Galleries

Explore wildlife photography galleries by theme

Wildlife portraits, alpine lines, seasonal stories, weather and night scenes all share the same intent: presence without spectacle. Every image here is a single exposure—no AI, no bait, no composites. I prefer to return to the same places and wait, letting light and timing do the work.

Start anywhere, follow the mood of the day, and take your time—these pictures reward slow looking. Welcome to my wildlife photography galleries !

These galleries are a doorway; the shop simply goes wider, with prints and postcards not shown here. Begin wherever you like, follow the tone that fits, and linger—slow looking suits this work.

Wild Seasons

Spring arrivals, summer routines, autumn shifts and winter quiet—wildlife through the year.

This selection follows European wildlife across the year. Spring brings arrivals and nesting; summer settles into daily routines; autumn shifts light, color and behavior; winter slows everything to its essence. I work quietly, in natural light, single shot and minimal processing, to keep the sense of place intact.

These images aren’t a checklist of species but a rhythm of seasons—movements, pauses and small rituals you only notice when you return often to the same paths.

Wild Portraits

Intimate encounters—eyes, textures and quiet presence.

I look for presence rather than spectacle: a glance held just long enough, a line of fur or feather against soft background, the quiet between movements. Portraits are invitations to linger, not trophies. They balance detail and distance so the animal stays itself—unposed, unbaited, unforced.

In each frame I try to leave air around the subject, letting texture and light carry the emotion.

Alpine Lines

Ridges, valleys and weather build temporary architecture in the Alps, and other mountains.

I like working at the edges of the day when light skims relief and turns slopes into simple shapes. These photographs are less about grand views than about rhythm—lines that repeat, break and rejoin.

They keep a human scale out of frame so the mountains can speak in light and shadow only.

Macroverse

Small worlds at scale—patterns, metamorphoses and detail.

Close distances make familiar subjects new: patterns on wings, the hinge of a leg, the quiet geometry of plants. I avoid heavy effects; the challenge is to keep scale honest while inviting attention to tiny decisions—how a line curves, how light sits on a surface.

This small world is not separate from the larger one; it’s a way of reading it.

Night Wonders

Twilight to starlight: calm horizons, storms and the Milky Way.

I keep the process simple: single long exposures on tripod with a star tracker, no stacking, no composites. Moonlight, passing distant visitors, eclipses and the Milky Way set the pace; the aim is calm color and clear structure rather than special effects. Long exposures aren’t there for drama alone—they let time draw the scene, revealing motion in clouds and water while keeping horizons quiet.

I plan around weather and moon phases, walk light, and accept small imperfections that come with working in the field. What matters is the feeling of night air—the hush between sounds, the slow return of light after a squall. Each photograph is one moment held open just long enough.

Weather Art

Drama in the sky — light, wind and rain shaping the scene.

Weather is a moving studio: light, wind and rain redraw the same place in minutes. I follow fronts and edges—fog burning off, squalls arriving, light returning after a storm.

The subject is less the cloud itself than the change it brings.

Black & White

Form, light and silence stripped to essentials, without the distraction of color.

Black & white is how I simplify the world to structure, light and breath. I don’t convert everything—only photographs that can hold themselves without color: strong geometry, honest contrast and textures that invite the eye to linger.

I work with a restrained tonal range, keeping highlights quiet and letting mid-tones carry most of the voice; grain is left natural, and retouching stays minimal. The point isn’t drama for its own sake but clarity—finding the line that shapes a valley, the rhythm of fur or feathers, the pause between movements.

When a frame becomes monochrome, it’s because color would distract from what matters. These pictures are printed with papers that suit the palette: matte for softness and depth, baryta when a slightly brighter D-max helps the subject breathe.