5. Bring a Pillow Case for Dust Most photographers travel to Africa during the dry season. The weather is great, but the lack of rainfall means that dust can be a serious problem. There are many dirt roads with no vegetation or gravel to inhibit the giant clouds of dust from forming behind each vehicle. Windows are always open so you can shoot quickly if need be, and this means that camera gear is constantly exposed to damage. There’s nothing worse for a photographer than focusing and hearing grit inside the lens. One solution to this problem is to bring a cotton pillow case to cover your camera and/or your camera bag. I specify cotton because you don’t want to use a synthetic material that attracts dust. 6. Minimize Unwanted Vibration Even with relatively fast shutter speeds, the vibration from your vehicle’s motor can degrade image quality. You may end up with shots that are acceptable, but not as sharp as they should be. Let your driver know that every time you stop for photos, he must turn the engine off. In addition, there should be an agreement with all the people in the vehicle that when photographers are composing their shots and taking pictures, movement within the vehicle must be at an absolute minimum. No one moves or changes position unless it’s necessary. When you’re shooting with a long lens, the slightest movement is magnified. It’s not only annoying, it will ruin a good picture. White rhino in South Africa, photographed with a 500mm lens. 7. Avoid Harsh Light When Photographing Native People Most African tribespeople have very dark skin. The worst time to photograph them is at high noon, using harsh, overhead sunlight. The sheen on their skin from the sun, combined with the dark color, produces highlights and shadows that are several f-stops apart. This contrast makes pictures virtually worthless. Instead, photograph them in the shade, at sunrise or sunset, or under overcast conditions. This will make a world of difference. If you encounter people you want to photograph at midday when the sun is out, find some way to block the sun—a large tree, the side of a hut, or a large diffusion panel used to soften light. 8. Go at the Middle or End of Dry Season If possible, a great time to go on a photo safari is near the end of the dry season. Water is scarce, and animals must travel to the few watering holes to survive. Once you find one of these sources of water, you can simply park your Land Rover in a good shooting location and watch the parade of wildlife. During other times of the year when water is plentiful, the animals are scattered everywhere. Much time is spent driving around to look for them. The dry season in eastern and southern Africa occurs from May to October, with the first rains expected in November. Hippo in Tanzania, 500mm lens. 9. Shoot Early, Shoot Late The most dramatic lighting in nature occurs when the sun is very close to the horizon. Your nature pictures will dramatically improve when you take advantage of this low-angled, golden light. Most safaris in Africa head out early, come in for lunch, and then stay out until late afternoon. Make sure the group with whom you travel promises to be in search of game just before sunrise and at least until the sun drops below the western horizon. In countries close to or on the Equator, like Kenya and Tanzania, sunrise and sunset lighting can be measured in minutes. The sun moves very fast, and the “sweet light” doesn’t last long. In the morning, for example, the first 30 minutes is ideal, and then the light gets more harsh until 60–90 minutes after the sun first appeared before the show is over. In the afternoon, the last 90 minutes are ideal, but the best light occurs during the last half-hour before sunset. Don’t let your driver return for dinner until the sun is down. Lion at sunrise, Botswana, 250mm lens. 10. Bring an Empty Bean Bag A tripod won’t work in a safari vehicle. It’s just too awkward. Some photographers bring door and roof mounts that are equipped with ball heads, but I find these items to be awkward as well. First, they add weight and volume to the heavy gear you’ve already packed for the trip. Secondly, you’ll move around inside the vehicle, depending on which side your subject happens to be. If you have a door mount on the left door, and then a lion suddenly appears on the right side, by the time you unfasten the mount and move it, the opportunity may be lost. If you bring a cotton or burlap sack that can be filled with rice or beans when you arrive, you’ll be much more flexible when shooting. Just make sure the bag seals well with Velcro or a zipper. Your long lenses can be nestled down into a depression in the bag for stability, and you can reposition yourself in the Land Rover quickly. For long exposures in muted light, make sure the engine is turned off and nobody moves. Use a cable release and your images will be sharp. A few years ago, I took a shot of a crocodile in Kenya with a one-second exposure at f/32 from a bean bag resting on the side door. The reptile was perfectly motionless, and the picture turned out tack-sharp.