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Safar Travel & Tourism

Safar Travel & Tourism’s story began in 1966, when the late Abdul Jalil Al Fahim realized the exciting potential of travel and opened the doors to what was then Abdul Jalil Travel Agency.

One of the only agencies of its kind, it soon became a pioneer in the UAE’s travel sector. Today the Abdul Jalil Al Fahim legacy lives on; from modest beginnings, Safar Travel & Tourism has grown to become the award-winning travel division of the ALFAHIM Group by winning several high-niche international travel awards:

• Abu Dhabi’s Leading Travel Agency – World Travel Awards 2009
• The Middle East’s Leading Business Travel Agency – World Travel Awards 2009
• The GCC’s Leading Business Travel Agency – World Travel Awards 2011

Safar Travel & Tourism are the General Sales Agents (GSA) for Middle East Airlines (MEA), Swiss International Air Lines, Cathay Pacific, and Go First.

History of Safar Travel & Tourism

Abdul Jalil Travel Agency designated sole distributor for Middle East Airlines, Cathay Pacific, and Swiss International Airlines.

Re-branding of Abdul Jalil Travel Agency to Safar Travel & Tourism

Abu Dhabi’s Leading Travel Agency – World Travel Awards

The Middle East’s Leading Business Travel Agency – World Travel

The GCC’s Leading Business Travel Agency – World Travel Awards

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40 Safari Photography Tips For Stunning Wildlife Photos

Written by BELLA FALK

Contents (click to view)

So you’ve booked your dream African safari , and you’re ready to go! 

I imagine you’re excited for the adventures, the landscapes, the amazing food and the friendly people, but mostly for all that incredible wildlife you’re going to see – and photograph.

But you don’t want to spend all that money and go all that way, only to come back with rubbish photos! You want to make the most of the opportunities that are about to unfold in front of you, and come home with stellar safari images to post on Instagram and put up on your wall. 

If that’s why you’re here – you’ve come to the right place!

Welcome to my top 40 African safari photography tips , to help you bring home wildlife photos you’ll treasure for years to come. 

About my safari photography experience

Hello! In case we haven’t met, I’m Bella, and I’m an award-winning travel and wildlife photographer . 

I’ve photographed wildlife on all seven continents , from penguins in Antarctica to puffins in the UK and from whales in Sri Lanka to sloths in Costa Rica . 

In 2020 I won Travel Photographer of the Year at the UK Travel Media Awards (and was a finalist in 2019 and 2023 too).

My wildlife images have been shortlisted five times in the world-famous Wildlife Photographer of the Year competition. I’ve written and photographed for National Geographic Traveller, BBC Wildlife Magazine and Travel Africa among others, and I’ve led workshops and written guides to travel photography and wildlife photography .

Read more: 60+ Awesome Antarctica Photography Tips

But most importantly, I love safari photography!

I’ve worked with safari companies in Botswana and Kenya to shoot images for national publications , and I’ve also photographed safaris in South Africa, Ghana, Tanzania and Uganda (where I lived for three months). 

Throughout all of that I’ve learned a few things about how to make the most of your safari photography tour, and I’d like to share some of that knowledge with you now. 

I’ve tried to write this for beginners and intermediate shooters so I’ve kept it fairly simple, but hopefully there are tips and inspiration in here for more advanced photographers as well. 

Let’s get started! 

Wildlife photography for beginners: some troubleshooting

If you’ve come here looking for Africa safari photography advice, that probably means you’re currently a bit dissatisfied with your wildlife photography.

So first up, I want to discuss some of the reasons why you might be finding your photos disappointing, and what you can do to deal with some of those issues. 

The animals are too far away

If you’re annoyed because the wildlife in your photos appears too small, you need to get closer! You can do that in one of three ways: 

• Ask your driver to move closer (if it’s possible without breaking any rules or disturbing the animal).
• Wait and hope the animal comes closer to you.
• Zoom in. If you’re already fully zoomed in, then you’re gonna need to buy a bigger lens or a better camera. You could also crop the image later, but how much you can get away with depends on the resolution of your camera.

The photos are blurry

Blurred images happen for one of three reasons:

• Camera shake. Use a faster shutter speed to counteract things like bumpy roads or shaky hands.
• The animal is moving too quickly. Again, you need a faster shutter speed to freeze the animal’s motion (unless you’re going for an artistic slow shutter speed effect).
• Your image is not in focus. Modern cameras have extremely advanced autofocussing systems but if you don’t know how to use yours properly, it can and will make bad decisions. Get properly acquainted with your camera’s focussing system, and practise using it!

The images are poor quality

If you’re not happy with the resolution or quality of the images your camera produces, I’m afraid the only answer is to buy a better camera!

But this doesn’t mean you need to splurge thousands on a top-of the range new camera. You can get great deals on older camera models second hand , and many of them are excellent.

I shot this image using a Canon 5D Mark II which you can buy today second hand from Wex , MPB.com or eBay for less than £200.

The lighting is bad: the image looks too harsh, too dark, or too flat

Most safari game drives take place in the early mornings and late afternoons which is when the animals are usually most active. Happily, this tends to also be the prettiest light for photography, but sometimes it can be quite dark. So in an ideal world you should also have a camera that can cope well in low light. 

If the light is dull, flat or too harsh, there are still ways round it. Try changing the position of the car so the subject is backlit, or using a high- or low-key technique to exploit strong contrast.

Learning to edit your images will also make a huge difference: shoot in RAW and then try adjusting the exposure, highlights and shadows, or convert to black and white.

Safari photography tips: before you go

1/ choosing your camera.

Your trusty camera is your window into the wild, so pick the right tool for the job! While it is possible to take great safari images with a smartphone, unfortunately you will be very limited by what your phone camera can do.

If you really want to get those beautiful closeups and soft backgrounds, you’ll need a DSLR or a mirrorless camera with interchangeable lenses – or at the very least a compact camera with a good zoom lens.

You also need to consider factors like how much weight you’re prepared to carry, weather sealing (dust and rain resistance), image stabilisation, and how well it performs in low light.

In Tanzania and Uganda’s national parks I used my much-loved Canon 5D Mark IV ; for my recent trips to Botswana and Kenya I upgraded to a Canon R5 mirrorless which has a much faster focussing system with animal eye detection which is a total game changer for safari photography.

2/ Learn your camera

That said, there’s no point in splashing out thousands on a fancy camera if you don’t know how to use it. The best camera for safari photography is always the one you know well and are comfortable using. 

So if you do splurge on a new camera, don’t be caught fumbling with settings when that perfect wildlife moment arises! Make sure you learn its functions beforehand, explore the menu, and practise using it so that it feels like second nature by the time you’re out in the bush.

I took my new R5 to London Zoo and London Wetland Centre before heading to Kenya , so that I could get it set up how I like it and get any teething troubles out of the way in a controlled environment.

3/ Master your camera’s focus

Modern cameras have extremely intelligent focussing systems that take much of the trial and error out of focussing – but you do need to know how to control them or they’ll take over and get things wrong!

It’s vital you learn how your camera’s focusing system works, get it set up in a way that works for you, and practise focusing on moving subjects. 

Experiment with single-point autofocus for static subjects and continuous autofocus (or servo mode) for tracking moving animals. Don’t be afraid to manually focus for a critical shot, but I normally reserve that for when the subject is still and the autofocus can’t cope – such as a lion sitting amongst tall grasses.

Many newer cameras have fantastic animal eye detection AI but it doesn’t always work and you need to know how to take over quickly if it doesn’t want to play ball. 

4/ Pick the right lenses

The lens you choose will dramatically impact the types of shots you can capture.

A telephoto lens (200 mm and above) is essential for bringing distant animals closer – and I’d recommend a minimum of 400 mm. 

Consider a zoom lens for versatility, but a prime lens offers superior image quality at a fixed focal length. Don’t forget a wider lens (24-70mm range) for capturing landscapes and dramatic animal encounters at close range.

