Category: Photography

My First Swedish Photography Championship

Silver, Sixth, and Six Distinctions: My First SM i Fotografi

I entered six photographs in the Swedish Championship in Photography (SM i Fotografi) this year. All six came out of the digital qualifier with a Distinction and very high scores ranging from 85 to 89 out of 100. Only two could go any further, because the rules allow two images per photographer in the print final.

An adult kangaroo and a small joey touching noses in tall dry golden grass, with a soft green and gray blurred background.
Love. Mama kangaroo and a joey, Kangaroo Island, South Australia. Silver, Wildlife, SM i Fotografi 2026.
Canon EOS R5 Mark II & RF 100–500mm.
Two kangaroos in silhouette sparring with their forepaws, backlit by an orange sunset, with rim light along their fur and glowing grass below.
Sparring At Sunset. Two Kangaroo Island kangaroos, Kangaroo Island, South Australia. Sixth place, Wildlife, SM i Fotografi 2026. Canon EOS R5 Mark II & RF 100–500mm.

These two did well. Love won silver in the Wildlife category, and Sparring At Sunset placed sixth in the same category.

This was my first time entering, and it hasn’t quite sunk in yet. The results were announced on October 3rd at the prize ceremony in Gothenburg, at the end of a long and lovely day.


How SM i Fotografi Works

SM i Fotografi (Svenska Mästerskapet i Fotografi) is organized by Svenska Porträttfotografers Förbund, the Swedish association of portrait photographers. It runs in two rounds.

The first is a digital qualifier, judged on screen by an international jury. Images can receive a Distinction there, which the competition defines as a very high competition standard.

The highest-scoring images go on to the print final. There they are judged again, this time as physical prints mounted at 40 × 50 cm (about 16 × 20 in). The paper, the print and the mounting are assessed along with the image itself. Each photographer can have at most two images in the final.


The Print Final

An adult kangaroo and a small joey touching noses in tall dry golden grass, with a soft green and gray blurred background.
Love. Canon EOS R5 Mark II & RF 100–500mm.
Two kangaroos in silhouette sparring with their forepaws, backlit by an orange sunset, with rim light along their fur and glowing grass below.
Sparring At Sunset. Canon EOS R5 Mark II & RF 100–500mm.

1) Love: Silver, Wildlife

An adult Kangaroo Island kangaroo (Macropus fuliginosus fuliginosus) and a joey, nose to nose in dry golden grass on Kangaroo Island, South Australia. Printed on Hahnemühle Photo Rag.

Digital Qualifier Score: 86.17

Print Final Score: 83.30

2) Sparring At Sunset: Sixth place, Wildlife

Two Kangaroo sland kangaroos (Macropus fuliginosus fuliginosus) sparring against the low sun. They are reduced to silhouettes, edged in light, over a field of glowing grass. Printed on Canson Platine Fibre Rag.

Digital Qualifier Score: 89.17

Print Final Score: 81.60


The Digital Qualifier

Because of the two-image limit, the other four stayed in the digital round. Each received a Distinction with very high scores (85 to 86 out of 100).

Two male cheetahs sitting in tall pale grass, wrapped in blue-gray mist, one upright facing left and the other lower facing right.
Sentinels. Cheetahs (Acinonyx jubatus), Lapalala Wilderness, Limpopo, South Africa. Distinction, SM i Fotografi 2026. Canon EOS R5 Mark II & RF 100–500mm.
Two kangaroos standing upright facing each other with forepaws touching, on pale open ground in warm, soft backlight.
Voulez-Vous Danser? Two Kangaroo Island kangaroos, Kangaroo Island, South Australia. Distinction, SM i Fotografi 2026. Canon EOS R5 Mark II & RF 100–500mm.
Two Australian sea lions on gray sand leaning toward each other until their noses touch, with dark seaweed and a pale sea behind them.
Sealed With A Kiss. Australian sea lions (Neophoca cinerea), Seal Bay, Kangaroo Island, South Australia. Distinction, SM i Fotografi 2026. Canon EOS R5 Mark II & RF 100–500mm.
A lone Australian sea lion pup on pale wet sand with its head bent low, a soft white line of surf curving behind it.
Wonder. An Australian sea lion (Neophoca cinerea), Seal Bay, Kangaroo Island, South Australia. Distinction, SM i Fotografi 2026. Canon EOS R5 Mark II & RF 100–500mm.

1) Sentinels: Distinction (86)

Two cheetahs (Acinonyx jubatus) sitting in tall grass in the mist, watching in different directions. This was at Lapalala Wilderness, in the Waterberg in South Africa’s Limpopo province. The reserve runs a cheetah reintroduction program, and the species is listed as Vulnerable.

I photographed them early in the morning, before the sun was up, and the morning mist still hung in the air, creating an eerie atmosphere. The brothers were out patrolling their territory and stood still for a few minutes, checking their surroundings.

2) Voulez-Vous Danser?: Distinction (86)

Two young Kangaroo Island kangaroos (Macropus fuliginosus fuliginosus) sparring at sunset. As soon as I saw this photo, I knew what the caption would be. They were learning to fight, but, for a moment, they seemed to dance.  A wonderful moment, frozen in time, that I will always cherish.

Kangaroo Island kangaroo (Macropus fuliginosus fuliginosus) is a sub-species of the Western Grey Kangaroo (Macropus fuliginosus). They look slightly different from their cousins on mainland Australia; they’re shorter with darker, chocolate-brown fur. And way cuter, if you ask me.

3) Sealed With A Kiss: Distinction (86.17)

Two Australian sea lions (Neophoca cinerea) touching noses on the beach at Seal Bay (Kangaroo Island, South Australia). Moments like these are why I love wildlife photography, even more so when knowing how few of these animals are left in the world.

Unique to South and Western Australia,  Australian sea lions are one of the rarest animals in the world, with a total population of around 6.500.  Australian sea lions are on the endangered species list today, having been hunted to near extension in the 19th century. 

4) Wonder: Distinction (85.17)

A single Australian sea lion pup at the waterline at Seal Bay (Kangaroo Island, South Australia). I had a wonderful time watching this young sea lion carefully inspect every stone, stick, and shell on the beach at Seal Bay. It was a beautiful display of innocence and curiosity. Kids, whether human or animal, are always curious!


Where To See “Love” In Print

Love will be part of the exhibition of each category’s top three images at F3 Foto. F3 Foto is the photo fair run by Kamera & Bild photo magazine and SM i Fotografi, and the expo is free to enter.

  • Lund: November 21, 2026, Hotel Scandic Star
  • Stockholm: January 30, 2027, Quality Hotel Strawberry Arena

Thank You!

Thank you to the organizers of SM i Fotografi for a well-run competition and a lovely day and evening in Gothenburg. The full Wildlife results are in the competition gallery.

Six images in, six Distinctions out, and a silver and a sixth on paper. Not a bad first year.


Related Posts


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Favorite Photos: September 2026

This is post 49 of 49 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

  1. My 2022 Favorite Photos
  2. Favorite Photos: January 2023
  3. Favorite Photos: February 2023
  4. Favorite Photos: March 2023
  5. Favorite Photos: April 2023
  6. Favorite Photos: May 2023
  7. Favorite Photos: June 2023
  8. Favorite Photos: July 2023
  9. Favorite Photos: August 2023
  10. Paris Is Always A Good Idea
  11. Favorite Photos: October 2023
  12. Favorite Photos: November 2023
  13. Favorite Photos: December 2023
  14. My 2023 Favorite Photos
  15. Favorite Photos: January 2024
  16. Favorite Photos: February 2024
  17. Favorite Photos: March 2024
  18. Favorite Photos: April 2024
  19. Favorite Photos: May 2024
  20. Favorite Photos: June 2024
  21. Favorite Photos: July 2024
  22. Favorite Photos: August 2024
  23. Favorite Photos: September 2024
  24. Favorite Photos: October 2024
  25. Favorite Photos: November 2024
  26. My 2024 Favorite Photos
  27. Favorite Photos: December 2024
  28. Favorite Photos: January 2025
  29. Favorite Photos: February 2025
  30. Favorite Photos: March 2025
  31. Favorite Photos: April 2025
  32. Favorite Photos: May 2025
  33. Favorite Photos: June 2025
  34. Favorite Photos: July 2025
  35. Favorite Photos: August 2025
  36. Favorite Photos: September 2025
  37. Favorite Photos: October 2025
  38. Favorite Photos: November 2025
  39. My 2025 Favorite Photos
  40. Favorite Photos: December 2025
  41. Favorite Photos: January 2026
  42. Favorite Photos: February 2026
  43. Favorite Photos: March 2026
  44. Favorite Photos: April 2026
  45. Favorite Photos: May 2026
  46. Favorite Photos: June 2026
  47. Favorite Photos: July 2026
  48. Favorite Photos: August 2026
  49. Favorite Photos: September 2026

I processed so many safari photos last month that I took a break and switched to a couple of images from Australia for a while.

A koala rests comfortably in the branches of a eucalyptus tree on Kangaroo Island.
A koala resting comfortably in the branches of a eucalyptus tree on Kangaroo Island, South Australia

This is one of my favorite images from my last Australia trip: a koala posing for the camera. Koalas have to be one of the easiest animals to photograph (they don’t move much) but getting a good photo isn’t easy (they sleep most of the time). This one was right where I found him, in a eucalyptus fork on Kangaroo Island. He didn’t move and didn’t seem bothered by me. Since koalas sleep up to 20 hours a day, most of the time you end up a very convincing furry ornament.

Then, for a few seconds, he tilted his head back and cracked one eye open, and the whole picture changed: something that actually looked like a reaction, even if it was probably just annoyed by the light.

A Kangaroo Island Kangaroo (Macropus fuliginosus fuliginosus) leaps through a sun-drenched meadow on Kangaroo Island.
A Kangaroo Island Kangaroo (Macropus fuliginosus fuliginosus) leaps through a sun-drenched meadow on Kangaroo Island.

