Expert Zoo Pictures: How To Shoot Great Animal Photos
Zoo photography featuring a Lion in profile at the Bali Zoo.
Expert zoo pictures certainly require the right camera and lens. But I’ve learned that it’s organization, technique, composition and story telling that, ultimately, determines the success of your best animal photos made at the zoo.
Expert zoo pictures are often taken with a DSLR or mirrorless camera and a medium to long telephoto lens. Appearance and character can be explored through close-up photos, or by incorporating elements of the enclosure to add visual interest and explore metaphor or theme in the animal photos created.
Zoo photography is a perfectly legitimate endeavor. What’s more it’s how a lot of aspiring wildlife photographers perfect their skills on the way to making fantastic wildlife photos in some of the world’s most remote and challenging environments.
I’ve written this post to help you make the most of your next photography adventure to the zoo in the hope that it will help raise the standard of the photos you take and encourage you to craft beautiful and emotionally compelling animal photos.
Expert zoo pictures being with careful planning of your visit. You’ll do so to ensure you’re able to situate yourself in the best possible positioned to achieve great viewpoints from which to photograph the wildlife on display, at the time of day when they’re most active.
Good planning should also ensure you don’t miss out on opportunities for action photos of the birds of prey and other, fast moving wildlife.
But there’s so much more to making great photos at the zoo than that. Please read on to improve your chance of success whenever you visit a zoo, in your own town or when traveling abroad.
Table of Contents:
Taking Unique Lion Pictures At the Bali Zoo
I loved my visit to the Bali Zoo where I made this close up picture of a lion. It’s a great place to make fantastic photos of large, powerful wildlife in a safe and easy way.
But am I really that brave photographing a lion up close and personal? And how is it possible that I am here to tell the story?
It’s true that I made this photo from less than 6 feet (i.e., two meters) away from the lion. However, I was protected by a sheet of, I assume, reinforced glass or acrylic that separated me from the King of the Jungle.
The amazing thing was that the lion didn't seem to notice me, despite a couple of noisy young women standing next to me making photos of themselves, with flash, with the lion directly behind them.
The most important component in making it easier for photographers to create great images in a zoo is the design of the animal enclosure in question.
In a more traditional enclosure, where you’d expect an animal like a lion to be much further away, I'd probably need an effective focal length of at least 300 mm for such a close up, character driven portrait.
But it was that huge sheet of clear, reinforced glass or perspex covering the front of the enclosure that allowed me to stand so close to the lion and, ultimately, make this photo possible.
I can tell you it certainly makes a change from having to make animal photos at the zoo through iron bars and cages.
The photo was made at 1/200 second at f/8 at a 65 mm focal length on my then Canon 5D Mark II camera with a Canon 24-105mm f/4 lens attached.
Was it one-way glass?
Perhaps our King Of The Jungle had just been feed.
Had the lion become so used to interacting with humans that it no longer considered us a source of food?
I know not but, whether behind reinforced glass or iron bars, I think these animals work out pretty quickly what they can and can’t do.
Either way I was glad to be off the menu and very appreciative of the opportunity to make a close up study of this majestic animal at the lovely Bali Zoo.
The other key to making the photo was that I employed a Polarizing filter to cut back the glare that was reflecting off the surface of the glass/perspex.
By doing so I was able to make the glass or perspex all but invisible, adding to the perception that the image was made in the wild. Which, I can testify, it was not.
8 Tips For Taking Great Zoo Pictures
As far as photographing animals in zoos there's a few fundamental approaches that can really add to your success.
Pick a zoo and/or enclosure that provides close access to the animals.
Pick an enclosure that offers as natural a setting as possible, ideally one where the background is darker than the animal you want to photograph.
This will help prevent the animal from photographing too dark with an insufficient amount of fine detail in their hide, fur or coat.
Try to be in position either side of feeding time. This may give you opportunities to photograph certain animals in both more active and restful states.
Try to ensure your visit includes at least one interactive (e.g., bird of prey) session, particularly one that will allow you to practice capturing fast moving action pics.
Get there early, look at the direction of the light and get a seat that will allow you to have the light behind you.
This should help ensure your subject doesn’t photograph in silhouette and that any darker feathers don’t rendered black, void of shape or detail.
It's often a good idea to sit in the front row to prevent other folks heads appearing in front of you and, in an amphitheater setting, allow you to photograph upwards.