Prime lenses or lenses with a wide maximum aperture (f/4 and below) give you more of that lovely shallow depth of field and perform better in low light, but big prime lenses like the Canon RF 400mm f2.8 L are very large and eye-wateringly expensive!

Check out my guide to camera gear for wildlife photography in Antarctica – you can obviously ignore the cold weather and water sections but all the camera and lens advice is pretty much the same.

5/ Take a second body

It’s a luxury, but if you do have a second camera or a spare body, I recommend you bring it. 

Animal encounters can change in the blink of an eye, and you don’t want to be rushing to change lenses when the lion suddenly comes right up to you, or when you want to switch between a close up and a wide shot showing the environment.

The African bush is also very dusty, so not having to change lenses while you’re out and about will help protect your gear.

I always take two cameras – one fitted with a long lens for close ups or animals that are far away, and one fitted with a wide lens for landscapes or if an elephant is right next to the car. A backup camera is also there should some misfortune befall your main camera.

If you don’t have a spare, why not buy an older model, cheap and second hand ? You can get great deals on pre-loved gear and having a second camera will definitely add more flexibility to your African safari photography.  

6/ Protect your gear

If you’re going to take all that expensive gear to Africa and expose it to the dust, wind, sand and possibly rain, you’d better protect it! 

Invest in a decent padded backpack , and a rain cover for when an unexpected downpour blows in through the side of your open vehicle. Make sure you bring plenty of lens cloths and a dust blower , and give your gear a wipe at the end of every day to keep it in top condition.

And don’t forget proper insurance! Most cameras are too expensive to be covered by your travel insurance policy, so check and get separate gear insurance or cover it under your home insurance policy instead.

7/ Shoot RAW and learn to edit

While RAW files take up more space and need post-processing, they capture more data than JPEGs and offer the flexibility to edit your images to bring out their best. 

If you really want to take your wildlife photography to the next level, one of my top safari photography tips is to shoot RAW and learn some editing skills, to transform your images from good to great.

8/ Dress for success

Neutral-coloured clothing blends into the environment, making you less likely to spook the animals.

Opt for natural fabrics or sweat-wicking sportswear that breathes well in hot weather, and avoid bright colors and noisy clothing that might startle wildlife.

Read more about what to pack for safari here .

9/ Beanbag, tripod or monopod?

If you’re taking a large telephoto lens, you’ll need stabilisation. It’s hard to hold a heavy camera and lens for long periods at a time! 

Some safari companies provide beanbags for you to rest on the window ledge or roof, while others have adapted their cars with padded arm rests to balance your camera on. So it’s worth asking before you travel. 

I usually pack an empty photography beanbag , which I can then fill with beans or rice at the local market when I arrive. 

A tripod or monopod can offer even greater stability but can be impractical if you want to change your angle in a hurry, or if you don’t have much space. However, if you have a monopod (and trust it!), you can also use it to lower your camera over the side of the car for eye-catching low-angle shots. 

10/ Don’t forget spare cards and batteries

Running out of power or storage on safari is a recipe for disappointment!

Pack plenty of fully-charged batteries and enough memory cards – you’ll probably shoot way more than you usually do. Consider high-capacity, fast cards for capturing bursts of action, like birds in flight or a cheetah on the hunt. 

Cards are expensive, so I bring just two, and then back up my photos daily onto a portable hard drive before reusing the cards the next day. 

Find out more about my travel photography workflow here .

African safari photography tips: practicalities

Getting the best out of your safari photography begins before you leave the lodge – in fact, you could say it begins before you even get on the plane!

Here are some things to think about before you head out on your safari adventure:

11/ Ask about your vehicle

Not all safari vehicles are created equal. Before you book, find out what type of car you’ll be using. Will it be open sided; will it have a pop-up or a roll-back top?

Does everyone get a window seat, or will some people have to sit in the middle? Is there tiered seating and will you be able to get down low?

Ideally, you want a car with open sides and a pop-up or open roof for unobstructed views. At all costs avoid tour buses or normal-style jeeps with windows that don’t open fully.  

I prefer to book with companies that offer smaller vehicles (maximum six people per car) and a guaranteed window seat. In an ideal world, you’ll be able to have an entire row to yourself, so you have a prime spot no matter which side the animal is on. 

Knowing the vehicle will also help you choose the right accessories to bring: do you need a monopod or a beanbag? Will you have space to spread your gear out or will you need to bring a more compact setup?

12/ Consider a private car

For the ultimate in control and flexibility, a private safari vehicle might be better for you if you have the budget. 

Not having to worry about what other people want to do, or compete for the best angles, allows you to tailor the itinerary to your photographic goals, spread yourself around the car, and get in the perfect position every time. 

Looking for African safari tours? Search TourRadar for a huge selection from 5* operators

13/ Talk to your guide

Your guide is your key to unlocking the secrets of the bush – he or she is the person who’ll hopefully help you find your dream safari animals or get the shots you’re after.

What’s more, a good guide who understands light and angles is probably the number one most important thing you can have for safari photography. So before the trip or when you first arrive, I always tell the company I’m a photographer and ask to be assigned their best photography guide.

I noticed a huge difference in both Kenya and Botswana between the shots I got with a guide who really ‘got’ photography, and the ones who didn’t. 

Chat to them before you head out on your first game drive. Let them know the wildlife you’re hoping to see and the shots you’d like to get, and they will do their best to help you.

When you’re out and about, don’t be afraid to ask if you want something. The guide won’t know what shot you have in mind, so if you want to stop, move on, nudge the car forward or back a little, get a little closer, or find a different angle, just ask. It might not always be possible or allowed, but they will do their best to help you if they can. 

Remember though, that guides, while brilliant, are not miracle workers. If you’re desperate to see a leopard, they will use all their skills to help find one, but unfortunately the animals don’t perform on demand and sightings are never guaranteed. 

14/ Don’t just talk, listen!

As well as communicating your needs effectively, it’s important to listen. Guides are a goldmine of information when it comes to animals – not only in general, but they will also know the habits of specific animals in their patch. Your guide will be able to tell you where and when you’ll have the best chance of seeing a certain species or where certain individuals like to hang out. 

Once you’ve found the animal, the guides are experts at recognising behaviour cues and will be able to tell you if the lion is about to stretch or the hippo is about to yawn, so you can capture the money shot.

In Kenya, our guide Saruni anticipated that this lion would be thirsty after eating and would walk to this puddle to drink, so he positioned the car in the perfect spot and then all we had to do was wait for the lion to come to us.

15/ Get up early and stay out late

Lighting is crucial in photography. Early mornings and late afternoons offer the soft, golden light that creates stunning wildlife portraits, while midday sun can be harsh, creating strong contrast and deep shadows. 

Typically, most safari itineraries include morning and afternoon game drives, as that is when the animals are most active. Make sure you’re ready to go – if you hit snooze or dawdle over breakfast, you’ll may miss the best moments.

Likewise, at the end of the day many safari companies offer ‘sundowner’ drinks and snacks – which is exactly when you want to be photographing. So I always let my guide know that I’d prefer to skip cocktail hour and keep shooting instead (which is much easier to do if you’re not sharing the car with non-photographers who don’t take kindly to this!).

Safari photography tips: framing and composition

16/ think about your composition.

Now you’ve sorted the practicalities, it’s time to think about the images you’re going to take. Don’t just snap what’s in front of you – instead, think about what you want to include or leave out, and where you want the main focal point to be. 

You’re probably already familiar with the Rule of Thirds, where you imagine dividing the frame into thirds and then place your subject off-centre on one of those ‘third lines’ to create a more pleasing composition. Give it a go!

I explain more about the Rule of Thirds, as well as giving loads more general wildlife photography tips, in my Easy wildlife photography tips for beginners post. 

17/ What’s in shot? Keep it simple.