This isn’t a masterpiece, but I love it for the memories it brings back: sun-drenched fields dotted with kangaroos, tall gum trees, and spiky shapes of grass trees in the background.

We were staying at Ecopia Retreat on Kangaroo Island, and I went outside to check the light. (Camera in hand, of course. You never know what might happen, as this moment shows.) Next thing I knew, a Kangaroo Island kangaroo hopped across the grass just a few steps from our door, a sprig of something green still in its mouth.

It’s a good reminder that wildlife photography isn’t always about the chase. Sometimes it’s about being unhurried in the right place when something decides to walk, or in this case, hop, right past you.

Capturing a moment like this is mostly reflexes and a bit of luck: the light has to be right, the animal has to cooperate, and you have to be quick. I would have preferred the kangaroo to hop towards me, not away from me, but I still love this.When I look at it, I am instantly back on Kangaroo Island. That feeling is exactly what I hope for in a photo.

A majestic Southern white rhinoceros (Ceratotherium simum simum) stands bathed in the warm, golden light of a sunset.
A majestic Southern white rhinoceros (Ceratotherium simum simum) stands bathed in the warm, golden light of a sunset.

Now we’re back in Africa! We spent a whole afternoon looking for black rhinos, and we finally spotted a rhino mother with her young calf. Black rhinos don’t have the most amiable disposition among animals; you could almost say they’re a bit … well, mean. They have poor eyesight, so they tend to charge first and figure things out later. You definitely don’t want to get too close to a black rhino with her calf.

So we took a few photos from a distance and left, hoping we’d find anything else soon as the light had started to fade. And, as luck would have it, we found two white rhinos standing placidly in that golden light. This is one of them, not as camera-shy as the other. The air was full of dust from the day’s heat, and the sunlight made everything—grass, animals, the whole scene—glow with a warm amber color. That golden light really makes anything look beautiful.

They stood there for a good minute, ears forward, sizing up the vehicle, before deciding we weren’t worth the trouble and going back to browsing.

Two young African bush elephants (Loxodonta africana) playfully interact at dusk in Madikwe Game Reserve.
Two young African bush elephants (Loxodonta africana) playing, Madikwe Game Reserve.

Trunk to trunk at dusk in Madikwe. These two kept me entertained for a good while at Madikwe Game Reserve. (I love watching elephants!). Two young elephants, both dusted red from rolling in the soil, and clearly in the mood for a wrestling match. The smaller one grabbed its mate’s trunk, raised a front leg for extra leverage, and pulled with everything it had. The older one barely reacted; you can see it still has grass hanging from its mouth, chewing through the whole thing. 

I love these moments because they’re so recognizable. Anyone who has watched siblings, puppies, or kids at a playground knows this exact dynamic: one determined instigator, one tolerant target.

Two lionesses (Panthera leo) protectively stand guard over their two young cubs amidst tall, dry grass in Tswalu Kalahari Reserve.
Two lionesses (Panthera leo) protectively stand guard over their two young cubs amidst tall grass in Tswalu Kalahari Reserve.

We spent a long stretch of a morning at Tswalu Kalahari Reserve following this pride (two lionesses and their eight cubs), through grass that came up nearly to the cubs’ shoulders. Then, all at once, the mothers and two of the cubs stopped and turned toward the vehicle at the same moment. That moment lasted seconds, and then they vanished in the tall grass. Fortune favors the prepared, as the saying goes, and I had the camera ready when they turned. I love this photo; it makes such an intimate family photo. 

A young lion cub (Panthera leo) sits alertly on a sandy path in the Tswalu Kalahari Reserve at dusk, with other cubs visible in the soft, diffused light of the nearly faded day.
A young lion cub (Panthera leo) sits alertly on a sandy path in the Tswalu Kalahari Reserve at dusk, with other cubs visible in the soft, diffused light of the nearly faded day.

This little one stopped me in my tracks; it was literally sitting in the middle of a red sand road at Tswalu Kalahari Reserve while the rest of its pride moved through the grass around it. It was late in the afternoon, and the whole group (two adult males, two lionesses, and eight cubs between them) was starting to stir from their rest, heading out to hunt as the sky went soft and dim.

Lion cubs rarely stay still for long. This one gave me maybe two seconds of direct eye contact before turning to catch up with everyone else. I’ll take it.


📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM., except for the lion cub photo that was taken with Canon R5 & Canon RF70-200mm F2.8 L IS USM.


Related Posts

To view all my favorite photos archive, click here.


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Favorite Photos: August 2026

This is post 48 of 49 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

  1. My 2022 Favorite Photos
  2. Favorite Photos: January 2023
  3. Favorite Photos: February 2023
  4. Favorite Photos: March 2023
  5. Favorite Photos: April 2023
  6. Favorite Photos: May 2023
  7. Favorite Photos: June 2023
  8. Favorite Photos: July 2023
  9. Favorite Photos: August 2023
  10. Paris Is Always A Good Idea
  11. Favorite Photos: October 2023
  12. Favorite Photos: November 2023
  13. Favorite Photos: December 2023
  14. My 2023 Favorite Photos
  15. Favorite Photos: January 2024
  16. Favorite Photos: February 2024
  17. Favorite Photos: March 2024
  18. Favorite Photos: April 2024
  19. Favorite Photos: May 2024
  20. Favorite Photos: June 2024
  21. Favorite Photos: July 2024
  22. Favorite Photos: August 2024
  23. Favorite Photos: September 2024
  24. Favorite Photos: October 2024
  25. Favorite Photos: November 2024
  26. My 2024 Favorite Photos
  27. Favorite Photos: December 2024
  28. Favorite Photos: January 2025
  29. Favorite Photos: February 2025
  30. Favorite Photos: March 2025
  31. Favorite Photos: April 2025
  32. Favorite Photos: May 2025
  33. Favorite Photos: June 2025
  34. Favorite Photos: July 2025
  35. Favorite Photos: August 2025
  36. Favorite Photos: September 2025
  37. Favorite Photos: October 2025
  38. Favorite Photos: November 2025
  39. My 2025 Favorite Photos
  40. Favorite Photos: December 2025
  41. Favorite Photos: January 2026
  42. Favorite Photos: February 2026
  43. Favorite Photos: March 2026
  44. Favorite Photos: April 2026
  45. Favorite Photos: May 2026
  46. Favorite Photos: June 2026
  47. Favorite Photos: July 2026
  48. Favorite Photos: August 2026
  49. Favorite Photos: September 2026
A young lion cub with golden fur stares alertly from its perch on a thick, rough tree branch, bathed in dappled sunlight.
A young lion cub with golden fur stares alertly from its perch on a thick, rough tree branch, bathed in dappled sunlight. Tswalu Kalahari Reserve, South Africa

This lion cub had claimed a dead tree limb at Tswalu and wasn’t in any hurry to move. The morning light was coming through the branches in broken bars, and for a few minutes it landed across the cub’s coat almost exactly matching its own natural striping.

I had maybe two minutes before the light shifted and the moment closed. Field photography is mostly waiting through long stretches of nothing for windows like that one, and knowing enough about light and behavior to be ready when it opens.

An adorable lion cub is playfully chewing on a piece of bark while resting on a tree trunk. Tswalu Kalahari Reserve, South Africa
An adorable lion cub is playfully chewing on a piece of bark while resting on a tree trunk. Tswalu Kalahari Reserve, South Africa

This lion cub had found a piece of bark and was not about to let it go: claws dug into the trunk, teeth locked on, eyes fixed somewhere past the camera. I photographed him at Tswalu, with his mother, three siblings, and another lioness with her own four cubs all resting just out of frame. What struck me was how much concentration he brought to something so small. No prey in sight, no real stakes, just a stick and the full attention of a growing predator. His mother kept glancing over now and then, the kind of watching that lets a cub get away with a little mischief.

Close-up shot of lioness feeding on a zebra carcass. Lapalala Wilderness, South Africa
Lioness feeding on a zebra carcass. Noka Camp, South Africa

This lioness had a kill to herself when we found her at Noka Camp in South Africa, and she was making the most of it. Every minute or two she’d raise her head, scan the grass, and check on us, a quick, unhurried look before returning to her meal. I caught her in one of those pauses, tongue mid-lick, blood still fresh on her muzzle, eyes straight into the camera.

There’s nothing pretty about a kill site. The sounds alone are something you don’t forget. But sitting quietly nearby while a predator simply gets on with her life is one of the most honest experiences the bush offers.

Wild dogs hunting a lone oryx in the dry, grassy savanna of the Tswalu Kalahari Reserve, South Africa
Wild dogs hunting a lone oryx in the grassy savanna of the Tswalu Kalahari Reserve, South Africa

This is one of those Kalahari mornings that started slow and ended fast. Five African wild dogs surround a lone gemsbok (Oryx gazella, the ones with the long straight horns), and for a while, nothing happens beyond circling and posturing. Then the oryx makes a break for a stand of bush nearby, and the dogs go from testing distance to a full sprint in an instant, yelping the whole way as they close in. The oryx made it to cover. The dogs didn’t get there first. I sat with this scene for a long stretch, not knowing which way it would break, and then it broke all at once. 

A roe deer family grazes peacefully among the gravestones of Vienna's Zentralfriedhof
A roe deer family grazes peacefully among the gravestones of Vienna’s Zentralfriedhof

I went out early that morning and found not one but four roe deer moving through Vienna’s Zentralfriedhof: a little family sharing one strip of morning light.

This cemetery keeps surprising me. It’s one of the largest in Europe, and between the old trees, the quiet, and the lack of foot traffic before mid-morning, it’s become a real refuge for wildlife: deer, squirrels, crows, kestrels, even the occasional wild hamster if you know where to look. 

Mornings like this are the reason I keep coming back to this cemetery with a camera: the light, the quiet, and animals that have made this ground their own. 

