Wide Angle Elephant Photography - My Close Photographic Encounters
- Mark Fernley
- May 7
- 9 min read
Wide Angle Elephant Photography - Botswana
If you’re looking to elevate your wildlife photography and immerse yourself more deeply into the rhythms of the African bush, underground hides offer one of the most effective and ethical ways to do it.
Built flush with the earth—often just steps from waterholes or salt licks—these hides allow you to photograph wildlife from a low, natural perspective that’s otherwise impossible to achieve. The results can be jaw-dropping: an elephant’s weathered trunk just inches from your lens, the mirrored gaze of a giraffe bending to drink, or the precise moment a zebra splashes through a still pool. It’s wildlife photography at its most raw and authentic.
What makes these hides truly remarkable is the closeness they afford. You’re not observing from a distance or behind the glass of a safari vehicle. You’re on the same level as the wildlife—sometimes less than two metres away—separated only by the thick walls of the hide and the open window of your lens port. The sensation of proximity is electric. You can hear the low rumble of an elephant’s breath, the squelch of hooves in the mud, and the subtle, unguarded moments that define real animal behaviour.
But just as important as the photographic potential is the ethical value. These hides are designed to be completely non-intrusive. Animals approach naturally, unaware of your presence. There’s no engine noise, no sudden movements, and no interference with their behaviour. As a wildlife photographer, that matters deeply. It means every image captured is a genuine moment, not one shaped by human intrusion.
In the context of African wildlife photography—especially when working with iconic mammals like elephants, giraffes, zebras, and even the more elusive species—this method offers a respectful, low-impact approach that prioritizes the well-being of the subject. You’re documenting their world from within it, without ever disturbing it.
Into The Photo Hide
As I stepped down into the hide that morning, the first thing that struck me was how low it sat—barely visible from the surface, tucked discreetly into the landscape like a hidden outpost. I moved quietly, mindful of the silence, and set my gear down inside the cool, shadowed space. It was built solidly, with reinforced stone walls and narrow lens ports positioned at water level, offering a perfectly framed view of the waterhole just a few meters away.
At first, the scene outside was calm. No animals yet—just the soft ripple of wind across the surface and the occasional bird call echoing through the trees. But the stillness wasn’t empty; it was pregnant with possibility. This is the beauty of a hide like this—you’re not chasing wildlife. You’re waiting for it, letting it come to you on its own terms.
From my position inside, I was lying eye-level with the edge of the waterhole. The distance was startling—perhaps only three or four meters from where the first footprints would eventually appear. It felt like peering through a secret window into another world. The hide was sunken so low that even standing animals would tower above me, their reflections stretching across the water like living brushstrokes.
I had carefully chosen my shooting window for the afternoon—between 2pm and 5pm—not just for the wildlife activity, but for the light.
By that time of day, the sun had swung behind the hide, casting a soft, even glow across the waterhole in front of me. This backlighting created the perfect conditions for wildlife photography—no harsh glare, no blown highlights—just beautiful, directional light that wrapped around the animals and brought out every texture, shadow, and detail. It was like nature’s own studio setup.
Photographing in the midday hours can often be challenging in the African bush. The light can be flat or unforgiving, especially from above. But from inside the hide, with the sun at my back and the animals front-lit in golden tones, it was a completely different story. The low angle of the hide, paired with the horizontal spread of afternoon light, gave me the chance to capture depth and contrast in a way I rarely could from a vehicle.
The Camera Kit
Knowing how close the animals could get to the waterhole, I came into this shoot with a very specific vision: I wasn’t looking for distant portraits or environmental scenes. I wanted intimacy—close, wide-angle images captured from below, images that would place the viewer right at ground level with the wildlife. The kind of photographs that make you feel like you’re lying in the dust next to an elephant’s foot or nose-to-nose with a zebra.
