How to pack for a photography safari

Cameras that make the cut

To demonstrate exactly what he packs for a safari, Roie pulls out his trusty Lowepro BP 550 AW II, a hefty 40-litre backpack capable of containing a substantial amount of equipment, including three cameras – and this where the currently Tel Aviv-based photographer is in no doubt as to what makes the cut. “The Nikon Z9 and Z8 are amazing, amazing cameras,” he enthuses. “The performance is mind-blowing. You don’t have to think about focusing at all and it’s doing 20fps in RAW. They are the best there is for now, no question about it. They’re just brilliant.” Joining his Nikon Z8 and Z9 is the Nikon Z7II. “I use the Z7II with a remote trigger and leave it behind with a wide-angle lens, like the NIKKOR Z 14-24mm f/2.8 S, in case an elephant or cheetah, or something like that goes by, creating an opportunity for nice, wide angle shot,” adds Roie.

A lesson in lenses 

Speaking of lenses, many might assume a far-reaching telephoto would be Roie’s clear favourite, but he explains why that’s not the case, “I love using the big lenses, but I prefer the results I get with wider lenses. And if you ask me my favourite lens, I would say the NIKKOR Z 24-70mm f/2.8 S, which is not very typical for a wildlife photographer. With this lens, you have to be very close to the animal, and that lets you capture both the animal and its surroundings, not just an isolated subject. But I really love working with shorter focal lengths, such as 24-70mm or the NIKKOR Z 70-200mm f/2.8 VR S, more than the NIKKOR Z 600mm f/4 TC VR S lens or NIKKOR Z 400mm f/2.8 TC VR S lens, because it gives you that intimate feeling when you’re close to the animal.”

That being said, Roie says he finds space in the backpack to bring all these lenses along. “As photographers, we need to think about our scenario, what kind of conditions we’re going to photograph in and what kind of images we want to get. With that in mind, I select my gear,” the 70-times international award winner explains. “If an animal is far away, the 600mm gives me 840mm with the built-in teleconverter, which is very handy when photographing walking animals from a distance. Yes, the 400mm f/2.8 is better for low light, but the 600mm gives me more reach when I need every millimetre I can get. On safari in Africa, sometimes you need a long lens for a chase or a kill image. It may be close to the vehicle, but sometimes it’s further away, so having the reach is essential.”

What’s the best budget-friendly lens to start with, though? “Definitely the NIKKOR Z 180-600mm f/5.6-6.3 VR or even a shorter one, like the NIKKOR Z 70-200mm f/2.8 S,” advises Roie. I always say that the most important piece of gear is 5cm behind the viewfinder. Every piece of equipment we’re using is a limitation, a restriction between us and the image. The better the gear, the fewer restrictions, the more flexible you get, the easier it is to get the results you want. But I’ve been overwhelmingly surprised for the better by the 180-600mm. If you understand a lens’ limitations, its sweet spots, its weaknesses and advantages, you can get amazing results. If you use it correctly, most photographers won’t know the difference between a photo taken with the NIKKOR Z 180-600mm f/5.6-6.3 VR and a NIKKOR Z 600mm f/4 TC VR S.”

What else is in the bag?

Also nestled in the padded bag are multiple memory cards and storage devices, as Roie is diligent in backing up his images multiple times on location. He uses a MacBook Pro for editing and additional data security. A tripod, monopod and video heads are included for extra stability and low-angle work, while Roie’s DJI Mavic 3 Pro drone produces his aerial scenes.

Inside his checked luggage, for comfort and protection Roie endorses taking long trousers, sleeved tops, hiking shoes, sunglasses, and a buff to ward off dust and insects, while his other travel essentials include bug spray, sunscreen, his phone, a 4,000-lumen Nitecore 4K flashlight and Nikon Monarch HG binoculars. He dismisses the need for camouflage clothes. “If you’re in a Jeep, camouflage isn’t necessary,” he laughs. “You don’t need to blend in when you’re sitting inside a giant metal vehicle! Neither would you need to if you’re lying in a tent that is already camouflaged! Also for animals, sense of smell is their main way of detecting threats, – vision is secondary – so the animals can still smell you regardless. Camouflage doesn’t stop that. It’s far better to just make sure you’re downwind of them.”

