Q&A - 10 with Conservation Photographer Rafael Serrano Esguerra

August 07, 2025

1. Tell us a little bit about your background?

Nature and conservation photography has become, for me, a communication tool. As a historian and photographer, I strive to complement my projects and photographs, aiming to convey a message, transport viewers to the remote places of my journeys, and instil in them a personal connection to the landscape, location, and image.

Through this, I began working on aspects such as participatory photography and nature photography workshops, especially focused on landscapes, with the purpose of empowering local communities and fostering a sense of belonging to the territory through imagery and knowledge of their own living space. Through these workshops, I aim to bring people from urban environments closer to nature, initiating processes of appropriation and protection of natural resources and landscapes. This set of factors is crucial within conservation photography.

2. What are some memorable projects you have worked on?

I have had the opportunity to work on various projects related to environmental education and sustainable tourism with communities, using photography as a means to strengthen processes of identity and belonging to the territories.

However, a significant part of the most important projects I have been working on involves the integration of nature photography workshops and photographic journeys in recent years. Through these travels, I have been able to generate processes of local empowerment and sensitise participants to the natural environments and conservation processes of these places.

On the other hand, I have also participated in the development of Good Practices Guides for Nature Tourism in Colombia, contributing my images to these initiatives.

3. How did you get into photography?

My first approach to photography was around the age of 14 or 16, using simple analog cameras to document travels and family adventures with friends. Later, as a historian in my initial research projects involving community development and restoration initiatives, I began using more advanced analog cameras. I utilized images as a record of experiences and outcomes.

This initial exposure to photography led me to a more professional level, which was further strengthened years later while working on community tourism projects, environmental education, and human rights issues in Colombia. I dedicated several years to this work, bringing me closer to landscapes and mountains. Eventually, I made a significant shift in my professional life, fully committing myself to nature photography and conservation as a way of life.

4. How does photography aid you in your line of work ?

Based on my photographs and projects, I have sought to create a relationship with the communities where I work and the visual audience through raising awareness about the landscape and the political and social situations unfolding in these territories. This involves addressing issues such as land use, resource protection, and wildlife conservation. Therefore, a significant part of my work is related to landscapes, fauna, communities, and another part involves travels to different parts of the world, always maintaining the same ideal.

The aesthetics, message, and harmony in my photos are crucial. I strive to create the image directly from my camera, using filters, temperature adjustments, composition, and photographic techniques. I minimize post-processing work on the computer and editing programs to convey what I see through the camera to the viewers.

5. What is the craziest adventure you have been on?

I have had the opportunity to travel to various places around the world and explore different continents. However, perhaps the most extreme and adventurous photographic journeys and travels have taken place in Colombia.

A few years ago, I embarked on a photographic journey across the expanse of the Andes Mountains in Colombia, tracing the footsteps of a Colombian photographer from the early 20th century named Irwin Kraus. He documented the first ascents of the high Colombian mountains, being one of the pioneers who captured the snowy peaks of Colombia, all at altitudes exceeding 5000 meters, with a camera.

This led me to a 10-day expedition in the Sierra Nevada del Cocuy, Güicán, and Chita, retracing the paths of these early explorers alongside my mountain companion. Carrying a 90-liter backpack with a weight of 33 kilograms each, I not only had my photography equipment but also camping gear, high-altitude gear, and food.

It was an exhausting expedition where, despite the backpack becoming increasingly empty, it felt heavier with each step. We covered about 80 kilometers and managed to ascend several mountains ranging between 4000 and 5000 meters.

6. What place for photography that you have visited would you say is

extremely underrated ?

I must say that there are three places in my recent journeys that have left a lasting impact on me. The first is Easter Island in Chile, the second is the Galápagos Islands in Ecuador, and the last is the Cerros de Mavecure in Colombia.

Easter Island is an incredible place, marked by its archaeological and historical significance, and it's a destination I always wanted to visit. On the other hand, Galápagos is one of those places I grew up watching in documentaries. Being on the islands with giant tortoises, iguanas, and breathtaking landscapes made me feel like a part of those expeditions.

Recently, I embarked on a journey along the Orinoco River and the Inírida River to reach some mountains in Colombia, considered some of the oldest rock formations on the planet, part of the Guiana Shield—the Cerros de Mavecure, consisting of three mountains (Cerro Pajarito, Cerro Mono, and Cerro Mavecure).