A red squirrel climbs a tree trunk in Vienna's Zentralfriedhof.
A red squirrel climbs a tree trunk in Vienna’s Zentralfriedhof.

Vienna’s Zentralfriedhof isn’t where I expected to spend an afternoon photographing squirrels, but the old trees and thick ivy along the paths have made it one of the more reliable places in the city to find them undisturbed. This red squirrel climbed a trunk a few feet from a headstone, stopped to get its bearings, and gave me maybe four seconds before it disappeared into the canopy.

Working in a cemetery changes how you move: slower, more deliberate, aware you’re a guest in someone else’s quiet place. It’s also taught me to look past the obvious subjects. The wildlife here isn’t hiding from the city; it’s found a corner of it that nobody bothers.

It’s strange how often the animals show up somewhere you weren’t looking for them. I’ve had more luck with squirrels, foxes, and deer in cemeteries and old parks than in places actually set aside for wildlife.


📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM, except the deer family, taken with Canon R5 & Canon RF70-200mm F2.8 L IS USM.


Related Posts

To view all my favorite photos archive, click here.


Love my work? Support my journey by buying me a coffee or sharing it on your preferred social network. And don’t forget to swing by my online shop to check out my latest prints and gifts. Thank you 🙏 !

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The Wild Side of Vienna’s Zentralfriedhof: A Cemetery as a Last Refuge

I went to Vienna in July to photograph wildlife, and I spent three days doing it in a cemetery.

That needs some explaining, so here it is: Vienna’s Zentralfriedhof is one of the largest cemeteries in Europe, and it has quietly become one of the most reliable places on the continent to see a critically endangered mammal. It also holds roe deer, red squirrels, kestrels, jays, foxes, and — according to researchers who have been counting since 2021 — around 170 animal species in total. None of this was planned. The cemetery was designed for the dead. The living moved in on their own.

I was there from July 6 to 8, 2026, entering at Gate 2 each morning. This post covers what lives there, where I found it, and how to plan a visit of your own.

Why Cemeteries Work as Habitat

The short answer is that large old cemeteries offer what most of the surrounding landscape no longer does: continuity.

Across Central Europe, farmland has been consolidated into larger fields with fewer hedgerows and margins. Forests have been fragmented by roads. Grassland is mown early and often. For species that need undisturbed ground, mature trees, or a few square meters that stay the same from year to year, a lot of the countryside has stopped working.

A roe deer family grazes peacefully among the gravestones of Vienna's Zentralfriedhof.
A roe deer family grazes peacefully among the gravestones of Vienna’s Zentralfriedhof. Canon EOS R5 & Canon RF 70–200mm.

A cemetery like the Zentralfriedhof, by contrast, has been left more or less alone for 150 years. It opened on November 1, 1874. It covers 2.5 square kilometers (about 620 acres, or just under one square mile), which makes it a green space larger than many urban parks. It has old trees, dense ivy, watered plantings, no traffic, no pesticides on the scale used in agriculture, and — critically — humans who move slowly, stay on paths, and go home at closing time.

Since 2021, a citizen science project run by the University of Vienna together with Friedhöfe Wien, called Biodiversität am Friedhof, has documented roughly 170 animal species and around 200 plant species at the Zentralfriedhof alone. Vienna’s cemeteries together hold an estimated 70 to 100 European hamsters, a species now classified as critically endangered.

The wildest section is the Alter jüdischer Friedhof — the old Jewish cemetery — in the eastern part of the grounds, roughly between Gate 1 and Gate 11. Large parts of it have been left unchanged since 1916. The grass grows tall and is not mown. Stones lean and sink. Ivy covers everything. It is, without much competition, the best wildlife habitat inside the walls, and it was where I spent most of my time.


What Lives There

A roe deer buck in Zentralfriedhof, Vienna, with an out of focus mourner at a grave behind it.
A roe deer buck in Zentralfriedhof, Vienna. Canon EOS R5 Mark II & Canon RF 100–500mm.

Roe deer (Capreolus capreolus)

I found deer almost exclusively in the old Jewish cemetery, in the stretch between Gate 11 and Gate 1. The tall unmown grass gives them cover and food, and the density of old headstones means there is always something to step behind. However, they can be found here and there in other parts of the cemetery as well, especially if there’s (noisy) maintenance work being done in their favorite spots.

They are used to people, but not indifferent to them. Walking with obvious purpose sends them off; drifting slowly, stopping often, looking at graves rather than at the animal, and they will carry on browsing.

European hamster with rust-brown back and black underside sitting upright in short grass between headstones at Vienna Central Cemetery.
A European hamster (Cricetus cricetus) standing between grave headstones. Critically endangered since 2020, and one of the reasons this cemetery matters. Canon EOS R5 Mark II & Canon RF 100–500mm.

European hamster (Cricetus cricetus)

This is the species that put the cemetery on the map for wildlife watchers. The European hamster — also called the black-bellied hamster — is a genuinely wild animal, unrelated to the pet species, and it is far larger and more strikingly marked than most people expect: rust-brown above, black underneath, with white patches. It was reclassified as critically endangered in 2020 after steep declines across its western range.

The Zentralfriedhof is one of the few places where it can be seen reliably. It appeared in the BBC’s Seven Worlds, One Planet, and Friedhöfe Wien now runs guided hamster tours.

I found them in groups 22, 23, 28, and 29 (see map at the bottom of this post) — the open, mown grass squares in the western half of the cemetery, not far from the Park der Ruhe und Kraft. They dig burrows in the grass between graves and are most active in the early morning and again in the afternoon. I also saw one running through the old Jewish cemetery, well away from the usual squares, so they are clearly not confined to the known spots.

Red squirrel with ear tufts on a tree trunk among old gravestones, Vienna Central Cemetery.
A red squirrel (Sciurus vulgaris) in the older wooded sections. No gray squirrels here to compete with, and no shortage of mature trees. Canon EOS R5 Mark II & Canon RF 100–500mm.

Red squirrel (Sciurus vulgaris)

Common throughout the wooded and older sections. Unlike in much of the UK, red squirrels here face no competition from grays, and the cemetery’s mature trees suit them well. They are noticeably relaxed around visitors.

Common kestrel standing on a gravestone at Vienna Central Cemetery
A common kestrel (Falco tinnunculus) standing on a headstone. Canon EOS R5 Mark II & Canon RF 100–500mm.

Common kestrel (Falco tinnunculus)

Kestrels were hunting all over the cemetery; I found them in several different sections rather than one reliable spot. The Church of St. Charles Borromeo (the Luegerkirche) at the center of the grounds is a known nesting site, but the birds range widely, and the open mown squares give them exactly the kind of short-grass hunting ground they need.

Hooded crow with gray body and black head perched on a weathered gravestone, Vienna Central Cemetery.
A hooded crow (Corvus cornix) on a headstone. Gray and black against pale stone, and entirely unbothered by me. Canon EOS R5 Mark II & Canon RF 100–500mm.

Hooded crow (Corvus cornix)

Present everywhere, and worth photographing rather than dismissing. The gray-and-black plumage against pale stone is a gift, and hooded crows are alert enough to make good behavioral subjects: caching food, mobbing the kestrels, working the paths after the maintenance crews have been through.

An Eurasian Jay perches on a gravestone in Vienna's Zentralfriedhof, creating a scene of unexpected life amidst solemnity.
An Eurasian Jay perches on a gravestone in Vienna’s Zentralfriedhof, creating a scene of unexpected life amidst solemnity. Canon EOS R5 Mark II & Canon RF 100–500mm.

Eurasian jay (Garrulus glandarius)

Shyer than the crows and harder to photograph, but regular in the wooded sections and the old Jewish cemetery. Listen first — the harsh call gives them away long before you see the blue wing patch.

And the rest

Foxes, European hares, and hedgehogs are all documented residents, along with a long list of insects including the endangered Alpine longhorn beetle. I didn’t photograph any of them on this trip, which is a reasonable argument for going back.


Visiting the Zentralfriedhof

1) Getting there

The cemetery sits in Simmering, Vienna’s 11th district, on the southeastern edge of the city. Despite the name, it is not central — count on 25 to 30 minutes from the city center.

  • Tram 71 is the classic route, running from the Ring (Schwarzenbergplatz, Oper/Karlsplatz, Schottentor) along Simmeringer Hauptstraße with four separate stops along the cemetery’s northern side, one at each of Gates 1 through 4.
  • Tram 11 covers the same cemetery stops and connects at Simmering, the terminus of the U3 metro line.
  • S7 train stops at Zentralfriedhof station, near Gate 11. This is the line that runs to and from the airport, which makes the cemetery an easy first or last stop on a trip.
  • By car, parking is available at Gates 1, 2, 3, 9, and 11, and you can drive inside for a fee on most days.

Route planning and tickets: Wiener Linien. A 24- or 48-hour pass is worth it if you’re visiting more than once.

2) Gates, hours, and getting around inside

Vienna Zentralfriedhof Cemetery Map
Vienna Zentralfriedhof Map, iPhone 17 Pro max

Gate 2 (Tor 2) at Simmeringer Hauptstraße 234 is the main entrance and the one I used every day. It has the Infopoint (free printed maps — take one, the grounds are enormous), a shop, audio guides, the funeral museum, e-bike rental, and Café Oberlaa.

Official opening hours are seasonal: April through September, daily 7:00 to 19:00, with Thursdays until 20:00 from May through August; 8:00 to 17:00 in midwinter. Check the official Friedhöfe Wien page before you go. Two practical notes: side gates open up to an hour later and close up to an hour earlier than the main gate, and in practice Gate 2 was already open when I arrived at 6:45 each morning — worth trying if you want the early light.

Admission is free. A free electric shuttle bus runs through the grounds from 10:00, stopping at 19 points, and e-bikes can be rented at Gate 2. The cemetery is 2.5 km (1.5 miles) end to end, so some form of transport is genuinely useful if you want to cover ground between sessions.

