What first drew you to wildlife photography, and how did your journey begin?
I was born and raised in rural Sri Lanka, where wildlife and nature were not distant concepts but part of everyday life. Growing up in such an environment meant that encounters with animals, birds, and forests were quite normal, and from a very young age I developed a deep curiosity about the natural world around me.
Another strong influence in my early years was the work of Sir David Attenborough. At that time, his documentaries were not as easily accessible as they are today, and whenever I managed to find one, it felt like discovering something truly special. Watching those programs opened my eyes to the incredible diversity of wildlife across the planet and sparked a fascination that stayed with me.
Over time, that fascination naturally evolved into photography. I realized that a camera could become a powerful tool, not only to observe wildlife more closely, but also to document and share these moments with others. What began as a personal interest gradually developed into a deeper commitment to storytelling and conservation through wildlife photography.
situations. What inspired you to document these stories?
Elephants have always been deeply woven into the cultural and historical fabric of Sri Lanka. For centuries they have held a special place in our traditions, religion, and collective identity, so for many of us who grew up here, elephants were never just another wild species, they were part of our cultural landscape.
Sri Lanka is also home to nearly 10% of the world’s remaining Asian elephant population, which makes the responsibility of protecting them even more significant. Despite this importance, Sri Lankan elephants today face immense pressure. The human – elephant conflict has reached a critical level, driven by habitat fragmentation, expanding agriculture, and increasing interaction between people and wildlife.
As a wildlife photographer who strongly believes that photography can serve as a powerful tool for conservation, I felt compelled to document these realities. While beautiful wildlife imagery can inspire admiration, showing the challenges elephants face can create awareness and encourage meaningful conversations. My intention has always been to use my images not only to celebrate these magnificent animals, but also to highlight the urgent need to ensure their survival for generations to come.
How do you balance artistic expression with conservation messaging in your work?
For me, the balance between artistry and documentation often depends on the context of the story I am trying to tell. In situations where the conservation message is critical, such as when documenting the effects of erratic waste disposal on elephants, I tend to prioritize the documentary value of the image first. The primary objective in such moments is to clearly record the reality of what is happening.
However, if the situation allows, I then try to incorporate artistic elements through composition, light, or perspective. In other cases, particularly when photographing wildlife behaviour or landscapes, the artistic approach may naturally take the lead while still carrying an underlying conservation message.
At the same time, I try to avoid becoming overly activist in the way the story is presented. I believe powerful images should encourage reflection rather than dictate conclusions. By presenting authentic moments from the field and allowing viewers to witness the situation for themselves, the photograph can speak in a more balanced and credible way. My goal is not to persuade aggressively, but to create awareness through honest visual storytelling.
Aesthetics also play a crucial role in conservation photography. There are times when a straightforward documentary image clearly conveys the issue, but in other instances a slight change in angle, perspective, or technique can dramatically enhance the emotional impact. For example, experimenting with low viewpoints, dramatic light, or even approaches such as monochrome can introduce a stronger mood or sense of urgency. These artistic choices can sometimes add an element of surprise or intensity that helps the viewer connect more deeply with the conservation story behind the image.
Which photograph or series has been the most personally meaningful to you, and why?
One of the bodies of work that has been most personally meaningful to me is my ongoing documentation of the human – elephant conflict in Sri Lanka. Over the past four years, I have dedicated a significant portion of my wildlife photography time to this subject, spending many days in areas where elephants and people are increasingly forced to share the same landscapes. The deeper I went into these environments, the more I began to understand the complexity of the situation, not only the challenges faced by elephants, but also the realities experienced by rural communities. Photographing these interactions has been both powerful and emotionally challenging, and it has shaped my perspective as a conservation storyteller.
long-term interest in Sri Lanka’s tuskers. Tuskers hold a particularly special place in our culture and history, and they carry a symbolic significance that goes far beyond their rarity. In Sri Lanka, tuskers represent a very small percentage of the wild elephant population, which makes them even more remarkable. Documenting these individuals has allowed me to explore a deeper cultural and ecological narrative surrounding elephants in the country.
