![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Tiffany-Taxis-OM-SYSTEM-Wildlife.jpg\")
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Wildlife photographer Tiffany Taxis<\/a> had been sitting with a bear and her three cubs on the Alaska coast for hours when the large animal went rigid. She stopped nursing. Her gaze became focused and she started to drool. Thirty yards away, a lone wolf stood against the glaciers. Every photographer\u2019s instinct would say the same thing: zoom tight, fill the frame with the wolf. Taxis did the opposite. She pulled wide, trusting her storytelling instincts that years of art school had taught her.<\/p>\n Full disclosure: This article was brought to you by OM SYSTEM.<\/a><\/p>\n Tiffany Taxis leads guided wildlife photography tours in Alaska<\/a> and the Greater Yellowstone Ecosystem. While many of Taxis\u2019 images are captured with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO<\/a>, the M.Zuiko Digital ED 100-400mm F5.0-6.3 IS<\/a> provides similar reach at a more accessible price point for photographers building their wildlife kit.<\/p>\n At a Glance <\/p>\n \u201cI\u2019d been watching that sow all summer, so I knew her well,\u201d Tiffany Taxis<\/a>, a wildlife photographer and OM SYSTEM<\/a> ambassador, recalls. The bear locked eyes with the wolf. Neither animal moved. For 10 minutes, Taxis sat motionless on the beach.<\/p>\n \u201cIf I\u2019d been chasing bears across the beach, that wolf never would have shown itself,\u201d she observes. \u201cBut since I was sitting there, completely still, completely silent, that\u2019s when it decided it felt comfortable enough to appear.\u201d<\/p>\n When it did, Taxis didn\u2019t zoom in.<\/p>\n \u201cI pulled wide,\u201d she explains. \u201cFor me, the story wasn\u2019t just the wolf. It was the wolf in that world, in that light, at that moment. That\u2019s the image you can\u2019t recreate like you can with a zoomed in portrait.\u201d<\/p>\n Taxis brings a different background to wildlife photography. She holds a Bachelor of Fine Arts in Studio Art from Florida State University.<\/p>\n \u201cI grew up in South Florida, and I always loved two things: animals and art,\u201d Taxis says. \u201cI studied graphic design and photography in college. After graduation, though, I moved to Jackson Hole, Wyoming thinking I\u2019d stay six months. Once I discovered my passion for wildlife photography in the Yellowstone region, I never left.\u201d<\/p>\n That degree gave her a framework that starts before the shutter fires.<\/p>\n \u201cIn art school, every critique started the same way: what was your intention?\u201d she describes. \u201cI had to defend every choice, from the composition to the color palette to how I used negative space. It wasn\u2019t about being right. It was about being deliberate. I didn\u2019t realize it at the time, but that discipline is the foundation of everything I do with wildlife now. Before I press the shutter, I\u2019m still asking myself that same question: what is the story I am trying to tell with this one photograph?\u201d<\/p>\n \u201cThe shift took time. I spent my first two years in Yellowstone improving my wildlife photography in a technical way. The images got sharper, the compositions got tighter, but I started to think that they looked like everyone else\u2019s work,\u201d Taxis notes. \u201cThe shift happened when I stopped asking \u2018did I get the shot.\u2019 A sharp photo of a bear is documentation. A sharp photo of a bear with intention behind it is the type of story that I want to tell.\u201d<\/p>\n She shared with PetaPixel her approach to turning technically correct exposures into the stories of the wildlife she strives to protect.<\/p>\n Build the Frame Around the Subject, Not the Subject in the Frame <\/p>\n Most wildlife photographers default to filling the frame. The animal is the subject, and the goal is to get as close as possible. While there is nothing wrong with that, Taxis says, she uses her art background to go the opposite direction.<\/p>\n \u201cThis summer in Alaska, I spotted a whale carcass from a plane and I was able to camp nearby overnight,\u201d she recalls. \u201cThat evening, about 15 bears came down to the beach, and while they were there, two wolves moved through the scene.\u201d Her first instinct was to use her OM-1 Mark II<\/a> and the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO<\/a> and zoom in to get the close-up portraits of the bears feeding. \u201cBut I thought back to my art school training on shooting with intention. So I zoomed out. Because it\u2019s so much more powerful to have 15 bears, two wolves, a whale, and glaciers and mountains all in one frame. That tells the whole story of what\u2019s been happening on that landscape for thousands of years. A close-up photo only tells a fraction of it.