opinion. Over years of observation, I have noticed they will readily venture out to the edge of the forest, but most sightings have been within the lushness of the subtropical rainforest.

The birds are predominantly fruit eaters. You can see them foraging on the forest floor amongst shrubs, trees or vines, or in the canopy. Along with native berries, such as lillypillies, quandongs and satinash, they will readily feed on exotic species, such as inkweed or lantana. Depending on the availability, regent bowerbirds will also feed on larger fruits such as native fig and quince. Rather than swallowing these fruits whole, as they do with the berries, they will pick at the flesh of the ripened fruit.

Dried treats and seasonal fruits

They are also partial to dried fruit such as currants and sultanas. O’Reilly’s Rainforest Retreat, situated in Lamington National Park, south-east Queensland, is world famous for feeding throngs of wild regent bowerbirds that fly freely around the guesthouse. For nearly five years, part of my job as a nature-based guide was to feed these birds during the early morning bird walks, much to the delight of the guests. Nowhere else in the world can people experience these magnificent birds at such close range. We only ever fed the regent and satin bowerbirds currants and sultanas and I must stress that within Lamington National Park itself (which surrounds the privately owned O’Reilly’s), the Queensland Parks and Wildlife Service strictly prohibits the feeding of any native animals.

Putting into action my advice on how to photograph birds in Lamington National Park, I noticed what appeared to be a regular pattern of regent behaviour at Lamington. They would land in the shrubs and trees of the guesthouse and wait for their daily feed. Once they had eaten, they would invariably fly off into the forest, in search of their natural fruit and berry diet. Around December each year, they would slowly withdraw into the forest, returning to the guesthouse in numbers around April or May. We thought that due to a plentiful supply of native fruit in the forests through summer and early autumn, the birds did not need to supplement their diets. Once fruits start to diminish, they come in search of the extra dried fruit.

Although predominantly frugivorous, the regent female, who raises the chicks on her own, will often catch beetles, moths, cicadas and other insects for her young.

Back to the bower

The male regent’s bower is smaller than that of its satin cousin. The bird uses various sized twigs that cross each other in all directions, creating a fairly solid structure. Rather than place decorations around the outside of the bower as the satin does, the regent tends to place an assortment of trinkets and baubles in the centre of his bower. These are neutral in colour and may include different types of snail shells, cicada casings or castings, shiny leaves and berries.

Some earlier literature on regent bowerbirds suggested that the extreme rarity of finding a bower meant the bird was in the process of discarding the practice of bower building altogether. Although this theory has been overturned, finding an active bower remains a rare occurrence. The male will usually choose a thick, scrubby part of the rainforest undergrowth in which to position his bower. It will need to have clear access to the allimportant females he is trying to woo but overall, concealing the bower is a priority. One possible reason for the seclusion could be the male’s extremely bright colours which could easily attract predators.

One, two, three, four

Of the four bowers I’ve found, three were covered by dense vegetation – it is easy to see how searching for them can be a difficult task.

One bower lasted only six or seven days before the male completely destroyed and relocated it. Sir David Attenborough’s film crew captured footage of the next active bower when they were in Australia in November 1999. Sir David visited Lamington National Park in order to film the behaviours of both the regent and satin bowerbirds as part of a documentary on bowerbirds of Australia. I had the great fortune and privilege of assisting him in finding a regent’s bower as well as assisting the film crew.

I found my third bower while bird watching in the Border Ranges National Park in northern New South Wales. I decided to rest on a log, when a flicker of gold in the scrubby undergrowth to my left caught the corner of my eye. I slowly picked up my binoculars. To my surprise and sheer delight, there was a regent bowerbird male adding sticks to his fully constructed bower.

After years of trying to capture some photos of a regent bowerbird working his bower, my opportunity finally arrived when I found my fourth bower. Male regent bowerbirds will usually destroy and move their bowers within a week of construction. This particular male was accustomed to the presence of humans and had apparently decided to stay in one spot for a couple of weeks. Thus, I was able to set up a camouflaged hide only four metres from his bower.

The sight of that stunning, colourful bird contrasted against the various shades of green and brown in the canopy is a memory I will always savour.

He would be gone for hours at a time, then fly in out of nowhere, heading straight for his bower – usually with fresh sticks to add to the structure or new decorations to adorn its centre. He was completely oblivious to my presence and was dedicated to diligently improving or beautifying his ‘love shack’. Beak brimming full of berries or greenery, he would position himself inside the bower, mix the berries or greenery with saliva and proceed to paint the inside structure with his beak and tongue. The male’s goal is to present the bower in a way that will attract any passing females. I wonder if he consulted with an interior decorator? With patience, I was able to capture some images of this rarely seen or photographed behaviour.

Song and dance man

The regent, like other bowerbirds, is polygamous rather than monogamous. His aim is to attract as many females as possible to his structure. Once a female arrives, the male puts on a stunning performance. With wings spread, head lowered and, often, some form of decoration or ‘gift’ in his bill, he will energetically strut and cavort in the most pompous of fashions. At the same time, his chatter and mimicry increases to an all-out frenzy.

If the female is impressed with the bower, its decorations and the high-energy performance, she flies down and enters the bower, signalling her willingness to mate. The male immediately flies to the bower and mounts her. In the blink of an eye, it’s all over and the female flies off.