Working on these projects has also marked an important turning point in my photographic journey. When you spend extended time following a particular species or story, you naturally begin to develop a deeper emotional connection with it. Over time, elephants became more than just subjects in front of my camera, they became part of a larger story I felt responsible to document. That growing connection has guided much of my work in recent years and continues to shape the direction of my photography.
Can you share the story behind your award-winning image “Toxic Tip”?
“Toxic Tip” was born out of a growing concern I had while documenting the impact of erratic waste disposal practices in parts of Sri Lanka, particularly in the Eastern Province. In several locations, large open garbage dumping sites exist very close to important dry-zone forest blocks that are regularly used by wild elephants. Over time, elephants have begun visiting these sites frequently. Scientific studies and field observations have shown that elephants, much like humans, can become attracted to foods that are high in sugar, starch, and salt, which are commonly found in discarded household waste. These items provide quick energy and can create a form of behavioural dependence, encouraging elephants to repeatedly return to garbage dumps rather than forage naturally. Unfortunately, the consequences can be severe. Consuming plastic, polythene, and other non-digestible waste can lead to intestinal blockages, infections, malnutrition, and in many cases, slow and painful deaths.
From the moment I began observing one such site in Ampara and the herd that regularly visited it, I knew I wanted to create an image that would communicate the scale and seriousness of the issue in a striking way. My intention was to produce a photograph that would immediately shock viewers while still remaining truthful to the scene. Achieving that, however, required many elements to align. I specifically wanted a single elephant standing within the colourful layers of the dump, as this would visually emphasize the contrast between the animal and the overwhelming spread of human waste. This was not easy, because elephants typically arrive at these sites in groups. I also needed the elephant to position itself on a particularly vibrant patch of garbage, since the entire dumping site does not have the same visual intensity.
Because of the enormous scale of the area, it was impossible to observe the entire site from ground level. The use of a drone was essential to locate the elephants and understand their movements. Even then, the environment presented additional challenges. The region around Ampara is well known for sudden and unpredictable showers, which can complicate drone operations. In total, it took nearly eight months of repeated visits, observation, and careful planning to finally capture the moment I had envisioned. This also meant traveling frequently from Colombo, where I live, to Ampara, a journey of around seven to eight hours each way.
What the image ultimately represents is the collision between two worlds. On one side, there is the resilience of a wild elephant trying to survive in a landscape increasingly shaped by human activity. On the other, there is the visible footprint of our consumption and waste. The photograph does not stage a moment; it simply reveals the stark reality that wildlife today must often navigate environments profoundly altered by people.
I believe the image resonated internationally because the issue it highlights is not unique to Sri Lanka. Around the world, wildlife is increasingly forced to interact with human waste and expanding settlements. The photograph simplifies a complex conservation problem into a single, powerful visual moment that viewers can immediately understand. It reminds us that environmental challenges are rarely distant problems, they are often the unintended consequences of everyday human behaviour.
How do you choose the subjects and stories you want to capture?
Choosing what to photograph is a process that involves a mixture of observation, research, and personal conviction. While I do keep an eye on prevailing trends in wildlife photography, I do not allow them to completely dictate the direction of my work. For example, there is currently a growing interest among wildlife photographers in documenting rare and elusive species such as Snow Leopards, Pallas’s Cats, or even melanistic leopards in parts of India, Kenya, and Thailand. These are fascinating subjects, and like many photographers, I would certainly love the opportunity to work with them one day. However, pursuing rare species purely because they are trending has never been my primary motivation.
Instead, I try to focus on stories that are closely connected to conservation relevance. Many of the subjects I choose to document are linked to environmental challenges that are unfolding in the landscapes around me. Living in Sri Lanka provides a unique opportunity to observe and photograph wildlife that is deeply intertwined with human communities, and this dynamic often creates powerful and important stories that deserve attention. Because of this, I tend to prioritize subjects where photography can contribute meaningfully to awareness and discussion.
