Randall Ball Photography

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Randall Ball Photography Photographer and Photo Expedition Tour Leader

I’m not particularly a bird photographer but I think I may have finally gotten a decent BIF pic of a lilac breasted roll...
11/01/2026

I’m not particularly a bird photographer but I think I may have finally gotten a decent BIF pic of a lilac breasted roller! These guys have frustrated me for years, I always just miss the shot in years past, half in frame, not fast enough shutter, you name it, always just missing it, but I may have gotten lucky this year!

Damn these guys are fast!

NIkon Z9
Nikkor Z 600mm f/4 TC VR S
f/11 @ 1/4000 sec
ISO 5000

Behind the Lens:  Shooting with IntentionIt was very early in the morning, with the sun just beginning to rise and not m...
10/07/2026

Behind the Lens: Shooting with Intention

It was very early in the morning, with the sun just beginning to rise and not much light to work with. We had just left Sentinel Mara Camp and were heading out to check on the Paradise Pride, which we had seen the day before. As we passed Little Governors’ Camp in the Musiara Marsh area of the Masai Mara, we spotted the big male lion known as Koshone walking through the grass.
My friend and longtime guide, Dominic, immediately knew what to do without even asking. He pulled back, moved ahead to an intercept point and positioned us so the lion could come to us. The scene has been set, now it was up to us to be ready.

I was shooting with a Nikon Z8 and the 70–200mm lens at 200mm. The camera was mounted on an inverted monopod and controlled with the Nikon MC-N10 Remote Grip, which allowed me to get the camera down low near eye level. The first priority going through my mind was setting shutter speed. The reciprocal guideline would put 1/200 second near the minimum for controlling camera movement at 200mm. But that only helps with movement from the photographer. It does nothing to stop the action of a lion walking toward you. I doubled it to 1/400 second to give myself a little insurance, yet keep it low enough not to put myself in high ISO ranges.

Koshone was walking slowly and coming almost directly toward me. Since he wasn’t moving quickly across the frame, I could get away with a slower shutter speed than I would use for a running lion or one moving from side to side. At 1/400 second, I felt I had enough speed to keep his eyes sharp while freezing the slight movement of his head and that lifted front paw. With the ambient light still fairly low, I opened the lens all the way and let Auto ISO do its job. It settled at around ISO 500, which was nothing to worry about. A little noise can be cleaned up later if needed, motion blur across the eyes cannot. Once the exposure was where I wanted it, my attention shifted to focus and timing. I used AF-C with 3D tracking, animal eye detection and back-button focus. Then it was a matter of firing controlled bursts and watching the rhythm of his walk.

I was waiting for three things to come together…The direct gaze to capture the viewer’s attention, the lifted paw for the action, and that first warm light of the morning across his face for the ambience.

That’s what shooting with intention means to me. Having the moment preconceived in your mind what you’re looking to capture. Knowing your settings, understanding how far you can push them and not let the excitement of the moment cause you to forget the photograph you’re trying to make.

Easy peasy right?

Nikon Z8
Nikkor Z 70-200mm, f/2.8
200mm
ISO 500, 1/400 sec @ f/2.8





This was one of those moments where you realize just how much strength these cats really have.We watched this leopard dr...
10/05/2026

This was one of those moments where you realize just how much strength these cats really have.

We watched this leopard drag a topi calf nearly 200 yards across open ground toward a tree. Being that exposed for that long isn’t something you see every day, and she seemed completely unconcerned by our presence. At one point, she passed right by our vehicle, still locked in on where she was going.

From a photography standpoint, all you can do in a moment like this is stay ready, keep tracking her, and let the behavior unfold. No need to force anything. The story was already happening right in front of us.

What stayed with me most was the sheer power it took to carry that calf that far and then up a tree. Such an impressive thing to witness from behind the lens.