This may provide a more iconic representation of the bird you’re photographing, when pictured against foliage or sky.
If you find iron bars separating you from your subject move in close, when allowed and it’s safe to do so, and position your camera's lens shade on or just in front of the bars through which you want to photograph.
If the bars are particularly narrow, and you have a protective filter in front of your lens, removing the lens shade should allow you to move in a little closer still.
However, under no circumstances should you move in front of any fencing or barricade, even if it’s just a handrail or a bed of flowers.
For your own safety, and that of your equipment, make sure you do not place your lens through the bars of an enclosure.
As some animals are known to spit and the like, it can be a good idea to employ a UV filter on the front of your lens whenever you take photos at the zoo.
Sad eyes and expressive face of a Bornean Orang-utan, Bali Zoo.
Best Lens Focal Length For Zoo Pictures
The specific lens focal length you’ll need for zoo photography is going to depend on a number of factors, including the following:
The size of the animal or bird you want to photograph
Its distance from the camera
Whether you're looking for action photos, compelling close up or environmental portraits of the bird or animal in question
I was relatively close to this colorful Bornean Orang-utan during my visit to the Bali Zoo. This enabled me to photograph it with a relatively modest 105 mm telephoto focal length on my full frame Canon camera.
The contrasting orange and green color palette made the scene visually interesting, which is why I used negative space in the composition to place extra emphasis on those contrasting colors.
But it was the orangutan’s sad eyes and expressive face that really drew my attention. I moved 180 degrees around the enclosure so that the light was behind me when I made the photo.
As it was late in the day, the low angle of the light illuminated the orang-utan’s face beautifully. The delicate texture that the photo has revealed in the animals coat and skin is quite remarkable, and really adds to the documentary nature of this image.
A lens’s focal length remains constant on a fixed or prime lens, but changes on a zoom lens as you, literally, zoom in or out.
In simple language a 24 mm-70 mm lens incorporates focal lengths from 24 mm up to and including 70 mm.
24 mm is a classic wide angle focal length enabling the photographer to record a relatively wide angle view of the world.
Focal lengths of 24 mm or wider are where you’re most likely to see an exaggerated perspective and a greater sense of three dimensional space between foreground and background elements in the frame.
50 mm is referred to as a standard or normal lens.
Back in the days of 35 mm film cameras, before zoom lenses became common place, cameras were sold with 50 mm fixed/prime lenses attached.
But most digital cameras have sensors that are smaller than 35 mm film.
These APS-C and Micro Four Thirds sensors change the way lenses on these cameras render the subjects and scenes you photograph, compared to the way they would if used on a full frame sensor camera.
By way of explanation here’s what you need to know:
Actual magnification doesn't change with the same lens used on any one of these three sensors.
The cropping that occurs with sensors smaller than full frame provides the impression that the lens is of a greater (i.e., more powerful) focal length than, in fact, it is.
Despite the illusion of greater magnification that occurs on smaller sensor cameras, the perspective produced by the lens remains the same regardless of the camera it’s used on.
I’m referring here to the relative size of subjects in the frame and the impression of space between them.
The smaller the sensor the greater the depth of field will be for a lens used at a given aperture.
In other words a 50 mm focal length on a Micro Four Thirds camera produces a substantially larger depth of field at, for example, f/4 when compared to a lens of the same focal length on a Full Frame camera that’s used at the same camera to subject distance and aperture.
This can be an advantage with landscape and architectural photography but, potentially, a disadvantage for portrait photography where very shallow depth of field is often preferred.
The 70 mm focal length is often considered to be the beginning of the useful telephoto (i.e., telescopic) range.
The greater magnification associated with focal lengths from 70 mm and upwards helps to isolate the subject from their surroundings.
These mild telephoto focal lengths are well suited to making head and shoulder or half length portraits, particularly on a full frame camera, of individuals from a comfortable camera to subject distance.
When I’m photographing people and similarly sized animals with my full frame Sony camera I find a focal length of around 90 mm, whether on a fixed/prime or zoom lens, to be optimal in relation to the following criteria:
Framing
Camera to subject distance
The way the average face is drawn in the photo
There’s a lot of information in the above paragraphs.
The easy answer would be to say that most head and shoulder portraits look better when photographed at a focal length of around 90 mm. This is true for people as well as animals.
However, in the case of people base portraiture, the problem with this idea is that the cropping that occurs with a smaller sensor camera will likely force you to stand further back to adequately compose a head and shoulder or half length photo of a couple.