I also believe strongly in the value of long-term storytelling. Rather than constantly shifting between many different topics, I prefer to dedicate sustained time and effort to a limited number of projects. Typically, I try to focus on one or two long-term themes at a time. This approach allows me to study the subject more deeply, understand behavioural patterns, and build a more comprehensive visual narrative over the years. In my experience, meaningful conservation photography rarely comes from brief encounters, it often requires patience, continuity, and a long-term commitment to the story.
What challenges do you face when photographing wildlife in Sri Lanka’s urban and wild environments?
Photographing wildlife in Sri Lanka presents a unique set of challenges because the boundaries between human settlements and natural habitats are often very thin. One of the most significant realities photographers encounter is the presence of human-wildlife conflict zones, particularly in areas where elephants move between forest reserves and agricultural lands. These landscapes are dynamic and sometimes unpredictable, as both wildlife and local communities are trying to coexist within limited space. While these environments provide important stories for conservation photography, they also demand a high level of awareness and responsibility from the photographer.
Safety is another important consideration. In conflict-prone areas, wildlife behaviour can be more unpredictable, especially with elephants that may already be under stress due to human disturbances. Photographers must remain extremely cautious, not only for their own safety but also to avoid creating additional stress for the animals. Careful observation, maintaining respectful distances, and understanding animal behaviour become essential aspects of working in such environments.
Access can also be challenging. Many wildlife areas in Sri Lanka fall under protected reserves managed by government authorities, where movement is restricted and permits are required. In addition, some of the most important conservation stories unfold outside national parks, often in remote rural landscapes where infrastructure is limited and gaining safe access requires building trust with local communities. Developing these relationships takes time but is often essential for understanding the broader context of wildlife interactions.
Ethical considerations are equally important in wildlife photography. In environments where animals are already facing pressure from habitat loss or human activity, photographers must be particularly mindful not to disturb natural behaviour or manipulate situations for the sake of an image. Responsible wildlife photography means observing patiently and allowing the story to unfold naturally rather than influencing it.
Environmental conditions themselves can also be demanding. Sri Lanka’s tropical climate brings sudden rain, intense heat, humidity, and challenging terrain, especially in the dry-zone forests where elephants are commonly found. Equipment must be protected, and long hours in the field are often required to capture meaningful moments. Despite these challenges, these landscapes also offer extraordinary opportunities to document wildlife stories that are both visually compelling and deeply connected to conservation realities.
How important is storytelling in wildlife photography for conservation awareness?
Storytelling is absolutely central to wildlife photography, especially when it comes to conservation awareness. A single image has the ability to communicate across languages and cultures in a way that very few other mediums can. Throughout history, powerful photographs have played a major role in shaping public perception about environmental issues – from endangered species to habitat destruction. When people see an image that clearly shows the reality faced by wildlife, it can often create an emotional connection that statistics or written reports alone may struggle to achieve. In that sense, photographs can act as an important bridge between scientific knowledge and public understanding.
However, for wildlife photography to truly influence awareness, it needs to go beyond aesthetics. Beautiful images of animals can certainly inspire admiration for nature, but without context they may not fully communicate the challenges wildlife is facing. Storytelling adds that missing layer. By placing an animal within its environment, its struggles, and its interactions with the surrounding landscape, a photograph can begin to tell a much deeper story. This approach allows viewers to see wildlife not only as subjects of beauty but as living beings navigating complex ecological and human-influenced environments.
My own philosophy about visual storytelling is that a photograph should encourage curiosity and reflection rather than simply deliver a message. I try to create images that invite viewers to pause and ask questions, about the animal, the environment, and the circumstances surrounding that moment. Sometimes the story is one of beauty and resilience, and at other times it may reveal uncomfortable realities such as habitat loss or human-wildlife conflict. In both cases, the goal remains the same: to use visual narratives as a way of connecting people more deeply with the natural world and the responsibility we share in protecting it.
