A Conversation with Johan Siggesson
Please introduce yourself and tell us what drew you to the world of fine art wildlife photography.
I am a Swedish wildlife photographer living in Malta, and for many years I have travelled extensively through Africa photographing wildlife in places such as Amboseli, the Serengeti, Masai Mara and many others. My work today is strongly connected to fine art photography, particularly through black and white wildlife portraits and larger exhibition prints.
What originally pulled me toward wildlife photography was the feeling of entering environments that are completely outside human control. In the wild, every encounter feels earned. You cannot direct the scene or repeat the moment. That unpredictability fascinated me from the beginning.
Over time, I became less interested in simply recording animals and more interested in creating photographs that carry atmosphere and emotional weight. I wanted the images to feel cinematic and timeless rather than purely documentary.
Many photographers document wildlife, but your work carries a fine art approach. What does “fine art wildlife photography” mean to you?
“Fine art” is a very broad term and can be interpreted in many different ways. To me, fine art wildlife photography is about creating images that go beyond simply showing what an animal looked like and instead capture how the moment felt. Two photographers can stand in front of the same lion, but what matters is how they choose to translate that experience visually.
I think one of the main practical differences is that fine art photography is created to exist as art in its own right. The image is meant to live on someone’s wall, in a gallery or within a carefully designed space, rather than simply illustrating an article, documenting a species or serving a purely informational purpose.
I try to create photographs that feel immersive and emotionally grounded. Often that means simplifying the frame and removing distractions so the viewer connects more directly with the subject itself. Black and white has become an important part of my process because it allows shape, texture, contrast and expression to take priority over colour.
I also believe strong fine art photography should continue to hold attention beyond the initial reaction. Some wildlife images impress for a moment because of action or rarity, but I am more interested in creating photographs that stay with people afterwards. For me, the emotional atmosphere within the image matters just as much as the subject being photographed.
Elephants in single file in Amboseli
Are there certain animals, landscapes, or environments that you feel especially connected to when photographing?
I feel a very strong connection to African landscapes, particularly open environments where the scale of nature becomes part of the photograph. Amboseli has had a major influence on me because of the relationship between elephants, dust and the vast space surrounding them. There is a sense of calmness there that I find creatively inspiring.
Lions are another species I return to constantly. There is a complexity to them that I find fascinating. A large male lion can appear intimidating one moment and completely vulnerable the next. Some of my favourite lion pictures are not the dramatic scenes people might expect, but quieter moments where personality and mood become visible.
I also enjoy photographing in difficult or atmospheric conditions. Dust, rain, harsh skies or low visibility often create more emotional depth within an image than perfect weather ever could.
What challenges do you face when capturing wildlife in natural settings, and how do those challenges influence your creativity?
One of the biggest challenges is accepting that nature does not follow your commands. You can spend days, weeks or years searching for a specific moment and never see it happen. Learning to adapt mentally is a huge part of wildlife photography.
Another challenge is that conditions are constantly changing. Light disappears quickly, animals move unpredictably and weather can completely transform a scene within minutes. Instead of resisting those situations, I try to use them creatively.
Some of the photographs that became most important to me happened during difficult conditions where I had to simplify my thinking and react instinctively. Challenges often force you to become more observant and more emotionally connected to what is happening around you.
Kovu, a dominant lopard in his territory
In today’s digital world, how important is editing and post-processing in achieving your artistic vision?
Post-processing is a very important stage because it allows the final image to reflect the atmosphere I experienced in the field. Cameras record enormous amounts of information, but they do not always translate mood or emotional intensity naturally.
My editing process is usually focused on tonal control, contrast and shaping light in a way that strengthens the emotional direction of the image. Since much of my work is monochrome, small adjustments in texture and tone become especially important.
At the same time, I believe editing should remain connected to authenticity. The emotional foundation of the photograph still has to exist in the original moment. Editing can strengthen or weaken an image, but it cannot replace genuine atmosphere or connection in the field.
Looking ahead, what projects, goals, or creative directions are you most excited to explore next?
I am increasingly interested in building larger photographic bodies of work around specific themes and emotional ideas. Instead of isolated images, I want future projects to feel more cohesive and immersive as complete collections.
Beyond photography itself, I am excited about continuing to expand the physical presentation of the work through exhibitions, galleries and museum-quality prints. Seeing a wildlife photograph transformed into a large fine art print completely changes the experience of the image. It becomes something physical and lasting rather than just another digital photograph viewed briefly on a screen.
