Wildlife photography is all about capturing those fleeting, magical moments. But here’s the thing: no matter how incredible the moment is, if your camera settings aren’t dialed in correctly, you’ll end up with a blurry, noisy, or poorly exposed image. And that? That’s the fastest way to turn an epic shot into a missed opportunity.
I’ve been there. Early on, I remember photographing a leopard at sunrise in a private reserve in Namibia. The golden light was perfect, but I was so caught up in the moment that I didn’t check my exposure dial. The result? An overexposed fur - and an unusable photo. Since then, I’ve learned that understanding exposure settings isn’t just technical jargon—it’s the key to nailing sharp, detailed wildlife shots every single time.
In my early days I’d find quite difficult to nail exposure, especially in high contrast and fast changing conditions.
At its core, exposure is controlled by three main settings: shutter speed, aperture, and ISO. These work together like a finely tuned engine, and knowing how to adjust them based on lighting conditions and animal behavior will make or break your shot.
Shutter speed determines how quickly your camera captures movement. A fast shutter speed (1/2000s or higher) freezes action, while a slow one introduces motion blur.
Aperture controls the depth of field—how much of your image is in focus. A wide aperture (f/2.8-f/5.6) isolates your subject beautifully, while a narrower aperture (f/8-f/11) keeps more of the scene sharp.
ISO affects brightness and noise. Modern cameras handle high ISOs well, but balancing it with the other settings is key to avoiding unnecessary grain.
In this quick video you will find a complete explanation of these concepts:
The trick is to adjust these settings dynamically. If the light changes or the animal moves, your settings should adapt instantly. That’s why knowing them inside and out is crucial—it lets you respond to the scene without fumbling through menus.
Best Shutter Speed for Wildlife Photography
Shutter speed can make or break a wildlife shot. Too slow, and you’ll get motion blur where you don’t want it. Too fast, and you might push your ISO too high, introducing noise. Finding that sweet spot takes practice, but once you get a feel for it, it becomes second nature. Let’s break it down based on different scenarios so you can confidently adjust on the fly.
Fast-Moving Subjects: Birds in Flight & Running Mammals
If you’ve ever tried capturing a bird mid-flight only to end up with a blurry mess, your shutter speed was probably too slow. For fast action, like birds in motion or cheetahs sprinting, you need a shutter speed of at least 1/3200s. Some birds—especially smaller, erratic ones like swallows—may even require 1/4000s or higher.
For fast subjects like birds you need to go as high as 1/4000s to get a sharp image.
For running mammals like wolves, deer, or big cats, 1/2000s is a good baseline. It freezes their motion while keeping enough detail sharp. I’ve learned this the hard way—one time in Namibia, I had a cheetah dashing past my Land Cruiser, and my shutter was at 1/800s. The result? A series of blurry spots instead of a crisp predator in action. Lesson learned.
Cheetah sprinting in Etosha NP, Namibia.
Walking Animals & Slower Movements
Not everything in wildlife photography is about freezing lightning-fast action. If an animal is walking or making slower movements—like a bear foraging or an elephant strolling—you can drop your shutter speed to around 1/500s to 1/1000s. This allows you to lower your ISO and get a cleaner image while still maintaining sharpness.
For example, on a recent shoot in Zambia I photographed a kudu moving through the golden grass in the fading evening light at 1/320s. It kept it sharp while allowing for a balanced exposure. Had I gone with 1/3200s, I would have needed to crank up my ISO, adding unnecessary noise.
Kudu at dusk in South Luangwa NP, Zambia.
When to Go Lower: Stationary Subjects
When an animal is completely still—like a sleeping lion, a perched owl, or a resting bear—you can go much slower, sometimes even down to 1/100s or lower. But there’s a catch: the longer your focal length, the faster your shutter speed should be to counteract camera shake.
With a 600mm lens, you generally don’t want to go below 1/600s unless you’re using a tripod or have impeccable hand-holding skills. With shorter focal lengths, like a 100mm, you can push it lower, even 1/50s in some cases.
Balancing Shutter Speed with ISO and Aperture
Wildlife photography is all about balancing the exposure triangle. If you need a fast shutter speed but don’t have much light, you have two choices: open up your aperture or raise your ISO.
Aperture: A wide aperture (like f/2.8 or f/4) lets in more light, allowing you to use a higher shutter speed without cranking up the ISO too much. This is great for isolating your subject and blurring the background.