\u201d<\/p>\n Taxis notes that the scene had everything a wildlife photographer would normally isolate into separate compositions, but she chose to let it coexist in one frame.<\/p>\n \u201cI had to teach myself to zoom out and look at the whole story,\u201d Taxis describes. \u201cWhen I first started taking photos of wildlife, I just wanted those close-up, charismatic portraits. I got a bear, I got a coyote. But the more I shot, the more I realized the landscape around the animal was carrying half the story. Now I build the frame around the subject instead of building the subject inside the frame.\u201d<\/p>\n Chase Light, Not Wildlife <\/p>\n One October morning in Grand Teton, Taxis drove past a meadow she had visited hundreds of times. Heavy fog had settled overnight. A bull elk stood in the center of the clearing, but the fog had stripped away everything around it.<\/p>\n \u201cI stopped the car and just sat there because it didn\u2019t look like a photograph,\u201d she recalls. \u201cIt looked like a drawing. The elk was just this dark form with antlers, and the fog had taken away the tree line, the mountains, everything. All I had was shape and tone and this faint warmth bleeding through. That morning, the fog stripped out every distraction and handed me a composition I would\u2019ve spent hours trying to build in a studio.\u201d<\/p>\n She does not plan her days around animal activity. She plans around conditions.<\/p>\n \u201cLight is everything, and I\u2019m trying to use the light I\u2019m given as part of the story,\u201d she stresses. \u201cEveryone\u2019s seen a bear in a beautiful landscape, but the light is what makes it different, and light is never the same from day to day. I\u2019m looking for the conditions that are going to make any subject stand out.\u201d<\/p>\n \u201cVery few people are out there at dawn in the cold and heavy fog,\u201d she adds. \u201cFog strips everything down to shapes and silhouettes. That\u2019s the art school part of my brain taking over.\u201d<\/p>\n Shoot the Moment Before the Moment <\/p>\n The peak action frame gets all the attention. Taxis looks for the story in the seconds before and after.<\/p>\n \u201cWhen I\u2019m photographing sandhill cranes, I\u2019m watching for the bird to hunch,\u201d she explains. \u201cCranes drop into this awkward, compressed posture right before they launch. If you know the wind direction, you know the angle they\u2019re going to take off from. The second I see that hunch, I\u2019ve already got the frame set and I\u2019m ready to capture the moment it begins to make its move. Otherwise, once a crane\u2019s airborne, it\u2019s gone before you can find it in the viewfinder.\u201d<\/p>\n Eagles follow the same pattern. They shift their weight and fan their talons before launching. Bears drop their shoulders before charging a rival. Knowing the cue gives a photographer one to three seconds of lead time.<\/p>\n \u201cSome of my favorite images from this past season aren\u2019t the soaring eagle photos that everyone wants,\u201d Taxis notes. \u201cThey\u2019re the moments right before an eagle starts to take off, or the moments as it prepares to land. The wings half-open, the focus in their eyes. There\u2019s tension in those frames that the full-flight shot misses.\u201d<\/p>\n For Taxis, the OM-1 Mark II\u2019s Pro Capture<\/a> mode turns that lead time into a safety net. It continuously buffers frames while the shutter is half-pressed, then saves them when fully pressed.<\/p>\n \u201cI used to second-guess my timing when an eagle was about to launch,\u201d Taxis continues. \u201cWith Pro Capture, the camera\u2019s already recording before I fully press down the shutter. So when I see that hunch, I know the whole buildup is in the buffer. I\u2019m not chasing the moment anymore. I\u2019m already ahead of it.\u201d<\/p>\n Let Weather Set the Mood <\/p>\n \u201cI\u2019ve been out in Alaska rain so heavy my own rain gear gave up,\u201d Taxis shares. \u201cGood shell and good pants didn\u2019t matter. The water came through every seal and soaked through everything. But I was still out there because the fog was rolling in, and late that afternoon a bear walked onto the beach with two cubs. Fur dripping, every strand catching the light. If I\u2019d packed up when my jacket failed, that image doesn\u2019t exist.\u201d<\/p>\n The OM-1 Mark II<\/a>, the M.Zuiko 150-400mm<\/a>, and most of the OM SYSTEM wildlife lenses carry IP53 weather sealing, and are rated dustproof and splashproof down to -10C (14F). In the same storm that soaked through her own gear, the camera and lens worked without issue.