Nikon Z8
Nikkor Z 70-200mm, f/2.8
81mm
ISO 400
f/6.3
1/2000sec


Bless the rains.Sometimes, it’s more than just the wildlife subject. The year before I made this photograph, Amboseli ha...
10/03/2026

Bless the rains.

Sometimes, it’s more than just the wildlife subject. The year before I made this photograph, Amboseli had endured a devastating drought. Water disappeared, the land turned brittle and many animals perished. When the rains finally returned the following year, they brought more than water. They brought renewal.

As this evening storm moved across the landscape, I knew a photograph was there. What I didn’t have was a wildlife subject to give the scene scale and life. We searched frantically and we were about to lose the light, but there was nothing. Then we rounded a corner and saw these two giraffes walking beneath the gathering clouds.

From that moment, it was on…Get into position, watch their movement, and build the frame as the light was fading. Objective…let the giraffes remain small enough for the storm, the rain and the recovering land to tell the rest of the story. The giraffes may be the subject, but the image in my head is telling me it’s about survival, renewal, and the return of life to Amboseli.

Sometimes it’s good to look beyond the intimate portrait and let the environment reveal the story you’re looking to capture.

Nikon Z8
Nikkor Z 70-200mm, f/2.8
120mm
ISO 140, f/8@1/200sec





Shooting motion handheld.This image was made handheld, using a slow shutter speed and a burst of frames. Normally, when ...
09/29/2026

Shooting motion handheld.

This image was made handheld, using a slow shutter speed and a burst of frames. Normally, when photographing wildlife, we’re trying to eliminate motion. Here, I wanted to keep it. The slower shutter speed allowed the water to blur and flow around the hippo, giving the scene a sense of movement that a faster shutter would have frozen. The problem, of course, is that the hippo still needed to be reasonably sharp. Since I was shooting handheld, I fired a burst rather than relying on a single frame. That’s a technique I use quite often when working at shutter speeds that are slower than I can comfortably handhold. Even when you’re holding the camera as steady as possible, there are tiny variations from frame to frame. Your breathing changes. Your grip changes. The subject moves, the camera moves, but thru a burst in continuous drive, there will often be maybe just one frame where everything comes together. The camera is momentarily steady, the animal pauses just enough, and the eye and face stay sharp while everything moving around it continues to blur. Ain’t gonna lie, luck plays a good part too!

It’s not really about spraying and hoping. You still need good technique…I brace the camera as best as I can, control my breathing, keep my focus on the animal, and shoot a short burst through the moment. Then I’m looking for that one frame where the subject holds together against all that motion. That little bit of uncertainty is part of what makes slow-shutter wildlife photography interesting.

You’ll never get the shots you never try.

Shot on location in Masai Mara, Kenya while staying at Sentinel Mara Camp

Nikon Z9
Nikkor Z 400mm, f/4.5 VR S
ISO 64, f/32 @ 1/10 sec




Sometimes, you don’t see the scene in black and white, you feel it.
09/25/2026

Sometimes, you don’t see the scene in black and white, you feel it.

When we first learn photography, compositional guidelines like the rule of thirds give us a place to start. They teach u...
09/19/2026

When we first learn photography, compositional guidelines like the rule of thirds give us a place to start. They teach us balance, where to place a subject and how to move a viewer’s eye through the frame. There’s real value in learning them.

But don’t get locked into them. They are not the end all of all compositions. They are only meant to give you a starting point in your journey as an artist.

As you grow as a photographer, there comes a point when you stop asking, “Where should I put my subject?” and start asking, “How do I want this photograph to feel?”

With this rhino, I could have followed the rule of thirds or filled the frame with size, strength and detail. Instead, I placed him very low and let the negative space dominate. The emptiness creates the quiet, isolation, and sense of scale I wanted.

Learn the guidelines. Understand why they work. Then give yourself permission to move beyond them. That’s where your own artistic vision begins to find its voice.

