AN INTERVIEW WITH JAMES LEWIN

1. Your new series, "The Land That Made Us One," feels deeply rooted in connection - between species, land and identity. Can you tell us a little about the inspiration behind this project and what it represents for you personally?

"Having lived in Kenya for a number of years, I've witnessed firsthand the rapid changes and challenges that continue to unfold. The Maasai, along with other tribes, are iconic and are loved and admired around the world, yet living here has made me realise that these indigenous cultures are just as endangered as the wildlife and habitats themselves. Their way of life depends on the same open spaces and functioning ecosystems as the animals they've coexisted with for generations. Their futures are tied to the same fate. 

This is what became the foundation for this series: to place humans and animals together in one frame, as a reminder that we are not separate from nature, but part of it. I think people have never been more disconnected from the natural world in this age of modern technology, so it may come as a surprise to some that there are still people living in Africa, much like they were hundreds of years ago, deeply connected and dependent on the land. My hope is that this series serves as a quiet testament to the possibility that humanity and the natural world can coexist, side by side, just as the people in these photographs and their ancestors have done for generations".

2. You've spent years exploring remote areas of Africa, often following your subjects for weeks at a time. How does that level of patience and proximity shape the emotion and atmosphere of your work?

I have a hard time deciding whether I am incredibly patient or whether I'm just determined and stubborn. However, to be honest, I think you need a mix of all three to do this job, as things rarely unfold as expected. The first thing I do after coming home with nothing is to start planning when i'll go back to try again. Images like "Serengeti Shall Never Die" took me over 4 years of repeating the same process again and again to finally get the shot I dreamt of. I've spent 40 days in that location this year alone. You can't simply arrive in Tanzania and expect to be a few metres from a lion standing on a rock in front of an approaching storm. It takes a massive investment of time and research.

I discovered my passion for wildlife and conservation before I picked up a camera, and so the animals have always come first. Proximity has to be earned, which is what takes the most time. Photographing wildlife in a manner no different from humans is what defines my work, and that is where the feeling and emotion comes from, which you simply can't replicate with a telephoto. 

3. Your earlier works capture extraordinary intimacy, almost as though the viewer is sharing space with the animal. Do you see a shift in tone or message between those earlier pieces and your most recent collection?

For a human or wildlife portrait to truly resonate and move someone, there must be a genuine sense of closeness, and this is something that can't be replicated with telephoto lenses. By applying the principles of portraiture, I aim to evoke empathy and emotion while revealing the true character of my subjects.

In my new series, The Land That Made Us One, this principle became more important than ever. With each piece uniting people and wild animals within a single frame, I wanted the entire scene to carry the same emotional depth and sensitivity as a human portrait. This is what made the series take three years to complete. Each animal had to be photographed in the wild with the same level of intimacy one would expect in a human portrait, before bringing the Maasai warriors to the exact same location at a later time. I composed every wildlife frame, imagining the warriors were already standing within the scene.

4. You began your journey working alongside anti-poaching and conservation teams. How has that experience influenced the way you approach photography and storytelling through your lens today?

Conservation is what sparked my interest in photography, thanks to the life-changing experiences I had during my time with Big Life Foundation and Tsavo Trust in southern Kenya. Photography is a wonderful, powerful tool for communication; it transcends words, allowing people to connect emotionally with places, wildlife, and stories they may have never experienced themselves. Conservation remains at the heart of everything I do, and it has been a privilege to raise significant funding for several organisations through my partnership with The Drang Gallery.

Those early experiences instilled a deep respect for the natural world and inspired me to understand my subjects on a deeper level. Becoming a qualified professional guide has also built upon that, allowing me to anticipate moments and approach wildlife with patience and respect.

5. Your photographs feel both timeless and urgent - what do you hope people take away when they see your work, whether they're collectors, nature lovers, or first time viewers?

If anyone viewing my work can experience even a fraction of the awe and wonder I felt behind the lens, then I've achieved what I set out to do. 

Black and white photography carries a natural timelessness, and by removing colour, which we are overloaded with every day, it invites a different, often more profound connection. It also creates a quiet sense of urgency as we tend to associate monochrome imagery with history. The work serves as a reminder that these subjects are endangered and could one day exist only in books and films rather than in the wild.

If my photographs can help people feel more connected to the natural world, inspiring them to spend more time outdoors, engage with conservation, or even visit Africa, then that would be one of my greatest achievements. Visiting and supporting these wild places is one of the most meaningful ways to ensure they remain.

6. Sustainability and Conservation are integral to your practice. Could you share more about your partnership with Tsavo Trust and what it means to you that your art directly supports these projects?

Sustainability and conservation are at the core of what I do, and it's absolutely essential that my impact is as minimal as possible. To minimise the impact, I offset the carbon footprint from all of my expeditions. 

Tsavo Trust is an inspiring grassroots conservation organisation based in southern Kenya that has played a vital role in reducing poaching by more than 80% within the Tsavo Conservation Area over the past decade. While their flagship projects focus on the protection and security of elephants, rhinos and other critically endangered species, Tsavo Trust also runs an extensive range of community initiatives that support local livelihoods across the region.

It has been a privilege to spend time with Tsavo Trust over the past decade and to witness firsthand the remarkable impact they are having, both in safeguarding wildlife and in empowering local communities. The organisation holds a particularly special place in my heart, as they are responsible for protecting the vast majority of Africa's remaining Big Tusker elephants who became one of my greatest passions since the moment I first saw one. Today, they are monitoring more than 30 emerging tuskers, ensuring these magnificent elephants live long, full lives and pass their incredibly rare genes onto future generations. The idea that there could be more tuskers in ten years than there are today would have seemed impossible a decade ago. I'm deeply proud to support Tsavo Trust in making that vision come true.

7. As a self-taught photographer who's gained international recognition, what advice would you give to artists or photographers trying to find their own voice in a world that moves so fast?

Some of the best advice I was ever given was to photograph only what you're genuinely passionate about. If you care deeply about your subject, that emotion will come through in your work. But if you're not desperate to tell the story or spend time with the subject, there's little point in starting.

In this fast-paced social media world, it's easy to get caught up in trends or chase what others are doing, but your voice will only stand out when it comes from a place of real connection. Discover what truly moves you, what you can't stop thinking about and follow that path relentlessly. That's where authenticity and great storytelling begin. 

8. Finally, can you give us a small glimpse into what's next? Are there particular regions, species, or themes you're hoping to explore in future projects?

The response to "The Land That Made Us One" has been phenomenal, and I will certainly look to add to this collection in the future. The Maasai Tribe felt like a natural place to begin, but several other tribes in Africa maintain traditional lifestyles living in connection with the natural world, and so I hope the story will continue. My traditional fine art wildlife photography is still very much in action, and you can expect to see some exciting new releases next year. 

Quite unexpectedly, I've found myself rather fully booked for exclusive photographic safaris and bespoke adventures across Africa. Something I haven't advertised yet, but I have a return rate of over 90%. It has been incredibly rewarding to put together life-changing experiences in some of the continent's most beautiful and wildlife-rich regions, and it feels entirely in line with my aims as a photographer - to reconnect people with the natural world and support conservation and community projects. I'm so excited for the extraordinary adventures that lie ahead.