There are restrooms scattered throughout the grounds, which matters more than it sounds when you’re walking a site this size.

3) Timing your visit

Early morning is best. Animals are more active, the paths are empty, and the light is better. I arrived at 6:45 and stayed until 3 p.m. each day, which was more than the wildlife activity strictly justified but gave me time to explore.

The thing nobody warns you about is maintenance. On Monday there was work going on across large parts of the cemetery — mowing, tree cutting, and watering with small machines that have surprisingly loud engines. It moves the animals out of whole sections. If you can, plan more than one visit so a noisy day doesn’t cost you the trip.

Weather during my visit was mostly overcast with the sun breaking through occasionally, which suited the subject well: soft light on pale stone, no harsh shadows between the graves.

A young roe deer with small antlers stands among gravestones at Vienna's Zentralfriedhof.
A young roe deer with small antlers stands among gravestones at Vienna’s Zentralfriedhof. Canon EOS R5 Mark II & Canon RF 100–500mm.

4) Photography and etiquette

Photographing wildlife here is unproblematic, and nobody bothered me over three days. Photographing graves, funerals, or mourners is a different matter entirely — this is a working cemetery with burials taking place daily. Keep your distance from anything that is clearly private, and stay off the graves themselves.

5) Gear

I worked with two bodies:

  • Canon EOS R5 Mark II with the RF 100–500mm. The main wildlife setup, and what did most of the work here — the hamsters, the kestrels, and anything that wouldn’t let me close.
  • Canon EOS R5 with the RF 70–200mm f/2.8. Short for wildlife on paper, and it was. But it earned its place on the larger animals, where the wider framing let me include the headstones and lanterns that make these images make sense. At f/2.8 it also rendered the tall golden grass of the old Jewish cemetery into exactly the kind of smooth background I wanted — something the 100–500 can’t quite match at the same distances.

If I had to bring one lens, it would be the 100–500. If I could bring two, I’d bring the same two again.

6) Food

Café Oberlaa at the main entrance is really good, everything you would expect from a Viennese café. I had breakfast and lunch there on all three days, and the cakes are worth the detour on their own.


What It Means

There is a version of this post that ends on a note about beauty and stillness. I’d rather end on the arithmetic.

A roe deer buck living out his life inside a walled cemetery in the 11th district of Vienna is not there because the cemetery is ideal. He is there because a burial ground on the edge of a city of two million people offers better habitat than a great deal of the countryside beyond it. The same goes for the hamsters, which have declined so severely across France, Germany, and Eastern Europe that a Viennese cemetery now counts as a stronghold.

That’s a useful thing to know when we talk about conservation. Protected habitat doesn’t only look like national parks. Sometimes it looks like ground that nobody has plowed, sprayed, mown, or built on for 150 years — and the reason nobody has is that we set it aside for something else entirely.


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An Announcement With Nothing to Look At

The image shows a woman with curly blonde hair and glasses, wearing a light-colored, collared shirt and a dark green jacket tied around her waist. She is smiling warmly and looking down at a koala she is holding securely in her arms.

I’m so excited to announce that two of my photographs are finalists in the Swedish photography championship 2026 (SM i Fotografi 2026 in Swedish) in the nature and wildlife category. This means they’re among the top ten wildlife photos in Sweden this year. I still need to pinch myself!

I would love to show you the pictures, but unfortunately, I’m not allowed to yet. All images are kept under wraps until the results are announced on October 3rd. Until then, I’ll be the person cheerfully going on about two pictures I can’t let you see. This may be the least visual post I’ve ever published: an announcement with nothing to look at. I’ll post the photos as soon as I can afterward.

Screenshot of the Swedish photography championship e-mail announcement
Screenshot of the Swedish photography championship finalists list in the Wildlife category

(In the meantime, here are the announcement e-mail and the finalists list in the Wildlife category.)

This is the first year I entered this prestigious competition, organized by the Swedish Portrait Photographers Association. My goal was to score well on all photos (a few points above the professional photographer level) and, as a stretch goal, have one photo in the print final. Above all, I was going to participate to learn the ropes and be better next year. So, I’m pleased with the results since I’ve already reached my goals. Anything beyond these is a bonus. I may have had more photos in the final, actually, since every photographer is allowed only two photos in the print final in one category. I had submitted six. (I’m going to allow myself a small, undignified moment of pride about that.)

In the print final, photos are judged by looking at the actual prints, mounted on a wall and lit the same way as everyone else’s, not by how they look on a screen. That means the next few weeks are all about the careful details: picking the right paper, making test prints, measuring everything exactly, and checking every corner for tiny flaws a judge might spot up close. It’s not as exciting as taking the photos, and honestly, it’s not as fun either. But I’m looking forward to the prize ceremony and the party afterward!

If you’re so inclined, please keep your fingers crossed for me. Thank you!


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Favorite Photos: July 2026

This is post 47 of 49 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

  1. My 2022 Favorite Photos
  2. Favorite Photos: January 2023
  3. Favorite Photos: February 2023
  4. Favorite Photos: March 2023
  5. Favorite Photos: April 2023
  6. Favorite Photos: May 2023
  7. Favorite Photos: June 2023
  8. Favorite Photos: July 2023
  9. Favorite Photos: August 2023
  10. Paris Is Always A Good Idea
  11. Favorite Photos: October 2023
  12. Favorite Photos: November 2023
  13. Favorite Photos: December 2023
  14. My 2023 Favorite Photos
  15. Favorite Photos: January 2024
  16. Favorite Photos: February 2024
  17. Favorite Photos: March 2024
  18. Favorite Photos: April 2024
  19. Favorite Photos: May 2024
  20. Favorite Photos: June 2024
  21. Favorite Photos: July 2024
  22. Favorite Photos: August 2024
  23. Favorite Photos: September 2024
  24. Favorite Photos: October 2024
  25. Favorite Photos: November 2024
  26. My 2024 Favorite Photos
  27. Favorite Photos: December 2024
  28. Favorite Photos: January 2025
  29. Favorite Photos: February 2025
  30. Favorite Photos: March 2025
  31. Favorite Photos: April 2025
  32. Favorite Photos: May 2025
  33. Favorite Photos: June 2025
  34. Favorite Photos: July 2025
  35. Favorite Photos: August 2025
  36. Favorite Photos: September 2025
  37. Favorite Photos: October 2025
  38. Favorite Photos: November 2025
  39. My 2025 Favorite Photos
  40. Favorite Photos: December 2025
  41. Favorite Photos: January 2026
  42. Favorite Photos: February 2026
  43. Favorite Photos: March 2026
  44. Favorite Photos: April 2026
  45. Favorite Photos: May 2026
  46. Favorite Photos: June 2026
  47. Favorite Photos: July 2026
  48. Favorite Photos: August 2026
  49. Favorite Photos: September 2026

July has been a quiet month, and thank God for that! I know it’s such a blessing to be able to travel as much as we do, but it is tiring, too; it felt so good just being at home this past month, and enjoying the wildlife in our garden, or on our little island. (As a side note, I’ve learned that green areas cover 72% of our island; there are three nature reserves here, and we’re neighbours with one. Way to go, Lidingö!)

A young cheetah (Acinonyx jubatus) perches majestically on a thick, gnarled tree branch, its gaze fixed intently in the distance within the Tswalu Kalahari Reserve.
A young cheetah (Acinonyx jubatus) perches majestically on a thick, gnarled tree branch. Tswalu Kalahari Reserve, South Africa

I enjoyed the quiet time, listening to music while I edited photos from our May safari trip. (I try to match the music to the images, it helps set the mood when editing, so there was a lot of African music. Right now, there’s a lot of Ismaël Lô, a Senegalese musician. I listened to this track on repeat, closely followed by this one.)

“Cheetah don’t climb trees”, the guide had just told us. Next thing you know, we stumbled over this handsome teenage cheetah posing nicely on a tree (albeit a low one). Cheetahs are not built for climbing (their claws don’t retract like a leopard’s), but give them a sloping, weathered trunk like this one and they’ll take the high ground gladly. Better view, better odds. Better photos, too.

This one sat for a good while in the early light, watching something far off in the bush. I like that about cheetahs: they always seem to be paying attention to a world slightly beyond the one I can see. I took my photos and mostly just watched it watch.

This image has become one of my absolute favorite photos, one of the highlights of this trip. His intense gaze, the soft light, that fluff on its’ back telling you he’s still young… I love it so much, I may print it and hang it on my wall, in fact.

A cheetah cub (Acinonyx jubatus) rests peacefully in the dappled shade of a bush in Tswalu Kalahari Reserve as the noon sun filters through the leaves above.
A cheetah cub (Acinonyx jubatus) rests peacefully in the dappled shade of a bush as the noon sun filters through the leaves above. Tswalu Kalahari Reserve, South Africa

Another day, another cheetah. Green bokeh behind it, morning light catching the gold in its fur: this cheetah just stood there for a moment, sizing up whatever it was watching. Cheetahs rely on vision more than scent, and it shows in how much time they spend simply looking. Those black lines running from its eyes down to its mouth aren’t decoration; they cut the glare, so the cat can keep watching straight into the midday sun.

A lioness (Panthera leo) leads her cubs along a dusty track in the dim light of dusk, preparing for the night's hunt. tswalu Kalahari Reserve, South Africa
A lioness (Panthera leo) leads her cubs along a dusty track in the dim light of dusk, preparing for the night’s hunt. Tswalu Kalahari Reserve, South Africa

We spent the whole afternoon tracking this pride at Tswalu Kalahari Reserve. We knew the lions were lying under bushes and trees somewhere in that area, most likely sleeping and completely invisible in the tall grass. Lions are champion resters: up to twenty hours a day, if you let them.