This will cause you to move further away from your subjects and, as a result, you may find it harder to direct them without raising your voice.
That might make the production of intimate, heartfelt portraits harder to achieve.
But the same is usually not the case with wildlife photography where, for your own safety, you’ll usually find yourself photographing from a greater distance.
That makes the cropped sensors associated with APS-C and Micro Four Thirds cameras ideally suited to wildlife photography.
The cropping of the image that occurs with these cameras means the subject will fill more of the frame and, as a consequence, appear closer or larger in the photo than they otherwise would if the image had been made, from the same distance and at the same lens focal length, with a full frame sensor camera.
This means that you’ll be able to achieve a close up image with a substantially smaller lens that you’d need to achieve the same framing with a full frame camera.
In the case of wildlife photography you end up saving a lot of money by purchasing an APS-C or Micro Four Thirds camera and also benefit from lenses with effective focal lengths that are smaller, lighter and cheaper than what you’d need to achieve the same framing with Full Frame sensor cameras.
Knowing which lens to buy is important, but understanding how to make the most of that lens is what matters most.
Photographing directly into the light can cause a loss of sharpness and reduced color saturation. Lens flare and, in extreme situations, sunspots can occur when photographing directly into the light.
To be able to produce sharp, clearly defined images when photographing into the light you’ll want to read this post titled How to Reduce Lens Flare in Your Photos.
Likewise, check out my post titled What’s a Fast Lens, Do I Need One? It’s an excellent primer that’s packed with useful information to help you make the right decision when you purchase that new lens.
Colorful bird feeding at the Bali Zoo near Ubud in Bali, Indonesia.
What’s The Best Camera For Animal Photos At The Zoo?
There’s a whole range of features that professional and enthusiast level photographers should consider when purchasing a camera system for wildlife and zoo photography.
Focus capabilities, particularly when photographing moving subjects
Frame rate: how many photos per second the camera is capable of capturing
Buffer: how many photos can the camera hold, in temporary storage, until previous photos from a burst of images are written onto the camera’s memory card
Image Stabilization and whether that occurs in camera, in lens or both
Weatherproof capabilities
If I was going on a dedicated wildlife photography assignment I’d either buy or hire one or more cameras that were, primarily designed with action photography in mind.
These days I use a Sony A1 camera which is, arguably, the best camera for wildlife photography. Needless to say it’s incredibly well suited to making beautiful animal photos at the zoo, whether they’re character based portraits or fast moving action pictures.
The tough build quality, weather and dust resistant features, fast frame rate, large buffer, super responsive auto focus and superior high ISO performance of this camera make it a more suitable option than the various Canon, Nikon and other Sony camera models I’ve owned since moving to a complete digital workflow back in 2006.
However, as a lot of photography undertaken in zoos is less demanding in regards to freezing fast moving action and providing protection from dust and moisture, the smaller form factor of the newer Sony a7CR full frame camera would also be a good option. And I’m still a fan of full frame cameras.
But, as I’ve stated previously, it’s worth considering the advantages in cost, size and weight offered by APS-C and Micro Four Thirds cameras when photographing wildlife, whether in the wild or in a traditional or open range zoo.
To help narrow down your choice I’ve listed the camera brands, camera types and models that are best suited to taking animal photos.
Full Frame Mirrorless Cameras
Sony a1 camera
Sony a9II
Canon EOS R3 camera
Canon EOS R5 camera
Nikon Z9 camera
Panasonic Lumix S1R camera
APS-C Mirrorless Cameras
Sony a6700
Fuji X-H2S
Micro Four Thirds Cameras
Olympus OM-D E-M1X
Panasonic G9
Best Hybrid/Bridge Camera
Sony RX10IV
Nikon CoolPix P950
Full Frame DSLR Cameras
Nikon D6 camera
Nikon D850 camera
Canon EOS 90D camera
Canon EOS R7 camera
APS-C DSLR Cameras
Nikon D500
Canon EOS 90D
Just remember that the size of a camera's sensor (e.g., full frame, APS-C or Micro Four Thirds) does not effect perspective, which we can refer to as the relative size and distance between elements within the frame.
However, as stated earlier, the sensor size does effect the size of the primary subject or focal point within the frame.
