by Alice-Claudia Gherman, photo archive: Silviu Matei

Wildlife photography is not a pastime one practices occasionally. Capturing two bears engaged in a fierce confrontation or a lynx basking in the soft warmth of the morning sun is far from simple. What may appear to be a tranquil scene often conceals instinct and strategy, the lynx alert, perhaps hunting to feed the small, hidden cubs waiting deep within the forest. Photographing wild creatures is an art in itself. It demands not only a solid command of photographic technique and high-performance equipment, but also an extensive understanding of biology and ethology, the study of animal behavior. Without this foundation, venturing into the wilderness in search of meaningful images would rely purely on chance. And as the saying goes, luck favors the well prepared.


I met Silviu Matei to discuss what wildlife photography truly entails and why it plays such an important role in promoting and protecting Romania’s fauna.


A wildlife photographer must, above all, be patient.

A graduate of the University of Fine Arts in Bucharest, Photo and Video Department, Silviu Matei initially explored astronomy and astrophotography, fascinated by the star-filled sky and rare celestial phenomena. Gradually, however, his focus shifted toward the silent world of wildlife. For over twenty years, he has dedicated himself to wildlife photography, alongside his work as a photojournalist for prestigious press agencies. He believes that patience is the defining quality of any photographer seeking to capture authentic fragments of animal life. “Patience is said to be a virtue. For a wildlife photographer, it is essential. Without it, the craft becomes nearly impossible. It can be cultivated, of course, but it is not easy. You must be willing to remain still for hours. If you have chosen a spot and carefully camouflaged yourself, you may have to wait there for six or seven hours. If it is cold outside…bad luck. There are no shortcuts.”


Recently, I went with a friend to photograph fallow deer. We arrived early in the morning, while it was still dark. The deer came very close to us; there were about six of them nearby. Normally, you should keep a distance of at least 50 meters from the animals, but we were only about 30 meters away. We stayed there, pressed against a tree, from six in the morning until around one in the afternoon. To make things even more complicated, behind us there was a doe with her fawn. We could not move at all, especially since females are even more cautious than males. I was frozen, standing with my head fixed to the camera, completely motionless. At one point, the doe passed right by us and joined the deer. That was the moment when I realized once again how essential patience is. If you don’t have it, you have to work very hard to develop it, because otherwise you simply cannot cope. Wild animals are extremely cautious and notice even the slightest change in the landscape,” says Silviu Matei.


The most successful wildlife photographs are often captured in the light of autumn or spring.


Silviu usually goes out to photograph wild animals in autumn, spring and winter. Summer, he says jokingly, is reserved for relaxing at the beach with a beer in hand. More seriously, however, summer is not ideal for wildlife photography because vegetation is dense and animals are easily hidden among the leaves, shrubs and tall grass, making them very difficult to spot. The summer sunlight is also less favorable, as the strong sun creates harsh contrasts.


In spring, autumn and even winter, the light is softer and the animals behave differently, which makes it much easier to observe and photograph them. Of course, it takes a certain amount of courage to leave the comfort of home and head out into the wilderness carrying tens of kilograms of equipment, long before dawn, at a time when most people are still asleep. But these are both the risks and the joys of the profession. Silviu Matei has a particular preference for mountain fauna, so most of his photographic expeditions take place in the mountains. He is especially drawn to the ranges in northern Romania, such as the Maramureș Mountains, Rodna, the Dornelor area and the Călimani Mountains, because these regions are less frequented by tourists and remain wilder and more untouched.


His expeditions usually last one or two weeks and he most often travels alone. A few years ago, he collaborated on a project with National Geographic and photographed the lynx in the Maramureș Mountains. During that project, he also advocated for the conservation of the species and for the protection of lynxes from hunting. The lynx is a particularly difficult animal to photograph, yet Silviu succeeded in capturing it in remarkable images that reveal the quiet beauty of this elusive predator from Romania’s forests.


In addition to the lynx, Silviu has often photographed capercaillie, especially during the mating season, as well as wolves, animals that are extremely cautious and notoriously difficult to capture on camera. His portfolio also includes fallow deer, wild boar and, of course, bears, which in recent years have become easier to photograph, to the point where an image of a bear is no longer a rarity.  “I photographed wolves in the Bodoc Mountains, but they can also be found in the Bistrița Mountains. I spend a great deal of time in the Bucovina region, where there is less forest exploitation and fewer people venture into those landscapes. I usually go alone. I collaborate with foresters from Romsilva or local forestry services, but they accompany me only as far as the area suitable for photography. From there, I go on my own.”


