What Makes a Photographic Sardine Run with Animal Ocean Different?

I’ve spent years chasing the Sardine Run, and if there’s one thing I know — not all trips are created equal. What we run at Animal Ocean isn’t just another ocean safari. It’s a proper photographic expedition, built around giving people the time, space, and support to create real images — not quick snapshots, but the kind of shots you’re proud of. That takes time, patience, and intention.

Over the years, we’ve worked with some of the best in the wildlife filmmaking business to bring the Sardine Run to screens around the world — from BBC’s Nature’s Great Events and Blue Planet II, to Netflix’s Our Oceans, PBS’s Ocean’s Greatest Feast, and Disney’s Dolphin Reef. Even the iconic Wildcoast surfing bottlenose dolphin sequences were filmed here, with us.

And what’s been incredibly rewarding is seeing the reach of the work that’s come out of these trips. So many of our images have gone on to serve conservation, education, and public awareness. We’ve had photos placed in the Natural History Museum’s Wildlife Photographer of the Year, images used in marketing for fragile habitats, and published in books alongside major blue-chip film releases. Some of these photographs have even been projected onto buildings, broadcast worldwide in Blue Planet II, and used to shift how people see the ocean. All from our time at sea, cameras in hand, documenting the Sardine Run.

I've been to sea every year during June and July since 2009, an incredible amount of time focusing, understanding and navigating this event, diving and skippering on the Sardine Run, which is rare in this industry. Very few have had that kind of time, access, and immersion. I love it because I understand just how critical the boat’s movement and positioning is. I can’t help myself — the moment there’s something to see, I’m in the water. That’s what drives me. And it's what shapes our trips.

We’re in a unique position — myself and the team — as passionate topside and underwater people. We talk about behaviour constantly, we learn from each other, and we use that knowledge to guide photographers and filmmakers who come with curiosity and purpose. This isn’t just a business to us — it’s something we live for. And it’s that mindset that puts us in a different league when it comes to helping others access and understand this event in a meaningful, creative way.

What makes our approach different? We go into the ocean with a camera-first mindset — whether you’re shooting on a GoPro and iPhone, or hauling RED cameras and long lenses. We’re not just reacting to chaos; we’re anticipating moments. Watching behaviour. Reading birds. Thinking about light. Working scenes low and close. Waiting, observing, and positioning the boat so you’re in the right place when things kick off.

Anyone can find action — few know how to put you in position to shoot it well.

This isn’t about luck. It’s about knowing how to shoot from the ocean. Framing. Timing. Lens changes. Battery swaps. Repeats. Angles. Staying with a moment long enough to let it breathe. That’s the stuff that matters — and it’s where great images come from.

Our boat is built for it too. We’ve got a raised camera table — sounds simple, but when you’re juggling three pelican cases, changing gear mid-session, and trying to stay organised in a moving sea, it makes all the difference. There’s space. There’s order. There’s care. No loose towels on o-rings. No wet cases on the deck. Everything’s handled properly because everyone onboard understands the gear and what’s at stake.

We also understand how critical your lens choices are. You need to be able to shoot both near and far — right next to the pontoons, or across 30 to 50 meters of water where a dolphin might suddenly be surfing. That’s why we recommend having a few key options:

• A wide-angle lens is essential for the close-up action — dolphins, bait balls, and gannets just metres from the boat.

• A zoom lens in the 200–400mm range gives you the reach to capture far-off subjects like birds in flight, breaching whales, or distant dolphin behaviour.

• Having a dedicated topside camera rig means you’re always ready for surface action, without missing a beat.

• And a separate GoPro or underwater housing gives you access to the underwater world without sacrificing topside moments.

  
  

You need to be ready for anything — from a dolphin exploding out of the swell at a distance to a bait ball swirling just off the tubes. The right gear makes those shots possible, and we structure our days to give you every opportunity to use it.

More than anything though — it’s passion-driven. We love this. At the end of the day we’re sharing images, trading stories, discussing light, angles, gear, and ideas. We’re learning from each other. We’re experimenting. We’re building something more than a trip — we’re building an experiance.