Then the light started to drop, and the mood shifted. This lioness got up, stretched, and set off down the red sand track, her cubs following at their own pace behind her. Two adult males and another lioness with her cubs were nearby, outside the frame. She’d picked the track for a reason: lions use cleared paths like this one to move quietly at dawn and dusk, without the crunch of dry grass underfoot. The evening hunt had begun, and we watched them disappear into the grass as the mountains turned blue behind them.

A young lioness (Panthera leo) stands facing the camera on red Kalahari sand at dusk, emerging from dense scrub with an alert, calm expression. Tswalu Kalahari Reserve, South Africa
A young lioness (Panthera leo) stands facing the camera on red Kalahari sand at dusk, emerging from dense scrub with an alert, calm expression. Tswalu Kalahari Reserve, South Africa

This lioness stepped out of the thornveld and stopped right in front of us, front paws neatly together on the red sand, and simply looked. Not aggressive, not nervous, just checking. Lions do this accounting constantly, and once you’ve been on the receiving end of it, you understand how little of the bush you actually notice compared to what notices you.

I liked the restraint of this moment more than any action shot from the trip. The soft overcast light kept her eyes that deep amber, and the dark green scrub behind her did the rest. Sometimes the best photograph is the animal doing almost nothing.

In the late afternoon light a pride of lions feasts on a zebra carcass amidst tall, dry grasses, with a mountainous backdrop under a pink sky. Tswalu Kalahari Reserve, South Africa
In the late afternoon light a pride of lions feasts on a zebra carcass amidst tall, dry grasses. Tswalu Kalahari Reserve, South Africa

This is the same lion pride, a different day, in the Tswalu Kalahari Reserve. The sky had turned that pink and violet color you sometimes get right after sunset, with the mountains going dark blue behind them. The pride had already made a kill on a zebra, and by the time I caught this moment, cubs and adults were all crowded in around it, with the dominant male moving in to claim his share. Feeding order in a pride isn’t always what people expect; proximity and appetite matter as much as rank in the moment.

It’s one of those scenes where the drama has already happened and what you’re watching instead is the quieter part — who eats where, who waits, who pushes in. I find that almost more interesting than the hunt itself.

A pride of lions devours a zebra carcass under the warm glow of the late afternoon sun. The central focus is a male lion, his face contorted in a snarl as he tears into the carcass of a zebra. Tswalu Kalahari Reserve, South Africa
A pride of lions devours a zebra carcass. The central focus is a male lion, his face contorted in a snarl as he tears into the carcass of a zebra. Tswalu Kalahari Reserve, South Africa

This is the male lion from the photo above. While popular media often portrays the “Lion King” as a benevolent father, the reality at a kill site is much more tense. In a pride hierarchy, adult males usually eat first, using their size and intimidating facial expressions (like the snarl seen here) to maintain their position. This snarl serves as a visual warning to others to respect the patriarch’s space.

Three African wild dogs (Lycaon pictus) are engaged in a playful tussle amidst dry grass and reddish-brown earth. Tswalu Kalahari Reserve, South Africa
Three African wild dogs (Lycaon pictus) are engaged in a playful tussle amidst dry grass and reddish-brown earth. Tswalu Kalahari Reserve, South Africa

Despite many trips to Africa, I have never seen wild dogs, unless you count some white tails disappearing into the tall grass. So, imagine my joy and happiness when our guide and tracker not only found them for us but also managed to stay with them for four hours. 

We set out at 5:30 in the morning to look for them before they became active. When we finally found them, we watched as they searched for prey, sizing up gnus and oryxes and nearly catching a young oryx that managed to get away. Afterward, they played and socialized before resting in the shade as the day grew hotter. It was an experience I’ll never forget.

*

The African wild dog, or painted wolf, is one of the world’s most endangered mammals. According to the IUCN, only 3,000 to 5,500 remain. African wild dog numbers are notoriously hard to pin down, and estimates vary quite a bit by source. However, they all agree they are endangered.

Human expansion and habitat loss have limited them to small areas in southern and eastern Africa, though they once lived across the continent. To witness African wild dogs in the savanna is a rare privilege, as they are notoriously elusive and require massive home ranges.

A meerkat (Suricata suricatta) lies in the vibrant red sand of the Kalahari desert, its mouth open as it interacts with tiny ants. Tswalu Kalahari Reserve, South Africa
A meerkat (Suricata suricatta) lies in the vibrant red sand of the Kalahari desert. Tswalu Kalahari Reserve, South Africa

There’s a colony of habituated meerkats at Tswalu Kalahari Reserve, and I was looking forward to watching them in the morning as they start their day sunning, grooming themselves and each other, and foraging. They didn’t disappoint, and I spent several hours low on the ground, trying to keep pace with these oh-so-fast small animals. I have so many photos from that morning, they’re likely to become a fixture in my favorite-photos series for a while.

This is one of my favorite meerkat photos, because it’s not doing what you usually expect from a meerkat photo — standing sentinel. I wanted to show something different; you’ve probably seen thousands of meerkats standing at attention before. Lying flat like this is mostly about temperature: they press their bellies to the cool sand to shed heat once the day warms up, or sprawl out to soak up the sun early on when it’s still cold. The sand on its’ face is from digging; meerkats have non-retractable claws built for excavating insects and larvae out of the ground, and they’re immune to some scorpion and snake venom, which is a really useful trait when that’s most of what you eat.


📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM, except the third one (linoess with cubs at dusk), taken with Canon R5 & Canon RF70-200mm F2.8 L IS USM.


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How To Shoot and Edit Backlit Wildlife Photos

This is the fourth of four posts about shooting and editing wildlife photos for different creative results on safari. We’ll look at high-key, low-key, black-and-white, backlit & silhouette. Each style offers a unique way to see and a different set of choices, both when you’re out in the field and when you’re editing. While I’m focusing on a South African safari, these ideas work anywhere you’re photographing wild animals.

I use Canon equipment for all my photos, but I’ve tried to avoid using brand-specific terms wherever possible. My main post-processing tools are Lightroom Classic and Photoshop, and my guide starts from there, but I kept the details general, and they would apply to most post-processing software.

Today, we’ll look at backlit & silhouette photos.

This photo freezes two feisty Kangaroo Island Kangaroos (Macropus fuliginosus fuliginosus) in a classic boxing match, their paws locked in a cheeky spar as they balance on powerful tails against a sun-kissed, dusty arena.
Two young kangaroos, Kangaroo Island, South Australia. The backlight does the diplomatic work here, softening the whole exchange into something that reads as tender even if it started as a shove.

On almost every safari, there’s a moment near sunset when the vehicle stops, the guide turns off the engine, and everyone falls silent. The sun sits low in the sky, shining straight ahead. Whatever animal stands before you, maybe an impala, maybe a warthog, appears outlined by the light in a way that takes your breath away. The animal’s edges seem to glow. Behind it, the world looks like fire. In front, everything is in shadow.

At that moment, you need to make a quick decision.

The question isn’t whether to take the shot; you will. The real choice is what kind of image you want, because backlit wildlife scenes give you two very different creative options, each needing its own exposure approach. If you pick the wrong exposure, you’ll end up with the other type of image. Sometimes that’s fine, but usually it isn’t.

You have two options: a backlit portrait that keeps detail in the animal’s face, or a pure silhouette where the animal becomes a dark shape against a bright sky. Both are valid and striking. They start with the same scene (the animal, the low sun, the glowing sky), but split at the moment you choose your exposure.

This post explains how to do both.


What Backlight Does

Before talking about exposure, let’s look at the light itself. Backlighting, where the light source is behind the subject and facing the camera, does several things at once, some helpful, some not.

Backlighting creates rim light. The edges of the subject (like fur, feathers, thin ears, or a mane) are outlined by light passing through or around them. This rim is often the most beautiful part of a backlit photo. It separates the subject from the background with a glow that editing can’t fake if the light wasn’t there in the first place.

Backlighting also causes flare. When sunlight hits the front of your lens, it can lower contrast, shift colors, create ghosting, and soften your image, sometimes badly. Always use a lens hood in backlit situations, and keep your lens clean. These steps are essential.

Backlighting creates a big difference between the bright sky and the shadowed side of your subject, more than most cameras can handle without losing detail. You have to decide what to let go, and that’s what your exposure choice is about.

Zebra portrait (Equus quagga)) captured in warm, golden lighting during sunrise. The zebra's iconic black-and-white stripes are prominently displayed, with the pattern extending across its face, ears, and mane. The background is softly blurred, featuring earthy tones and hints of trees, creating a serene and natural setting. The zebra's expression is calm, with its eyes and ears alert, adding to the peaceful mood of the image.
Backlighting does something ordinary daylight can’t: it turns stripes into something almost architectural. The mane catches first, then the ears, then a thin gold line along the jaw. Everything else stays exactly as striped and stubborn as it should.

The Backlit Portrait: Retaining Subject Detail

Getting a backlit portrait that keeps detail in the subject is harder. You’re asking your camera to capture both the bright rim light and the much darker front of the animal at the same time, which is tough for most sensors.

Use Manual mode. If you rely on automatic metering in backlit scenes, the camera will expose for the bright sky and your subject will be too dark. Take control of your settings.

Spot-meter the shadow side of the subject’s face, the part facing you that only gets reflected or ambient light. This is what you want to expose for. Set your exposure so this area looks right, and accept that the sky and rim light will be overexposed. The sky will blow out, and the rim light may clip at the edges. That’s the right trade-off.

Use ETTR (Expose To The Right) based on your shadow-side reading; raise the exposure as much as you can without losing detail in the subject’s face. Watch your camera’s highlight warning and make sure it only shows in the sky or background, not on the subject. If the subject’s face blinks, lower the exposure until it stops.

Here’s a helpful tip: most new mirrorless cameras have a real-time highlight alert in the viewfinder, like a zebra pattern, that shows which areas are overexposed as you shoot. In backlit situations, this is more useful than checking the histogram later, since the light changes fast and each shot is a bit different.

