Behind the Scenes: My Workflow for Wildlife Photography

A wildlife fine art photograph comes to life through preparation, patience, technical skill, and careful editing. What viewers see on the wall — a lion pausing in long grass, an elephant turning at dawn, a bird lifted into silhouette — is the distilled result of a journey that often lasts only a handful of days. As an emerging South African fine art photographer (Adam Piotr Kossowski), I work in short, concentrated visits rather than long seasons in the African bush. Each trip is intense, carefully planned, and measured in hours of waiting, thousands of frames, and the search for one true image that carries the story of the wild.

How do wildlife photographers prepare for a shoot?

Preparation begins before the wheels roll through the park gates. My current focus is the Kruger National Park, which I visit about twice a year. These are not leisurely safaris but concentrated assignments (although I do consider them nirvana!). In a few days, I try to do what others may spread across weeks — waking before the first light, heading out with routes mapped with our guide and vehicle (or sometimes on foot), and working until the sun rises, repeat at lunch, and then repeat until the last soft hour has faded.

Gear is chosen with precision. I shoot with a Sony Alpha 1, paired with two lenses that anchor my workflow: the Sony 200–600mm, and the shorter Sony 70–200mm GM II. The shorter lens serves me in the fragile light of early morning and late dusk when animals move close and shadows lengthen (getting down to F2.8). Once the sun rises and distance becomes necessary, the 200–600mm lens - set to start at F7 - which allows me to work with reach and flexibility without intruding on the scene.

I travel with more memory than I think I’ll ever need. At least 1TB in spare cards, because in just a few days I will fire thousands of frames. Not every shot is a masterpiece — far from it — but every frame is part of the process, a map of how the moment unfolded.

What happens in the moment of capture?

In the field, time contracts and expands. There are long hours of driving, walking or waiting in the heat or the dust, punctuated by sudden, breathless seconds where everything happens at once. A lion rises, a herd shifts, a bird takes flight.

Patience and ethics drive those moments. Wildlife does not pose, and I never ask it to. I keep distance, remain still, and work with the conditions given. To interfere is to betray the integrity of the image. A fine art wildlife photograph must feel authentic, born of respect as much as timing. In Kruger, where sightings can be fleeting, we sometimes move on rather than risk a picture that feels forced or compromised by disturbance. The image is always second to the animal.

How do you capture light and composition under pressure?

Light in the bush is both gift and challenge. The first thirty minutes after sunrise, and the last before dusk, are the hours where magic happens: long shadows, gold skimming across backs, air still cool. With the 70–200mm, I work close to capture intimacy in this soft glow. Once the sun lifts, light becomes harsher, and I shift to the 200–600mm. Distance, compression, and reach then become the language of composition.

There is no rehearsal. Each frame demands readiness. Exposure, focus, and framing have to be instinctive. I don’t have time to debate settings while an elephant lifts its head or a leopard moves quickly into shadow. What looks like a calm photograph is often the outcome of split-second reflex.

What editing style works best for wildlife fine art prints?

Back home, the work slows. Thousands of images are distilled to dozens, and then perhaps to only one that tells the story. Editing, for me, is less about invention and more about uncovering.

I refine light and shadow, balancing the extremes of African sun. I correct colour where needed but avoid artificial saturation. The scene must feel as true on paper as it did through the viewfinder. Authenticity outweighs polish. Editing is not about creating spectacle but about revealing the quiet intensity of the encounter. My favourite editing is down in Lightroom and I use DXO to first refine the noise levels.

How do you turn a wildlife photo into a fine art print?

The final stage is translation — from digital file to tangible object. A photograph becomes a fine art print only when it gains weight, texture, and permanence. I print on archival Hahnemühle papers such as Photo Rag Baryta or German Etching (my favourite for painterly effects), using inks designed to last for decades.

Each print is released in controlled editions. Signature Editions are limited, numbered, and certified. Collector Editions are even fewer, designed for those who value rarity alongside beauty. Paper choice, size, and edition planning shape whether an image becomes a private keepsake or a large statement piece for gallery walls.

From my South African studio, prints can be couriered with care to collectors in London, New York, and beyond. Each arrives in tubes (for larger sizes) or wrapped in protective layers, carrying with it not only the image but the hours of waiting, the breathless seconds of capture, and the quiet respect with which it was made.

What makes a wildlife photograph collectible?

A collectible photograph is one that cannot be repeated. It carries authenticity — the sense that it is the result of patience, ethics, and instinct in a fleeting moment. Collectors see more than composition; they see the story behind the frame.

Take Watchful Monarch, my image of a lion at rest. It is not just the photograph of an animal but the pause before action, the weight of presence in stillness. This is what elevates wildlife fine art photography: the story behind the silence.

Conclusion

Behind every wildlife fine art photograph from Kruger lies more than a scene — it is the result of short, intense days, thousands of frames, and the discipline to wait for one. Photography at this level is as much about patience and ethics as it is about skill. To respect the animal and the place is to honour the art itself.

South African wildlife photography has taught me that even in brief encounters, the wild offers stories that resonate far beyond the veld. To carry them from camera to print is to preserve them, to share them, and to invite others into that moment — whether across South Africa or across the ocean.

FAQ

What equipment is best for wildlife fine art photography?
For me: a Sony Alpha 1 with a Sony 200–600mm lens, and a Sony 70–200mm GM II for early and late light. Long lenses with stabilisation and durable camera bodies are essential.

How do wildlife photographers stay ethical in the field?
By prioritising animal welfare, keeping a respectful distance, and avoiding any interference with natural behaviour.

What’s the role of editing in wildlife photography?
Editing shapes light, tone, and focus but keeps the image true to the lived moment.

How do you turn a wildlife photo into a fine art print?
Through careful selection, archival paper, and limited edition planning.

Author Bio

Adam Piotr Kossowski is an emerging South African fine art photographer whose wildlife images reflect patience, ethics, and a deep respect for Africa’s natural heritage.

External Resources

• National Geographic Wildlife Photography Tips – An authoritative resource offering insights, guides, and best practices in professional wildlife photography.

• Nature TTL Wildlife Photography Tutorials – A hub of practical tutorials and field tips specifically tailored to improving wildlife photography skills.