Arctic glaciers in abstract configuration captured by nature and wildlife photographer Mital Patel. — *Glacier Peaks*. © Mital Patel

Mital Patel captures the surreal and the larger-than-life. Since a 2017 trip to Africa that kindled his connection with the natural world, he has been photographing vast landscapes and wildlife to awe and inspire. From snow-covered mountains to endangered rhinos, Patel’s subject matter is monolithic, humbling, and emotive. In an interview with Xuezhu Jenny Wang, Patel discusses the marvels of nature, his dedication to philanthropy, and the various ways that nature and wildlife photography move people and reach a larger audience.

Xuezhu Jenny Wang: How do you approach photographing nature, landscape, and wildlife?

Mital Patel: I’m always aiming to find fresh perspectives and explore abstract ways of capturing landscapes. I look for things I haven’t seen before or different ways of shooting them. For example, when I was in Svalbard in June, I focused on unique compositions and letting the environment guide me to shots that felt new. Sometimes, landscapes are hard to innovate unless there's a different type of weather system, like storms, wind, or clouds. You can photograph the Tetons 100 times, but to get a unique shot, you might want to do some kind of long exposure to create a sense of motion and moodiness.

When I’m photographing animals, it’s really coming from a sense of deep love for nature, which translates into the works. I spend hours observing their behavior, interactions, and movements. I wait for those intimate, somber moments that convey emotion. I want to capture certain moments that would resonate with viewers by fostering a deeper connection.

Black and white photograph of Indian American man in safari Land Cruiser, nature and wildlife photographer Mital Patel. — Courtesy of Mital Patel

XJW: You’ve described some of your landscapes as abstract. In works like Infernal Guardians, the aerial view of lava also looks like outlines of animals. Could you elaborate on your definition of abstract and this construction of representation through imaginative elements?

MP: In that particular instance, the piece is both abstract and figurative. My abstract landscapes often come from finding patterns in nature that viewers can’t immediately recognize, like Icelandic rivers seen from above. These might look like trees or macro photography. When people have to guess what they're seeing, it deepens their engagement. For example, I photographed a cypress grove in a swamp with fall foliage, and many thought it was a painting. Really, how I define abstract landscapes is just finding these nonliteral moments in nature and creating something that people aren't able to recognize ordinarily. I enjoy showcasing the ways in which nature works like an artist, as if it wields its paintbrush.

XJW: So, is nature a co-creator in your photography?

MP: Absolutely. Nature is the creator; I’m the medium bringing it to life for viewers to experience it. Especially now, when people are routinely scrolling on phones or live in cities away from nature, my work helps reconnect them with the natural world and share what’s out there.

XJW: Speaking of media, do you think how people consume your images—digital vs. print—affects your work’s impact?

MP: Definitely. Seeing large-scale prints allows viewers to connect with the images more deeply. For instance, when there's a photograph of a lion, you can just stare at it for 20 minutes and gain an appreciation for all the intricate details of that animal. If you are driving during a safari and seeing the animal pass by, you may not be able to spend that much time and admire them from that closeness. I can bring that lion right in front of you and freeze that moment. That allows people to engage deeper with nature and wildlife.

Rhino and caretaker in grassland under gray sky, caretaker's touch, nature and wildlife photographer Mital Patel. — *Caretaker’s Touch*. © Mital Patel

XJW: What is it like filming animals like lions?

MP: Usually, I’m in a safari vehicle like a Land Cruiser, so there’s usually a barrier. But one time, I was in a custom vehicle where the door flips down so I can get lower to the ground to photograph. I was maybe 15 feet from a lion. She was just sitting there and watching her pride, and it was that moment when I realized she could easily jump in and tear my head off, so I went back and brought the door back up.

Another time, a rhino charged at me, and luckily, I was able to run away from him. I was lying down on the ground to photograph him. After some time, I had to get up because it almost felt like glass was poking my arms. I kneeled up gently, but that spooked the rhino, and he started running after me. My guide was in the vehicle, honking and yelling. Thankfully, I ran one way and the rhino the other. It’s all part of the job. And I must add that rhinos are such beautiful and gentle creatures, despite being easily spooked.

XJW: What emotions do viewers share about your photographs, and what feelings are you hoping to evoke?

MP: Humility comes to mind—recognizing our place within nature and its vastness. I don't know if compassion is the right word, but I’m trying to communicate this sense of responsibility. When people see the images, they get a sense of wanting to be a part and taking action in some way. Through my photographs, I hope to inspire meaningful actions in the viewers, like giving back or helping with the environment.

XJW: You donate a portion of your proceeds to charities. What are your thoughts on the current state of the climate crisis?

MP: It's troubling. The unusual weather we see now highlights the need for collective action. Even small changes can make an impact.

Arctic flow, arctic glaciers in abstract configuration photographed from aerial view, nature and wildlife photographer Mital Patel. — *Arctic Flow*. © Mital Patel

XJW: Your travels sound fascinating. What’s the most impressive place you've visited, or where are you planning to go next?

MP: I’ve been very fortunate to go to many remarkable, remote places. They are all amazing, but if I have to pick one, it’s Svalbard. Longyearbyen is the world’s northernmost settlement, with surreal snow-covered landscapes that are out of this world. There are glaciers, polar bears, walruses, and sea lions; we were on icebreakers. It’s the coolest place I visited.

I took a trip to the Galápagos last year, which I really enjoyed—animals there have no fear of humans because they’ve been protected so well. We were walking on a trail, and there was a bird and a bird nest on the ground—it didn’t even fly away. From that trip, I gained a whole new level of respect for all the tiny animals and beings, from ladybugs to lizards. It gave me a fresh perspective on photography, and I published a documentary titled Galápagos – Wildlife in Harmony on WaterBear Network. Antarctica was also breathtaking, with huge glaciers, different kinds of penguins, and whales.

I still want to photograph gorillas in Rwanda or Uganda. I also want to spend some time in Botswana, do river safaris, and photograph the rivers. I’d love to visit Bolivia’s salt flats—in the springtime, the rain creates this endless mirror. There’s a long list of places I still need to visit.

XJW: Is there anything else you’d like to share that we haven’t touched on?

MP: When I started doing photography, it was fun, it was great, but there was still some kind of void ahead. That’s when I started working with these nonprofits, which fully unlocked my happiness—it felt like I found what I was supposed to be doing. Photography has allowed me to give back and use my art for impact. By donating my artwork, I’ve helped raise over $20,000 for organizations. Recently, I launched a nonprofit, The Simba Trust, focusing on providing Maasai children with school necessities like uniforms, textbooks, and scholarships so they can pay for school fees. Now, I'm working on getting funding to pay for three years of their education—we have already raised half of that within just three weeks.

XJW: When did you start collaborating with nonprofits? How did that come about?

MP: It began with a gallery I worked with in Vegas. They had a long-standing relationship with WildAid and partnered with artists to donate prints for fundraising. My first collaboration was in 2021, and since then, I’ve done more. Today, I work with organizations like WildAid, the Wildlife Justice Commission, and some local Dallas charities to stay connected and give back to my community.