Wild Wonders began as a personal project with a simple brief: spend three weeks in East Africa photographing wildlife with zero commercial objective. No client, no brief, no guaranteed outcome. Just me, the light, and the animals.
I had been doing commercial work back-to-back for 18 months and needed to remember why I picked up a camera in the first place. Wildlife photography forces pure patience. You can't direct the animal. You can't reshoot. You wait, and you watch.
1. The logistics
I flew into Nairobi and based myself near the Masai Mara for the first two weeks, then moved south toward the Serengeti. I hired local guides who were naturalists first — not photographers. They could read animal behavior in ways I couldn't.
“Wildlife photography is 90% waiting and 10% everything you've ever learned arriving at exactly the same moment.”
2. The shots I didn't expect
My favorite images from the series weren't the dramatic predator-prey moments. They were the quiet ones — a herd of elephants silhouetted against a storm, a lion cub batting at its sleeping mother's tail. The tenderness of wild things.