It’s not an optical issue, resulting from the greater magnification of a more powerful lens. It’s due to the size of the cropped sensor when compared to that of a camera with a physically larger (e.g., full frame) sensor.
You see a physically smaller sensor cannot include as much information around the subject (e.g., above, below, left and right) that it’s focused upon.
Because the cropped sensor camera records less information surrounding the subject, than would be the case with a full frame camera with the same lens focal length, it stands to reason that the subject will appear larger and closer, in the resulting image.
Therefore, cropped sensor cameras allow you to make relatively close up images with telephoto lenses of lower magnification that are shorter, lighter and less expensive than would be the case with a lens of similar quality on a full frame camera.
When working with telephoto focal lengths this is a substantial advantage offered by the small sensor APS-C and Micro Four Thirds cameras. An advantage that needs to be carefully considered by aspiring travel photographers, facing restrictive carry on baggage requirements.
Zoo Pictures: Why It’s Important to Tell The Full Story
When it comes to animal photography I think it's important not to represent your photos as anything other than what they are.
That means making mention of the fact when your images were created in a zoo, wildlife park or animal rehabilitation centre.
The last thing I’d want to do would be to diminish the hard work, expertise and extreme dedication of actual wildlife photographers who work under far more difficult conditions than I have to make the photos in this post.
In this case I paid a small amount of money to enter venues where it's possible to safely view and create great photos of wildlife up close.
Nonetheless, while these animals don’t live in the wild, they’re hardly domesticated pets.
In creating these pictures I’ve tried to make them as interesting as possible, without applying particularly aggressive image manipulation in Photoshop.
They’re just simply, well crafted animal photos made in a zoo. They’re realistic and documentary in nature, which I believe adds to their authenticity.
I’m stating that all the images in this post were made in a zoo, and I do so both to encourage aspiring wildlife photographers to learn their craft, closer to home, and with respect paid to actual wildlife photographers whom expend significant energy, time and money photographing animals in far less convenient locations than a zoo. And that’s to be commended.
About To Travel?
Are You Really A Wildlife Photographer?
My favorite wildlife photographer is Nick Brandt. He’s the real deal. A totally authentic artist/photographer, totally committed to his craft.
I’m fortunate to have been on all manner of adventures, across six continents, photographing people, landscapes and architecture.
I’ve enjoyed photographing seals, sea lions, penguins and birds from cruise ships, zodiac inflatable boats and on landings in the Falkland Islands, South Georgia Island and Antarctica.
Nonetheless, while my experiences and general photographic knowledge enable me to teach the fundamentals of wildlife photography, it’s not my speciality.
I don’t live to photograph wildlife, nor are most of my travels scheduled around wildlife photography.
The reality is that, up until my current Sony a1 camera, most of the camera and lenses I’ve owned have been far better suited to portrait, landscape and architectural photography.
However, my experiences have taught me a number of valuable lessons which I’m always happy to pass on.
I brand myself as a travel photographer. I love travel and construct all of my overseas adventures around photography.
But travel photography can mean quite different things to different people. If you think the term means photographing models around 5-star resort swimming pools, that’s most certainly not what I do.
I’m only interested in authentic experiences, particularly those that deal with the human condition and exploring the beauty of our world through the creation of life affirming images.
Sometimes it’s useful to put yourself in a box, particularly for reasons of brand recognition. But what I really like to photograph is the transient, transforming and transcendental nature of light.
Now, try putting that on a business card.
The question that remains is whether you consider yourself to be a wildlife photographer, whether amateur or professional
Alternatively, you might consider yourself to be more of a generalist who’s been fortunate to have traveled and photographed wildlife in their natural environment.
Does it matter?
From the perspective of branding and/or personal artistic identity, I think it might.
Needless to say, branding yourself as a wildlife photographer when all of your photos are made in zoos is somewhat problematic.
Zoo photography of a Buffy Fish Owl at the Bali Zoo, Indonesia.
What’s The Value of Zoos in Our World?
In principal I’m a supporter of zoos, particular when they’re working to preserve endangered species.
I consider it important that places like the Bali Zoo, Singapore Zoo or Healesville Sanctuary near Melbourne, Australia can educate the general public on the value of preserving native species and their habitats.
Of course zoos are only part of the answer. But I believe they play their part in slowing habitat loss and species extinction.
We need to wake up and take the action that’s needed to pull us back from the brink, before it’s too late. The photos you make and share with the world can also make a difference.