Be mindful of what fills your frame. Where possible, try to avoid clutter and distracting elements like branches or leaves that obstruct your subject. If necessary, change position in the car or ask the driver to move back or forward a little to get a better angle.

Avoid photos with too many elements competing for attention. Where there are many animals together, try to isolate one to three individuals, or wait for the group to space out a little to create a clean composition.

There were many zebras at this waterhole at Leroo La Tau in Botswana but I focussed on just these three to create a simple composition

18/ What’s in the background?

A messy background can detract from your subject. Whether that’s tangled trees or random other animals, try to aim for clean backdrops that don’t distract.

If necessary, ask your driver to move the car, or wait for the animal to move into a better position.

19/ Focus on the eye

In wildlife photography, it’s generally accepted that you should always focus on the main animal’s eye. We want the viewer to connect with the subject, and we are naturally drawn to eyes, so if the eye isn’t in focus the viewer’s connection to the image may be lost.

There are exceptions of course, such as if the eye isn’t visible in the shot, or you’ve deliberately chosen something else to focus on, but as a general rule of thumb, you should always get at least one eye sharp.

20/ Wait for eye contact

Connected with this, notice how when the animal’s gaze is locked on you, it creates an extra dramatic connection.

Some safari animals are curious and will look right at you, so keep your camera poised and ready to click the shutter at that crucial moment when your subject looks right at your lens.

21/ Get low

Sitting in a car, with the animal on the ground, most of the time you’ll be looking down on your subject and the background will be the grass around it. 

It’s not easy to do because most of the time it’s not safe to get out of the car, but if you can get down to the same level or lower than your subject so it’s framed against the sky instead, it makes for much more dramatic images. 

You obviously can’t do this when there are predators around, but if you ask your guide, it may be possible if the animal is a herbivore, it’s far enough away and you stay close to the car. I shot these rhinos by staying safely behind the car, and lying on the ground so I could shoot underneath it. 

22/ Shoot landscapes

Another top safari photography tip to remember is that going on safari isn’t just about the animals.

Don’t forget to capture the vastness and beauty of the African landscape, from the wide savanna grasslands, to lonely trees silhouetted against the sunset, to dramatic mountains on the horizon or reflections in lakes and wetlands. 

23/ Include the environment for context

Show how your animal subject interacts with its environment. Did you spot a lioness stalking through tall grass or a solitary giraffe eating acacia? Close ups can be dramatic and beautiful but including context can tell a different story. 

In Tsavo West, Kenya , I was amazed by the magnificent elephants which are often stained red or orange thanks to the landscape’s red dust. In this image I wanted to show how the elephants’ vivid colour stands out in the dry landscape and is mirrored by the orange dust bath just behind them.

24/ Shoot silhouettes

Sunrise and sunset are the most magical times for safari photography. And if you get dramatic colours in the sky, you can shoot sensational silhouettes. 

Find a recognisable animal – giraffes and elephants are great for this – and then get down low (positioning your car a little downhill is ideal) so the animal’s shape is against the sky and you can see its legs.

Time the shot so all the legs and the tail are visible, and underexpose by a stop or two to bring out the sky and turn the animal into a dark silhouette.

25/ Use the beauty of backlighting 

It’s tempting to always have the sun fully illuminating your subject from the front, but moving round to the other side so the animal is backlit often gives much more attractive results.

Low backlighting at the beginning and end of the day also illuminates grasses and creates a beautiful rim of light around your animal, highlighting the texture of its fur.

26/ Look up and around

Don’t forget to look skyward! Capture African birds soaring overhead, or giraffes munching on leaves from tall trees.

And don’t forget to look behind you too. While everyone is clicking away at resting lions, there might be some hyenas or a band of mongooses on the other side of the car.

27/ Include soft foreground elements

Frame your shot with interesting foreground elements like wildflowers, tall grasses, or branches, using a wide aperture and shallow depth of field to make them soft focus. This creates depth in your image and draws the viewer’s eye towards your subject.

This spoonbill standing by a lake was a pretty boring shot, until I moved behind the bush to create a natural frame around the bird. 

28/ Include cars and people 

As well as taking shots of the animals you see, don’t forget to include people too. 

Sometimes lions, elephants and other wildlife comes extremely close to the vehicles, and you can’t get a clean shot. Embrace this and make a point of it! Shots of animals and people’s reaction to them being so close can give you dramatic images and great memories of your safari photography trip.

29/ Try high key and low key

Playing with your exposure and going for a minimalistic look can add a new dimension to your safari photos. 

High key photography, emphasising bright whites and light colours, creates a clean feel, and can work well on overcast days when the sky is white. A great way to start practising with this is to find an animal against a white sky, and overexpose by a stop or two to blow out the sky and give an airy feel to the image.

Conversely, low key photography emphasises darker tones and deeper shadows, ideal for dramatic portraits. This works best if you have an animal lit by the sun against a darker background such as trees or rocks. Underexpose by 1-2 stops for that moody look.

I mainly shoot aperture priority, so the exposure compensation wheel is your friend here if you want to start experimenting.

30/ Use black and white to convey drama or texture

I love bright colours, but sometimes, stripping the colour away can be incredibly powerful. 

Black and white photography can allow the textures and shapes of your subject to shine – and works especially well with patterned animals like zebras, leopards or giraffes. 

Converting your image to black and white is also great for giving a boost to flat images shot on cloudy days or in disappointing light.

31/ Don’t ignore the little guys

While everyone wants jaw-dropping shots of lions and cheetahs, don’t ignore the less celebrity animals.

Some antelopes have wonderful character and colours, and if you look at your feet you may spot a colourful lizard or a fascinating dung beetle. So keep your eyes open!

32/ Look for natural framing

Trees, leaves, or even the bodies of other animals can create great natural frames which add interest to your composition.

In the image of silver-backed jackal pups below, I deliberately cropped the shot so the body of the standing puppy makes a natural frame around its siblings

33/ Try an unusual crop

You don’t always need to include the whole of the animal. If your zoom allows, why not crop in to draw the attention to details or a single individual amongst a herd.

I’ve cropped this image so you only see the eye and mouth of the mother crocodile, but it draws attention to the two babies sitting on her head.

34/ Be creative

Try to think outside the box with your images. What can you shoot that tells a story in an creative way but isn’t a basic portrait of an animal? 

Perhaps a lone elephant casts a long shadow as the sun dips below the horizon. Or look for reflections in watering holes – the mirrored image can add an artistic touch.

Buy my safari prints

Did you know that all my images are available to buy as prints to hang on your wall? And if you head to my Print Store and something you like is not there, you can simply message me via the contact form or on social media and I can add it for you.

Safari photography tips: some tricks and techniques

35/ aperture or shutter priority, or manual.

Some photographers like to make you think that if you’re not always shooting full manual, you’re just an amateur. Well I’m here to tell you that’s rubbish, so don’t worry.

Yes, you do need to get away from full auto, because although auto can be helpful and gets some things right, it often gets things wrong too.

But the ‘semi-auto’ modes, where you tell the camera your priorities and it calculates the rest, are ideal for wildlife photography. Things happen quickly and unexpectedly on safari, and there simply isn’t time for you to be fiddling with all the settings.

Looking for Africa photography safaris? Check out   these photo safaris  to fin d your dream trip

I pretty much always use Aperture Priority (AV) mode with my aperture fully wide open for lovely soft depth of field, while keeping an eye on my shutter speed to make sure it’s not too slow for fast-moving animals.

I keep my ISO on manual as well, to avoid the camera pushing it right up and giving me noisy images.

You could also use Shutter Priority (TV) mode to make sure your shutter is fast enough to freeze the action, but then you don’t have any control over the depth of field you want.

36/ Auto focus or manual focus?

Manual focus can definitely be useful at times, but in general I always use auto focus. Cameras have extremely complex and clever auto focussing systems, so why wouldn’t you use it!

