The Ethics of a Wildlife Photographer: A Commitment to Nature
In an age where wildlife photography is more accessible than ever, thanks to advances in camera technology and the growing popularity of social media, the question of ethics has become increasingly urgent. I hope my name is synonymous with integrity, dedication, and ethical practice in the field of wildlife photography and as such I feel I stand at the heart of this debate.
With over 40 years of experience behind the lens, I have established myself not only as an ethical photographer but also as a guardian of ethical standards within the natural world. For more than two decades, I have held species licences for monitoring and disturbance, particularly with Barn Owls — a species I’ve worked with extensively. My licensing portfolio, however, extends well beyond owls. I’ve been authorised to work with species such as Hen Harriers, Peregrine Falcons, Merlins, Marsh Harriers, Red-billed Choughs, and Goshawks, among many others.
I hope it’s not just the quality of my images but the care and thought I bring to the process of creating them. For me, the welfare of the animal always comes first a philosophy that seems increasingly rare in today's photographic landscape.
Ethical Foundations: The Welfare of the Subject Comes First
At the core of my approach lies a simple yet powerful principle: the welfare of the subject must always take precedence over any photograph. Whether photographing a nesting bird or a mammal in the wild, I never compromises the wellbeing of the animal for the sake of a better shot. This is not merely a personal preference but a professional commitment underpinned by my licensing obligations and decades of field experience.
Having held a species disturbance licence for over 20 years, I am acutely aware of the impacts that human presence can have on wildlife. These licences are issued under strict guidelines and only to those who demonstrate an in-depth understanding of animal behaviour and ecology. My work has always been conducted with the utmost care, often in close consultation with conservation bodies and regulatory authorities.
In contrast, much of the contemporary wildlife photography scene — particularly in the UK — has seen a shift towards practices that myself and many others find deeply troubling.
The Rise of Baited Wildlife Photography
One of the most contentious practices in modern wildlife photography is the increasing reliance on baiting — especially the feeding of birds of prey and mammals with dead animals for the sole purpose of capturing dramatic images. This trend has grown substantially with the commercial popularity of baited hides, where photographers pay for the opportunity to shoot predatory species in action, often in staged scenarios.
I am unequivocal in my stance: and I’ve never personally engaged in baiting, and he never will.
The reasons are manifold. Firstly, baiting habituates wild animals to human-provided food, which can fundamentally alter their natural behaviours. For predatory birds such as Sparrowhawks, Goshawks, and other accipiter species, a reliable source of food reduces their need to hunt, which in turn affects their fitness and physical condition. These birds are finely tuned athletes; if they grow dependent on handouts, their ability to survive in the wild is compromised. If the food source is suddenly withdrawn, the consequences can be dire, especially if the birds are no longer in peak condition to pursue natural prey.
Moreover, when birds of prey and mammals are fed by humans, they begin to act differently — more suspicious, more cautious, and not in their natural state. Having spent years studying wildlife in the field, I know from experience that this behaviour is not typical. Wild animals that are accustomed to human intervention behave unnaturally, with heightened wariness and altered instincts. Their natural responses to the environment, the signals they send to their peers, and the way they interact with their surroundings all change. This, to me, is not wildlife photography — it is a distortion of the animal’s true character.
Even more troubling, some baited hide owners will actively employ people to shoot and kill mammals and birds to supply bait for customers seeking "great" images. These practices not only degrade the sanctity of wildlife photography but also have far-reaching consequences for the broader ecosystem. The removal of these animals can severely affect the breeding cycles of their species. In particular, young birds and mammals rely on the sustenance provided by both parents. When one or both parents are killed for bait, the surviving offspring often do not have the resources they need to survive, leading to the eventual demise of the young.
Additionally, humans handling fresh or decaying bait introduces another layer of risk: disease transmission. The handling of bait by humans can contaminate it with harmful pathogens, which can then be passed on to the mammals and birds feeding on it. These pathogens can contribute to the spread of disease within wildlife populations, further endangering already vulnerable species. The simple act of human intervention — whether through direct contact with the bait or contamination from surrounding equipment — can result in significant harm to the very animals that the photographer is seeking to capture.
In addition, some individuals use purchased fish from local pet stores or garden centres, placing them in tanks under known perches to feed kingfishers. These fish, with little or no chance of escape, are essentially imprisoned to fulfil a photographic desire. This practice is not only cruel but also disrupts the natural feeding behaviour of these birds especially newly fledged birds, robbing them of the skills they need to thrive in the wild.
The placement of dead animals as bait often attracts multiple individuals of the same or different species, increasing the likelihood of aggressive confrontations. In times of scarcity — particularly in winter — this artificial congregation can lead to territorial disputes, injuries, or even death. Far from being a harmless photographic technique, baiting can disrupt ecological balances and contribute to long-term harm.