As a wildlife photographer, physical endurance is essential. The equipment alone is heavy, and you must be prepared to spend nights alone in the forest. You need to understand every sound, to know the animals’ behavior, their scent, feeding, mating and play habits, and how to track them. Mental resilience is equally important. Fear has no place in the wilderness. “The wind must blow from the animals toward you, not the other way around, because they will catch your scent and leave. Wild animals do not attack without reason, but you must know how to keep a safe distance, at least 50 to 70 meters, and never place yourself between a mother and her cubs, or between a male and a female.”


In short, wildlife photography requires not only technical mastery and bio-ethological knowledge, but also complete equipment. Beyond the camera, this includes food supplies, a hammock or sleeping bag, a camouflage tent, spare clothing and garments suitable for unpredictable weather conditions.  “You don’t go into the forest wearing perfume. You’re not going to the theatre, and animals react strongly to artificial smells. You must also know how to move silently. If you want authentic images of wildlife in their natural habitat, noise is your greatest enemy. The best time is early morning, when animals are preparing to feed. You must become a careful observer, able to distinguish the tracks of a deer from those of a wild boar, a bear, a lynx, a wolf or a fox. You learn to move through the forest in darkness or under starlight, because even a flashlight can disturb them. Over time, with practice, you begin to associate certain sounds with specific animals. You learn to recognize their scent. Once you have smelled a bear, for example, a sharp, unmistakable odor, you will never forget it.”


A serious wildlife photography course, Silviu believes, should last at least a year and a half.

Silviu Matei is among the first Romanian photographers to dedicate himself fully to wildlife photography and one of the few who have succeeded in capturing rare species from Romania’s fauna. More than two decades ago, when he began photographing mute swans, there were almost no Romanian photographers specializing in this field. Today, a small but dedicated community of around twenty wildlife photographers has emerged, professionals who tell compelling visual stories about native wildlife.


There are photography tours designed for beginners, and Silviu himself has organized such courses and expeditions in the past, though time no longer allows him to do so extensively. “For now, I have other priorities and only manage to teach classes occasionally. In any case, to truly understand this kind of photography, you need at least a year and a half of study. It cannot be learned in two or three months. My course covers everything photography entails, including nature and wildlife photography, because I want those who study with me to leave having truly learned something. It is not enough to attend two or three tours and believe you have mastered it. You must observe animal behavior in the field, read about their rhythms of life, understand the risks involved and approach this craft with respect and responsibility.”


Wild animals do not attack humans if you keep your distance

Yes, wildlife photography involves risk. But it is a calculated risk, not a reckless one. When you set out to observe animals, you do not follow tourist trails. You walk along the paths the animals themselves use, toward feeding grounds or watering places. That alone requires awareness and discipline. You must avoid sudden gestures that might alarm or provoke the animal, or cause it to disappear from the frame. One careless movement can undo hours of patience and preparation. “For example, I was once walking downhill through the forest when a stag began following me, about ten meters behind. I walked a little farther, and so did he. I stopped, and he stopped. This continued for nearly a kilometer. I moved slowly and quietly. He was in the rutting season, distracted, focused on feeding and asserting his presence. I wanted to film him. When I turned on the camera, a small red LED light appeared. That was my mistake. I forgot to cover it. He noticed immediately. He stood still for a few seconds, then disappeared into the forest. Even a small error can cost you everything.”

 

Mistakes can happen, but vigilance is essential. Wild animals do not generally attack humans, Silviu explains, but you must know how to approach them. Even a bear, if truly wild and unaccustomed to human contact, will usually retreat if it notices you from 50 to 100 meters away. It will change direction and leave. The situation is different in places where animals have grown used to people. “I am not referring to the bears along the Transfăgărășan road, whose behavior has changed because tourists feed them. They begin to associate humans with food and no longer keep their distance. That is when problems arise.”


Currently, Silviu is working on a new project, an album dedicated to the seven or eight species of owls that live in Romania. He also plans to collaborate on a joint project with photographer Dragoș Asaftei, focused on Romania’s mountains. Asaftei will present the landscapes captured from a drone, while Silviu will document the wild animals that inhabit those peaks, offering two complementary perspectives on the same untamed world.