You do need to understand your focussing system and know how to control it, otherwise the camera may choose to focus on the wrong thing. I use a single spot which I either point at the subject and then reframe to take the shot, or I move the spot around the frame. For fast-moving animals, the animal eye detection AI is really very good, but not always perfect.

For more on how I set up my camera for wildlife photography, check out Using The Canon R5 For Wildlife Photography: A Full Review .

37/ Use burst mode to freeze action

The animal kingdom is unpredictable, and perfect photo opportunities can happen in a flash. 

Today’s DSLRs and mirrorless cameras – and even smartphones – can now shoot many frames per second, allowing you to capture a rapid sequence of images and increasing your chances of getting that razor-sharp shot of a lion leaping or a gazelle mid-air. 

Later, you can sort through the burst and select the image with the perfect composition and action frozen in time.

I used a high-speed burst to take a sequence of images of this leopard snapping a flies so that I could pick the facial expression I liked best (on the right).

38/ Or experiment with slower shutter speeds

Safari photography is all about capturing movement and it can be tempting to go for the fastest shutter speeds possible to freeze the action.  

Why not try using a slower shutter speed and either panning or zooming at the same time, to create a sense of motion and a very different look?

I used a slow shutter speed of 0.3 seconds and turned the zoom as I took the photo to create this impressionistic images of a lion in Botswana.

39/ Be patient

Animals move on their own schedule, and if you get bored too quickly, you may miss that dream moment. In fact, some of my best shots have happened after all the other cars have got bored and left, while we waited and were rewarded for our patience. 

So embrace the waiting game! Enjoy the scenery, listen to the sounds of the savannah, but always be ready to shoot quickly when that leopard finally comes down from the tree or the sleeping lion gets up and goes on the hunt.

Click here to start planning your dream photo safari adventure!

40/ Be a team player

Sharing a vehicle means compromising sometimes. If another guest has a dream shot, or there’s only one good angle on the animal, be flexible and allow them some space, and they should do the same for you.

The same goes for your car as a whole. Don’t be that guy who parks in front or hogs the best spot for hours. You may not get every shot, but life is better when people are considerate of others too – and it’s better for the animals if they’re not being harassed by jostling cars.

Communication and courtesy go a long way in ensuring everyone gets a chance to capture unforgettable moments and has a great time in the process.

And that’s it! I hope you enjoyed all these tips for safari photography.

My favourite travel tools and brands

To help you organise your trip, here’s a short list of some of the brands and tools I use over and over again when I’m planning my travels. You can see more on my Travel Resources page.

• Booking.com : A huge range of hotels to choose from, often with free cancellation. If you book hotels regularly you can earn discounts. I’m on Genius Level 3 which gets me 20% off!
• Expedia : Another great place to find hotels and Expedia also sell flights , car hire, and loads more all in one place.
• Skyscanner : The only place I ever go to search for flights and compare prices.
• Flight Centre : Booking a more complicated route? Let Flight Centre organise it for you (and deal with the drama when something goes wrong).
• Priority Pass: I love having access to 1,400+ airport lounges when I fly, allowing me to enjoy my time at the airport. With my link you get 30% off a standard membership or 20% off standard plus .
• Airalo: Say goodbye to ridiculous mobile roaming charges. Did you know you can now buy an e-SIM , install it in your phone before you leave home, and then use data abroad at local prices? Game changer. Get US$3 credit with code BELLA5735 .
• TourRadar: If you prefer group travel and organised tours, TourRadar has a huge range of fantastic tours from respected operators. They’re very helpful and have 4.5 stars on TrustPilot.
• Viator: Part of the TripAdvisor brand, Viator is another great place to search for group adventures and day trips.
• GetYourGuide: A great place to find local tours and day trips in your destination.
• Wex Photo Video: The UK’s best camera gear store. Quote my name – Bella Falk – to get £20 off your first purchase.
• Ellis Brigham: Looking for good quality backpacks, travel clothes and other gear? Ellis Brigham is where I buy almost all of mine.
• Rentalcars.com: Part of the Booking.com family and the world’s largest online car rental service, with 24/7 customer service.
• World Nomads Travel Insurance: I never ever travel without travel insurance and nor should you!

Where to next?

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Stephen Hiltner/The New York Times

The sculpted facade of a 2,000-year-old tomb glows in the late-afternoon sun at Hegra, a UNESCO World Heritage site.

Crowds of Muslim pilgrims gather outside the Prophet’s Mosque in Medina.

Camels march through the desert on the outskirts of the Empty Quarter, the world’s largest sand sea.

For many years these Saudi Arabian scenes, including the lively open-air markets in Jeddah, were off limits to most travelers.

But not anymore. As it undergoes a profound transformation, Saudi Arabia is spending lavishly to lure tourists with its luxe new resorts ...

... its rich cultural heritage ...

... and its sublime natural beauty.

Can the Saudi government persuade would-be visitors to look past — or reconsider — its longstanding associations with religious extremism, ultraconservatism and human rights abuses?

Will the kingdom’s $800 billion bet on tourism pay off?

Supported by

Surprising, Unsettling, Surreal: Roaming Through Saudi Arabia

To witness the kingdom’s profound transformation and assess its ambitious tourism projects, a Times journalist spent a month on the road there. Here’s what he saw.

By Stephen Hiltner

An editor and photojournalist for the Travel section, Stephen Hiltner drove 5,200 miles and visited all 13 of Saudi Arabia’s provinces while reporting and shooting this story.

Wandering alone along the southern fringes of Saudi Arabia’s mountainous Asir Province, some eight miles from the Yemeni border, in a nondescript town with a prominent sculpture of a rifle balanced on an ornately painted plinth, I met a man, Nawab Khan, who was building a palace out of mud.

Listen to this article with reporter commentary

Actually, he was rebuilding the structure, restoring it. And when I came across him, he hadn’t yet begun his work for the day; he was seated on the side of the road beneath its red-and-white windows — cross-legged, on a rug, leaning over a pot of tea and a bowl of dates.

Two weeks earlier, on the far side of the country, a fellow traveler had pointed at a map and described the crumbling buildings here, in Dhahran al-Janub, arranged in a colorful open-air museum. Finding myself nearby, I’d detoured to have a look — and there was Mr. Khan, at first looking at me curiously and then waving me over to join him. Sensing my interest in the cluster of irregular towers, he stood up, produced a large key ring and began opening a series of padlocks. When he vanished through a doorway, I followed him into a shadowy stairwell.

This, of course, was my mother’s worst nightmare: Traveling solo, I’d been coaxed by a stranger into an unlit building in a remote Saudi village, within a volatile border area that the U.S. Department of State advises Americans to stay away from .

By now, though, more than halfway through a 5,200-mile road trip, I trusted Mr. Khan’s enthusiasm as a genuine expression of pride, not a ploy. All across Saudi Arabia, I’d seen countless projects being built, from simple museums to high-end resorts. These were the early fruits of an $800 billion investment in the travel sector, itself part of a much larger effort, Vision 2030 , to remake the kingdom and reduce its economic dependence on oil.

But I’d begun to see the building projects as something else, too: the striving of a country — long shrouded to most Westerners — to be seen, reconsidered, accepted. And with its doors suddenly flung open and the pandemic behind us, visitors like me were finally beginning to witness this new Saudi Arabia, much to Mr. Khan’s and all the other builders’ delight.

Few countries present as complicated a prospect for travelers as Saudi Arabia.

Long associated with Islamic extremism, human rights abuses and the oppression of women, the kingdom has made strides in recent years to refashion its society and its reputation abroad.

The infamous religious police, which upheld codes of conduct based on an ultraconservative interpretation of Islam, were stripped of their power. Public concerts, once banned, are now ubiquitous. Women have been granted new rights — including the freedom to drive and to travel without permission from a male guardian — and are no longer required to wear floor-length robes in public or to cover their hair.