As a Sony Ambassador and accomplished photographer, how has gear influenced your creative process?
Modern technology has had a remarkable impact on wildlife photography, particularly when it comes to capturing natural behaviour that unfolds in fractions of a second. Wildlife moments are often unpredictable – whether it is a bird taking flight, a predator striking prey, or an animal suddenly reacting to its surroundings. Advances in camera technology such as high-speed burst shooting, intelligent autofocus systems, and pre-capture buffering now allow photographers to record these fleeting behaviours with far greater precision than ever before. Features like pre-capture recording, where the camera continuously buffers images before the shutter is fully pressed, help ensure that even moments occurring faster than human reaction time can still be captured.
Equipment also expands creative possibilities in the field. Modern sensors with extremely fast readout speeds, large buffers, and high frame rates allow photographers to track fast-moving animals while maintaining exceptional image detail. Improvements in dynamic range, low-light performance, and in-body stabilisation allow us to work in challenging environments, from dense tropical forests to dawn and twilight conditions where wildlife activity is often at its peak. In addition, the development of longer, lighter telephoto lenses enables photographers to maintain a respectful distance from animals while still capturing intimate behavioural moments.
From my perspective as a Sony Regional Ambassador, Sony’s continuous innovation has played a particularly important role in shaping how wildlife photographers work today. Sony has invested heavily in research and development, pushing the boundaries of mirrorless technology and introducing features that were once considered impossible in field photography. One of the most transformative developments has been Real-time Eye Autofocus and AI-based subject recognition, which can detect and track the eyes of animals with remarkable precision, even when they are partially obscured by vegetation or moving unpredictably. This technology allows photographers to focus less on technical adjustments and more on anticipating behaviour and composing meaningful images.
Sony’s flagship cameras, such as the Alpha 1 series, represent a remarkable combination of speed, resolution, and reliability. Capabilities like ultra-fast burst shooting, blackout-free electronic viewfinders, and advanced subject tracking algorithms have significantly improved the ability to capture critical wildlife moments. Just as importantly, Sony’s lens ecosystem, including lenses such as the 400mm f/2.8, 200-600mm, and the newer long-range telephoto options, has given wildlife photographers versatile tools to work across a wide range of environments.
What I appreciate most is Sony’s willingness to continuously refine and improve technology based on real-world field requirements. Their ongoing research and development efforts have not only enhanced camera performance but have also expanded what wildlife photographers are capable of achieving creatively. Ultimately, these technological advancements do not replace patience, field knowledge, or respect for wildlife, but they certainly allow us to capture and share the natural world with a level of clarity and immediacy that was unimaginable only a decade ago.
What techniques do you use to capture authentic animal behaviour in your images?
Capturing authentic wildlife behaviour requires much more than simply being present with a camera. One of the most important elements in wildlife photography is patience. Animals operate entirely on their own rhythms, and meaningful moments rarely occur on demand. Often it requires spending long hours, sometimes even days, in the same location, quietly observing and waiting for behaviour to unfold naturally. Patience allows the photographer to become a silent presence in the environment rather than a disruptive one.
Another critical aspect is careful field observation. Before I go out to photograph wildlife, I spend a considerable amount of time doing homework about the location and the species I expect to encounter. This preparation applies whether I am working in a familiar environment close to home in Sri Lanka or in a completely different ecosystem such as the Arctic. Studying habitat characteristics, seasonal patterns, feeding behaviour, and movement routes can make a significant difference in understanding where and when to position yourself. This kind of preparation allows a photographer to anticipate opportunities rather than simply reacting to them.