Surely the inevitable artificial intelligence (AI) advancements that will be adopted by our species should proceed along with an evolution in our psyche. I’m just not sure that’s going to be the case.
My understanding is that a wildlife sanctuary, in the true sense of the word, does not buy, sell or breed animals. Rather, they take in surplus animals from zoos or injured wildlife unable to survive in the wild.
That’s a model I’m happy to support.
I’ve photographed several large zoos and wildlife parks such as the Werribee Open Range Zoo outside of Melbourne and the fantastic Singapore Zoo.
I’m also incredibly fortunate to have photographed wildlife in the Falkland Islands, South Georgia Island, Antarctica and Iceland. And I’m going to continue to travel and photograph wildlife whenever I have the opportunity.
I’m really looking forward to more authentic adventures photographing birds and animals in their natural environment.
Nonetheless, I won’t be turning my nose up at opportunities to make beautiful, life affirming images of animals in zoos and wildlife parks at home and abroad.
Take this simple image of a Buffy Fish Owl. The composition is less than ideal, but I like the image because of the owl’s piercing gaze and the way it’s largely monochromatic, yellow/orange plumage blends so well into its surroundings.
I certainly wouldn’t consider it a portfolio image, but there’s value in photos like this as they help tell the story of a particular day’s adventure.
Diversity is a good thing, and the best way to produce a large and diverse body of work is by photographing lots of different subject matter.
How do you feel about photographing animals in the zoo?
Do you feel like you're cheating photographing an otherwise wild animal within the artificial confines of a zoo?
Is your local zoo the closest you or your kids are likely to get to see these exotic animals in the wild?
Are your visits to the zoo joyous, educational or otherwise?
There's a Reason Lions Are Considered Wild
Now’s the time to share with you the final part of the story from my day photographing at Bali Zoo.
Towards the end of the day I was charged by an angry lion mother when I came a little too close to a cub behind a more traditional enclosure.
It wasn't that I did the wrong thing, it was that the cub had strayed right over to the bars behind which I was standing. I bent down on my haunches in an attempt to find a better perspective for the photo I wanted to create.
While doing so I was careful to take the camera strap from around my shoulders to prevent being pushed up against the cage in the event the adult lion was able to reach through the bars and get a grip (or a bite) on my lens.
I lifted my camera to make an image and, before you could say Blimey Teddy, the mother was standing upright, at around 3 meters (10 feet) high, staring down at me through the iron bars that separated us.
I could feel her warm breath and was very aware of the warning in her eyes.
Her cub ambled away and the mother lion, while still standing upright, proceeded to urinate in front of me. A male lion looked on with what appeared to be a smirk across its face.
That got my attention, and my respect. And I can tell you that I slept uneasily, having very vivid dreams, for the next few nights.
Glenn Guy holding a python at the Bali Zoo in Bali, Indonesia.
Photographing Wildlife And Knowing Your Limitations
I'm no wildlife photographer, though I've made decent images when given the opportunity in very wild and remote parts of the world.
I'm Australian and have photographed crocodiles, kangaroos, wallabies, possums, thorny devils and snakes. But only in the way a typical tourist would.
Frankly, crocs give me the Screamin' Willies, as do snakes.
I've also been fortunate to have photographed seals, elephant seals, penguins and a variety of birdlife in the Falkland Islands, South Georgia Island and Antarctica.
I was co-running a special photography tour at the time.
I'm a travel photographer with a wide and varied range of photographic experiences under my belt. But no, I wouldn't call myself a wildlife photographer.
I freely admit to feeling scared holding this python. But it felt incredibly soft and it really was a fantastic experience when the attendant at the Bali Zoo invited me to do so.
Playing tourist at the sad and somewhat depressing Tiger Temple in Thailand.
Zoo Pictures Mixed Emotions
Thus far I've visited zoo's in the following countries:
Australia
China
Thailand
Bali (Indonesia)
I've always enjoyed myself when visiting a zoo, though I often experience a tad of regret at what I see.
You see I still have memories from childhood of seeing lions and tigers caged, behind iron bars in the back of trucks, when carnivals and the circus came to town.
On occasions I've made photos that revisit those childhood memories and, at the same time, act as metaphors for the type of cruelty still inflicted upon wildlife caged for the purposes of sale on the black market.
I remember seeing a report on TV a number of years ago that showed authorities relocating tigers from the Tiger Temple in Thailand.
