When we think of wildlife photography, the first image that comes to mind is usually bursting with color, alive with golden savannas, lush green forests, or the rich orange glow of dawn light. But what happens when we strip away the color, when we choose instead to see the wild in shades of black, white, and grey?
The answer is striking; monochrome reveals a deeper layer of drama, emotion, and timelessness. It simplifies the scene, removes distractions, and pulls us into the essence of the animal and the landscape. The twelve images in this article explore just how powerful this approach can be.
Determined and alert.
In monochrome,
her gaze carries the full
weight of presence
Sony A1 & 400mm f/2.8 – ISO2000, 1/1250s, f/2.8
Drama Through Contrast
A leopard reclines in the long grass; mouth open wide in a cavernous yawn. In black and white, this simple gesture becomes theatrical. The inky shadows surrounding the cat create tension, and the high contrast exaggerates the sense of drama.
Sony A1 & 400mm f/2.8 – ISO2000, 1/250s, f/2.8
The piercing eyes of a black leopard stand out even more when the background is swallowed in darkness. Here, monochrome transforms an already commanding subject into something otherworldly.
Sony A9 & 70-200mm f/2.8 – ISO32000, 1/2000s, f/11, 200mm
Timeless Storytelling
Few animals embody longevity more than an elephant. Rendered in monochrome sepia, the deep wrinkles in its skin appear etched by time itself. The lack of color disconnects the image from the present moment; it could just as easily have been taken a century ago. This timeless quality reminds us that wildlife photography is not only about documenting animals — it’s also about storytelling.
Sony A9 & 70-200mm f/2.8 – ISO1000, 1/2000s, f/7.1, 72mm
Form, Shape, and Movement
When a bird launches into flight, the sweep of wings creates natural geometry. In black and white, those shapes are clearer, uncluttered by color. The lines of feathers against a stark sky become a study in form.
Sony A9 & 70-200mm f/2.8 – ISO250, 1/2500s, f/2.8, 75mm
The giraffe is dwarfed by the immensity of the Serengeti plain, a study of solitude in the vastness. The lone giraffe walking across an acacia-dotted plain becomes less about its warm brown patterns and more about silhouette, stride, and balance within the open landscape. Monochrome makes us see structure before surface.
Sony A1 & 200-600mm f/5.6 – ISO3200, 1/1000s, f/6.3, 600mm
Emotional Intensity and Presence
A pack of wild dogs, frozen mid-step, reveals its tight cohesion. In colour, their mottled coats might blend in naturally with their environment, but in black and white their body language is highlighted, revealing alertness and unity.
Sony A9 & 70-200mm f/2.8 – ISO640, 1/2000s, f/2.8, 165mm
And then there is the leopard, lying low in the grass, eyes staring. In monochrome, that stare becomes electric, the tension between predator and prey almost palpable.
Sony A1 & 400mm f/2.8 – ISO250, 1/1600s, f/2.8
Texture and Detail
The spotted coat of a cheetah and the fragile grasses swaying around it; these details appear sharper without the competition of color. The use of a high key style helps emphasize the cheetah’s pattern and shape. One of monochrome’s great gifts is how it magnifies texture.
Sony A1 & 200-600mm f/6.3 – IS1250, 1/2000s, f/6.3, 200mm
Atmosphere and Minimalism
A black leopard lurking in the grass merges almost seamlessly with the shadows. The photo is less about clear detail and more about suggestion, it emphasizes atmosphere over description. Sometimes, the power of monochrome lies in what it withholds.
Sony A1, FE 400mm/f/2.8, ISO500, 1/500s, f/2.8, 400mm
A Universal Language of Travel
Monochrome wildlife photography is less about spectacle and more about essence. It’s about stripping away the familiar so that we can feel the raw power of the animal, the rhythm of its movement, the mood of the environment. It asks us not just to see, but to experience.
Sony A1 & 400 mm f/2.8 – ISO500, 1/1600s, f/2.8
Conclusion
Wildlife photography in black and white may go against expectation, but that’s exactly why it works. By removing color, we gain contrast, detail, and mood. We trade spectacle for intimacy, and we discover a timeless connection to the wild that speaks as much to our emotions as to our eyes.
The next time you’re in the field, consider switching your vision to monochrome. You may find the drama, story, and atmosphere of the wild revealed in ways color could never achieve.
My biggest challenge this year was to create an image that depicted the drama and spectacle of the Great Migration crossing the Mara River in the Serengeti. I chose to do this with a wide-angle lens and depict it in monochrome so that I could work the light and contrast to tell the story.
Leica Q2 Monochrom – ISO640, 1/2000s. f/5, 28mm
I like to think of monochrome as Painting with Light.
Nick Delany
I began photography in my teens with a Kodak Instamatic and developed my interest in B&W photography early with my Pentax SP1000. After 40 years of work I returned to my hobby, able to apply more time to learning and travel. I joined VCC on my arrival in Victoria in 2019 and found the club to be an inspiration to learn and try new things. I was fortunate to be the Photographer of the Year at VCC in 2023 and have earned a PPSA certification from the Photographic Society of America by gaining more than 300 acceptances in International Competitions plus over 100 awards. The bulk of my photography has been wildlife either in the Pacific Northwest or Africa but my current passion is B&W Street & Landscape photography. For wildlife photography, my equipment is the Sony A1 or A9 matched with the FE 200-600mm or the FE 70-200mm zoom. For all other genres I use a Leica Q3-43mm and for my B&W images I use a Leica Q2 28mm & M11 Monchrom with 50mm. I have been married to my fellow Club member Kathryn Delany for 40 years and we love to travel to destinations seldom covered by other photographers to seek out new and interesting stories.