Peak portraiture: Photo tips for better wildlife portraits (Part two)

By Kate Newman | 1 October 2024

This is part two of a two part series on wildlife portraiture. You can see part one, from last week, here.

During my photography workshop down at Wilsons Promontory, we went out on a cruise in search of humpback whales. After a few hours, the crew spotted this mother and her calf breaching and splashing on the ocean surface. I urged my workshop group to squat down low and photograph between the railing to get closer to the surface level and capture the headland in the background of the frame. We were so lucky that the whales cooperated and breached right in front of us! Sony Alpha A7IV, FE 100-400mm f/4.5-5.6 GM lens @ 192mm, 1/2500 sec @ f/5.6, ISO 125.

Utilise Negative Space

It can be easy to want to fill the entire frame with a tight portrait or with as much texture and interest as possible, but it’s a powerful composition tool to keep empty areas within the photograph too.

Incorporating negative space around the main subject can create a sense of solitude and evoke a much stronger emotion within the viewer. This emphasises the power of the animal, creates a stronger focal point, and allows for breathing room and balance within the image.

Mwanza flat-headed rock agama, Maasai Mara, Kenya. Our driver spotted this vibrant little lizard as we were passing through a river crossing. I asked him to stop just as the crack in the rock had perfectly lined up with the lizard to create the illusion of a leading line. This species is also known as the “spider-man agama” – I bet you can’t guess why! Sony A7 IV, FE 100-400mm f/4.5-5.6 GM lens @ 400mm. 1/1600s @ f5.6, ISO 200.

This is especially important for photographs of moving animals, as you want to give enough space for the subject to move into the frame (once again, not out of it).

For example, when photographing a bird in flight, try to leave space in front of its path to give the illusion of it flying into the image – refer back to the rule of thirds for extra help with this.

It was a beautiful day at Phillip Island in Southern VIC when we came across this elegant pelican resting on a pier. By standing at his level I was able to capture the beauty of the ocean in the background, and using the rule of thirds I was able to line up his eye on an intersecting line to create balance in the scene. Sony Alpha A7iii, FE 100-400mm f/4.5-5.6 GM lens @ 400mm, 1/1600 sec @ f/5.6, ISO 125.

Capture the Animal in its Environment

Don’t always opt for close-up portraits; sometimes the most captivating images are those that show the animal in its environment.

Think of lions walking across the savanna, a koala sleeping in the eucalypt, a colony of flying foxes in the treetops – a scene that adds further context to the animal’s story and the environment in which they live.

Using a telephoto lens is a helpful way to quickly switch between taking close-up portraits of the intimate details, and zooming out to show the animal in its environment.

Try to take a variety of shots as being able to show the same scene through several focal lengths is a powerful storytelling tool.

Yellow-tailed Black Cockatoo, Victoria. Four cockatoos were perched in a grevillea tree in my backyard when I spotted the moon setting in the distance. I positioned myself so that it would line up with this female sitting on the extended branch, and if you look closely you might even spot two little bees that were also flying past. It’s always a treat when things line up so perfectly. Sony A7 III, FE 100-400mm f/4.5-5.6 GM lens @ 400mm. 1/2000s @ f5.6, ISO 400.

Look for Ways to Show Scale

When looking for interesting compositions of an animal in its environment, scan for components that can help to add a sense of scale to the scene.

Perhaps a tree next to a giraffe, a water droplet next to a small insect, a bird next to an elephant, a mountain in the distance etc.

Bull Elephant ⏤ Maasai Mara, Kenya. A small elephant herd were wandering through the savanna with these cattle egrets staying close by, picking up any bugs that were flicked up in their path. I waited for this male to turn, and wanted to show off his grandeur by placing him in the centre of the frame and incorporating the egret to emphasise his size and scale. Sony Alpha A7IV, FE 100-400mm f/4.5-5.6 GM lens @ 194mm, 1/2000 sec @ f/5.6, ISO 200.

This is quite dependent on where you are and the specific surroundings, but try and adjust your angle and perspective to see where you may be able to incorporate some scale.

Scale can sometimes get lost in imagery, so finding ways to show the size of the animal will help give the viewer a further understanding of the species you’ve photographed.

On an evening game drive in Kruger National Park, we came across this lone elephant bull pressing his head against an acacia. Shooting with a zoom telephoto, I was able to zoom out and capture this emotive portrait of his moment of connection with the tree. Sony A7 IV, FE 100-400mm f/4.5-5.6 GM lens @ 100mm. 1/2000s @ f5.6, ISO 160.

Combine With the Moon/Other Elements

One of my personal favourite composition techniques to make a wildlife image more intriguing is to combine it with other elements of nature.

Whether it’s the moon, a rainbow, a dark and stormy cloud etc., try going out into the field at unique times (and in typically unfavourable conditions) to see how you might be able to add further interest to your images.

Pacific Gull ⏤ Wilsons Prom, VIC. During one of my photography workshops last spring, I took my group out with the intent of photographing birdlife with the moon. I noticed that these gulls were frequently landing on top of this light post, so we lined ourselves up with the moon behind it, and patiently waited for them to come in and land. Sony Alpha A7IV, FE 100-400mm f/4.5-5.6 GM lens @ 400mm, 1/2000 sec @ f/5.6, ISO 800.

When photographing with the moon, the best time is when it sets a few hours after sunrise, or rises a few hours before sunset.

At these times in the cycle, the moon will still be low enough in the sky that you’ll be able to position it behind your subject with enough light to easily expose your shot.

The key is to not restrict yourself and be open to making a quick dash to a new spot in order to line things up when it's needed. ❂