When Feeding Is Justified — And When It’s Not
I do acknowledge that feeding birds of prey and mammals has its place in conservation, but only under very specific circumstances. If a species is in serious decline, supplementary feeding can play a critical role in its recovery. Likewise, in controlled reintroduction programmes, feeding may be necessary to support newly released individuals as they adapt to the wild.
However, I strongly believe that such practices must be temporary and tied to conservation outcomes — not driven by profit or personal gain. Once a population has recovered or stabilised, the feeding should cease. Continuing to feed solely to support a business model or to capture more striking photographs is, in my view, unethical and harmful to the integrity of the species involved.
A Call for Ethical Standards in the Photography Community
The rise of social media has only intensified the problem. Striking images of raptors in mid-flight or mammals feasting on carrion often go viral, but very little context is provided about how those images were captured. For many viewers, the assumption is that the scene was witnessed naturally. In reality, many of these images are the result of days of baiting, luring, and staging, sometimes with dire consequences for the animals involved.
We need to be advocates for greater transparency in wildlife photography and I urge fellow photographers to disclose their methods honestly. More importantly, I call for a return to fieldcraft — the patient observation, understanding, and respect for nature that formed the bedrock of wildlife photography in decades past.
Fieldcraft, as I practice it, involves learning the habits and habitats of a species, spending countless hours in the field, often without a single photograph to show for it. But when an image does come, it is not only a reward for patience — it is a genuine moment captured in the wild, without manipulation or interference.
The Future of Ethical Wildlife Photography
The challenge facing ethical wildlife photographers today is not just about resisting the shortcuts that baiting and staging provide. It is about educating the public, pushing for stronger industry guidelines, and fostering a culture that values integrity over instant gratification.
Photographers like myself can offer a powerful example of how this can be done. My work can demonstrate that it is still possible to create compelling, award-winning images without compromising on ethics. My career so far is a testament to the idea that wildlife photography is not merely about images — it is about storytelling, conservation, and, above all, respect.
In a world where nature is increasingly under threat, the role of the wildlife photographer is more important than ever. But with that role comes responsibility. As I’ve shown over the course of my career, true respect for wildlife means knowing when not to take the shot, and ensuring that every image taken tells an honest story — one that honours the lives and habitats of the creatures we are so fortunate to witness.
A Pivotal Moment: The White-Tailed Sea Eagle Incident
Many years ago I attended a wildlife photography cruise in Scotland with the intent of observing various seabirds and mammals. Among the species I was most eager to photograph was the magnificent White-tailed Sea Eagle. However, when I witnessed humans feeding the eagles from the boat, I was shocked and deeply saddened. Although I did initially take a few photographs, I soon realised the ethical implications of what I was witnessing and doing. The scene unfolded as tourists, fighting for positions to get the best shots, were unknowingly contributing to the disruption of the eagles' natural behaviour. Although this practice of feeding the Eagles was approved by the governing bodies for the reintroduction program, the numbers were at that time sufficient for them to be left alone to hunt naturally without the use of human supplied bait.
The Sea Eagles, normally majestic and independent in their hunting methods, were now becoming accustomed to human interaction for food. I watched as the powerful birds, instead of hunting and foraging naturally, were drawn to the boat, their movements unnatural and their attention diverted. I could sense the tension in the air as photographers clamoured for that perfect shot, some even calling out to get the birds' attention, while others positioned themselves for the best angle, oblivious to the harm being done.
This moment marked a turning point in my career as a wildlife photographer & conservationist. I put my camera down, choosing to simply watch instead of participate. It was a realisation that fundamentally altered my approach to wildlife photography. Since then I have not attended any type of wildlife feeding activity, reaffirming my commitment to capturing wildlife in a natural and undisturbed state.
"We all make mistakes in life, and photography isn’t any different. It’s how we move forward and correct the mistakes of the past that matters; that moment made me realise that I could never go back. I’ve never looked back since."
Final Words
At its core, the true passion in wildlife photography lies not in lures, bait, or the commercialised practices of paid hides, but in the study, fieldcraft, and patience required to capture animals in their natural environment. It is in the quiet hours spent observing, learning their behaviours, and witnessing the raw beauty of nature that the true reward lies.
The thrill of photographing wildlife in its unaltered state, without manipulation, is unparalleled. For me, the most profound satisfaction comes not from the artificial scenarios created in baited hides, but from the moments where nature unfolds naturally, and I am fortunate enough to capture those fleeting instances. These images, born from respect, patience, and an intimate understanding of the animal world, are the ones that carry real meaning — they are not simply photographs, but true reflections of the wild, preserved for future generations to appreciate. That, to me, is the ultimate reward of wildlife photography.
Please leave a comment below if you agree or disagree, we all have our own opinions so it would be great to hear your thoughts!