When editing, focus on recovering shadows on the subject’s face. RAW files from modern mirrorless cameras hold more shadow detail than you might expect from the LCD preview. Pull the Highlights slider back a lot, sometimes to -70 or -100, and raise the Shadows. Use Lightroom’s Subject mask to adjust the subject and background separately. The Dehaze slider, used gently, can bring back contrast lost to haze from backlighting.

For subjects with complex edges, like fine feathers or the hairs of a rim-lit mane, use Photoshop’s Select and Mask tool with the Refine Edge brush along those areas. This gives you more precision than Lightroom’s AI mask sometimes can. If an image is worth editing, it’s worth doing it right.


The Pure Silhouette: Letting the Subject Become a Shape

Silhouettes are easier to expose for, but harder to compose well.

Kangaroo Island Kangaroos (Macropus fuliginosus fuliginosus)_This photo depicts two kangaroos standing side by side against a stunning sunset in the Australian outback. The kangaroos, with their muscular tails and reddish-brown fur, are silhouetted against a vibrant sky painted with hues of orange, pink, and deep purple as the sun dips below the horizon. The foreground features a scattering of dry grass and low shrubs, their details softened by the golden light, while the distant landscape fades into a hazy blend of earthy tones. The scene captures a serene moment, with the kangaroos’ upright postures adding a sense of calm majesty to the twilight ambiance.
Kangaroos, Kangaroo Island, South Australia. No detail left to work with, and none needed. Two shapes on a horizon that’s doing all the emotional heavy lifting.

Exposure is simple: meter for the background, not the subject, and let the subject go dark. In Aperture Priority, use minus one or two stops of exposure compensation, or in Manual mode, set exposure for the sky. The subject will naturally underexpose, sometimes a lot. That’s the goal. You’re creating a graphic image, not a portrait. The subject’s surface details don’t matter, its outline does.

That’s where the challenge comes in. A silhouette depends completely on its outline. The shape should be instantly recognizable and look elegant. For example, a warthog from the front doesn’t work well, but a profile with its tusks lit up looks great. A giraffe from the side makes a classic silhouette, but head-on it just looks like a blob.

Before you go for a silhouette, check the subject’s profile. Are the limbs clearly separated from the body, or does everything blend into one dark shape at the bottom? Is the sky behind the subject clear and colorful, or is it messy with branches and distractions? Do you have enough space in the frame to show the whole animal without cutting off its feet or ears?

White rhinoceros (Ceratotherium simum)_A tender scene of a rhinoceros and its sleeping baby in a grassy savanna at sunset. The adult rhino, with its thick grey skin and prominent horn, stands protectively beside the calf, which is curled up in the grass, its small body relaxed in slumber. The golden hues of the setting sun cast a warm glow over the pair, highlighting the texture of the grass and the rhino's rugged hide. The background fades into a soft blend of orange and purple skies, creating a serene and intimate moment in the wild.
A rhino doesn’t need texture to read as a rhino, the horn alone gives it away. Here the whole animal dissolves into a single dark form against the haze, which is either humbling or a little bit funny, depending on the day.

Shooting from a lower angle often helps, putting the subject fully against the sky instead of the mixed tones of the horizon. On a game vehicle, get as low as you can; even a small drop can make the background cleaner behind a standing animal.

For the sky, set your white balance to a warm setting like Shade or Cloudy before you shoot. This will make the golden and orange tones of sunrise or sunset look richer and more accurate on screen, giving you a better starting point for editing. The subject will be dark no matter what, so white balance mainly affects the sky.

When editing a silhouette, focus on two things: the quality of the sky and making the subject dark and clean. In the HSL panel, boost the orange and red saturation and adjust the blue luminance in the upper sky. Use the Subject mask to make the subject nearly pure black, adjusting Exposure, Shadows, and Blacks as needed. Check the mask edge at 100% zoom. In silhouettes, the border between the dark subject and bright sky stands out most, so any halo or unwanted blur will show right away.


The Overlap: Rim Light

Two boxing Kangaroo Island kangaroos (Macropus fuliginosus fuliginosus), silhouetted against a warm, golden-orange background during sunset.
This is what rim light is for: not illuminating the subject, just tracing it. Two kangaroos reduced to outline and motion, the low sun doing all the talking along their backs and paws while the rest goes dark.

There’s a third option between a backlit portrait and a pure silhouette, and it might be the most beautiful. This is the rim-lit image: the subject’s face is partly visible in shadow, while its edges glow with backlight. It’s not a full portrait or just a shape—more like a subject emerging from darkness, outlined by light.

To get a good rim-lit image, you need the darkest background possible behind your subject. The rim light stands out best against deep shadow or a dark tree line, not a bright sky, which can overpower the effect. The key is to move the vehicle so the subject’s glowing edges are set against the darkest background you can find.

The image captures a solitary Chacma baboon (Papio ursinus)  from the chest up, viewed from its left side. The baboon is seated, with its face turned to the right, looking into the golden haze of the setting sun. Its fur appears thick and coarse, with shades of gray and brown, and is dramatically illuminated by the backlighting, creating a halo effect around its head and shoulders. The sunlight highlights the texture of its fur, particularly on its back and the right side of its face. The baboon's eyes are a striking amber color, and they seem to catch the light. Its muzzle is dark, and the contours of its face are softened by the warm light and shadow. Only a portion of its body is visible,  sitting on a dark, rocky. To the left of the baboon, there is dense foliage, appearing as dark silhouettes against the glowing background. A branch with some blurred golden or orange leaves hangs from the upper left corner, adding to the atmospheric quality. The background is a soft, diffused haze of warm colors – oranges, yellows, and browns – with subtle hints of light and shadow. The overall atmosphere is serene and contemplative, with a touch of wildness. The mood is tranquil, almost ethereal, due to the soft focus and the warm, glowing light.
He’s not posing. He’s just sitting where the light happens to find the edge of him, shoulder, arm, the curve of his back, while his face stays mostly in its own thoughts, lit just enough to notice the eyes.

The exposure sits between the two extremes: not as bright as a backlit portrait, not as dark as a silhouette. Spot-meter on the front face and apply minus one stop. The rim will likely clip at its brightest edges; that is acceptable. What you are protecting is the transitional zone between the rim and the shadow — the place where the light falls off across the body — because that gradation is where the three-dimensionality of the image lives.


In my experience, the last twenty minutes of low light on a safari are when you get the most memorable photos; and make the biggest mistakes. The light is amazing, but it changes fast. You need to get your camera settings right straight away, since there’s no time to rethink your exposure from scratch.

It’s worth learning this logic ahead of time. When the engine stops, and the animal stands against the glowing sky, you want to know right away if you’re making a portrait, a silhouette, or something in between. After that, it’s just a matter of adjusting your settings.


Related Posts


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Favorite Photos: June 2026

This is post 46 of 49 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

  1. My 2022 Favorite Photos
  2. Favorite Photos: January 2023
  3. Favorite Photos: February 2023
  4. Favorite Photos: March 2023
  5. Favorite Photos: April 2023
  6. Favorite Photos: May 2023
  7. Favorite Photos: June 2023
  8. Favorite Photos: July 2023
  9. Favorite Photos: August 2023
  10. Paris Is Always A Good Idea
  11. Favorite Photos: October 2023
  12. Favorite Photos: November 2023
  13. Favorite Photos: December 2023
  14. My 2023 Favorite Photos
  15. Favorite Photos: January 2024
  16. Favorite Photos: February 2024
  17. Favorite Photos: March 2024
  18. Favorite Photos: April 2024
  19. Favorite Photos: May 2024
  20. Favorite Photos: June 2024
  21. Favorite Photos: July 2024
  22. Favorite Photos: August 2024
  23. Favorite Photos: September 2024
  24. Favorite Photos: October 2024
  25. Favorite Photos: November 2024
  26. My 2024 Favorite Photos
  27. Favorite Photos: December 2024
  28. Favorite Photos: January 2025
  29. Favorite Photos: February 2025
  30. Favorite Photos: March 2025
  31. Favorite Photos: April 2025
  32. Favorite Photos: May 2025
  33. Favorite Photos: June 2025
  34. Favorite Photos: July 2025
  35. Favorite Photos: August 2025
  36. Favorite Photos: September 2025
  37. Favorite Photos: October 2025
  38. Favorite Photos: November 2025
  39. My 2025 Favorite Photos
  40. Favorite Photos: December 2025
  41. Favorite Photos: January 2026
  42. Favorite Photos: February 2026
  43. Favorite Photos: March 2026
  44. Favorite Photos: April 2026
  45. Favorite Photos: May 2026
  46. Favorite Photos: June 2026
  47. Favorite Photos: July 2026
  48. Favorite Photos: August 2026
  49. Favorite Photos: September 2026

I didn’t process many photos in June because I was still sorting through my safari shots, and the garden needed a lot of care after I’d been away for weeks. Plus, there were Midsummer celebrations, great weather, and some good books to enjoy!

This image is a striking, low-key portrait of a young lioness, focusing on her intense gaze and facial features against a deep black background.The image features a close-up of a young lioness, with the majority of the frame dedicated to her face. Her fur is a mottled mix of browns and grays, with individual hairs visible and a slightly coarse texture. Her eyes are the most prominent feature, a luminous, fiery orange that seems to glow against the darkness and implies alertness. The pupils are dark and intense, directed slightly off-camera to the left, suggesting she is observing something intently. Her nose is dark and moist, with visible nostrils. Long, white whiskers fan out from her muzzle, catching the light. The ears are visible, one slightly more forward than the other, with soft fur. The composition is tight, cropping out most of the lioness's body and placing her face slightly off-center, creating a sense of intimacy and focus.The lighting is dramatic and directional, illuminating the lioness's face from the side, casting deep shadows that emphasize her features and the texture of her fur. The background is completely black, isolating the subject and making her appearance even more captivating. There are no other animals or people visible in the frame.The atmosphere of the image is one of quiet power, intensity, and mystery. The dark background and the piercing gaze of the lioness create a mood that is both captivating and slightly intimidating, hinting at her wild nature and predatory instincts. The overall impression is one of raw beauty and untamed spirit.
Young Lioness, Madikwe, South Africa

This portrait of a young lioness shows her regal profile as she waits for the perfect moment. I took it while staying at the Royal Madikwe, and it’s part of my dark portraits series. I haven’t come up with a good title yet, just this descriptive one. If you have any ideas for a title, I’d love to hear them!