<\/p>\n \u201cOften, making art is not comfortable,\u201d she insists. \u201cIt takes time, it takes dedication, it takes putting in long hours to make images that are worthwhile. I don\u2019t want to sit out in the rain or the snow or negative 30 degrees, but that\u2019s when the good images happen. It\u2019s intentional. It\u2019s a choice to go out and create on days like that, and that choice is what separates your work from everyone else\u2019s.\u201d<\/p>\n Wet fur shows texture that dry conditions hide. Fog strips backgrounds down to soft, single-tone depth. Snow creates dramatic scenes that show the challenging conditions that animals need to endure to survive.<\/p>\n \u201cThe conditions most people walk away from are the ones I want to be in. Those conditions take a photograph and turn it into a piece of art,\u201d she says.<\/p>\n Use Backgrounds as Emotional Texture <\/p>\n In one of Taxis\u2019 favorite images, a bull elk crosses a Grand Teton ridgeline with the sun behind it, all orange and yellow hues. She chose that angle for one reason: the background was doing the emotional work.<\/p>\n \u201cThe first thing I do when I show up on a scene is look around before I take a single photo,\u201d she describes. \u201cWhere\u2019s the light coming from? What\u2019s behind the animal? If I\u2019m shooting something dark, I\u2019m looking for a lighter background to create contrast. If there\u2019s blue sky behind a bird, I\u2019m moving. It\u2019s the most boring background there is. I\u2019m looking for something that\u2019s going to make the viewer feel something, not just see something.\u201d<\/p>\n That process requires moving fast, especially at extreme telephoto focal lengths where small repositions change the background entirely.<\/p>\n \u201cLast fall in the Tetons, I was photographing a bull elk feeding near a stand of aspens,\u201d she continues. \u201cThe background behind him was just a brown hillside, nothing. I took two steps to my left and suddenly the aspens framed him in gold. A four-second decision, and you can only make it if you\u2019re not locked to a tripod.\u201d<\/p>\n The OM-1 Mark II\u2019s 5-axis Sync IS provides up to 8.5 stops of stabilization. For Taxis, that means sharp handheld frames in conditions that would normally demand a tripod.<\/p>\n \u201cI think the background is just as important as the subject,\u201d she observes. \u201cWhen the background is doing the emotional work, the animal doesn\u2019t have to.\u201d<\/p>\n Embrace Minimalism and Negative Space <\/p>\n \u201cThe wolf is probably the most polarizing subject you can photograph in the wild,\u201d Taxis notes. \u201cSo when you see one in this untouched landscape, it makes people think about more than just the animal. It makes them think about where it lives, how long it\u2019s survived on that land, what they have to do to survive on that land, and what our choices do to places like that. Showing the wolf within it, small against all that space, tells a bigger story than any telephoto portrait could.\u201d<\/p>\n Taxis applies the same thinking to birds. She had the telephoto reach for a tight portrait of a bald eagle in Yellowstone. She pulled wide instead, placing the bird small against the snow-covered hills because the landscape was carrying the story.<\/p>\n Her art background has a name for the concept: negative space. The empty frame around a subject tells a different story than a close-up.<\/p>\n \u201cWith wildlife, the instinct to fill the frame is even stronger because the animal\u2019s right there and you\u2019ve got a long lens,\u201d she reflects. \u201cBut that wolf standing alone in all that open landscape, that\u2019s where I finally understood it. The space around the subject is the story. It says solitude, it says wildness, it says this place is bigger than any one animal.\u201d<\/p>\n Find Abstracts Inside the Familiar <\/p>\n Taxis stresses that wildlife photography doesn\u2019t have to be literal. Motion blur, detail crops, silhouettes, and slow-shutter techniques expand what a wildlife image can tell. She traces her interest in non-literal work to another photographer.<\/p>\n \u201cI really admire Steve Mattheis\u2019<\/a> work,\u201d she says. \u201cHe\u2019ll photograph a wolf at 50 yards, but at 1\/10th or 1\/15th of a second. This can create a sharp section around the wolf\u2019s eye, but then the rest of the image conveys a sense of motion, which really tells the story of the wolf. Always on the move, always trying to survive. When I first saw that, it completely changed how I thought about wildlife photography.\u201d<\/p>\n \u201cBefore I went to Brooks Falls in Alaska, I already knew I wasn\u2019t just going to shoot bears on the waterfall at a fast shutter speed,\u201d Taxis continues. \u201cI planned to shoot at 1\/15th to blur the water and create that painterly effect and give a sense of motion to the story. Catching salmon off a fast moving waterfall isn\u2019t easy, even if the bears make it look like it is. That movement gave the images a critical story element.