Instead of reaching for my usual telephoto workhorse—the Canon EF 500mm f/4L IS USM—I opted for a much more versatile and wide-angled approach: the Canon RF 24-105mm f/4 lens. For some, that might seem like an unusual choice in big game country, but from an underground hide, it made perfect sense. I didn’t need reach. I needed perspective.
I predicted that with the animals approaching just a few meters away, this lens would allow me to achieve what I like to call a “beetle’s-eye view”—low, immersive, and full of detail. From this position, even the smallest shift in posture or flick of a tail becomes dynamic. You’re not just photographing wildlife; you’re inviting people into a moment they could never otherwise experience.
I mounted the 24-105mm to my mirrorless body, kept my settings fluid, and framed up just above the waterline. All that was left was to wait for the right moment—when the wild would step into frame and I’d be ready to meet it eye to eye.
The Action Begins - Wide Angle Elephant Photography!
Right on cue at 2pm, the bush began to stir—and then erupted into controlled chaos.
A large herd of elephants thundered in from the west, kicking up dust as they made a direct line for the waterhole. From inside the hide, it felt like the ground itself was vibrating. Within moments, I was surrounded—elephants pressing in on all sides, trumpeting, shoving, jockeying for position at the water’s edge. The closest ones came within half a meter of my lens. From that range, their size was overwhelming—skin like old bark, tusks flashing in the sun, and eyes scanning the water as their trunks plunged down with a splash.
Then came the moment that truly tested my nerve: the sound of footsteps directly above me.
A few of the larger bulls and cows stepped up onto the solid concrete roof of the hide, casually using it as a viewing platform. I could hear the crunch of their weight, feel the subtle flex of the structure with each footfall. It was both exhilarating and unnerving—to be that close, that enclosed, with several tons of elephant right above me. But in that madness was magic. With the Canon RF 24-105mm locked in wide, I started firing shots. From that beetle’s-eye view, the images became something else entirely. The super wide angle didn’t just capture the moment—it magnified it. The elephants loomed into the frame, distorted just enough to emphasize their immensity, their presence filling the scene like living sculptures carved from the earth itself. Wrinkles stretched into patterns, trunks curled like question marks, and tusks pointed out toward the lens as if reaching through the image.
These weren’t just photographs. They were statements—visual proof of the sheer power and scale of Africa’s elephants, seen from a perspective few people ever experience.
Wide Angle is Key
From a technical perspective, the decision to shoot with the Canon RF 24-105mm f/4L IS USM lens was crucial to capturing the kind of imagery I envisioned—particularly when working in such close proximity to one of Africa’s most commanding subjects: the elephant.
Elephants present a unique challenge in wildlife photography. Their sheer size and presence can be difficult to translate effectively through traditional telephoto compositions. From ground level in an underground hide, however, the opportunity to shoot with a wide-angle lens transforms that challenge into an advantage.
The 24-105mm lens gave me the versatility to frame these giants not just as subjects, but as immersive, dominating elements of the frame. At the 24mm end, the lens delivered dynamic wide-angle shots that exaggerated perspective—stretching tusks, enlarging heads, and elongating trunks to dramatic effect. This slight distortion wasn’t a flaw; it was a creative tool, making the elephants appear even more immense and monumental than they already are. It conveyed scale in a visceral way—bringing the viewer face-to-face with the raw size of these animals from a perspective that feels almost impossible.
As the elephants stepped close to the hide—some within arm’s reach—I was able to compose shots that felt confrontational, engaging, and deeply intimate, perfect for wide angle elephant photography. Trunks framed in the foreground, eyes sharply in focus, with dust hanging in the backlight—all made possible by the wide field of view and fast, responsive autofocus system.
Technically, the constant f/4 aperture offered consistent exposure throughout the zoom range and paired well with the soft, diffused afternoon light. The image stabilization was a key advantage as well, allowing me to shoot handheld in spontaneous moments, capturing split-second expressions or interactions without introducing blur.