Nikon D810
Nikkor 400mm, f/2.8
ISO 400, f/2.8@1/1000

PRESS RELEASERandall Ball’s La Gardiane de Camargue Selected for Decode Gallery’s “UNPOSED” ExhibitionTUCSON, Arizona — ...
08/29/2026

PRESS RELEASE

Randall Ball’s La Gardiane de Camargue Selected for Decode Gallery’s “UNPOSED” Exhibition

TUCSON, Arizona — August 29, 2026 — Fine art and wildlife photographer Randall Ball has been selected for Decode Gallery’s upcoming “UNPOSED” photography exhibition with his black-and-white photograph, La Gardiane de Camargue.

Created in the wetlands of the Camargue in southern France, the photograph captures a gardiane, a female member of the region’s traditional mounted herding culture, riding within a herd of Camargue horses as they move through shallow water.

The gardians of the Camargue are mounted cattle and horse herders whose working traditions have long been tied to the region’s ranches, marshes, white horses and black Camargue bulls. Often compared to cowboys, gardians remain one of the most recognizable parts of Camargue culture. While the tradition was historically dominated by men, women also ride and work within that culture and are known as gardianes.

In La Gardiane de Camargue, the rider is not separated from the herd or presented formally to the camera. She is almost lost within the horses, visible only between their bodies as the herd advances through water and mud. The moment was neither staged nor directed.

That unplanned quality makes the photograph particularly suited to UNPOSED, an exhibition centered on photography made outside the conventions of the posed image.

The black-and-white treatment removes the familiar color associated with the Camargue and shifts attention toward movement, texture and the relationship between horse and rider. Water breaks beneath the animals’ hooves, manes move in the wind, and the gardiane appears briefly through the center of the herd.

“What interested me was that she never became the obvious subject of the photograph. She was part of the herd, almost disappearing into it. The horses were moving toward me, water and mud were flying, and for a moment everything aligned. There was nothing to direct. I just had to see it and make the frame.”
— Randall Ball

La Gardiane de Camargue will be exhibited as part of Decode Gallery’s UNPOSED photography exhibition in Tucson, Arizona.

Opening Reception: Saturday, October 3, 2026
Time: 6:00 p.m. – 8:00 p.m.
Decode Gallery
314 South Convent Avenue
Tucson, Arizona 85701

About the Photograph

Title: La Gardiane de Camargue
Photographer: Randall Ball
Location: Camargue, France
Medium: Black-and-white photography

The exhibition brings together photographs built around unscripted moments, where observation, timing and circumstance take the place of deliberate posing. La Gardiane de Camargue approaches that idea through a working tradition that still belongs to the landscape in which it developed.

Jaguars…Ghosts of the JunglePhotographing jaguars in the Pantanal is one of those experiences that is hard to fully appr...
08/28/2026

Jaguars…Ghosts of the Jungle

Photographing jaguars in the Pantanal is one of those experiences that is hard to fully appreciate until you’ve spent time there. We travel the rivers by boat, sometimes for hours, constantly searching the banks and watching every opening in the vegetation. You quickly realize just how easily an animal this large can disappear. A jaguar can be standing in plain sight one minute and take two steps into the brush and simply be gone.

When we finally find one, I try to spend some time watching before getting too wrapped up in the camera. How is it moving? What has its attention? Is it hunting, resting, or just working its way along the river? After a while you begin to recognize the little changes in behavior that tell you something may be about to happen. That’s usually when I get the camera ready and start thinking about the photograph.

What stays with me most, though, are those moments when a jaguar stops and looks straight at the boat. You’re looking through a long lens, but there’s no mistaking that eye contact. For a few seconds you have the complete attention of one of the most powerful cats in the Americas. Then it turns away, slips back into the vegetation, and you’re left staring at the spot where it was just standing.
That ability to appear and disappear so effortlessly is why I’ve always thought of them as the Ghosts of the Jungle.

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Houston, TX

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