Meet the expert: get the inside track on wildlife photography from Bella Falk

Bella Falk’s travel and wildlife photography and writing has been published by some of the top titles for someone working in the field, including National Geographic Traveller, BBC Travel, Lonely Planet and the Telegraph, as well as her own personal blog Passport & Pixels. From packing for an expedition to navigating everything from weather changes to best ethical practices, Bella knows a thing or two about the challenges associated with wildlife photography. 

“If you just turn up and shoot what’s in front of you and hope for the best, you may get some good images. But it’s also really helpful to pre‑visualise the shots that you want to get and then be on the lookout for those scenarios,” she says. It’s also helpful to hear how someone so well practiced in wildlife photography does it, too.

How did you first get into photographing wildlife and nature?

I’ve loved photography since I was a child. At school I joined darkroom clubs – I built a pinhole camera kit and learned on film before digital existed. For my 19th birthday, my mum surprised me with a Canon EOS 300 SLR, and though I felt guilty because I didn’t know how to use it, I taught myself by shooting rolls of film and noting settings during my semester at the University of Granada in Spain. 

Photography was a hobby until I worked as a TV producer at Lonely Planet, where I told my boss I could also write and shoot. She asked for proof, so I launched my travel blog Passport & Pixels, learned SEO, won awards, and gradually pitched to publications. As TV contracts ebbed, my side hustle became my main creative outlet.

When it comes to wildlife photography, what initially sparked your interest and how did you start professionally?

I grew up in the countryside, going on family walks where we’d spot foxes and badgers – so I’ve always loved nature. I’m not a city person. I gravitate towards off‑the‑beaten‑track places, hiking with cameras in tow. Early highlights like a Galápagos tour and my first safari in Kruger National Park in my mid‑20s sealed my passion. 

Professionally, alongside making documentaries for the likes of Discovery and the BBC, I’d also be working on my blog, networking and pitching wildlife stories and images. As Passport & Pixels has grown and TV work has slowed, I’ve gradually shifted more towards wildlife photography and writing.

What do you think the key is to capturing those moments of animal behaviour or “emotion”?

You need patience and subject knowledge. True wildlife pros spend weeks in hides or return season after season to learn their subjects. Since I live in London, when I’m travelling I rely on guides who know where animals are and how they behave. Once you arrive at your location, sit quietly and let the animals settle – you’ll then witness genuine interactions. Luck helps, but being ready, attentive and patient makes all the difference.

Is there one particular photo you could tell us a great story behind?

I was on safari in Tsavo National Park in Kenya during the dry season. The Kipalo Hills lodge fills their water holes daily, and one morning I watched the driver stand on his tanker, turn on the tap, and an elephant approached to drink mid‑fill. I captured the man looking at the elephant as water echoed down its throat. That shot was shortlisted in the Wildlife Photographer of the Year Awards – one of my most memorable frames.

What challenges do you face in the field and how do you manage them?

Weather is a big challenge. Dry‑season dust can damage gear; rains soak you and hide animals. On Uganda’s gorilla trek during torrential rain, my kit was double‑wrapped and carried by a porter so I could focus on the hike. When the storm stopped just as we found the gorillas, the droplets on their fur made for striking images. 

I’ve learned to embrace the elements – dust can add golden drama; rain brings lush greenery and moody skies. Gear weight is another issue: in Africa, bush‑plane limits or long hikes to locations mean you have to pare your kit right down and make compromises about what you can bring. 

What gear is essential to your kit? And what would you recommend to entry‑level photographers?

I always carry two mirrorless bodies to avoid changing lenses in harsh conditions or in the heat of the action: a Canon R5 with 100–500 mm zoom for close‑ups and an R6 Mark II with 24–70 mm for environmental shots. The R-series cameras’ flip‑out screen and animal‑eye autofocus are gamechangers. 

For beginners, a good mirrorless or DSLR camera with manual controls and decent zoom suffices. Entry‑level DSLRs let you set aperture for shallow depth of field and shutter speed to freeze action. Phones are improving, but they lack full control.

Do you use remote triggers or silent shutters to avoid disturbing wildlife?

I have a remote trigger but mainly use it for long exposures – waterfalls, night skies – or self‑portraits. Silent shutters can prevent startling animals, but I often leave mine on so I can hear each shot and avoid accidentally firing dozens of frames. If silence is critical, I switch it off, but usually the shutter sound helps me be deliberate.

What kind of research do you do on species or locations before a shoot?

For familiar safaris, I rely on guides. For new destinations – like my first Arctic trip – I study other photographers’ work, award shortlists and Instagram feeds to pre‑visualise target shots. Having specific goals about the types of images you’d like to capture focuses you amid visual overload, and helps guide lens choice, timing and positioning.

What ethical considerations do you follow in wildlife photography?

Ethics are vital. I always travel with reputable guides and follow their rules: stay on paths, keep your distance, never harass or feed animals, don’t fly drones, and avoid activities that exploit wildlife. I ask lodges how they ensure animal welfare and won’t support exploitative activities like elephant rides or posing with captive creatures. By asking questions and giving feedback, we can encourage higher standards and minimise our impact.

If someone had never done wildlife photography before but planned a trip to photograph animals, what tips would you offer?

If you have manual control over your camera, open your aperture wide for a nice, soft depth of field and always focus on the animal’s eye – because the eyes are what draw viewers in. 

Compose using the rule of thirds, placing your subject at one of the intersection points. Whenever possible, get down to the animal’s eye level – crouch or lean safely (for instance, over a car door) without taking risks. And don’t feel you must always zoom in for a tight headshot – think about telling a story by showing some of the environment or the animal’s behaviour. Sometimes a wider frame can be more compelling than a very tight close-up.