\u201d<\/p>\n Using slow shutter speeds in the field creates two practical problems. Shooting at 1\/15th of a second handheld requires serious stabilization, which the OM-1 Mark II provides. \u201cBut bright daylight at those speeds also means my images might be overexposed,\u201d Taxis explains. \u201cSome photographers carry physical ND filters for slow shutter speeds. My camera\u2019s Live ND Mode feature handles it in-camera with a real-time preview through the viewfinder. I love it because I don\u2019t need to carry and swap heavy ND filters while I\u2019m moving in the field. When I\u2019m out at Brooks Falls and a bear freezes mid-catch, I\u2019ve got maybe a few seconds to switch my whole approach from fast shutter to slow. Being able to dial that in on the camera and see the effect before I shoot? That changes what\u2019s possible in the moment.\u201d<\/p>\n The technique took Taxis countless tries at Brooks Falls before it worked, and it required bears willing to hold still in the frame.<\/p>\n \u201cI\u2019m still figuring out the abstract side of wildlife photography,\u201d she admits. \u201cI have years of wildlife portraits in my catalog. What I\u2019m drawn to now is motion blur, slow shutter, anything that creates a feeling instead of just a record. When you slow things down, there\u2019s chaos and movement and intensity that you don\u2019t get at 1\/1000th of a second. I\u2019m still learning this, but I know it\u2019s the direction I want to go. That\u2019s how the work becomes mine.\u201d<\/p>\n Photograph Behavior That Reveals Character <\/p>\n The sharpest portrait of a bear still looks like any other bear portrait if the animal is doing nothing. Behavioral moments, like a courtship approach, a sub-adult\u2019s clumsy play, or a sandhill crane\u2019s pre-flight hunch, reveal what a static pose cannot. Capturing them requires knowing the subject well enough to read its body language before it acts.<\/p>\n \u201cWe all have dogs at home,\u201d Taxis observes. \u201cWe know what a dog\u2019s ears back means. When I\u2019m photographing wolves or coyotes and the ears are back, I know that animal is stressed. Maybe it\u2019s not because of me, but if every photo I have of wolves and coyotes shows their ears pinned back, that\u2019s not a comfortable animal or an artistic or interesting image. A much stronger photo is one where the animal is walking boldly through the scene, ears up, completely at ease, and hard at work surviving. You see their real character when they\u2019ve forgotten you exist.\u201d<\/p>\n That kind of experience comes from repeat visits and long hours watching the same animals. Taxis guides other photographers in areas where bears concentrate in large numbers, and the density gives her a front-row seat to interactions most photographers never witness.<\/p>\n \u201cWhen I\u2019ve got 30 bears in a close area, I start to learn who\u2019s who, and I can recognize the personality traits of each one,\u201d she details. \u201cI can tell when a sub-adult is testing an older male. I can see a female being courted. And because I know the individuals, I know what\u2019s about to happen before it happens. Those extra few seconds let me get the frame I\u2019m after. I\u2019m already in position while everyone else is still figuring out what\u2019s going on.\u201d<\/p>\n The same applies to any species. A fox only shows its real personality when fully at ease. Knowing those cues turns a photographer from observer to anticipator.<\/p>\n \u201cYou can\u2019t get an animal\u2019s true personality by stressing it out,\u201d Taxis adds. \u201cThat fox with the goofy face and the tongue out? That only happens when the animal is completely comfortable. If you\u2019re pushing in too close or moving too fast, you\u2019ll never see that side of them.\u201d<\/p>\n Revisit the Same Subject Across Seasons and Conditions <\/p>\n \u201cYour first time photographing anything, especially wildlife, is never going to be your strongest work,\u201d Taxis reflects. \u201cYou have to get to know your subject and love watching it to create images that tell the story properly. You don\u2019t see everything the first time. The light, the behavior, the small details, they reveal themselves over weeks, months, and years.\u201d<\/p>\n Taxis has followed the same moose herd in Grand Teton for six years. Some of the bulls she followed in her first season are gone. Others grew into the biggest animals in the valley and then disappeared.