A photographer in a camouflage hat sighting down a long telephoto lens outdoors Photo · Gennady Zakharin

Our approach

Patience, practised.

Who hosts you, what you sit in, how we teach, what you can borrow, and the rules we keep in the field.

The hosts

Three working photographers. No faces, just frames.

We'd rather show you how they see than how they look. Each host chose the single frame that best explains their way of working.

A leopard's face in shallow focus, eyes sharp against a soft green background

Chosen frame · Lower Zambezi, 2023 · f/4 · 1/640s · ISO 2000

Founder · Big cats & low light

Imogen Hale

Hosts Mara Big Cat Season and Lower Zambezi River & Leopard

Imogen spent nine years as a picture editor in London before moving to Nanyuki in 2013. She has spent eleven seasons in the Mara and knows most of its cats by their scars. Her teaching is about position: where the vehicle stops decides the photograph long before the shutter does.

She is the reason we turn the engine off, and the reason we sit still for ninety minutes when the light says so.

Canon EOS R5 Mark IIRF 600mm f/4RF 100–500mm
A male lion with a thick golden mane, photographed close and head-on

Chosen frame · Mara North, 2024 · f/5.6 · 1/1250s · ISO 500

Portraits · primates · behaviour

Daniel Mwangi

Hosts Mara Big Cat Season and Gorillas & Golden Monkeys

Born in Narok, Daniel guided in the Mara for nine years before a guest left him a camera. He now shoots for conservation charities across East Africa, and his portraits have hung at the Nairobi National Museum. He reads behaviour a minute ahead of everyone else in the vehicle.

Daniel runs our editing sessions. He is generous, precise and immune to the phrase "I'll fix it in post".

Nikon Z9Z 600mm f/4 TCZ 70–200mm f/2.8
A large raptor in flight against a clear blue sky, wings fully extended

Chosen frame · Zimanga, 2025 · f/6.3 · 1/4000s · ISO 800

Birds · hides · motion

Sipho Ndlovu

Hosts Zimanga Hides and Okavango Water & Wild Dog

Sipho grew up in Mtubatuba, a few hours from Zimanga, and helped design two of the hides we use there. He is our birds-in-flight specialist and the person who will finally make your autofocus tracking settings make sense.

He keeps a notebook of sun angles for every hide and waterhole he works. It is, so far, never wrong.

Sony α1 IIFE 400–800mmFE 600mm f/4 GM

Vehicles & hides

The right height, the right side.

An open safari vehicle with guests photographing a lion resting in long grass

Two seats, two sides, no roof.

We rebuilt six Land Cruiser 79s to a photographic plan: two swivel seats per side, staggered so no lens crosses another; a gimbal arm and a fitted bean bag at every position; a full drop-down roof for overhead birds; and a 600 W inverter so batteries charge between sightings.

  • Base Land Cruiser 79
  • Guests 2, one per side
  • Mounts Gimbal arm + bag
  • Roof Fully open
  • Charging 600 W inverter
  • Engine at sightings Off
An elephant sitting in a mud wallow with two white egrets nearby, seen from water level

Sunken hides, eye to eye.

A sunken hide is a shipping container or concrete bunker set into the bank so your lens sits a hand's width above the water. The background drops away, the animals ignore you, and an elephant drinking becomes a wall of skin and light.

  • Zimanga: six hides, two sunken, one lit for overnight work
  • Okavango: one private sunken hide at a lagoon in Khwai
  • Mara: a portable ground blind at a season-watched waterhole
  • Lower Zambezi: a low, stable photo boat with fitted bean bags

Tuition

Taught in the moment, not at you.

No classroom slideshows on day one. Teaching happens beside you in the vehicle as a sighting unfolds, and then again at the screen each evening, when the frame is still warm.

  1. Before you fly

    A forty-minute video call with your host: your kit, your camera's menus, and what you want to come home with. We send you a settings file for your body.

  2. In the vehicle

    Hosts rotate between vehicles each drive. They help you read the light, choose the angle, and change one setting at a time while it matters.

  3. At camp

    A nightly image review on a calibrated screen, two editing sessions in Lightroom or Capture One, and a one-to-one portfolio review before you leave.

  4. After you're home

    Your ten best frames, graded by the hosts, within a fortnight, and a follow-up call a month later to review your full edit.

Lens hire

Borrow the long glass.

Every booking includes $300 of hire. Lenses wait for you in the vehicle, cleaned and checked against your body on day one. Prices are per safari, not per day.

Lens and accessory hire prices per safari
LensSystemBest forPer safari
RF 100–500mm f/4.5–7.1 LLight, versatile zoomCanonVehicles, flight, the Mara$290
RF 600mm f/4 L ISPrime, low lightCanonLeopard, hides, dusk$890
Z 180–600mm f/5.6–6.3 VRZoomNikonAll-round long work$260
Z 600mm f/4 TC VR SPrime, built-in 1.4×NikonHides, birds, night$890
FE 200–600mm f/5.6–6.3 GZoomSonyVehicles, birds in flight$260
FE 600mm f/4 GMPrime, low lightSonyHides, leopard, dusk$890
1.4× teleconverterMatched to your lensAll threeReach in good light$90
Spare bodyR5 II · Z8 · α1 IIAll threeTwo-body shooting$340

Gimbal arms, bean bags, red-filtered lamps, dust covers and card readers are free on every safari. Hire is insured against accidental damage, with a $500 excess.

Field code

No frame is worth the animal's evening.

Every guest signs this before departure, and every guide has the authority to end a sighting. They use it.

  1. We never bait, call or lure.No playback for birds, no meat for cats, no food for anything.
  2. The animal sets the distance.If behaviour changes because of us, we back off. A turned head is a request.
  3. No white light on wildlife at night.Red-filtered lamps only, held off the eyes, and never on a hunting animal.
  4. Never more than two vehicles.If a third arrives, one of ours leaves. Usually the one with the better angle.
  5. Dens and nests are visited, not watched.Fifteen minutes at a wild dog den, once a day, from the guide's chosen spot.
  6. Off-road only where it's allowed.In conservancies with permission, on existing tracks where possible, never on wet ground.
  7. Captions tell the truth.Location, date and conditions as they were. Nothing composited, nothing staged.
  8. Two percent goes back.Of every fare, to the conservancies and community trusts whose land we work on.