This area was once hailed as one of the wonders of the world by early European explorers of the American continent. However, during the violent period in Colombia's history, it was largely forgotten, partly due to the challenging conditions of reaching the location.

Nevertheless, it's an incredible place that can now be accessed by flying to the town of Inírida and then taking a 3 to 4-hour boat ride. The magic of this place, the warmth of the indigenous communities, and the landscapes leave one speechless upon arrival. The hospitality of the indigenous communities in the region, who act as hosts and local guides, adds to the enchantment of exploring and experiencing this unique location.

7. What camera gear do you use and what is your favorite lens?

Currently, my photographic equipment consists of a pair of Canon bodies (R5 and R7), a standard zoom lens, a couple of wide-angle lenses, and some telephoto lenses. This setup has evolved over the years, and if there's one thing I've learned, it's that a nature photographer's equipment is influenced by experiences and personal preferences.

These changes largely stem from the pursuit of optical quality, weight reduction, and the selection of necessary accessories, whether photographic or those I deem essential for facing natural environments for one or several days.

My preferred lens for landscape photography is a wide-angle lens. Nowadays, I usually use two lenses: the Canon RF 15-35 and a NISI 9mm. With these, along with my kit of magnetic Kase filters, I capture the vast majority of my images, and they are always present in my backpack.

8. How do you outfit your Fjord bag(s)?

I usually use the medium-sized RCI insert when going on a regular journey to photograph landscapes. In it, I carry my camera body (Canon R5), a standard zoom lens (Canon RF 24-105 F/4), a wide-angle lens (Canon RF 15-35 F/2.8), a small telephoto lens (Canon RF 70-200 F/4), my set of square filters, a couple of circular polarizers, and some additional batteries.

I use the large size when carrying my drone or a large telephoto lens (RF 100-500 or 800 F/11) or my equipment for macro photography (lens and flash). The small RCI is used for short trips that require bringing my camera with one or two lenses along with a set of circular filters.

The NYA-EVO backpacks embody the essential aspects I consider when choosing a good backpack. They are robust, durable, allow for carrying additional equipment, and, of course, they are comfortable and ergonomic, especially when carrying weight, as they distribute the weight optimally. Similarly, the choice of these backpacks based on the equipment we carry and their arrangement is quick. In the field and nature, I use the Fjord 60, and for urban landscape trips, I use the 36.

9. YOUR THOUGHTS ON THE NYA-EVO BACKPACKS AND HOW THEY HAVE INTEGRATED WITH YOUR TRAVELS AND WORKFLOW?

The NYA-EVO Fjord 60-C backpack has become my companion in recent journeys. It is an adjustable backpack that fits my back and height, featuring numerous pockets and compartments that allow me to easily organize cleaning equipment and travel accessories. I usually arrange my gear in the medium or large RCI insert and have space to carry my jacket, waterproof pants, first aid kit, food, and other essentials for sessions in challenging environments.

The NYA-EVO Fjord 36, with a smaller volume, is perfect for air travel or moving with photographic equipment through cities. I have used this backpack on various trips to Europe and South America in the past year, finding it very comfortable and often going unnoticed. I typically use it with the medium or small RCI insert, depending on the number of lenses I am using, as well as the necessary filter set for the occasion. In my opinion, this backpack is the ideal companion whenever I face urban landscapes and short trips.

In summary, the NYA-EVO Fjord 60-C backpack is perfect for landscape photographers, wildlife enthusiasts, and adventurers, while the NYA-EVO Fjord 36 is ideal for travel and journeys around the world.

10. What advice do you have for people trying to get into the field of conservation?

Conservation photography is a powerful tool to empower and strengthen processes, to raise awareness and generate empathy towards natural environments and environmental causes.

The advice I would give is to carefully consider what is desired and not get lost in the pursuit of the objective. Often, in the eagerness to raise awareness, conservation photographers may lose objectivity and overlook social, cultural, and economic factors in the regions they capture.

It's important not to be swayed by immediacy and arrogance but to analyze all factors. In the midst of the 19th century, we find ourselves bombarded with raw and intense images, which has accustomed humans to quickly scroll through without pausing to analyze the underlying context.

Many times, the most effective way to raise awareness lies in an image that captivates the visual reader and creates a personal connection to the place.