Closely connected to this is the anticipation of behaviour. Wildlife photography is often about predicting what an animal might do next. By continuously studying animal behaviour, through both scientific resources and personal field experience, it becomes easier to recognise subtle cues. A slight shift in posture, a change in gaze, or body language between animals can often signal that something interesting is about to happen. When you learn to read these signs, you are better prepared to capture those decisive moments.
Equally important is maintaining a non-intrusive approach to photography. Respecting wildlife and ensuring that our presence does not alter their natural behaviour is a fundamental ethical responsibility. This means keeping a safe distance, using appropriate focal lengths rather than approaching animals too closely, and avoiding any actions that might stress or manipulate wildlife for the sake of an image. In my experience, the most powerful wildlife photographs are often the ones where the animal remains completely unaware of the photographer’s presence, allowing its behaviour to unfold naturally within its environment.
Do you follow a particular system for organizing and cataloguing your photos and reels?
Over the years, I have tried to keep my workflow as clean and efficient as possible without making it unnecessarily complicated. Wildlife photography often generates very large volumes of files, especially when working with high frame rates and extended field sessions, so having a simple but disciplined system is important.
For the initial culling process, I use a couple of different software tools depending on the situation. Programs such as Apollo One and Aftershoot are very useful in helping me quickly review large numbers of images and narrow them down to the strongest frames. These tools allow me to move efficiently through thousands of photographs while ensuring that the most important moments are identified and preserved.
When it comes to post-processing, I keep things straightforward by working exclusively in Adobe Lightroom. Over time, Lightroom has evolved into a very comprehensive platform that contains all the essential tools needed for professional image development from colour correction and tonal adjustments to fine detail refinement. I prefer this streamlined approach because it allows me to maintain consistency across my images without having to move between multiple editing platforms.
For cataloguing and long-term organization, I primarily structure my archive based on geographical locations. Each location is then further divided into subcategories such as the specific park, region, or project I was working on. This method makes it much easier to retrieve images later when I am preparing submissions for competitions, exhibitions, publications, or educational presentations. By keeping the system logical and location-based, I can navigate through my archive quickly while still maintaining a clear overview of my work across different landscapes and projects.
How do you prepare mentally and technically before setting out on a shoot?
Preparation plays a crucial role in wildlife photography, and much of the work actually begins long before stepping into the field. One of the first steps is research. Before visiting a location, I spend time studying the ecosystem, the species that inhabit the area, and any seasonal patterns that may influence animal behaviour. Understanding migration cycles, feeding habits, breeding seasons, and movement corridors can significantly increase the chances of meaningful encounters. This kind of preparation applies whether I am working in a familiar environment in Sri Lanka or traveling to completely different ecosystems such as the Arctic.
Another important aspect is gear preparation. Wildlife photography often takes place in demanding environments, so ensuring that equipment is properly prepared and functioning is essential. Batteries must be fully charged, memory cards prepared, and camera settings optimized for the type of photography expected. Lens choices also depend on the species and landscape I am likely to encounter. Being technically prepared allows me to react quickly when unexpected moments occur in the field.
Equally important is studying weather conditions and animal behaviour. Weather has a significant influence on wildlife activity. For example, certain species may be more active during cooler early mornings, just before rain, or during specific seasonal changes. Understanding how weather patterns interact with wildlife behaviour can help determine the best times and locations to photograph. Monitoring forecasts, wind directions, and light conditions also helps in planning compositions and anticipating opportunities.
Finally, wildlife photography requires a great deal of mental patience and focus. Unlike many other forms of photography, wildlife moments cannot be controlled or staged. Photographers must be prepared to spend long hours observing, waiting, and adapting to changing conditions. Maintaining patience and a calm mindset allows you to remain attentive to subtle behavioural cues and ensures that when the right moment finally appears, you are ready to capture it. In many ways, mental preparation is just as important as technical preparation when working in the natural world.
What role do social media platforms like Instagram play in shaping your outreach and influence?
