In the Field: Nikon Z9 | Moving to Mirrorless for Wildlife

In 2021, conservation biologist and wildlife photographer Lara Jackson was highly commended in the Animal Portraits category in the Natural History Museum’s Wildlife Photographer of the Year awards. After starting out with the Panasonic DMC-FZ330 Lara Jackson captured her award-winning image of a lioness using a budget APS-C DSLR setup—the Canon EOS 750D and Sigma 150-600mm f/5-6.3 DG OS HSM. Since then, as Lara has continued to develop her photography skills, she has been using the Nikon Z9, 100-400mm f/4.5-5.6 VR S and 400mm f/2.8 TC VR S. 

In this article, Lara talks about her creative journey, moving from crop-sensor DSLRs to a full-frame mirrorless camera, and shares her experiences in Serengeti National Park, Tanzania, and Torres del Paine National Park, Patagonia, Chile. Read on to learn more.

As someone who only picked up a camera at the age of 21 and never expected to become a wildlife photographer, it’s been a wondrous, inspiring and eye-opening journey that has led to a life I never thought was possible. First and foremost, I am a zoologist and conservation biologist. It was a research trip to Madagascar for my undergraduate dissertation that changed everything. I went equipped only with an action camera, and I knew nothing about photography, and I missed numerous opportunities to get close-up shots of the Sifaka lemurs that regularly swung from the trees above our tents. 

When I returned home, I went straight to the shops and purchased my first camera—the Panasonic DMC-FZ330. I remember thinking that I didn’t want to get into buying multiple lenses—of course, that didn’t last for long. I became obsessed with photography. And, after two subsequent university field trips to Belize and Kenya, I decided that it was time to take this hobby a bit more seriously. Using savings from working at a restaurant during the summer months, I bought a Canon EOS 750D and Sigma 150-600mm f/5-6.3 GS OS HSM. 

It still feels like an absolute dream to say that it was awarded ‘highly commended’ in the 2021 Wildlife Photographer of the Year awards. This photograph was taken on my basic entry-level DSLR. Out of the hundred images recognised in the awards, my camera equipment was the cheapest. 

Wildlife photography is notoriously expensive. But it just goes to prove that you don’t need state-of-the-art equipment to create award-winning imagery, or to carve a career for yourself in wildlife photography. Your eye, the unique way you see the world and the subject in front of you—that’s what is responsible for your photography standing out. 

The most important skills you need for wildlife photography are identifying interesting behaviours, anticipating an animal’s movements and framing them in a compelling way.

Being recognised in Wildlife Photographer of the Year massively accelerated my career. It put me on the map and it gave me the confidence to fully pursue a career in wildlife photography. I’ve since worked with some inspirational charities that are conducting critical conservation work. 

I’m now shooting on the Nikon Z9 and Nikon Z 100-400mm f/4.5-5.6 VR S. Looking back on the images I took when I first started my journey in photography, there’s a clear and definite improvement in the quality of my images. Although I have gradually upgraded my gear along the way, the changes are not just the gear I’m using, but also my skill as a photographer. My eye has developed, my compositions are more creative, my images are playful, serious and powerful. As the common expression goes, the best camera you have is the one in your hand. We are all capable of using our lenses to share impactful and meaningful stories with the world. 

Last July, during the freezing winter months, I had the once-in-a-lifetime opportunity to visit Patagonia—a place I’d dreamed of exploring ever since I was a little girl. Torres del Paine National Park, which is named after the iconic three peaks that tower above the landscape, is one of the most beautiful and rugged environments in the world. With its stunning landscapes, tough hikes and abundant wildlife, it’s easy to see why Torres del Paine National Park attracts nearly 250,000 visitors each year. Braving the brutal winds and temperatures, I had hopes of photographing the elusive puma in this frozen wilderness.

Every morning, to get ourselves in the best areas for puma sightings, we were up and out before the sun rose. There are very strict rules in Torres del Paine National Park. You must stay on the roads and designated hiking trails. Even if you saw a puma in the far distance, you wouldn’t be allowed to hike to it. Although this did limit some of the photographic opportunities, rules like this are of the utmost importance for reducing erosion, decreasing the impact of human presence on wildlife and preventing unnecessary damage to flora.

Luckily, I was accompanied by some of the best puma trackers in the region. It wasn’t long before I caught a glimpse of my first-ever puma. Heart beating rapidly, I grabbed my camera and started taking pictures of this huge cat that I’d only seen before in wildlife documentaries. 

On the trip, I had my Nikon Z9 and the Nikon Z 100-400mm f/4.5-5.6, as well as the Nikon Z 400mm f/2.8, which is a beast of a lens. Before this trip, I had never used a prime lens before—nor one with such a fast aperture—and I loved the quality the shallower depth of field gave to my images. 

I absolutely love my setup. The Nikon Z9 is super intuitive, and I love that you can see—in real time—the adjustments you’re making to your settings through the viewfinder. Being able to shoot up to 20 frames per second is a game changer for fast-moving and unpredictable wildlife. 

The 100-400mm is a great lens and I love having such flexibility when it comes to my focal length. The benefits of having a zoom lens were evident during one puma encounter, where a mother and her two cubs were resting at the top of an escarpment, trotted down the hill and crossed the road three metres away from me. Having the option to zoom out and respond quickly to the change in an animal’s behaviour enabled me to get some unique, low angles. 

Thanks to the extensive knowledge of my guides, I had multiple opportunities to observe and photograph pumas—up close and personal—without the cats catching wind of us. This included seeing a female stash and eat a guanaco she had killed. And even a mating pair, where the male was almost three times the size of his female partner. In this magnificent landscape, every puma encounter I had was magical beyond words. Being able to photograph this powerful animal filled me with so much gratitude and awe for our natural world. 

Looking for more wildlife content?

This article is part of the MPB Guide to Wildlife Photography and Videography, our comprehensive look at how to create wildlife imagery, with camera recommendations, advice and interviews with experts.