ISO: Sometimes, you have no choice but to increase your ISO. Modern cameras handle ISO 3200 or even 6400quite well, so don’t be afraid to push it when needed. It’s better to have a slightly noisy shot than a blurry one.
A simple rule of thumb: if you’re shooting in low light and your shutter speed is too slow, first open up your aperture. If that’s maxed out, then bump up the ISO.
Wide Apertures (f/2.8 – f/5.6) for Isolation and Bokeh
Most of the time, especially when shooting wildlife portraits, you want to use a wide aperture (low f-number). Something like f/2.8 or f/4 helps separate the subject from the background, giving that creamy bokeh effect photographers love. This is crucial when shooting in dense environments—forests, tall grass, or busy savannahs—where you want to blur out distractions.
Shallow depth of field at 600mm f4
However, be mindful of your depth of field. When shooting a close-up of an eagle at 600mm and f/4, you might end up with only the eye in focus. That’s where fine-tuning comes in—f/5.6 or f/8 can be a sweet spot for maintaining sharpness while still getting a nice blur.
Narrow Apertures (f/8 – f/11) for Group Shots & Environmental Portraits
If you're capturing an animal in its environment you’ll want more depth of field. This is where f/8 to f/11 comes in handy. These settings keep both the animal and part of the background in focus, giving the viewer a sense of place without overwhelming the subject.
Narrower apertures are also useful when photographing multiple animals in the same frame. If you’re shooting a pack of wolves or a group of lions resting together, a narrower aperture ensures all of them stay in focus, rather than just the closest one.
I shot this image at f11 to make sure both the elephant and the mopane trees were in focus.
Best ISO Settings for Wildlife Photography
Ah, ISO - the setting that used to haunt photographers back in the day. If you started out in the early digital era you probably remember cringing at the thought of pushing ISO past 800. Grainy, muddy images were the norm. But today? Modern cameras have changed the game. ISO isn't the enemy anymore; it’s a powerful tool that lets us freeze fast-moving wildlife, shoot in low light, and balance our exposure without worry.
How High Can You Go? Depends on Your Camera
The good news? Most modern cameras can handle high ISO settings really well. But the exact limits depend on what you're shooting with.
Entry-level and mid-range cameras: If you're using a crop-sensor body (like a Canon R7, Nikon D7500, or Sony A6700), you’ll probably get clean results up to ISO 3200 or 6400. Beyond that, noise starts creeping in, but it’s still usable with some noise reduction in post.
High-end full-frame cameras: If you’re shooting with a flagship model like the Canon R1, Nikon Z9, or Sony A1 II you can comfortably push ISO 12,800 or even 20,000 and still get solid files with plenty of detail. With my R3 I can sometimes go as far as 51.200 and still get usable files.
High-resolution cameras (like the Canon R5 or Sony A7R V): These pack a ton of megapixels, which means noise becomes a bit more noticeable. Still, ISO 12,800 is totally usable—especially if you expose correctly and apply noise reduction wisely.
I shot this image on Canon R3 at ISO 20.000
How to Set ISO Based on Your Shutter Speed & Aperture
ISO is all about balancing your exposure triangle. The trick is knowing when to raise it.
Fast-moving subjects (birds in flight, running predators) → You need a high shutter speed (1/2000s or more), which means your ISO will have to compensate, especially in lower light.
Blue hour shots → At dusk or dawn you’ll need to bump ISO up, often past ISO 3200–6400, to keep a usable shutter speed.
Low-light wildlife (forests, nocturnal animals) → This is where full-frame cameras shine. Don’t be afraid to push ISO 6400, 12,800, or higher if needed. Noise is better than motion blur.
Using Auto ISO with Manual Limits
One of the best ways to handle ISO efficiently is by using Auto ISO with manual limits. This lets you focus on adjusting your shutter speed and aperture while letting the camera tweak ISO automatically—within a range you’re comfortable with.
Set a minimum shutter speed (e.g., 1/1000s for wildlife, 1/2500s for birds in flight).
Set a max ISO limit based on your camera’s capabilities (e.g., ISO 6400 for entry-level cameras, ISO 12,800 or more for full-frame models).
Use exposure compensation to fine-tune brightness when needed.
This way, you get the best balance of exposure without worrying about underexposed or blurry shots.