A tabby cat wears a crown of Midsummer wildflowers, creating a whimsical and serene portrait.The image prominently features the head and upper torso of a tabby cat, primarily in shades of grey and white, with distinct dark tabby markings. The cat's most striking feature is its large, luminous eyes, which are a vibrant yellow-green and reflect light, giving them an intense and captivating gaze. The cat's nose is a soft pink, and its whiskers are fine and white, fanning out from its muzzle.Adorning the cat's head is a delicate crown made of Midsummer wildflowers. The crown consists of several white daisies with bright yellow centers and some pink clover flowers, interspersed with green leaves. The flowers are artfully arranged and appear fresh, adding a touch of nature and festivity to the cat's appearance.The background is almost entirely pure white, with a soft, ethereal glow that fades outwards from the cat. This stark white background isolates the subject and emphasizes the details of the cat's fur and the floral crown. The lighting is soft and diffused, creating a gentle halo effect around the cat, particularly around its ears and the edges of its fur. This lighting technique contributes to a dreamlike and almost angelic atmosphere.The overall composition is a close-up shot, focusing tightly on the cat's face. This close perspective allows the viewer to appreciate the texture of the fur, the details of the flowers, and the expressiveness of the cat's eyes. There are no humans or other animals visible in the image.The mood of the picture is peaceful, enchanting, and slightly whimsical. The juxtaposition of the wild feline with the delicate floral crown evokes a sense of natural beauty and gentle innocence, creating a serene and memorable image. The bright eyes and the vibrant flowers stand out against the muted tones of the cat's fur and the pure white background.
Minette, Lidingö, 2026

Glad Midsommar from Minette, who tolerated her flower crown with the dignity of a cat who knows the daisies were not her idea.

Midsummer (Midsommar) marks the summer solstice and the longest days of the year, celebrated here with maypoles, herring, new potatoes, and, yes, wreaths of wildflowers worn in the hair. It’s one of the most beloved days on the Swedish calendar, a bright pause when the whole country seems to step outside and stay there until very late. The flowers in this crown, daisies and red clover, are the same ones you’d find woven into wreaths across the meadows this week.

Minette is not impressed. She is, however, festive.


📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM.


Related Posts

To view all my favorite photos archive, click here.


Love my work? Support my journey by buying me a coffee or sharing it on your preferred social network. And don’t forget to swing by my online shop to check out my latest prints and gifts. Thank you 🙏 !

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How To Shoot and Edit Black-and-White Wildlife Photos

This is the third of four posts about shooting and editing wildlife photos for different creative results on safari. We’ll look at high-key, low-key, black-and-white, backlit & silhouette. Each style offers a unique way to see and a different set of choices, both when you’re out in the field and when you’re editing. While I’m focusing on a South African safari, these ideas work anywhere you’re photographing wild animals.

I use Canon equipment for all my photos, but I’ve tried to avoid using brand-specific terms wherever possible. My main post-processing tools are Lightroom Classic and Photoshop, and my guide starts from there, but I kept the details general, and they would apply to most post-processing software.

Today, we’ll continue with the black-and-white style.

Portrait of a lion (Panthera leo) in black-and-white
Lion, South Africa. Side light carves out every ridge in this mane, the kind of texture a color photo would let you skim past. In monochrome, there’s nowhere else to look.

I have to admit something about black-and-white photography. For a long time, I only used it to save photos that didn’t work in color. If the sky looked dull, the background was distracting, or the colors just clashed, I would switch to monochrome. It was always a last-minute fix, not a choice I made from the start. The photos turned out okay, and sometimes even better than okay, but they never felt quite right because I was working in reverse.

Everything changed when I began studying photographers who chose black-and-white from the beginning, not as a backup. Ansel Adams, Nick Brandt, Art Wolfe, to name just a few. What stood out wasn’t just the lack of color, but a special focus on light, shape, and texture that color photos don’t always require. These photographers weren’t just taking color away; they were seeing the world without it from the very beginning.

This difference, between taking color out and not needing it at all, is what I want to talk about here. It sets the stage for everything that follows.

This photo depicts a young lioness in the midst of a hunt on a sunlit savanna. Her lean, muscular frame is poised low to the ground, with her coat blending into the dry grass as she stalks prey. Her eyes are intensely focused, ears slightly back, and her mouth is open, revealing sharp teeth.
Lioness, South Africa. The high-key processing did what a backdrop rarely does on its own: flattened everything behind her into a single pale tone, so the eye has nowhere to go but her face. This is the kind of scene the black-and-white questions are built for — not “is the light good,” but “is there enough here without color.”

Why Monochrome Is a Different Way of Seeing

Color does a lot in a photo. It helps the subject stand out, sets the mood, catches your attention, and even tells you about the species, season, or time of day. When you take color away, all that work shifts to other things, like how the light falls, the range of tones, the shapes in the picture, and how they relate to each other.

That’s why turning a so-so color photo into black-and-white rarely works well. If color was doing most of the work, removing it leaves nothing behind. A good black-and-white photo needs to be strong in the ways that matter for monochrome, and those qualities have to be there in the scene itself, not added later.

When you’re on safari, you have to start asking new questions when you see something interesting. Instead of just asking if the light is good, ask if the scene has what black-and-white needs. Is there enough contrast between the subject and the background, even without color? Does the light bring out shapes and textures? Is there something graphic in the composition, like a bold silhouette, a repeating pattern, or a strong line, that will stand out without color?

These questions are tougher than those you ask with color photography, and they take some practice. But the photos you get are different in more ways than just color. That difference is important, especially when we start talking about light.

Close-up of a lioness in black-and-white

Lioness, South Africa. A quieter version of the same idea — flatter light, softer shadows, but the eyes still hold the frame as in the lion portrait. Two lions, two different kinds of light, and the same lesson: monochrome asks the most of a face.

The Light That Works 

Not every kind of light works the same in black-and-white. The best light for striking black-and-white wildlife photos is often the same light that makes color photos dramatic, but for different reasons. I’ll explain why as we look at different types of light.

  • Side light from the low sun in the early morning or late afternoon creates strong shadows that show off a subject’s shape. On a lion’s mane, an elephant’s wrinkles, or a bird’s feathers, this kind of light creates rich tones that look great in black-and-white. The texture you see isn’t added later, it’s captured by the light itself.
  • Backlighting and rim lighting work in their own way, but they’re just as effective. When a subject is outlined by bright light against a dark background, it creates a bold, graphic look that suits black-and-white perfectly. The color of the rim light doesn’t matter; what counts is how the bright edge stands out against the dark.
  • Overcast light, which I’ve discussed before when talking about flat light, is especially useful for black-and-white portraits. This soft, even light shows off every detail and texture on your subject. Close-up portraits of animals—where you can see every hair and whisker—often look better in black-and-white because color can distract from the texture that overcast light brings out.
  • Stormy skies also work well. The contrast between a bright subject and a dark, heavy sky stands out even more in black-and-white. Clouds that look dramatic in color can feel truly powerful in monochrome.

A Tool Worth Using in the Field

Most new mirrorless cameras have a monochrome preview mode. This setting lets you see the scene in black-and-white through the viewfinder and on the screen, but the camera still saves a full-color RAW file. The RAW file keeps all the color data for editing later, but you get to see the scene in black-and-white as you shoot.

This is a great tool for learning to see in black-and-white, but many people don’t use it enough. With the monochrome preview on, you can check the contrast between your subject and the background before you take the shot. You can see if the light brings out shapes and textures, and decide if the sky helps or hurts the picture based on tone, not color. This way, you can decide about black-and-white right there in the field, not just later on your computer.

Try leaving the monochrome preview on for a whole game drive, especially on days when the light isn’t great, when it’s overcast or flat, and not what you wanted. You might discover that without color to distract you, you start to see things in a new way.

In the Field

Besides using the preview mode, there are a few camera settings you should adjust if you plan to turn your photos into black-and-white later.

Zebra, South Africa. Stripes are already halfway to black-and-white before you press the shutter. Backlit and dusted with the dry haze of the road, this one barely needed the conversion — the graphic pattern was always the point.

  • Expose to the right, just like you would for high-key shots. Move the histogram as far right as you can without losing detail in the subject. A well-exposed RAW file gives you more tones to work with when you convert to black-and-white. While monochrome can forgive some mistakes, it’s best to start with a clean, well-exposed image.
  • For autofocus, Animal Detection works well with black-and-white photos. The contrast between a well-lit subject and a dark background helps the autofocus system find clear edges. Take advantage of this feature.
  • One setting to switch off is Auto Lighting Optimizer, for the same reasons that apply across all the posts in this series. It compresses the tonal range, the very range you will need intact for a meaningful conversion.

Post-Processing

The most important tip for editing black-and-white photos: don’t just desaturate the image or switch to greyscale. Both methods throw away the color channel information you need to control how each color turns into a shade of grey.

The right way is to use the Black and White panel in Lightroom or the Black and White adjustment layer in Photoshop. These tools let you control how each color channel appears in greyscale. This isn’t just a technical detail, it’s what separates a flat, lifeless image from one with real depth and contrast.