Social media platforms such as Instagram have become extremely powerful tools for wildlife photographers, not only for sharing images but also for education and outreach. In the past, wildlife photography was mostly seen through magazines, books, exhibitions, or documentaries. Today, platforms like Instagram allow photographers to present their work instantly to audiences across the world. This provides an opportunity to educate viewers about species, ecosystems, and conservation challenges in a way that is both visual and accessible.
One of the most important aspects of social media is its role in conservation awareness. A single photograph posted online today has the potential to reach millions of people across different countries and cultures within a very short period of time. When wildlife photographers share meaningful stories behind their images, whether it is about endangered species, habitat destruction, or human–wildlife conflict, it can help bring attention to issues that might otherwise remain unnoticed. In many cases, these visual stories encourage people to learn more about the subject, support conservation initiatives, or simply develop a deeper respect for wildlife. In that sense, social media has become one of the most effective platforms for spreading conservation messages on a global scale.
Social media also helps photographers connect with global audiences. Wildlife photography naturally transcends borders, because the appreciation of nature is something that people around the world can relate to. Through platforms like Instagram, photographers are able to interact with followers, fellow photographers, conservationists, and researchers from many different countries. This exchange of ideas often creates valuable discussions about conservation, photography techniques, and environmental responsibility.
At the same time, the reach of social media also brings a responsibility to practice responsible storytelling. When sharing wildlife images online, it is important to present stories in a way that respects both the animals and the ecosystems they inhabit. This includes avoiding misleading narratives, not revealing sensitive locations that could disturb wildlife, and ensuring that images are captured ethically without disturbing natural behaviour. Responsible storytelling helps maintain credibility while ensuring that social media remains a positive platform for wildlife awareness and conservation education.
How has your style or focus evolved from when you first started to where you are now?
Like many wildlife photographers, my early work was largely driven by the desire to create aesthetically pleasing images of wildlife. At the beginning, the focus was primarily on composition, light, and capturing visually striking moments in nature. While those elements still remain important to me today, over time my perspective gradually shifted toward something deeper. As I spent more time in the field and began witnessing the pressures wildlife faces, my photography naturally evolved from purely aesthetic wildlife imagery into conservation-driven storytelling.
Another important change has been the transition from capturing individual standout photographs to working on long-term projects. In the early stages of my journey, I was often focused on single images that could represent a memorable moment or behaviour. However, I soon realised that many conservation issues cannot be fully communicated through one photograph alone. They require sustained observation and a collection of images that together build a broader narrative. This realization led me to commit more seriously to long-term projects, such as documenting the human–elephant conflict in Sri Lanka and studying specific individuals like the country’s rare tuskers.
My role as a photographer has also evolved from simple documentation toward advocacy. While documenting wildlife remains the foundation of my work, I increasingly see photography as a tool that can contribute to meaningful conversations about conservation. By presenting visual evidence of both the beauty of wildlife and the challenges it faces, photographers can help raise awareness and encourage more thoughtful engagement with environmental issues. In that sense, my photography today aims not only to record moments in nature but also to highlight the responsibility we share in protecting it.
Can you talk about an unexpected moment in the field that changed your perspective?
There have been several moments in the field that have deeply influenced how I see wildlife and conservation, but some stand out more strongly than others. One of the most striking experiences for me was watching elephant herds visiting garbage dumping sites in parts of Sri Lanka. What made it particularly shocking was not just seeing a single elephant feeding among waste, but observing entire family groups, including very young calves, walking into these sites together. Seeing such intelligent and socially complex animals navigating mountains of human waste was a powerful and uncomfortable reminder of how profoundly human activities can alter wildlife behaviour. That experience reinforced my determination to document the human–elephant conflict and highlight the urgent need for better waste management and habitat protection.