If you want to understand ISO more in depth I suggest you to check this video:
Autofocus Settings for Wildlife Photography
You can have the best camera and the sharpest lens, but if your autofocus settings aren’t dialed in, you’ll end up with a blurry mess instead of a crisp, tack-sharp image of that once-in-a-lifetime moment. Over the years, I’ve tested different autofocus modes in all sorts of conditions—tracking cheetahs at full sprint in Namibia, following an eagle in flight over Patagonia and locking focus on a leopard hidden in the dense brush of South Luangwa. Each scenario requires a slightly different approach, so let’s break it down.
AF-C (Continuous Autofocus) vs. AF-S (Single Autofocus)
One of the biggest mistakes I made early on was relying too much on AF-S (Single Autofocus) for moving subjects. AF-S locks focus on a subject when you half-press the shutter, but if the animal moves even slightly, the focus doesn’t adjust. This works fine for completely stationary animals—like a lion lounging in the shade or an owl perched on a branch—but for anything moving, it’s a disaster. I once missed an entire sequence of a fox hunting in the snow because my camera was stuck in AF-S. Lesson learned.
For wildlife, AF-C (Continuous Autofocus or Servo AF) is the way to go 99% of the time. When set to AF-C your camera continually adjusts focus as long as you keep the shutter half-pressed (or use back-button focus, but we’ll get to that in a bit). This is essential for tracking animals in motion, whether it’s a bird taking off, a wolf running through the forest, or a bear fishing in a river. If you shoot wildlife, just leave your camera in AF-C by default - you won’t regret it.
Best Focus Modes for Wildlife Photography
Single Point AF → For Stationary Animals
If an animal is still, Single Point AF is your best bet. This lets you place the autofocus point exactly where you want - usually on the animal’s eye. I use this when photographing an animal at rest, like a leopard in a tree or a puffin standing on a cliff. The key is to be precise with your focus point. Even slight misplacement - like locking onto the nose instead of the eye—can make your image feel soft.
Dynamic AF / Tracking AF → For Fast-Moving Subjects
For wildlife on the move, Dynamic AF (Nikon) or Tracking AF (Canon/Sony) is a lifesaver. Unlike Single Point AF, which stays fixed, Dynamic AF allows the camera to use nearby focus points if the subject moves slightly. I use this when tracking running, flying, or swimming animals. When a lion charges, or a bird suddenly shifts direction mid-flight, this setting gives you a much better chance of keeping focus locked.
Eye-Detection AF → When Available for Animal Subjects
Not all cameras have Animal Eye AF, but if yours does, use it! Modern mirrorless cameras from Sony, Canon, and Nikon have AI-powered Eye-Detection AF for animals and it’s a game-changer. Instead of worrying about manually selecting the focus point, the camera automatically locks onto the eye, even if the animal moves slightly. This works best in good light and with clear visibility of the eye, but when it works, it’s pure magic.
How to Set Up Back-Button Focus for Better Control
If you haven’t tried Back-Button Focus (BBF) yet, do it. This technique separates autofocus from the shutter button, giving you better control. Instead of half-pressing the shutter to focus, you assign autofocus to a button on the back of the camera—usually the AF-ON button. This lets you:
✔️ Hold focus on a subject even if you recompose the shot
✔️ Prevent accidental refocusing when pressing the shutter
✔️ Quickly switch between AF-C and manual focus by simply releasing the button
Setting it up varies by camera, but here’s the basic process:
Go to your custom settings menu and find the "AF Activation" or "Shutter/AF-ON" setting.
Disable autofocus from the shutter button (this stops AF from activating when you press the shutter).
Assign AF-ON button to autofocus activation.
Once you get used to BBF, you won’t go back. It’s especially useful for situations where you want to lock focus on an animal, recompose, and shoot without refocusing—perfect for framing wildlife creatively without losing sharpness.
Best Shooting Modes for Wildlife Photography
When you’re out in the field, trying to capture a perfectly sharp image of a lion mid-yawn or an eagle in flight, the last thing you want is for your camera settings to work against you. The shooting mode you choose can make or break your wildlife shots. Many beginners assume that Aperture Priority (Av or A mode) or Shutter Priority (Tv or S mode) are good choices, but both have major flaws when it comes to fast-moving wildlife. The best approach? Full Manual Mode with Auto ISO. Let’s break it down.
Why Aperture Priority Isn’t Ideal
Aperture Priority mode lets you control the aperture (f-stop) while the camera automatically adjusts the shutter speed to maintain proper exposure. In theory, this sounds great, especially if you want to control depth of field (DOF). For example, if you want to blur the background of a portrait-style shot of a cheetah, you might choose f/2.8 or f/4 and the camera will pick an appropriate shutter speed.
