Nestled in the heart of the Serengeti, Namiri Plains offers a unique gateway to witness and document some of East Africa’s most elusive and majestic predators. Harry Skeggs recounts his recent adventure.
In early March, Roxy Furman, Sam Hockley, our self-shooting director, and I headed out to this incredible part of the world to shoot a Nikon documentary centred around the Serengeti’s legendary lion coalition—the “golden boys”: Rolo, Kaka, and Rasta.
Namiri Plains, aptly translated as ‘home of the cat,’ proved to be the ideal base for us. The camp’s remote location, away from the tourist dense parts of the park, offered the perfect canvas for us to focus on these infamous cats, away from the maelstrom of day trippers. Critically, no photographer is complete without an excellent guide, and we were fortunate to have the best of the best in the form of Anderson Kayle, whose expertise and knowledge greatly enhanced our chances of locating and observing the elusive golden boys.
One of my objectives whilst in Tanzania was to capture portraits of the golden boys that didn’t simply lean on brute force and fear factor. My work revolves around the theme of ‘wild and free,’ emphasizing the importance of showcasing animals in their natural, undisturbed state, highlighting their dignity and beauty rather than the fear they often inspire. I believe that showing predators in this light helps to dispel the myths around them being killing machines and to engender a love of this often-misunderstood animal – critical in ensuring their protection. It is in our nature only to protect things we care about and, if we fear them, this will never be the case.
We were treated to some of the most unique wildlife sightings I have experienced in East Africa, from cheetah chasing a caracal, to a lion and leopard (normally sworn enemies) sharing the same tree. But among the many extraordinary moments of this trip, one stood out vividly.
We had found Rolo and Kaka many times in the trip, but Rasta had been noticeably missing. As the days rolled over, we began to fear for the last musketeer. Early one morning, having found little activity, we spotted a lion. Given it was in roughly the same area we had left Rolo and Kaka the previous day, we were caught off guard as Anderson shouted through his binoculars “RASTAAA” – equal parts excited and relieved, all too evident how much the lion meant to him.
Until this morning we had been cursed by flat blue skies, but as we began to pick our way to the missing lion, clouds began to boil. On making it to Rasta, we found he was at complete ease with us as he followed some females at a distance. His indifference to our presence, coupled with his gentle behaviour, provided an unparalleled opportunity to capture intimate, respectful portraits of this majestic animal. This interaction beautifully aligned with my goal of presenting wildlife as beings worthy of admiration and love, rather than fear, and the gentle, almost sorrowful expression is worlds apart from the feared killer.
For wildlife photography, especially in dynamic environments like the Serengeti, versatility is key. To document these incredible moments, I relied on a two-body camera setup featuring the Nikon Z9 and Z8, aiming to limit how much I needed to change lenses. Unlike many wildlife photographers, I like to shoot with wide angles, relying on fieldcraft to get close to subjects. This allows me to fill the frame, but the lack of compression means I can capture these portraits within their environment. This meant that I could capture Rasta, with his unique white tuft set against the looming rain clouds, adding drama and atmosphere. To achieve this, I predominantly shoot with a NIKKOR 24-70 and NIKKOR 70-200 which allowed me to adapt quickly to varying distances and lighting conditions. The use of a monopod and remote trigger proved essential for capturing low-angle shots while minimizing disturbance to the animals.
One of the significant challenges in predator photography is the limited window of opportunity. Predators in East Africa, like the golden boys, are predominantly nocturnal or crepuscular. This means they are most active during the early morning or late evening, with daylight hours often spent resting. Balancing the limited window of light with the narrow active periods of the cats required patience and precise timing. Many hours were spent waiting, watching the sleeping giants in the hopes of capturing that fleeting moment when they might stir and reveal their true essence.
This trip also underscored the pressing conservation challenges facing these magnificent creatures. While the conservation efforts in the Serengeti are commendable, the threats from habitat encroachment and climate change remain significant. It is a double-edged sword: the joy of witnessing and documenting these incredible animals is tempered by the awareness of their precarious future.
For fellow wildlife photographers, I highly recommend investing time to fully engage with the environment and its inhabitants. Patience is essential, as the best shots often come from moments of stillness and quiet observation. Namiri Plains offers an unparalleled opportunity to immerse oneself in the world of Africa’s cats, providing a backdrop that both inspires and respects the wild.
In capturing the Serengeti’s golden boys, I hope to have contributed to a deeper appreciation and respect for these incredible animals, reinforcing the message that they are to be loved and valued, not feared.
About Harry Skeggs
An adventurer at heart, Harry is a multiple award-winning photographer and Nikon Creator, committed to capturing the beaty of the natural world as it should be – wild and free. From close-ups of big cats to swimming with tiger sharks, it is the opportunity to experience and document our wild earth that excites him.
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