In Lightroom’s Black and White panel, eight color sliders control how each color in the original image is translated to grey. The ones that matter most for safari photography are these:

The image features a detailed, black and white, close-up depiction of a giraffe's head and neck. The giraffe is positioned in the lower left of the frame, with its head tilted and turned towards the viewer, creating a comical expression. Its mouth is open, with its tongue visible and curled upwards, and its lips appear to be puckered or pursed, giving the impression of it making a silly face or sticking its tongue out.
Giraffe, South Africa. Overcast light does its best work on close portraits like this one — soft and even, with nothing to distract from the texture. Every hair on this giraffe’s neck holds up because the light gave it something to hold.
  • The Green slider affects vegetation like grass, leaves, and bushes. If you move it down, the background gets much darker, which helps your warm-toned subject stand out from the green background. This is one of the best adjustments for safari black-and-white photos, and you can’t get this effect by just desaturating.
  • The Blue slider controls the sky. Move it down, and the sky gets much darker, just like using red or orange filters in film photography. Clouds that were hard to see in color become bold shapes against the dark sky. Even a flat, overcast sky can look more dramatic. 
  • The Orange and Yellow sliders adjust warm-toned subjects like lions, cheetahs, sandy-colored antelopes, and golden grasses. Raise these sliders to make warm subjects stand out against a background darkened with the green and blue sliders.

This separation between subject and background in monochrome works like a well-exposed color photo: the subject is clear, the background supports it, and nothing distracts.


Once you’ve converted the image, go back to the Basic panel and take another look. You’ll usually need to boost Contrast, Clarity, and Texture more in black-and-white than in color. Black-and-white photos handle these changes well, and the result is an image with rich tones and lots of detail.

For the final touches, try dodging and burning. In Photoshop, use a 50% grey Overlay layer and apply the Dodge and Burn tools at low opacity, building up the effect gradually. This method comes from traditional darkroom work and has been adapted for digital editing. It takes time and patience, but it gives results you can’t get with global adjustments. If the photo is important, it’s worth the effort.


The question I began with, what’s left when you remove color, actually has a clear answer. What’s left is light. Not light as warmth, color, or mood, but light as information: how it falls on a surface, the shadows it makes, the edges it shapes, and the textures it shows. That’s what black-and-white photography explores. At its core, it’s about studying light without the usual distractions.

That is a narrower subject than color photography. It is also, in the right hands, a more demanding focus. This focus is narrower than color photography, but in the right hands, it’s also more challenging and more revealing.


Related Posts


Love my work? Support my journey by buying me a coffee or sharing it on your preferred social network. And don’t forget to swing by my online shop to check out my latest prints and gifts. Thank you 🙏 !

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Favorite Photos: May 2026

This is post 45 of 49 in the series “Favorite Photos”

This series contains my favorite photos processed in a particular month.

  1. My 2022 Favorite Photos
  2. Favorite Photos: January 2023
  3. Favorite Photos: February 2023
  4. Favorite Photos: March 2023
  5. Favorite Photos: April 2023
  6. Favorite Photos: May 2023
  7. Favorite Photos: June 2023
  8. Favorite Photos: July 2023
  9. Favorite Photos: August 2023
  10. Paris Is Always A Good Idea
  11. Favorite Photos: October 2023
  12. Favorite Photos: November 2023
  13. Favorite Photos: December 2023
  14. My 2023 Favorite Photos
  15. Favorite Photos: January 2024
  16. Favorite Photos: February 2024
  17. Favorite Photos: March 2024
  18. Favorite Photos: April 2024
  19. Favorite Photos: May 2024
  20. Favorite Photos: June 2024
  21. Favorite Photos: July 2024
  22. Favorite Photos: August 2024
  23. Favorite Photos: September 2024
  24. Favorite Photos: October 2024
  25. Favorite Photos: November 2024
  26. My 2024 Favorite Photos
  27. Favorite Photos: December 2024
  28. Favorite Photos: January 2025
  29. Favorite Photos: February 2025
  30. Favorite Photos: March 2025
  31. Favorite Photos: April 2025
  32. Favorite Photos: May 2025
  33. Favorite Photos: June 2025
  34. Favorite Photos: July 2025
  35. Favorite Photos: August 2025
  36. Favorite Photos: September 2025
  37. Favorite Photos: October 2025
  38. Favorite Photos: November 2025
  39. My 2025 Favorite Photos
  40. Favorite Photos: December 2025
  41. Favorite Photos: January 2026
  42. Favorite Photos: February 2026
  43. Favorite Photos: March 2026
  44. Favorite Photos: April 2026
  45. Favorite Photos: May 2026
  46. Favorite Photos: June 2026
  47. Favorite Photos: July 2026
  48. Favorite Photos: August 2026
  49. Favorite Photos: September 2026
A close-up portrait of a Southern Yellow-billed Hornbill is dramatically lit against a deep black background.The image features the head and upper neck of a Southern Yellow-billed Hornbill, captured in sharp focus against an entirely black background, creating a sense of isolation and emphasizing the bird's striking features. The bird's head is angled upwards and to the right, with its distinctive large, curved, bright yellow bill being a prominent element. The bill shows some texture and color variation, with darker tips and some subtle orange hues. The eye of the hornbill is a vibrant yellow with a dark pupil, surrounded by a bright red, wrinkled patch of skin that extends down its face and neck. The feathers on its head and neck are a mix of dark grey, black, and white, appearing ruffled and textured, especially around the head. The lighting is dramatic, with a strong highlight on the bill and around the eye, and the rest of the bird's body and the background fading into deep shadow, creating a moody and almost theatrical atmosphere. There are no people or other animals in the frame. The mood is somewhat intense and intriguing due to the stark contrast, the detailed rendering of the bird's head, and the dark, empty background.
Southern Yellow-billed Hornbill, Madikwe, South Africa

Somehow, May has turned into safari month for us. This year, we started at Royal Madikwe, then visited Tswalu, and ended our trip in Cape Town. I began culling photos right after we got back (there were some amazing sightings everywhere), but garden work and other personal things have slowed me down.

That said, I did edit this one photo, I was really excited about it! When I took the shot, I already had some edits in mind and knew it would work well with my dark portraits series. I’m happy with how it looks now, though I might tweak it again later.


The Southern Yellow-billed Hornbill is affectionately nicknamed the ‘flying banana‘ due to its massive, curved yellow beak. Despite the bill’s size, it is surprisingly light because it is filled with a honeycomb-like structure of bone and air.

Here are some other interesting facts about this bird:

1. The bill is a precision tool. That bill is more than just eye-catching; the hornbill uses it like a pair of needle-nose pliers. The narrow tip plucks insects, seeds, and spiders off the ground or out of low vegetation, while serrated inner edges let it crush and break apart tougher items before swallowing.

2. The female seals herself inside the nest. After picking a nesting spot, the female seals herself in, closing the entrance with her own droppings until only a narrow slit remains. She stays inside to incubate the eggs for 24 to 25 days, while the male brings her food through the small opening. Later the chicks reseal the entrance themselves and stay inside for another 40-odd days as both parents feed them. It’s a fortress that keeps predators out almost entirely.

3. It hires a mongoose security team. Yellow-billed hornbills form a real working partnership with dwarf mongooses. They forage together: the mongooses scratch and dig through the ground, flushing out insects that the hornbills snap up, and in return the birds sound the alarm when a raptor appears, sending their mongoose buddies dashing for cover. The birds are so reliable that they sometimes arrive at the den in the morning and call down to wake their partners.

4. The chicks hatch on a staggered schedule. Because the female starts incubating before the whole clutch is laid, the eggs hatch days apart, leaving a brood of different sizes and ages. First-hatched chicks grow faster and are more likely to survive, but the mother’s presence in the sealed nest matters: she feeds bill-to-bill and shares food more evenly, easing competition so the younger, smaller nestlings have a better chance.

5. Those eyelashes are real. Look closely at a hornbill’s eye and you’ll see what appear to be long, dark lashes. They are not hair; they are actually special feathers that help shade the eye and keep out sun and dust while the bird searches for food.

 Isn’t Nature amazing?

A delicate male common blue butterfly rests on a vibrant Echinacea flower, creating a serene and magical scene.
Male common blue butterfly (Polyommatus icarus) perched on an Echinacea purpurea ‘Magnus’ flower

This is an older photo that I had processed earlier. I was looking for another photo, came across this one, and didn’t like that edit. At all. So, I started again, and I’m now ridiculously happy with it. We’ll see what happens in a couple of years. Will I still love it then?

This was taken in my garden; it’s so convenient to just step outside and find something to photograph almost straight away!

A soft, ethereal image depicts a delicate white calla lily against a serene blue background.
Calla lily, Lidingö, Sweden
A single, ethereal white calla lily unfurls against a soft, hazy blue background.
Calla lily, Lidingö, Sweden

While hunting for the photo I mentioned earlier, I stumbled on another old picture I’d edited a couple of years ago. The moment I saw it, I knew I had to reprocess it. I didn’t like my old edit anymore, and I could already see in my head what it should look like.

I went ahead and edited it, but now I can’t decide which version I like best. It’s making me a little nuts! Usually, I have no trouble making decisions, so when I can’t choose, it really drives me crazy.

Which one do you prefer?

A Eurasian coot (Fulica atra) swims purposefully across warm, golden water, carrying a long stick in its beak.
Eurasian coot (Fulica atra), Lidingö, Sweden

I took this photo of a Eurasian coot (Fulica atra) on a cold April morning near my house. I really liked watching it swim across the lake to its nest, carrying that big branch.


I wanted to take a break from sharing photos of Australia and Africa for a bit (sometimes you can have too much of a good thing), so I decided to focus on something closer to home.


📸 All photos were taken with Canon R5 Mark II & Canon RF100-500mm F4.5-7.1 L IS USM.


Related Posts

To view all my favorite photos archive, click here.


Love my work? Support my journey by buying me a coffee or sharing it on your preferred social network. And don’t forget to swing by my online shop to check out my latest prints and gifts. Thank you 🙏 !

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