These changes are part of a broad set of strategies to diversify the kingdom’s economy, elevate its status in the world and soften its image — the last of which is a tall order for a government that has killed a newspaper columnist , kidnapped and tortured dissidents , precipitated a humanitarian crisis in Yemen and imprisoned people for supporting gay rights , among a number of other recent abuses .

Central to the transformations led by 38-year-old Crown Prince Mohammed bin Salman, the kingdom’s de facto ruler, is a major push for international visitors. It represents a sea change in a country that, until 2019, issued no nonreligious tourist visas and instead catered almost exclusively to Muslim pilgrims visiting Mecca and Medina, Islam’s two holiest cities. In February, by contrast, my tourist e-visa was approved online in minutes.

Saudi Arabia has already transformed one of its premier destinations — Al-Ula, with its UNESCO-listed Nabatean tombs — from a neglected collection of archaeological sites into a lavish retreat with a bevy of activities on offer, including guided tours, wellness festivals, design exhibitions and hot air balloon rides.

Another project will create a vast array of luxury resorts on or near the Red Sea.

Still more projects include the development of Diriyah , the birthplace of the first Saudi state; the preservation and development of the coastal city of Jeddah ; an offshore theme park called the Rig ; and Neom , the futuristic city that has garnered the lion’s share of attention.

All told, the country is hoping to draw 70 million international tourists per year by 2030, with tourism contributing 10 percent of its gross domestic product. (In 2023, the country logged 27 million international tourists, according to government figures , with tourism contributing about 4 percent of G.D.P.)

At-Turaif, a UNESCO World Heritage site, was the birthplace of the kingdom of Saudi Arabia. It is now the centerpiece of the $63 billion Diriyah project, a new center of culture just outside Riyadh.

Nujuma, a Ritz-Carlton Reserve on a remote island in the Red Sea, opened in late May. (A one-bedroom villa costs about $2,500 per night, excluding taxes and fees.) It is one of 50 properties scheduled to open in the area by 2030.

The preservation and development of Jeddah, a coastal city famous for its historic district built largely from blocks of coral, comes with a price tag of some $20 billion.

Al-Ula is a cornerstone of Saudi Arabia’s tourism ambitions. Part of the city’s Old Town, long crumbling in neglect, has now been painstakingly restored.

To get a sense of these projects and the changes unfolding in Saudi society, I spent a month exploring the kingdom by car. I traveled alone, without a fixer, driver or translator. Per New York Times ethics guidelines, I declined the government’s many offers of discounts and complimentary services.

Much of the time I felt I’d been tossed the keys to the kingdom. But there were moments, too, when I faced a more complicated reality, one epitomized by a road sign that forced me to abruptly exit the highway some 15 miles from the center of Mecca. “Obligatory for Non Muslims,” it read, pointing to the offramp.

To me, the sign broadcast the lines being drawn to compartmentalize the country, which is now marketing itself to two sets of travelers with increasingly divergent — and sometimes contradictory — expectations: luxury tourists at ease with bikinis and cocktails, and pilgrims prepared for modesty and strict religious adherence. It’s hard to know whether the kingdom can satisfy both without antagonizing either.

My trip began in Jeddah, where, after spending two days exploring its historic district, I rented a car and drove eight hours north to Al-Ula, a benchmark for the new Saudi tourism initiatives.

Saudi Arabia

Reporter’s route

Dhahran al-Janub

Wadi al-Disah

Red Sea Resort

The name Al-Ula refers to both a small city and a broader region packed with attractions: Hegra , the kingdom’s first UNESCO World Heritage site and its biggest archaeological draw, is a 30-minute drive north of Old Town, a maze of crumbling mud-brick buildings now partly restored. Between the two, and fanning out to the east and west, are several other archaeological sites, as well as a smattering of resorts, event spaces and adventure outfitters. Farther northeast, beyond Hegra, is the Sharaan Nature Reserve , a vast protected zone used for conservation efforts.

My first priority during my five-day stay in Al-Ula was a visit to Hegra.

Like Petra , its better-known counterpart in Jordan, Hegra was built by the Nabateans, an ancient people who flourished 2,000 years ago. The site contains more than 100 tombs that were carved from solid rock, their entrances adorned with embellishments. Most impressive among them, set apart and standing some 70 feet tall, is a tomb colloquially called the Lonely Castle.

Not long ago, visitors could hire private guides and wander the area on foot, climbing in and out of — and no doubt damaging — the many tombs. Not anymore: I boarded an air-conditioned tour bus and zipped past most of them, stopping at just four locations.

At the penultimate stop, we exited the bus and trudged several hundred feet along a sandy path to the front of the Lonely Castle. Even in the late afternoon, the heat was stifling. I craned my neck to take in the details of the sculpted facade, which emerged like a mirage from one side of a massive boulder: its four pilasters, the rough chisel marks near the bottom, its characteristic five-stepped crown. Ten minutes evaporated, and I turned to find my group being shepherded back onto the bus. I jogged through the sand to catch up.

A few miles north of Hegra, I hopped in the back of a Toyota Land Cruiser — accompanied by an Italian graduate student and his mother — for a drive through the sandy expanse of the Sharaan Nature Reserve.

The scenery was sublime: Slipping through a narrow slot canyon, we emerged into a vast, open desert plain, then settled into a wide valley enclosed by an amphitheater of cliffs. Occasionally our guide stopped and led us on short hikes to petroglyphs, some pockmarked by bullet holes, or to lush fields of wildflowers, where he plucked edible greens and invited us to sample their lemony tang.

Gabriele Morelli, the graduate student, had first come to Al-Ula a few years ago — a different era, he said, given how quickly the place had transformed. He described a version that no longer exists, rife with cheap accommodation, lax rules and a free-for-all sensibility.

Some of the changes, of course, have been necessary to protect delicate ecosystems and archaeological sites from ever-growing crowds. But several people I met in Al-Ula — Saudis and foreigners alike — quietly lamented the extent of the high-end development and the steady erosion of affordability. Many of the new offerings, like the Banyan Tree resort, they pointed out, are luxury destinations that cater to wealthy travelers.

These hushed criticisms were among my early lessons on how difficult it can be to gauge the way Saudis feel about the pace and the pervasiveness of the transformations reshaping their society.

I got a taste of Al-Ula’s exclusivity — and of the uncanniness that occasionally surfaced throughout my trip — at a Lauryn Hill concert in an event space called Maraya . To reach the hall, I passed through a security gate, where an attendant scanned my e-ticket and directed me two miles up a winding road into the heart of the Ashar Valley, home to several high-end restaurants and resorts.

Rounding the final bend, I felt as if I’d stumbled into a computer-generated image: Ant-size humans were dwarfed by a reflective structure that both asserted itself and blended into the landscape. Inside, waiters served hors d’oeuvres and brightly colored mocktails to a chic young crowd.

The surreality peaked when, midway through the show, I left my plush seat to join some concertgoers near the stage — only to turn and see John Bolton, former President Donald J. Trump’s national security adviser, seated in the front row.

Where else, I wondered, could I attend a rap concert in the middle of the desert with a longtime fixture of the Republican Party — amid a crowd that cheered when Ms. Hill mentioned Palestine — but this strange new corner of Saudi Arabia?

The mirrored facade at Maraya, a vast event space in Al-Ula, warps and reflects the surrounding desert landscape.

The building is in some ways a precursor to the kingdom’s most ambitious architectural design: the project at Neom called the Line, a 106-mile linear city that will also feature a mirrored surface.

Lauryn Hill performing in front of a large crowd at Maraya.

After Al-Ula, I drove to another of the kingdom’s extravagant schemes: the Red Sea project, billed as the “world’s most ambitious regenerative tourism destination.” After weaving through a morass of construction-related traffic, I boarded a yacht — alongside a merry band of Saudi influencers — and was piloted some 15 miles to a remote island, where I disembarked in a world of unqualified opulence at the St. Regis Red Sea Resort .