Solo effort

After mating, the female regent fends for herself, building the nest, incubating the eggs and rearing the chicks. Saucershaped nests of twigs and rootlets are generally constructed amongst dense rainforest trees. The female normally lays two or three eggs, incubating them for 20 to 21 days and feeding the chicks on a variety of small rainforest fruits and an assortment of insects. They will fledge after another 20 to 21 days.

The male continues to woo as many females as he can throughout the breeding season. This method ensures that females only mate with the healthiest, most energetic males, passing on strong genes to the next generation.

Juvenile regent bowerbirds are subdued and plain: head, throat and neck are a lacklustre mixture of brown and greyish white with sporadic markings throughout; top of the head is a dull black; the mantle and wings are a greenish brown. Females retain a darker version of this colouration as adults, with dark eyes and an all-black bill. Males take around seven years to attain full adult plumage: a rich bluey-black body with a very vivid violet-blue on the breast, neck and rump area. The forehead, crown, neck and upper back are golden yellow, as are the majority of the primary feathers. The eyes are light yellow with a black centre and the bill is a golden yellow. There would be little dispute about naming the male regent bowerbird as the most stunningly coloured of all of Australia’s bowerbirds.

 

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.

I’ve just located a Pacific Baza’s nest and I’m going to set up the tower!’ Glen thundered down the phone line. For many years my friend and fellow wildlife photographer, Glen Threlfo, and I had hoped to photograph this beautiful bird of prey— here was our chance.

The Baza, also commonly known as the Crested Hawk, tends to nest quite high in the horizontal branches of various types of eucalypts or melaleucas. Its nest is often inaccessible, but this one was relatively low and positioned on the outer branches of a casuarina tree. Most importantly, it was in an area suitable for positioning a photographic tower, at the edge of a patch of Gold Coast hinterland rainforest. Our tower was assembled piece by piece, with each 2 m section bolted on top of the next, until the 20 m was reached. To keep it from toppling over, especially during windy conditions, we attached around 17–18 guy-ropes. From the hide perched on top, we were able to view the nest at eye level from a distance of around 4 m.

Any birder who has had the privilege of seeing a Pacific Baza at close range would have to agree that they are one of Australia’s most attractive birds of prey. Their bright yellow eye, distinct crest, and brown and white barred chest make them one of the most easily recognised raptors. Their distribution ranges from coastal northern Australia to as far south as Sydney, and they are also found in Indonesia, the Solomon Islands, New Guinea and nearby islands.

The pair that Glen and I were watching had constructed their nest in the usual manner: no more than a pile of loosely stacked sticks covered with a layer of green-leafed eucalyptus twigs. Yet, the untidy structure was kept clean. Once or twice a day the male brought a fresh spray of eucalyptus leaves. From a very early age, their single chick began to release its droppings over the side, rather than soil the nest. It was an amusing sight to see the chick, only a few minutes after it had eaten, edging to the side of the nest, backside raised, ‘aiming’ at a nearby branch!

The Bazas were highly protective of their single chick, but gentle at the same time. Often, one parent would be away feeding while the other sat guard in a nearby tree. Most other birds kept their distance, although some would fly into the ‘no-go’ zone near the nest. Then, either parent would fly casually to where the trespasser was perched and land nearby, displaying no aggression whatsoever. I must add, though, that not once did I see an intruder stay around long enough to find out!

The parents shared hunting duties, with breaks between feeds lasting anywhere from 10 minutes to over an hour and a half. They brought in a wide variety of insects (mainly stick insects and large grubs/larvae) as well as a few small frogs. Considering the size of the chick in its early stages, it was amazing to watch it swallow such huge insects in one go.

Often, I observed either parent searching for insects to bring back to feed their chick. They used such precision and agility, swooping on insects that were in the outer foliage of nearby eucalypts. On a few occasions the male hung upside down on the drooping branches, wings outstretched. He would scour the leaves carefully, returning to the nest minutes later with a beak full of morsels for his chick. On other occasions, he spent lengthy periods of time away and, on his return, would often land on the same branch, beak brimming with offerings, calling repeatedly with a ‘wi chu, wi chu, wi chu’. The female, who tended to do more of the feeding, would respond in kind and immediately fly over to perch next to him, take the food from his beak, and fly directly to the nest to feed the ever-hungry chick.

One morning it started to rain. I was sheltered by the hide but the tiny chick wasn’t so lucky. It was just starting to get wet when the female arrived. She ruffled her feathers, outstretched her wings and proceeded to create an ‘umbrella’. After a few minutes, she was totally drenched, but did not falter in her resolve to keep her offspring dry! As soon as the rain stopped, she flew to a nearby tree and spent the next hour and a half preening.

When the chick fledged about 33 days after hatching, the second egg of the original two-egg clutch still remained intact in the nest.

The hours spent sitting cramped in a hide 20 m above the ground, in all weather conditions, were certainly worthwhile. I learnt much from my close encounter with this placid raptor family. Capturing numerous photographs was the icing on the cake!

If you have a passion for African wildlife, nature or travel photography and would love to go on a specialised small-number, professional African photo safari, please get in touch with Michael Snedic at WildNature Photo Expeditions. You can call him on 0408 941 965 or fill in this Contact Form and he will get back to you ASAP.