But here’s the problem: Wildlife is unpredictable. If a change in lighting conditions trigger your camera to suddenly drops the shutter speed too low, your fast-moving subject will be blurry. A running antelope or a flying bird requires a shutter speed of at least 1/2000s or faster, but in Aperture Priority mode, depending on the light, the camera might select 1/500s or lower, leaving you with motion blur. And sure, you can set a minimum shutter speed in some cameras, but it’s not a perfect solution - it still removes full control from you, which isn’t ideal for action photography.
Why Shutter Priority Falls Short
Shutter Priority mode flips the control - you select the shutter speed and the camera picks the aperture to balance exposure. This seems like a great idea for wildlife because you can lock in 1/2500s for birds in flight or 1/1000s for a walking elephant. No motion blur, right?
The problem is that you lose control over aperture, which is a huge issue for wildlife photography. The aperture dictates depth of field, which affects how much of your subject is in focus. If the camera decides to use f/16, you might get a busy, distracting background. If it picks f/2.8, your subject might not be entirely in focus—especially if it has long features like a bird’s beak or an animal’s horns.
You don’t want to leave aperture up to chance. That’s why Manual Mode is the best solution.
Why Manual Mode + Auto ISO is the Best
In Manual Mode, you take full control of both shutter speed and aperture, ensuring that neither changes unexpectedly.
Shutter speed: Set this based on your subject’s motion. Use 1/1000s for walking animals, 1/2000s–1/4000s for birds in flight, and 1/500s for slow-moving subjects.
Aperture: Choose based on how much of your subject you want in focus. Use f/4 or f/5.6 for isolating animals from the background and f/8–f/11 for groups or detailed shots.
But what about exposure? That’s where Auto ISO comes in.
How Auto ISO Works & Why It’s Essential
ISO controls the camera’s sensor sensitivity to light, and instead of manually adjusting it every time the light changes, Auto ISO allows the camera to do it for you while keeping your exposure balanced. This means you don’t have to worry about tweaking ISO while tracking a running cheetah or waiting for a leopard to emerge from the shadows.
Most modern cameras let you set a maximum ISO limit (e.g., ISO 6400 or 12,800) to prevent excessive noise.
With this setup, you retain control over motion sharpness (shutter speed) and depth of field (aperture), while allowing the camera to handle exposure adjustments automatically with ISO. It’s the best of both worlds.
When light is even through the frame evaluative (or matrix mode) works perfectly.
Using Manual Mode + Auto ISO for Exposure Control
One of the best tricks I’ve picked up over the years is using Manual mode with Auto ISO and controlling the exposure with exposure compensation. Here’s how it works:
In Manual mode you set your shutter speed (to freeze motion) and aperture (to control depth of field).
Auto ISO adjusts automatically based on the light conditions, so you’re not constantly fiddling with settings when an animal moves from sunlight to shade.
Exposure compensation (+/-EV) lets you override the camera’s automatic adjustments to brighten or darken the image as needed.
For example, if I’m photographing a dark-furred bear against a snowy background, the camera might underexpose the image because it sees all that bright snow. I’d dial in +1 or +2 EV to compensate. The opposite happens when shooting a bright white bird against a dark background—I’d reduce exposure compensation to avoid blowing out the highlights on the bird.
This method gives me full control while letting the camera handle the tricky, fast-changing lighting situations.
Daylight vs Cloudy WB → Adjusting for Warm or Cool Tones
While these days AUTO White Balance works for most situations, I often use specific white balance presets to keep colors consistent. Daylight WB (usually around 5200K) works well in bright sun, giving a natural, balanced look without overcompensating. But if I want to enhance warmth—like during sunrise or sunset—I switch to Cloudy WB (6000K–6500K). This makes golden tones pop without looking unnatural.
On the flip side, if I’m in snowy conditions (like photographing ibex in the Alps), I sometimes dial my WB slightly cooler to keep the whites crisp and prevent them from looking too warm. That’s the beauty of manual white balance - tiny tweaks can make a big difference.
Why Shooting in RAW Gives More Flexibility for Color Correction
Now, let’s talk RAW vs JPEG—because this is where color really comes into play.
When you shoot in RAW your camera captures all the data from the sensor without applying compression. This means if your white balance is slightly off, you can adjust it later in post-processing without any loss in quality. If you shoot in JPEG? You’re stuck with whatever WB the camera decided at the moment of capture.