I was chauffeured around in an electric golf cart — past 43 beachside “dune” villas and onto two long boardwalks that connect the rest of the resort to 47 “coral” villas, built on stilts over shallow turquoise water. Along the way, I listened to Lucas Julien-Vauzelle, an executive assistant manager, wax poetic about sustainability. “We take it to the next level,” he said, before rattling off a list of facts and figures: 100 percent renewable energy, a solar-powered 5G network , plans to enhance biologically diverse habitats.

By 2030, he said, the Red Sea project will offer 50 hotels across its island and inland sites. Citing the Maldives, he mentioned the kingdom’s plans to claim a share of the same high-end market.

Another prediction came by way of Keith Thornton, the director of restaurants, who said he expects the resort to legally serve alcohol by the end of the year. (While a liquor store for non-Muslim diplomats recently opened in Riyadh, the Saudi government has made no indication that it plans to reconsider its broader prohibition of alcohol.)

The hotel was undeniably impressive. But there’s an inescapable irony to a lavish resort built at unfathomable expense in the middle of the sea — with guests ferried out by chartered boat and seaplane — that flaunts its aspirations for sustainability.

Toward the end of my several-hour visit, I learned that every piece of vegetation, including 646 palm trees, had been transplanted from an off-site nursery. Later, reviewing historical satellite images, I found visual evidence that the island — described to me as pristine — had been dramatically fortified and, in the process, largely remade. Its footprint had also been significantly altered. It was, in a sense, an artificial island built where a smaller natural island once stood.

Something else struck me, too: The place was nearly empty, save for the staff and the Saudi influencers. Granted, the resort had just opened the month before — but the same was true at the nearby Six Senses Southern Dunes , an inland Red Sea resort that opened in November. Fredrik Blomqvist, the general manager there, told me that its isolated location in a serene expanse of desert — part of its appeal — also presented a challenge in drawing customers. “The biggest thing,” he said, “is to get the message out that the country is open.”

Since the country began issuing tourist visas, influencers have been documenting their experiences in places like Jeddah and Al-Ula, their trips often paid for by the Saudi government. Their breezy content contributes to the impression that the kingdom is awaiting discovery by foreign visitors with out-of-date prejudices. To an extent, for a certain segment of tourists, that’s true.

For many travelers, though, the depiction of the kingdom as an uncomplicated getaway could be dangerously misleading.

Speech in Saudi Arabia is strictly limited; dissent is not tolerated — nor is the open practice of any religion other than the government’s interpretation of Islam. In its travel advisory , the U.S. Department of State warns that “social media commentary — including past comments — which Saudi authorities may deem critical, offensive, or disruptive to public order, could lead to arrest.” Punishment for Saudi nationals has been far worse: In 2023, a retired teacher was sentenced to death after he criticized the ruling family via anonymous accounts. As of late 2023, he remained in prison.

Other restrictions are harder to parse. L.G.B.T.Q. travelers are officially welcome in the kingdom but face a conundrum: They might face arrest or other criminal penalties for openly expressing their sexual orientation or gender identity. As recently as 2021, an independent U.S. federal agency included Saudi Arabia on a list of countries where same-sex relationships are punishable by death , noting that “the government has not sought this penalty in recent years.”

When asked how he would convince a same-sex couple that it was safe to visit, Jerry Inzerillo, a native New Yorker and the group chief executive of Diriyah, said: “We don’t ask you any questions when you come into the country or when you leave.”

“Maybe that’s not conclusive enough,” he added, “but a lot of people have come.”

Female travelers might also face difficulties, since advancements in women’s rights are not equally distributed throughout the kingdom.

The changes were more visible in big cities and tourist centers. Ghydda Tariq, an assistant marketing manager in Al-Ula, described how new professional opportunities had emerged for her in recent years. Maysoon, a young woman I met in Jeddah, made extra money by occasionally driving for Uber. Haneen Alqadi, an employee at the St. Regis Red Sea, described how women there are free to wear bikinis without fear of repercussions.

Outside such places, though, I sometimes went for days without seeing more than a handful of women, invariably wearing niqabs, let alone seeing them engaged in public life or tourism. My photographs reflect that imbalance.

As an easily identifiable Western man, I moved through the country with an array of advantages: the kindness and cheery curiosity of strangers, the ease of passage at military checkpoints, and the freedom to interact with a male-dominated society at markets, museums, parks, restaurants, cafes. Not all travelers could expect the same treatment.

Roaming in the far north and south, I often found the earlier version of the kingdom — with lax rules and less development — that had been described to me in Al-Ula.

I trekked to the northern city of Sakaka to see an archaeological site promoted as the Stonehenge of Saudi Arabia: a set of monoliths called the Rajajil Columns thought to have been erected some 6,000 years ago but about which little is definitively known.

My heart sank when I pulled into the parking lot after a five-hour drive and found the columns blocked by a tall fence. Approaching on foot, though, I noticed that a section of the fence had been peeled back and that visitors were wandering freely among the stones, which protruded from the earth like isolated clusters of crooked teeth. I joined the small crowd, if hesitatingly, and was surprised to find no footpaths, nor anything to keep us a safe distance from the columns. In the end I wondered if our access had been officially approved or informally arranged.

My travel experiences were sometimes awkward in other ways, too.

Standing just outside the grounds of the central mosque in Medina, where the Prophet Muhammad is buried, I was detained by a stern member of the Special Forces. (Even after 2019, non-Muslim tourists remained barred from Mecca and Medina, Islam’s two holiest cities. The ban was relaxed in parts of Medina in 2021.)

The guard interrogated me and, after calling a colleague to confer, demanded that I leave the area. “Go,” he said threateningly. Another traveler who witnessed the encounter scurried away to avoid a similar fate.

The unsettling exchange cast a pall over my time in the city, which few non-Muslims have seen. As far as I knew, I’d abided by the rules by staying outside the grounds of the Prophet’s Mosque — a boundary line that I’d confirmed with tourism officials beforehand.

Peering through the perimeter fence — the boundary line for non-Muslims — at the Prophet’s Mosque in Medina.

The Mosque of Al-Ghamamah, one of the oldest in the holy city.

A sprawling maze of ramshackle residential buildings sits less than a mile from the Prophet’s Mosque.

A guide speaking to a group of visitors near the Hejaz Railway Museum, visible in the distance. (The museum was closed for renovations at the time.)

A group of young men, most of whose families emigrated from Sudan, playing soccer in a field just outside the center of Medina.

More than anything, family and friends wanted to know if I felt safe on my trip — and I did, almost without exception. Petty crime in Saudi Arabia is exceedingly rare. And while parts of the country are under a Level 4 “Do Not Travel” advisory , even my rambling itinerary was approved by a security expert.

Instead of fearing for my safety, I was often preoccupied with how I’d fairly portray a place that elicited such a range of conflicting emotions: joy and distress, excitement and apprehension, sincerity and doubt. So much lay hidden from public view — like the collective anguish over the war raging in Gaza . And so little was easy to categorize, in part because the warmth of everyday Saudis was strikingly at odds with the ruthlessness of their authoritarian government.

In Riyadh, a young man warned me not to speak openly with strangers. “People get arrested here for a tweet ,” he said. “Can you imagine?”

I could, actually. The Saudi columnist Jamal Khashoggi had chronicled his government’s increasingly draconian responses to criticism. “Repression and intimidation are not — and never should be — the acceptable companions of reform,” he wrote in The Washington Post in 2018, just months before he was killed and dismembered at his country’s consulate in Istanbul.

Were we to travel only where we feel comfortable and unchallenged, we’d all be poorer for it. But the question of whether to travel to Saudi Arabia is thornier than that.

It’s easy to see one response, “No,” as yielding to closed-mindedness at the expense of ordinary people — like the kindly vendor Abdullah, who served me local honey at his shop in the southern mountains.

But it’s easy, too, to see “Yes” as an affirmation that might makes right, that amusement outweighs morality, that princely wealth can wipe a stained slate clean.

