Hans Ngoteya

Tanzanian wildlife documentary filmmaker and photographer Hans Ngoteya is rewriting the narratives told about his home continent. "I'm trying to show the world that humans coexist with wildlife," he says. "It's a whole ecosystem. My focus is to change mindsets through stories that show that we cannot separate them."

Based in Arusha, Hans documents human wildlife interactions and animal behaviour across the region. The founder of Ngoteya Wild, he has directed award-winning documentaries from the plains of the Serengeti National Park to the foot of the Rift Valley and works with international organisations on educational content about the natural world.

Having been sent to educate a community on conservation issues in a remote area, with written materials not in their local language, Hans realised the system wasn't working. Instead, he started taking local children into the national parks – which are often seen as solely for tourists – filming them on a Canon EOS 5D Mark III. "I took that video back to the community and it was mind-blowing," he remembers. "They got to see their kids, a presentation in their own language and a side of the national park that they've never experienced. I came to realise that visuals are the best way forward."

After witnessing the transformative power of film, Hans upgraded to the Canon EOS 5D Mark IV and began focusing on turning written reports and company newsletters into short conservation videos. In 2018, Hans and his wife launched their production company, Ngoteya Wild, making short films such as Backyard Wilderness (above), which explores the hidden wonders that can be found in people's backyards, including weaver birds, colobus monkeys and spiny orb-weaver spiders. He works as a cinematographer for broadcasters including the BBC, received Jackson Wild's Rising Star Award in 2023 and is a National Geographic grantee.

Hans has documented the Maasai community's relationships with giraffes in Sentinels of Engaruka (above), and human-chimpanzee relations in Mahale Chimp Guardians. Now filming on a Canon EOS C50 with lenses including the Canon RF 100-500mm f/4.5-7.1L IS USM, he is able to be much more mobile than with a traditional, heavy wildlife filmmaking setup, as well as switch to photography when needed. "Having this small camera with its capabilities has given us access to a world that we didn't know existed," he says. "The Canon EOS C50 is the gateway to a changing world."

Outside of his film work, Hans is dedicated to showing Tanzania's youth that there's a place for them in an industry that has been historically dominated by foreigners. Since founding the Tanzania Wildlife Media Association in 2018, Hans and his team have grown the regional industry from just a handful of people to more than 1,000. "People have to understand how to communicate our African stories in our own ways," says Hans. "We now have a lot of inspired wildlife photographers and filmmakers in the industry."

Why is it important that African filmmakers tell their own stories?

"In the Western world, nature documentaries show pristine wildlife without a single human being. It used to be an old colonial mindset that wildlife and humans have to live separately. In reality, on the ground, that's not true. The wildlife media industry has also not been seen as for Africans. A lot of young people think you cover weddings and events – you're a content creator or you're in the movie industry, but nothing to do with wildlife. We started the Tanzania Wildlife Media Association to influence policy and to educate people about the industry."

What is an essential element of a wildlife filmmaker's kitbag?

"Wildlife usually has something called a safe distance – the distance they will allow you to get to before they feel uncomfortable and move away. My favourite lenses are the Canon RF 100-500mm f/4.5-7.1L IS USM and the Canon RF 24-105mm F4L IS USM. Zoom lenses allow you to get closer without interfering with animal behaviour."

What wildlife-human interactions would you like to document next?

"I want to understand the links between the oceans and the communities around them – how they work and use the coastline. Another story I still wish to tell is the wildebeest migration. When wildebeest migrate, they meet with different communities – but you never hear that story. On television they are usually shown crossing the Mara River and falling to crocodiles, but I want to document what happens outside of the migration."

What piece of Canon kit can you not live without, and why?

"The Canon EOS C50 is in my hand all the time because it's versatile and I can switch between photo and video. It's compact, I can lean down to get nice low shots with a flip of the screen, which is great for a cinema camera, and there's Open Gate recording. The broadcast industry is changing fast and more people consume content on social media. If I'm shooting Open Gate, my editor can have quick shots to use on social media and good quality resolution for a film."

What else could we discover in your kitbag that helps you elevate your work?

"A pair of Canon's image stabilised binoculars. The Optical Image Stabilizer counteracts movement which means I can use them even when the vehicle engine is running. And because most places either have instant coffee or no coffee at all, I always carry a bag of ground coffee and a French press!"

"I didn't know I would be where I am today. When I was getting into this industry, I was inspired to be out in nature and to tell stories. As a filmmaker and a storyteller, I feel a responsibility to shape the stories that are being told about us. It's an industry that can be very tough, but if you have a passion for it, go for it – and stay focused."

Website: hansngoteya.com

Facebook: Hans Cosmas Ngoteya

Instagram: @ngoteya_wild

X: @HansCosmas