For any photographer serious about capturing African elephants from a fresh, immersive perspective, a wide-to-mid zoom like the RF 24-105mm is not just sufficient—it’s transformative. It lets you go beyond documenting wildlife and start interpreting it, showing not just what elephants are, but how they feel to be near.
The Canon RF 24-105mm f/4L IS USM
From a technical standpoint, the Canon RF 24-105mm f/4L IS USM is one of the most versatile tools in my wildlife photography kit—particularly when working from hides. While many associate safari photography with extreme telephoto lenses, wide to mid-range zooms like this one are essential for capturing expansive scenes, close encounters, and layered compositions. The 24-105mm’s constant f/4 aperture strikes a useful balance between speed and portability, offering consistent exposure throughout the zoom range. Its optical quality is exceptional across the frame, even wide open, which is crucial when photographing large animals like elephants that may fill the entire scene. The sharpness holds remarkably well from corner to corner, especially around 35–70mm where I often shoot environmental portraits.
When photographing from ground-level hides, animals like elephants or herds of buffalo often approach within just a few meters. A longer focal length would simply crop too tightly or prevent any meaningful composition. At 24mm, I can capture the full structure and motion of a herd or the presence of a matriarch with her young—while still incorporating atmospheric elements like dust clouds, distant trees, or reflections in water. This was great for my wide angle elephant photography. This lens also handles backlighting beautifully, especially when paired with the R5 or R6 bodies. Thanks to Canon’s advanced coatings and optical design, flare is well-controlled, and contrast remains punchy even when shooting into the light—something I often do to emphasize scale and silhouette.
Autofocus performance is fast and near silent, thanks to the Nano USM motor, which is a major benefit when working from hides where you need to remain unobtrusive. The built-in 5-stop Image Stabilizer is particularly useful during low-light moments at dawn or dusk, when shutter speeds drop but motion blur must still be avoided. Combined with Canon’s IBIS system, I’ve comfortably handheld this lens at 1/10 second and still achieved tack-sharp results—especially useful when I want to stay mobile inside a small, cramped hide.
View The Lens Here:
In short, the RF 24-105mm is not just a general-purpose zoom. It’s a precision tool that allows for compositional flexibility, technical control, and storytelling depth that’s often overlooked in wildlife photography. For those looking to capture more than just tight portraits—for those aiming to reveal scale, interaction, and habitat—it’s an indispensable part of a professional wildlife setup.
Lightroom In Action!
Once back from the field and in front of the screen, the next crucial stage began: refining the images in Lightroom to bring out the emotion, detail, and scale I felt in the hide. My goal wasn’t to over-process or stylize the shots—it was to elevate what was already there and guide the viewer’s eye to what mattered most: the presence and power of the elephants.
I began by dialling back the saturation. Desaturating the image slightly allowed the natural tones of the elephants—the dusty greys, the deep lines of their skin, the subtle amber in their eyes—to take centre stage without competing with background hues or reflected colours in the water. The result was a more timeless, grounded look that emphasized form and texture over colour.
Next, I leaned into texture and clarity—carefully. Using Lightroom’s texture slider, I enhanced the fine details in the elephants’ skin, tusks, and trunks. This was particularly effective given the close range and high-resolution images produced by the RF 24-105mm. Each wrinkle and crack became a story in itself, and the increased texture gave the subjects a tangible, almost tactile quality—like you could reach out and feel the surface of the photograph.
To isolate the subject even further, I subtly hashed out the background using local adjustment tools. By dropping exposure and reducing clarity in select areas behind the elephants, I created a mild falloff that helped the animals stand out from their surroundings. This wasn't about removing context, but about ensuring the composition drew the eye to the subject instantly. Especially in shots where elephants filled the frame from trunk to toe, reducing the background’s impact allowed their scale and personality to dominate.
Throughout, I was careful to preserve a natural aesthetic. These were wild animals in a wild setting, and I wanted the editing to reflect that truth—honest, raw, and respectful.
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