Sunrise over the mountainous village of Fayfa, some six miles from the Yemeni border.

Abdullah Ghaleb Zaid, a honey vendor, at his shop atop a mountain pass near the southern city of Abha.

Sunset near Jabal Soudah, the kingdom’s highest peak.

Ten days into my trip, I ventured to Wadi al-Disah, a steep-walled valley where I’d booked a tent at a campsite I found on Airbnb. For an additional 300 riyals ($80), my host, Faisal, led me on a four-wheel-drive tour, departing the paved road and weaving through a path along the bed of an ephemeral river. Continually jolted by the uneven terrain, we eased past thick reeds, lofty palms and small bands of visitors who’d nestled into clearings.

As we left, I met a group of young men gathered for a picnic, their sandals scattered around a carpet on which they were preparing their dinner. Delighted to meet an American with a camera, they asked if I’d take a group portrait, then exchanged information with me so I could send them a copy — a scenario by then so familiar that I hardly thought anything of it.

A full day later, some 200 miles away, I was cruising along a lonely highway near the Jordanian border when a Land Cruiser blew past me at an astonishing speed. I felt my compact car rock from its turbulence — and then I watched with a twinge of dread as the car abruptly braked, slowing hard in the left lane until our front ends were aligned. It held steady there.

For a moment I stared straight ahead, hoping to avoid a confrontation. When I finally turned to look, I saw a group of boys grinning wildly and waving through an open window. Then I realized: Improbably, it was three of the young men I’d met the day before. Somehow we’d all followed the same route. And somehow, in the split second it took them to fly past, they’d recognized me. I lifted my camera from the passenger seat and snapped a photograph.

The picture shows three young Saudis on a precipice: endearing, erratic, captivating. I have a sense of where they came from but no certainty about where they’re going. Two are flashing peace signs, and none appears to be wearing a seatbelt. No one is watching the road as their car drifts out of its lane, careening a little recklessly into a hopeful and uncertain future.

Stephen Hiltner’s recent work includes a photo essay about his childhood in Budapest , an examination of A.I.-generated guidebooks and an investigation into the deaths of Russian soldiers in Ukraine . You can follow his travels on Instagram .

Got a question about this story? Drop a note in the comments section. Got a tip? Send him an email .

Read by Stephen Hiltner

Audio produced by Jack D’Isidoro .

Stephen Hiltner is an editor, writer and photographer for the Travel section of The Times. More about Stephen Hiltner

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• Kings Pool – A few sets (camera with lenses) plus one pair of binoculars will be available in the main area. Lessons will be on offer in the sunken hide during midday when the hide is most active. An alternative option is a photographic experience on the Queen Silvia barge. In the summer months, there will be a mobile hide for the carmine bee-eaters.

Skeleton Coast, Namibia

• Serra Cafema , Hoanib , and Little Kulala – Cameras will be available in camp for guests to use in their own time, with a booklet available explaining how to use the camera, including some photographic tips and tricks. Pro-tip: for expert guidance at these camps, we recommend hiring a private guide.

Volcanoes National Park, Rwanda

• Bisate Lodge – A couple of camera sets will be available for guests to use on their gorilla treks. The camera will be pre-set in order to ensure that guests get the optimal photographic experience. Tips for photographing gorillas will also be provided.

Beyond the Wilderness-Olympus partnership, several Great Plains Conservation camps cater to photographers and can provide a camera for you. Here are a few of our favorites:

• Zarafa Camp – Linyanti, Botswana
• Selinda Camp – Linyanti, Botswana
• Duba Plains Camp – Okavango Delta, Botswana
• Ol Donyo Lodge – Amboseli and Chyulu Hills National Parks, Kenya
• Mara Plains Camp – Maasai Mara, Kenya
• Mara Nyika Camp – Maasai Mara, Kenya

All of Great Plains Conservation’s 5-star camps have a Canon 5d Mark III or IV with two sets of wide-angle lenses (including 100-400mm) per room for guest use. Guides can do a basic tutorial and can always position the vehicle to maximize the chances for great images.

Learn Everything You Need to Know: Specialist Photo Camps

If you want to learn how to use your camera to its fullest capabilities, a specialist photo camp might be perfect for you. Here are three of our favorites:

Pangolin Chobe Hotel – Chobe National Park, Botswana

For professional, passionate, knowledgeable photographic guides, look no further than Pangolin Chobe Hotel. You’re guaranteed a warm welcome and helpful attention to your photography, regardless of your skills or experience. Plus, incredible wildlife at Chobe make for a wonderfully immersive safari experience.

Zimanga Private Game Reserve – KwaZulu-Natal, South Africa

Zimanga offers state-of-the-art photographic hides , built in partnership with “The Invisible Wildlife Photographer,” Bence Mate . These hides provide visitors extraordinary opportunities to observe African wildlife. Additionally, Zimanga’s game drive vehicles have a limit of two passengers per row, ensuring ample space for your gear and maneuverability.

Photograph in Comfort: Camps with Photographic Vehicles

For the ultimate experience of comfort, amenities, and exceptional access to great photographic opportunities, a specially-designed photographic vehicle may be just what you’re looking for.

Depending on the property, your vehicle may feature:

• Space for 3-4 photographers (and their equipment)
• Drop-down sides for photographers to lie down and get low-angle photographs
• Three 360º swivel seats, one per “row” – seats also lean right back if required
• Only front and back bars to hold up the roofless obstruction of view for photography
• Beanbags and foam camera rest (photographers advised to bring their own tripods)
• Vehicle kit with a fridge, charging points, roll-down sides for bad weather, etc.
• Lowered center console with raised lid for quick and easy access to lens changes
• Lowered snorkel for better forward views
• Radio aerial at the back of the vehicle for better forward views
• Specially-designed pop-off roof (choose whether you want it on or off!)
• Additional leg room

Several camps offer photographic safari vehicles. Here are our favorites.

• Asilia Africa has photography vehicles based in the Maasai Mara which service all their Mara Camps. They have one in the Central Serengeti for use at Dunia Camp and the new Namiri Plains , one in Northern Serengeti for Sayari Camp (and seasonal Asilia migration camps), and also one in Ruaha for use at Jabali Ridge and Kwihala Camp.
• Mombo Camp – Okavango Delta, Botswana
• Mashatu Lodge – Mashatu Game Reserve, Botswana
• Ngala Safari Lodge – Timbavati Game Reserve, Kruger National Park, South Africa
• Phinda Vlei Lodge – KwaZulu-Natal, South Africa
• Phinda Zuka Lodge – KwaZulu-Natal, South Africa
• Phinda Homestead – KwaZulu-Natal, South Africa

Get Up Close to the Action: Camps with Excellent Photographic Hides

• Ol Donyo Lodge (Amboseli and Chyulu Hills National Parks, Kenya) offers two photographic hides, one at ground level and one sunken container that faces the water hole in front of the lodge.
• An elephant-proof ground-level hide based at a waterhole, perfect for both beginner and professional photographers
• Semi-permanent hides that are regularly relocated to drying waterholes in the riverbeds characteristic of Mashatu.
• An infinity bird hide where you can photograph seed-eating birds at eye level
• A hide based at the white-fronted bee-eater colony
• Singita Pamushana (Gonarezhou National Park, Zimbabwe) offers a hide near a waterhole that can comfortably accommodate six guests and their guides. The hide even includes an en-suite flush toilet !
• Linkwasha Camp (Hwange National Park, Zimbabwe) offers their Photo Hub experience at their sunken hide. This post-brunch event includes an informative slideshow and cameras available for guest use at tea time.
• Little Makalolo (Hwange National Park, Zimbabwe) offers a Photo Hub experience similar to Linkwasha’s, but the location is at their log pile hide.
• Chamilandu Bush Camp (South Luangwa National Park, Zambia) has a hide that looks over an oxbow lagoon behind the camp, the perfect location for spotting bathing elephants.
• Kaingo Camp (South Luangwa National Park, Zambia) offers photographic hides regularly used by National Geographic, the BBC, and the Discovery Channel for wildlife photo shoots and documentaries. Kaingo features both a hippo hide and an elephant hide.