<\/p>\n She knows which bull returns to the same spot in the water at a certain hour and which ridgeline catches them in the day\u2019s last light. One bear in particular has earned a name.<\/p>\n \u201cThere\u2019s this bear in Alaska named Chunk that I\u2019ve been following for years,\u201d she shares. \u201cHe came back this season with a broken jaw, all scarred up, and he\u2019s still out there thriving. The fact that he persists through all of that is the story I want to tell. If I hadn\u2019t been watching him all this time, that photo of him scarred up with a broken jaw is just a photo of another bear. Because I know his story, every photo I take of him means something.\u201d<\/p>\n \u201cI think the best way to protect something is to love it, and the only way to love it is to experience it,\u201d she adds. \u201cThat\u2019s why I go back year after year. It\u2019s not just about the photos anymore. I love these places and these animals, and I don\u2019t want to do anything else but use my art to tell their stories.\u201d<\/p>\n Let Ethical Distance Drive Creative Problem-Solving <\/p>\n Taxis often photographs from fixed positions. She picks a spot at the edge of a meadow or ridgeline, sets up, and waits, sometimes for an entire day. On guided sessions, she teaches clients to be patient and do the same.<\/p>\n \u201cIf you can\u2019t get the photo by respecting the animal, then it\u2019s not your photo to take,\u201d she stresses.<\/p>\n \u201cThe first day this season I saw the great gray owl, it was magical,\u201d she recalls. \u201cI was with two other photographers, and this owl was catching voles right in front of us. We returned the next day and there were 10 people chasing the owl, and someone got within 15 feet while it was trying to hunt. That person was actually putting the owl in danger. That kind of pressure can keep an owl from hunting for days. So we went somewhere else and waited. The group eventually left and right at golden hour, the owl came to our side and put on the most spectacular show. Just from being patient.\u201d<\/p>\n Taxis\u2019 M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO<\/a> delivers 300-800mm equivalent reach natively. The built-in 1.25x teleconverter extends the range to 375-1000mm. The extreme reach lets her experiment with artistic compositions from a distance that does not interfere with the animal\u2019s behavior. Find Your Reason <\/p>\n For Taxis, the camera work has always been secondary to the reason behind it.<\/p>\n \u201cI think the greatest privilege in the world is getting to spend time with these animals and tell their stories through my images,\u201d she reflects. \u201cI\u2019ve watched the same moose herd for six years. I\u2019ve followed Chunk through broken jaws and brutal winters. These aren\u2019t just subjects to me. They\u2019re lives I\u2019ve gotten to know, and every photograph I take is my way of fighting for them.\u201d<\/p>\n \u201cI hope the story I tell through my images helps people want to protect what\u2019s out there,\u201d she shares. \u201cIf someone sees one of my photos and goes home caring about an animal or a place they never thought about before, that makes all the cold and wet mornings worth it.\u201d<\/p>\n More from Tiffany Taxis can be found on her website<\/a> and Instagram<\/a>.<\/p>\n Full disclosure: This article was brought to you by OM SYSTEM.<\/a><\/p>\n Tiffany Taxis leads guided wildlife photography tours in Alaska<\/a> and the Greater Yellowstone Ecosystem. While many of Taxi\u2019s images are captured with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO<\/a>, the M.Zuiko Digital ED 100-400mm F5.0-6.3 IS<\/a> provides similar reach at a more accessible price point for photographers building their wildlife kit.<\/p>\n ![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-5.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 400mm (801mm equivalent) \u2022 1\/1250sec \u2022 f\/4.5 \u2022 ISO 640<\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-7.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 335mm (671mm equivalent) \u2022 1\/1250sec \u2022 f\/4.5 \u2022 ISO 640 <\/p>\n![\"Several](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-21.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 395mm (791mm equivalent) \u2022 1\/1250sec \u2022 f\/5.6 \u2022 ISO 1600 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-12.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 406mm (813mm equivalent) \u2022 1\/400sec \u2022 f\/5.6 \u2022 ISO 4000 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-30.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-600mm F5.0-6.3 IS \u2022 342mm (685mm equivalent) \u2022 1\/320sec \u2022 f\/9.0 \u2022 ISO 200 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-1.