Pros and Cons of RAW vs JPEG
If you're serious about wildlife photography, RAW is the way to go—especially for controlling white balance and color accuracy. The only real downside? You will need to spend time editing. But for me, that’s a small price to pay for perfect colors and more creative control.
Pro Tips for Adjusting Settings in the Field
Nature doesn’t wait for you to fiddle with your settings. The best moments happen in an instant and if you’re not prepared to adjust fast you’re going to miss the shot. Here’s how to stay ahead of the curve when conditions change in the field.
How to Quickly Adjust Settings Based on Changing Light
Light changes fast, especially at dawn and dusk. One moment, you’ve got perfect golden-hour glow, and the next, the sun dips behind a cloud, throwing your scene into shadow. If you’re not ready, you’ll either underexpose your shot or end up with a noisy mess from cranking ISO too late.
As we’ve seen ISO Auto with a max limit can save you when light changes mid-shot; you just have to keep an eye on your shutter speed and aperture, adjusting settings as light condition changes, and let the camera handle the rest.
Using Custom User Modes (C1, C2, C3 in Canon) for Quick Recall
Every wildlife photographer should be using custom user modes. If you’re not, you’re leaving speed on the table. Most modern cameras let you pre-program custom settings under C1, C2, and C3 (Canon) or U1, U2, U3 (Nikon). Think of these as instant presets for different scenarios.
For example, I use:
C1: Fast-moving wildlife (1/3200s, f/5.6, Auto ISO, Tracking Autofocus) – perfect for birds in flight or running predators.
C2: Low-light wildlife (1/200s, f/4, Auto ISO, Single Point Autofocus) – for dawn/dusk moments when every bit of light matters.
C3: General mammal subjects (1/800s, f/4, Auto ISO, Tracking Autofocus with eye detection) – for portraits of resting animals where sharpness is key.
With one flick of a dial I can instantly swap between settings, instead of frantically adjusting exposure, autofocus, or drive mode. It’s a lifesaver when the action shifts fast!
Burst Mode & Silent Shooting → Capturing Multiple Frames Discreetly
Wildlife rarely poses for you. That’s why burst mode is a must - but knowing when to use it is just as important. I shoot in continuous high (15+ fps) for fast action and I switch to silent burst (or electronic shutter) when dealing with skittish subjects. Some birds can react to the shutter sound, so silent mode helps get natural behavior instead of a startled reaction.
Important tip: Don’t just hold down the shutter and pray. Unless some real action is happening use short bursts of 3-5 shots to avoid filling your card with duplicates. Look for peak action—wings at full extension, an animal’s eyes perfectly sharp - and time your bursts accordingly.
Using a Tripod vs Handheld Techniques for Stabilization
Tripods are great but in fast-paced wildlife photography they can be kinda limiting. I almost only use a tripod when I’m shooting from a photographic hide.
For everything else, I prefer handheld shooting with proper technique:
Tuck your elbows in and brace against your body for stability.
Use your left hand under the lens to control movement.
Lean against trees, rocks, or kneel down to reduce camera shake.
Often the safari vehicle provides a perfect shooting support, but turn off the engine to avoid vibrations.
Download My Complete Wildlife Photography Guide for Beginners
If you’re just getting started with wildlife photography, you probably have a million questions. I remember struggling with all of these things when I first picked up my camera and I know it can feel overwhelming. That’s exactly why I put together my Complete Wildlife Photography Guide for Beginners—a 100-page resource designed to give you clear, actionable advice so you can start capturing stunning wildlife images right away.
Ready to take your wildlife photography to the next level? Sign up now and grab your free copy!
Join One of My Workshops – The Best Way to Learn Photography
There’s only so much you can learn from blog articles and YouTube videos. Trust me, I tried. But the real game-changer? Hands-on experience in the field. There’s no substitute for being out in nature, camera in hand, with an experienced mentor guiding you through the challenges of wildlife photography in real time. That’s why my in-person photography workshops are designed to give you practical experience in breathtaking locations where you’ll refine your skills, get immediate feedback, and capture portfolio-worthy shots.
I run workshops in some of the world’s most stunning wildlife destinations, from Namibia and Botswana to Patagonia and the Italian Alps. These aren’t just tours; they’re immersive learning experiences designed to push your skills to the next level.
If you’re serious about improving your wildlife photography, join one of my workshops. It might just be the best investment you ever make in your photography journey.