Avoiding airport aggravation

Despite packing all his photographic gear into what might seem like an oversized carry-on, Roie takes the risk of airport fees, confident that the vast majority of the time, he has found a way around the problem. “Once packed, my carry-on is often between 16kg and 20kg, when usually you’re only allowed 8kg to 10kg, so I’m carrying more than twice what I’m supposed to. So how do I get it on board? The key is that as long as they don’t weigh your bag, you don’t have a problem to solve.”

Roie says another tip is to avoid the airlines with notoriously strict policies. “In my experience, most airlines don’t really care about backpack weight,” he says. “It’s mainly some of the low-cost airlines that do. If they do give me trouble, I say, ‘I have my lenses in there, which are glass, a laptop inside, lithium batteries, which I can't check into the hold, so I have to carry everything with me.’ I remind them of the airline regulations that state you can’t check in lithium batteries and you shouldn’t check in fragile camera gear. Mostly it works, sometimes it doesn’t, but I smile a lot, and most of the time, nobody cares. In the 5% of cases where it is a problem, I just ask how much they want the bag to weigh. Then I take everything out, hang the cameras around my neck, put the lenses in my pockets, place my laptop under my arm and get them to reweigh the near-empty bag. Then I put it all back in the bag and off I go…”

The importance of insurance

With the cumulative cost of camera gear running into thousands, Roie strongly advises photographers, whether professionals or hobbyists, to get proper insurance, and those using their gear for work should certainly ensure their policy covers professional use, new gear value and international travel. “From my experience, insurance companies don’t like paying out,” he says. “Make sure you get a proper policy, not a cheap one, otherwise, you might find yourself with nothing but frustration.”

While having the right gear, preparation and insurance are crucial for any wildlife photographer, especially those planning a safari trip, Roie’s ultimate focus goes beyond logistics, with his passion lying in using his images to tell powerful stories that will inspire conservation efforts. “The fact that I get to go to these amazing places, tell these stories, share those images and be an ambassador for this wildlife is what drives me,” he says. “When I take people on expeditions, I make sure they come back with great images, but also as ambassadors for these regions. We are not just sharing stories and images. It’s about understanding the environment, respecting the animals and showing the world why they matter.”

Roie’s seven safari secrets for success

1. Move closer

The closer you are, the clearer your view, with less haze or interference. You can also capture the animal in its surroundings, creating a more interesting and immersive feel.

2. Get low

When people photograph from above, they lose impact. If you photograph from the animal's eyes, height level or lower, it creates a stronger connection with the subject, so always try to be as low as possible.

3. Capture behaviour

Behaviour is the holy grail of wildlife photography. It tells a story. Behaviour is a fleeting moment; a fraction of a second. The more unusual the behaviour, the more engaging the photo.

4. Be creative

Tell a story by being creative. Create some interesting compositions. Use natural framing. Get something in the foreground and then your subject and then your background. Divide the images into thirds. Try to use reflections.

5. Don’t underestimate editing

The camera captures what it sees, not necessarily what you saw, so editing gives the image proper attention to make it stronger, versus just using what you’ve got and sending it out there. Editing can make a good photo excellent. You can take an excellent photo and make it outstanding.

6. Share your images

The process starts with planning, then photographing, then editing, but it ends with sharing, allowing others to experience your vision. If your images sit on a hard drive and no one sees them, they’ve lost their purpose.

7. Be an entrepreneur 

To be successful, you can’t just be talented, you also need an entrepreneurial mindset. You need to think: “How do I take my images, my photography, my talent, and aspirations further?” You do it by creating opportunities! It’s not just about being good at photography, it’s about leveraging what you do.