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 306mm (613mm equivalent) \u2022 1\/500sec \u2022 f\/4.5 \u2022 ISO 800 <\/p>\n![\"Two](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-25.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 150mm (300mm equivalent) \u2022 1\/1600sec \u2022 f\/4.5 \u2022 ISO 160 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-2.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 168mm (337mm equivalent) \u2022 1\/1600sec \u2022 f\/4.5 \u2022 ISO 2500 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-09.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 445mm (891mm equivalent) \u2022 1\/800sec \u2022 f\/5.6 \u2022 ISO 2000 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-10.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 400mm (801mm equivalent) \u2022 1\/800sec \u2022 f\/4.5 \u2022 ISO 2000<\/p>\n![\"Close-up](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-15.jpg\"){kind=tracking}
OM-D E-M1 Mark III \u2022 M.Zuiko Digital ED 300mm F4.0 IS PRO \u2022 300mm (601mm equivalent) \u2022 1\/640sec \u2022 f\/4.0 \u2022 ISO 640 <\/p>\n![\"Silhouette](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-36.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 150mm (300mm equivalent) \u2022 1\/32000sec \u2022 f\/4.5 \u2022 ISO 1000 <\/p>\n![\"Four](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-24.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 288mm (577mm equivalent) \u2022 1\/1000sec \u2022 f\/4.5 \u2022 ISO 80 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-16.jpg\"){kind=tracking}
OM-D E-M1 Mark III \u2022 M.Zuiko Digital ED 300mm F4.0 IS PRO \u2022 300mm (601mm equivalent) \u2022 1\/1250sec \u2022 f\/4.0 \u2022 ISO 200<\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-6.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 189mm (379mm equivalent) \u2022 1\/1250sec \u2022 f\/4.5 \u2022 ISO 640 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-27.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 200mm (401mm equivalent) \u2022 1\/1600sec \u2022 f\/4.5 \u2022 ISO 400 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-35.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 400mm (801mm equivalent) \u2022 1\/1250sec \u2022 f\/4.5 \u2022 ISO 1000 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-11.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 150mm (300mm equivalent) \u2022 1\/15sec \u2022 f\/7.1 \u2022 ISO 800 <\/p>\n![\"Close-up](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-37.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 300mm F4.0 IS PRO \u2022 300mm (601mm equivalent) \u2022 1\/400sec \u2022 f\/4.0 \u2022 ISO 100 <\/p>\n![\"Two](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-31.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 400mm (801mm equivalent) \u2022 1\/2000sec \u2022 f\/4.5 \u2022 ISO 1250 <\/p>\n![\"Two](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-08.jpg\"){kind=tracking}
OM-D E-M1 Mark III \u2022 M.Zuiko Digital ED 300mm F4.0 IS PRO \u2022 300mm (601mm equivalent) \u2022 1\/1600sec \u2022 f\/4.0 \u2022 ISO 640 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-20.jpg\"){kind=tracking}
OM-D E-M1 Mark III \u2022 M.Zuiko Digital ED 40-150mm F2.8 PRO \u2022 150mm (300mm equivalent) \u2022 1\/5000sec \u2022 f\/2.8 \u2022 ISO 500 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-32.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 400mm (801mm equivalent) \u2022 1\/800sec \u2022 f\/4.5 \u2022 ISO 250 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-28.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 335mm (671mm equivalent) \u2022 1\/2000sec \u2022 f\/4.5 \u2022 ISO 3200 <\/p>\n![\"Two](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-33.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 335mm (671mm equivalent) \u2022 1\/1250sec \u2022 f\/4.5 \u2022 ISO 500 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 158mm (316mm equivalent) \u2022 1\/1600sec \u2022 f\/4.5 \u2022 ISO 4000<\/p>\n
\u201cThe reach means I don\u2019t have to compromise between getting the shot and giving the animal its space,\u201d she continues. \u201cI can sit on a log 75 yards away and still fill the frame with a wolf\u2019s face, or pull wide and let the landscape tell the story. I\u2019m not choosing between the image and the animal\u2019s comfort.\u201d<\/p>\n![\"Two](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-34.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 300mm F4.0 IS PRO \u2022 300mm (601mm equivalent) \u2022 1\/2000sec \u2022 f\/4.0 \u2022 ISO 1250 <\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/nz\/wp-content\/uploads\/2026\/04\/Petapixelarticle-3.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO \u2022 150mm (300mm equivalent) \u2022 1\/1600sec \u2022 f\/4.5 \u2022 ISO 4000 <\/p>\n