• Chiawa Camp (Lower Zambezi National Park, Zambia) offers two hides, one near the edge of the Zambezi and one near the camp’s water tank overflow. We especially love the option of a night safari in the second hide where guests can use an infrared spotlight and night-vision monoculars to view any nocturnal (or diurnal) wildlife stopping to drink nearby.

Polish Your Work: Camps with Editing Tools

If you want to head home with perfectly-edited photos ready for printing, several camps offer computers with a full suite of editing tools for guest use. If this sounds appealing to you, we recommend:

• Singita Ebony Lodge – Sabi Sands South Africa
• Singita Boulders Lodge – Sabi Sands, South Africa
• Singita Faru Faru – Serengeti National Park, Tanzania
• Singita Lebombo Lodge – Kruger National Park, South Africa
• Singita Kwitonda Lodge – Volcanoes National Park, Rwanda
• Singita Pamushana – Gonarezhou National Park, Zimbabwe

Keeping It Simple: Photographic Day Tours

You don’t have to build your entire safari around photography to still enjoy some incredible moments behind your camera. For a lighter take on the full-fledged photographic safari, we recommend a day tour! You’ll get to take in amazing views of wildlife and learn to make better use of your camera while you’re at it.

Here are two of our favorite tours:

Chase the Sun Peninsula Tour in Cape Town

This tour gives you a fantastic overview of Cape Town’s highlights, and the route is scheduled to take advantage of optimum lighting conditions in each stop!

Photograph technicolor bathing boxes at Muizenberg Beach, quaint streets and brightly-colored fishing boats at Kalk Bay, jackass penguins at Boulder’s Beach, the iconic Cape Point, and the granite and sandstone cliff face stretching along Chapman’s Peak Drive.

This eight-hour tour includes lunch and is limited to just 12 guests.

3-Hour Photo Safari River Cruise Along the Chobe River

For a half-day photographic excursion, we recommend this cruise along the Chobe. Opt for an early morning cruise (departure is usually around 6 a.m.) or an afternoon one (departure is about 3 p.m.). Either way, the itinerary is planned around optimum lighting conditions, so you’re sure to get some beautiful shots. The boat provides a unique vantage point.

The cameras supplied for this tour are Canon 80D bodies fitted with 150-600mm Sigma telephoto lenses. If you’re a beginner photographer, the photo hosts on board will set you up and help you use the camera to its fullest potential.

Special Mention

Every camp featured in this piece offers something special and well-suited to photography-minded travelers. But if we had to choose a #1 favorite destination, it would be Tswalu in South Africa’s Southern Kalahari.

The colors in this desert game reserve are stunning, and we love that they offer private vehicles. This is also a favorite destination of one of our expert photographer clients, JP Pollak. Check out his rave review here .

What to Pack: Essential Gear

We all love our iPhones, but we promise: Apple will fail you when on safari. For optimum results and an enjoyable experience, we recommend you pack the following:

• DSLR camera
• A long lens (an 18-200mm is the recommended minimum) or an all-in-one camera with 20x zoom
• Tripod, especially for after-dark shots
• Monopod, especially if you’ll be in a more open vehicle with fewer surfaces to support your camera
• A bean bag on which to rest your telephoto lens (pro-tip: you can bring the bag empty and fill it in camp with rice or dried beans)
• Charging gear: adapter, power strip (though most camps have these), and possibly an inverter for the truck (some have outputs)
• A sturdy dust-proof camera bag or case
• Lens cleaning equipment
• Extra batteries (2+) – you’ll be able to charge them in camp, but it’s best to have extras while out in the vehicle
• Extra memory cards
• Portable memory card back-up devices (no laptop required!)
• Wide-angle lens (not essential, but great to have if you want some landscape shots or close-ups of interesting insects)

What NOT to Pack

Too much luggage.

We recommend that you pack simply and sensibly for your photographic safari, keeping extra suitcases to a minimum.

And remember, several camps can provide camera equipment for you (see above).

Pro-tip: While some photographers prefer to bring along a tripod (especially for long-exposure shots at night), it’s not an essential. Most camps have bean bags to help stabilize your camera in the vehicle.

If you plan on bringing camera gear from home, airlines have several different ways to accommodate extra luggage, depending on the carrier. You may be asked to:

• Book a freight seat for an additional 20kg to 75kg, depending on carrier and route (some carriers charge the child rate, others charge 75% of the full fare)
• Book an XL seat which allows an extra 15kg (fees vary by route)
• Pay a weight-based fee for extra luggage
• Check your bags for transport in the luggage hold under the plane for an additional fee (though with fragile camera equipment, you may want to book a freight seat)

While we understand that drones are great for aerial shots and hard-to-reach places, they’re prohibited in most National Parks and strongly discouraged elsewhere.

The general consensus is that while technically, you might be able to use a drone on safari, it’s best not to bother.

Enjoy all you can from a safari vehicle, photographic hide, or hot air balloon (and there’s plenty to shoot from there!). The drone will be there waiting for you when you get home.

A Few More Important Tips

Be sure to practice with your equipment before you arrive, especially if you’re buying a new camera and/or accessories. The last thing you want is to be fumbling with unfamiliar gear when you could be getting that amazing shot!

Try Some New Techniques

Whether you’re a beginner or a seasoned expert, it never hurts to pick up a few new photographic tricks. We love these guides to photography on safari:

• Sabi Sabi’s Wildlife Photography Tips
• Singita’s Top 5 Wildlife Photography Tips from our Field Guides

And be sure to check out our own ask-the-experts piece, featuring the photo safari advice of four Extraordinary Journeys clients .

Shoot Throughout the Day

Dawn and dusk are obviously the best times to photograph wildlife. The early mornings are worth it! But consider shooting after dark, too. Just remember a tripod for those long-exposure shots (think starry night skies in the deserts of Namibia).

Put That Camera Down

We know you’re here for the photos, but once in a while, it’s important to get out from behind the camera and just enjoy what’s unfolding before you.

Remember Family & Friends

If you’re traveling with loved ones, be sure to snap a few shots of them, too! No need to make everybody shuffle around in awkward group poses, either. Candids of your kids, spouse, or friends observing wildlife and marveling at the beautiful scenery might just be some of the best shots you take home.

Practice Cultural Sensitivity

As with any safari, the local people and cultures are as much a part of the experience as the wildlife. Be sensitive to the customs, social mores, and preferences of the people you encounter, especially when it comes to photographing them. Some groups may welcome your camera while others may find your candid shots offensive. When in doubt, ask your guide what is appropriate. They’ll help you avoid any awkward encounters.

Sample Itineraries for Your Photographic Safari

Does a photographic safari sound too good to pass up? Check out these two itineraries for inspiration for your own adventure!

• Kenya: Wildlife Photographers Safari at Ol Donyo Lodge and Mara Plains Camp, including a professional photographer guide and private vehicle
• Zimbabwe: Learn to Use Your Camera in Zimbabwe with Pro Guide Nyengedzayi Kazingizi who also has canoeing and boating licenses (for amazing shots from the water!)
• Kenya & Tanzania: Our Great Migration Photographic Safari provides the ultimate photographic experience, getting you up close to the action for the Great Wildebeest Migration with both a private vehicle and a specialist guide.

And remember, we customize every journey for our clients; no two trips are ever the same. If this piece already has you thinking of other destinations and properties, contact us today to start planning your tailor-made safari!

Plan Your Photographic Safari Today!

Ready to start planning your own incredible African adventure? We make the process stress-free and enjoyable. Call or email us today to explore your best options for a safari holiday you’ll never forget!

Then, start packing that suitcase because we’ve got all the details covered.

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