This tourist attraction had been infamous for allowing visitors to have their photos made with some of the tigers.
I can remember how strange that experience had been on my own visit. I’ve held a baby crocodile before, which was an amazing experience as the crocodile was to be released into the wild in due course. But to pose next to an adult tiger seemed a little perverse.
I decided to participate just to get a sense of what the experience might be like for the average tourist.
I smiled for the camera and moved on. I felt sorry for the tiger and remember other folks muttering that the tiger had been drugged to make it more docile.
I suspect they might have been right and feel that the removal, by authorities, of the tigers from the Tiger Temple was a good thing.
There’s no doubt that our memories help form our experiences, our opinions and the way we perceive the world around us.
Childhood memories watching lions and tigers pacing around inside small, caged enclosures remains with me to this day.
Such memories, while sad, serve to enhance my empathetic nature and fuel my determination to tell life affirming and positive stories about wildlife housed in more sympathetic, contemporary environments.
A well-meaning monk feeding a deer at a wildlife park, Thailand.
Zoo Photography: The Power Of Metaphor
Here’s a photo of a US born monk with a deer at a wildlife park in Thailand. He was very happy for me to make the photo and even offered to make the process easier for me by feeding the deer honey.
I was particularly interested in the monks eyes which seemed even more doe-like than those of the dear. It's a very simple image, not much more than a snapshot.
But, for me, its that irony within the monk's sad eyes that make it worthwhile.
The monochromatic orange hues of his robe and surrounding earth seem to add to the melancholy nature of the image which, in a way, reflect the feelings I sometimes experience when visiting zoos.
Depending upon how you approach making photos you have the opportunity to communicate all manner of concerns that go beyond straight documentary photography.
To that end the use of message and metaphor can be powerful communicative tools for the creative photographer.
Consider, for example, how you could use the bars of a cage at a zoo to tell a story or express a point of view on the following:
Prison incarceration
Refugees held in detention
Domestic violence
Depression
I’d suggest that by photographing animals we are, in fact, exploring our own place in this world.
That's why a photo of a mountain gorilla cradling their offspring is such an emotively powerful image.
Likewise, how uplifting it is to witness the rehabilitation of injured wildlife at birds of prey displays at zoos around the world.
Perhaps it's the fact that the birds get to fly that makes these displays so pleasing to witness and photograph. Does that not communicate the experience of freedom, albeit only temporary?
I Support Zoos And Hope They Support Photographers
Zoo's, by their very nature, are a compromise. But they are filled with hard working people with a passion for what they do.
Our admission fees and donations enable them to continue their work.
Whether at home or on holiday, perhaps the best way we can support the work zoos are engaged in is by continuing to visit them.
What’s more, by making photographs that tell a positive story we photographers are able to share the news about the good work done by zoos to educate the public and to house and rehabilitate animals in a safe environment.
What's important is that zoo’s allow photographers to make images without hassling us over copyright of the images made within the confines of the zoo.
Personally, I have no issue with paying a reasonable fee to make images with the understanding that payment of said fee would grant me the opportunity to (potentially) profit from the sale of those images.
But most folks, regardless of the size of their lenses, simply want to make great photos that celebrate the beauty, cuteness or majesty of the animal in question.
Surely, there's nothing wrong with that.
Likewise, sharing quality images on social media and through sites like this should only be considered beneficial to zoos and the good work they do.
Conclusion: Behave Yourself And Make Great Zoo Pictures
Needless to say, when undertaking animal photos at the zoo it’s critical that you don’t agitate the animals or behave in a way that draws too much attention to yourself.
Don't parade around like you're something special. That may cause the otherwise good natured zoo staff to begin behaving like over zealous security officers.
After all, the primary job of many zoo staff is to care for and protect the animals.
If you want to avoid being hassled please behave respectfully towards the animals, staff and members of the general public while photographing at the zoo.
I'm going to make a special effort to include visits to more zoos as I continue to travel the world.
I made a similar effort to include cemeteries in my travels and, before you could say it's the quick or the dead, I'd made an eBook on How to Photograph Cemeteries.
At the very least, photographing animals in zoos is great practice for that once in a lifetime African safari many of us dream of undertaking.
In any case a day at the zoo is a fantastic educational experience. So why not add to it by making some great animal photos by which to remember the day?
You'll have fun, be able to make a record of your adventure and share those zoo pictures with friends and family through social media.
What's not to like about that?
