About two weeks ago, I had the privilege of being invited by the Pixelscape Photography Team to discuss conservation and wildlife photography.

It’s always a great honor when fellow photographers are interested in my work and the field I’m passionate about. I would like to thank the team and Harrys Pourouzidis.

You can read in English the brief interview below. For the Greek version, please visit the team’s page, here.

As someone who has been involved in IT and the internet since its early days, it was impossible not to notice, sometime around 2013, the presence of a Greek website that provided news, gear reviews, and photography content. Through PTTL.gr and later the “Angle of View” podcast on Facebook and YouTube, I came to know Vaios Vitos from a distance. With just a few years under my belt as a photography enthusiast, this site—and especially the YouTube channel—made me feel connected to others like me who craved more Greek content online. During a personal period of my life when my passion for photography was losing ground due to family life with a young child, Vaios’ PTTL became the anchor I needed to keep my interest alive. Endless FotoView discussions with co-host Vasilis Dimakis, humorous mishaps with microphone issues during live broadcasts, tutorials, and many guest appearances provided the photographic inspiration I desperately needed.

So, it is our great honor to have Vaios answer our Five Questions, offering a glimpse of his work! We thank you warmly!

Haris Pourouzidis

1) You are a photographer known for your love of wildlife photography. What sparked the beginning of this special relationship you have with this genre?

My first encounter with nature was during my childhood, through camping and Scouting. That’s when my love for nature was born. Around the same time, reading National Geographic unknowingly started to cultivate within me a passion for capturing images of nature, landscapes, and the world’s wild animals. However, what truly ignited my love for wildlife photography were my visits to Lake Kerkini. Personally, I consider Kerkini to be the most important and accessible place in Greece to connect with wild animals living freely in nature. However, I don’t see myself as strictly a wildlife photographer. I believe I am more of an image creator who enjoys being out in nature, capturing its grandeur and the challenges it faces due to human activity. Conservation photography and filmmaking hold a more significant purpose for me than simply capturing a stunning image of a wild animal. Highlighting the problems faced by wildlife today is a mission that interests me far more than just photographing an animal.

2) You have delved deeply into gear review, drawing on your past experience in a camera store and your numerous presentations on PTTL.gr and YouTube. Which photographic technological advancement has impressed you the most over the years?

Setting aside the revolution brought by digital technology, which is the most important milestone in photography’s history to date, I would highlight the advent of mirrorless cameras. The ability to shoot at high speeds, autofocus using AI technologies, and improved low-light performance have radically changed how we photograph. Additionally, mirrorless cameras have unlocked another creative field for photographers: video creation. Today’s cameras are not just “photo” or video cameras, but powerful tools that can work wonders in the hands of anyone looking to express themselves through image creation, whether in photography or video. The arrival and evolution of mirrorless cameras have blurred the lines between photographer and videographer. We now speak of image creators who have endless ways to bring their artistic vision to life through image capture.

3) If your phone rang, which famous photographer would you like to be on the other end of the line inviting you on a photographic road trip? Where would you like this trip to be, and why that photographer?

This question can’t be answered with just one name. Among Greek creators, the person I would have liked to follow on a mission, though sadly he’s no longer with us, is the great Yannis Behrakis. I had the honor of meeting him during my participation in a photojournalism workshop where he shared his knowledge a few years ago. His presence as both a photographer and a human being deeply moved me, and his philosophy on image creation and its importance to society is something I always keep in mind. I would give anything to have followed him on one of his missions.

If I were to choose a foreign photographer, without limiting myself to whether they’re still alive, I would choose Ansel Adams. I think the era in which he was active posed great challenges for nature photography, and Adams managed to set the standards for what we consider an outstanding nature and especially landscape photography.

If we leave aside photographers who are no longer with us, today I would love to receive a call from the great Sebastiao Salgado. After studying his work, especially the book “Amazonia,” I would want to accompany him into the depths of the Amazon to capture what humanity has lost in its path of evolution—pure connection with nature and its creatures.

Of course, someone might say that none of these photographers are wildlife photographers. So, if I were to choose a wildlife photographer, it would be the great Paul Nicklen, as his work uniquely captures the connection between human survival and nature, especially the aquatic world.

The four photographers I mention are not chosen solely for their remarkable photographic work. They all embody a philosophy centered on love for humanity and nature, with the goal of revealing the challenges that must be overcome for humanity to evolve into a society based on solidarity for both people and nature.

4) Wildlife photography requires a lot of patience. How do you prepare to go out in the field, and how do you know when you’ve reached your limit for the day?

Preparation begins with choosing the animal I want to photograph, which is closely related to the season when I can approach it without causing harm, as well as the weather conditions I’ll face. A significant part of this preparation is studying the animal I’ll be photographing and its habits.

Setting the goal and planning the expedition constitute the largest part of my preparation. Preparing my equipment is something that has become second nature and doesn’t take much time or effort. As for my time in the field, it’s not about my endurance but about achieving the goal. If I deem it necessary, I’ll stay in one spot all day, waiting to see if I’m lucky enough to get the shots I want. Even when my body demands I abandon the effort, the final decision is based on whether I’m satisfied with the results I’ve captured. This means that, indeed, I often push myself to the limits, but it’s something I’m used to and no longer bothers me.

As it’s understood, in wildlife photography, achieving the goal is not guaranteed, no matter how well-prepared you are. Animals don’t take directions, nor do they adhere to routines. Most of the time, creating images that stand out and promise a different perspective from the usual is quite challenging. However, a wildlife photographer doesn’t just find satisfaction in a standout shot. What’s important is connecting with nature and its creatures, and the excitement of capturing a great shot of an animal is just as strong as simply having it appear before you—especially if we’re talking about animals that are hard to spot and observe up close.

5) Can you share a special moment or story you experienced during a photoshoot?

After about 20 years of photography and less than 10 years of nature and wildlife photography, I believe there are many moments I could share. However, I’ll focus on the last year and choose to talk about the relationship I’ve developed over the past few months with Action for Wildlife, an organization in Thessaloniki that provides health care and rehabilitates wild animals. My frequent visits to the Health Center have given me a greater sensitivity and respect for wild animals. Creating photos and videos for the organization has changed the way I approach my interactions with animals and has led to a deeper understanding of their struggle for survival. Without focusing on a specific moment, I want to mention that documenting the efforts of the people and volunteers at the organization is a very important mission for me. These efforts, the love with which they approach the animals, the emotion from successfully rehabilitating them, and the anxiety about their successful reintegration into the wild are things that restore my faith in humanity.

If I had to choose one moment from my experiences with the Action for Wildlife team, it would be the release of an injured fox in December of last year. The moment the fox hesitantly left its cage to enter the wild, now free, was an emotional moment for everyone involved in its reintegration process—something I felt as well, even though my role was limited to documenting its release. Taking this opportunity to talk with you, I urge everyone to support Action for Wildlife in any way they can. As is always the case with such organizations, even the smallest contribution is very important.