Another moment that left a lasting impact on me relates to the broader conservation challenges faced by wildlife in Sri Lanka. While human–elephant conflict remains one of the country’s most serious conservation issues, there are also occasional but deeply troubling incidents such as the poaching of the Sri Lankan leopard, an endemic subspecies found nowhere else in the world. Although leopard poaching is not a frequent occurrence in Sri Lanka, when it does happen it is devastating. Leopards have been illegally killed for their skins, teeth, and in some cases even for bushmeat. Each of these incidents represents not just the loss of an individual animal, but a setback for the survival of an already vulnerable species.
At the same time, the field has also given me moments of extraordinary inspiration. I still remember encountering Craig, the legendary super tusker of Amboseli, at close range only a few months before he passed away. Standing in the presence of such a magnificent and iconic elephant was a humbling experience. Similarly, seeing polar bears for the first time in the Arctic archipelago of Svalbard, from only a few meters away while photographing them from a Zodiac boat, was unforgettable. There are also moments that overwhelm you with the sheer scale of nature, such as witnessing hundreds of thousands of monarch butterflies gathering in the forests of the El Rosario Biosphere Reserve in Mexico, where the sound of millions of wings moving together fills the air. Another unforgettable experience was visiting Bass Rock in Scotland, where the cliffs are covered by vast colonies of nesting northern gannets, creating one of the most spectacular seabird scenes I have ever witnessed.
Experiences like these constantly remind me of both the beauty and fragility of the natural world. They reinforce why documenting wildlife matters, not only to celebrate these incredible encounters, but also to ensure that future generations will still have the chance to witness them.
What stories or species do you feel are under-represented in wildlife photography today?
In wildlife photography, there is often a strong focus on a handful of globally popular or charismatic species, and while these animals certainly deserve attention, many equally important stories remain under-represented. One area that is frequently overlooked is the wildlife that exists much closer to our everyday environments. Photographers sometimes travel across continents in search of iconic species while overlooking opportunities within their own landscapes. A good example from Sri Lanka is the Toque Macaque, an endemic primate found only on the island. Because it is relatively common and often seen around ancient cities and temples, it is sometimes taken for granted. Yet these animals are fascinating subjects, both behaviourally and ecologically, and their ability to adapt to human-dominated landscapes presents powerful storytelling opportunities.
Another important theme that needs far more attention in wildlife photography is human–wildlife conflict. Across many parts of the world, wildlife is increasingly forced to share space with expanding human populations. These interactions can lead to complex challenges for both people and animals. While such stories may not always be visually glamorous, they are incredibly important for understanding the real conservation issues of our time. Documenting these interactions helps highlight the pressures wildlife faces and encourages more thoughtful discussions about coexistence and sustainable land use.
Closely related to this is the growing phenomenon of urban wildlife. As natural habitats continue to shrink or become fragmented, more species are adapting to life within towns and cities. From primates and birds to foxes, leopards, and even elephants in certain regions, wildlife is increasingly navigating urban landscapes. These environments create new behaviours and interactions that are rarely explored in traditional wildlife photography. In many ways, urban wildlife represents one of the most important conservation narratives of the future, because it reflects how animals are adapting to a rapidly changing world.
Finally, there is also a tendency in wildlife photography to favour large, visually dramatic animals, while many smaller or less charismatic species receive far less attention. Yet these animals often play equally important roles within ecosystems. Amphibians, reptiles, insects, and smaller mammals are essential components of biodiversity, and their stories can be just as compelling when approached with curiosity and creativity. By expanding our focus beyond the most iconic species, wildlife photographers have the opportunity to reveal a much richer and more complete picture of the natural world.
For aspiring wildlife photographers, what’s the biggest lesson you’ve learned along the way?
One of the most valuable lessons I have learned is the importance of serious field study and preparation. Wildlife photography is not simply about carrying good equipment and hoping for an interesting encounter. The more time you spend understanding the ecosystems, the species that live within them, and the behavioural patterns of animals, the more meaningful your work becomes. Before heading into the field, it is important to arm yourself with knowledge, learning about the habitat, migration routes, feeding habits, seasonal behaviour, and the ecological relationships that shape that environment. This preparation allows photographers to approach wildlife with greater awareness and respect.
Another important part of learning is studying the work of other photographers. I believe it is extremely valuable to observe the work of acclaimed photographers from around the world, regardless of their age, where they are based, or even how many followers they have on social media. The goal is not to imitate their style, but to understand the thought process behind their images, their field craft, patience, dedication, and the way they build visual narratives. By studying diverse bodies of work, aspiring photographers can gain insights into different approaches to storytelling and develop a broader perspective on the craft.
At the same time, it is important to gradually build your own visual voice. Every photographer sees the natural world slightly differently, and over time your experiences in the field will begin to shape your personal storytelling style. Rather than rushing to define a style too early, it is often better to allow it to evolve naturally as you spend more time observing wildlife and exploring different photographic approaches.
Above all, I believe wildlife photographers carry a responsibility to give something back to nature. Photography has the power to inspire people, raise awareness, and encourage meaningful discussions about conservation. Using photography as a tool for conservation, whether by highlighting environmental challenges, supporting awareness campaigns, or simply helping people appreciate the beauty of wildlife, is one of the most meaningful contributions a photographer can make. In the end, the goal should not only be to create compelling images, but also to ensure that the natural world those images represent continues to survive and thrive.
What are your upcoming projects for 2025 and beyond, and what themes are you excited to explore?
Looking ahead, one of my main priorities is to continue documenting the human–elephant conflict (HEC) in Sri Lanka as extensively as possible. This issue remains one of the most urgent conservation challenges in the country. Sri Lanka is home to nearly 10% of the world’s remaining Asian elephant population, yet the pressure on these animals continues to grow as habitats shrink and human settlements expand. In recent years, the number of elephants and people lost annually due to conflict has been deeply concerning. These realities highlight the importance of continuing to document the issue, not only to show the beauty and intelligence of these animals, but also to present the complex challenges faced by both wildlife and rural communities. Through photography, I hope to continue contributing to the broader conversation about coexistence and sustainable solutions.
Alongside this work, I am also interested in developing longer-term conservation narratives around species that are often overlooked. One such subject is the Toque Macaque, an endemic primate found only in Sri Lanka. These monkeys are incredibly adaptable and are increasingly interacting with human-dominated environments, particularly around ancient cities, temples, and rural settlements. Their ability to survive within changing landscapes presents an important story about adaptation and coexistence that deserves deeper exploration.
Another area I hope to spend more time documenting is marine conservation, particularly sea turtles in Sri Lanka. The island’s coastlines serve as important nesting grounds for several species including green turtles, olive ridleys, hawksbills, and leatherbacks. However, these species face numerous threats ranging from coastal development and plastic pollution to accidental capture in fishing gear. Documenting the life cycle of these animals from nesting beaches to the early stages of hatchlings entering the ocean can help raise awareness about the fragile nature of marine ecosystems.
Geographically, I am also planning several projects beyond Sri Lanka. One of them involves returning to Alaska to photograph grizzly bears during the annual salmon run, an extraordinary natural event where bears gather along rivers to feed on migrating salmon. This interaction between predators and seasonal migration creates remarkable behavioural moments and offers opportunities to explore the dynamics between wildlife and ecosystems.
Another project I am excited about is photographing the nesting colonies of American flamingos in the Rio Lagartos Biosphere Reserve in the Yucatán Peninsula of Mexico, particularly focusing on the interaction between days- or weeks-old chicks and their parents. These early life stages offer fascinating behavioural moments that are rarely documented in detail.
On a personal level, one of my long-standing ambitions is to eventually photograph wildlife in Antarctica, particularly the vast penguin colonies that define that remote continent. Antarctica represents one of the most extraordinary and fragile ecosystems on Earth. Experiencing and documenting the behaviour of penguins in such an environment would not only be a dream as a wildlife photographer, but also an opportunity to contribute to the visual storytelling of one of the planet’s last great wildernesses.
