Since our last interview in 2021, Alvaro Cubero’s photographic journey has continued to evolve across continents, species, and stories. From photographing birds in Southeast Asia and puffins in Iceland, to Pallas’s cats, Alaskan bears, lions in the Serengeti, and the vast landscapes of Mongolia, his work reflects a deepening connection to both wildlife and the people, cultures, and conservation challenges surrounding it.

In this follow-up conversation, Alvaro shares how his perspective on photography has matured, why storytelling matters more than ever in the fast-moving digital world, and what still lies ahead, including the dream of photographing the elusive Siberian tiger.

 

Since our last interview in 2021, what have been some of the biggest highlights or milestones in your career?

Since 2021, many things have changed in my photographic career. One of the most important aspects has been the opportunity to discover new destinations and explore places with truly exciting species and moments to photograph.

Among the most memorable experiences, I would highlight my work photographing birds in Southeast Asia, a region that has opened a completely new world for me in terms of colour, behaviour, diversity, and photographic possibilities. I would also mention Norway, especially the north, where the landscapes, light, and wildlife have left a very strong impression on me. Both destinations have pushed me creatively and allowed me to photograph species and environments very different from those I usually work with in Costa Rica and Africa.

I also had the chance to photograph the Pallas’s cat, one of the species that had been very high on my personal dream list for many years. I have also had unforgettable experiences photographing puffins in Iceland and many other powerful encounters that have reminded me why I love this work so much.

Over these years, I feel I have learned not to focus only on the pressure of capturing the perfect image, but to enjoy the process more deeply, to feel the emotion of being in front of wildlife, and to always try to tell those stories in the most honest, beautiful, and respectful way possible.

You spoke about wanting to split your life between Costa Rica and Africa. Has that dream moved closer to reality?

Yes, absolutely. That vision has become a reality. Costa Rica remains my home base, but I now spend around four to five months each year in Africa. Over the past few years, I’ve been leading regular expeditions across multiple African destinations, from Tanzania to Zambia. I genuinely feel at home on both continents, and my life now revolves around these two incredible worlds.

Have you added new photography destinations or workshops in recent years?

Yes. In recent years, I have added several new photography destinations and experiences to my work. Africa continues to be one of the main pillars of what I do, but I have also expanded into new regions and species-focused trips.

I have developed and led more specialised wildlife photography experiences in places such as Southeast Asia, Norway, Iceland, Mongolia, and different parts of Africa. Each destination offers something very different, from tropical bird photography and rainforest species to Arctic landscapes, seabirds, large mammals, and some of the most iconic wildlife encounters on the planet.

In Costa Rica, I have also continued refining my photography workshops, focusing on birds, frogs, snakes, bats, macro photography, hummingbirds, quetzals, and other highly specialised rainforest subjects. My goal is always to create experiences that are intimate, ethical, and designed around strong photographic opportunities rather than mass tourism.

Are there any species or locations you photographed recently that left a deep impression on you?

Yes, Mongolia left a very deep impression on me. Beyond the wildlife and the landscapes, what moved me most was the people, their culture, and their way of life. Mongolia feels completely different from many other places I have visited. The connection between people, animals, land, and tradition is incredibly strong.

Spending time there allowed me to experience customs and daily routines that are very different from my own, but also deeply beautiful and meaningful. The hospitality, the nomadic lifestyle, the relationship with horses and livestock, and the vastness of the landscapes all created a very powerful experience.

Photographically, Mongolia is extraordinary, but emotionally it was even more impactful. It reminded me that wildlife photography is not only about the species we photograph, but also about the places, cultures, and human stories that surround them.

 

 

Has your perspective on photography as a conservation tool evolved since 2021?

Since 2021, my perspective has become deeper and more mature. I have always believed that photography can inspire people to care about wildlife, but now I see it even more as a bridge between people and conservation. A powerful image can create an emotional connection with an animal, a landscape, or an ecosystem that someone may never experience in person.

Over the past few years, I have also understood more clearly that conservation is not only about showing beautiful animals. It is also about telling honest stories: the challenges these species face, the importance of protecting habitats, and the role that local communities, guides, and conservation projects play in keeping these places alive.

Have there been any unforgettable wildlife encounters over the past few years?

Yes, one of the most unforgettable encounters I have had in recent years was in Alaska, photographing a mother bear with her cub feeding on salmon. It was one of those moments where everything felt incredibly raw and powerful, but also very intimate.

Watching the mother bear teach, protect, and share that space with her cub was deeply moving. There was strength, tenderness, instinct, and survival happening all at once. As a photographer, it was an incredible opportunity, but as a human being, it was even more meaningful.

That encounter reminded me why I love wildlife photography so much. It is not only about capturing dramatic images, but about witnessing real moments in nature that reveal the complexity and beauty of animal behaviour.

What projects or stories have felt especially meaningful to you recently?

One of the most meaningful stories for me recently has been photographing lions in the Serengeti. Lions are one of the most iconic animals in Africa, but every time I photograph them, I am reminded that there is always a deeper story beyond their power and beauty.

In the Serengeti, I have been able to observe different aspects of their lives: the bond between females, the protection of cubs, the strength of dominant males, the patience of a hunt, and the challenges they face in such a vast and competitive ecosystem. Photographing them is not only about creating a strong image, but about trying to tell a story of family, survival, territory, and resilience.

This project has felt especially meaningful because the Serengeti represents one of the greatest wildlife landscapes on Earth. To document lions there is to photograph one of the most important symbols of wild Africa in one of its most legendary places.

Are there any conservation challenges you feel strongly about right now?

Yes. One conservation challenge I feel strongly about today is not only what is happening in the natural world, but also how difficult it has become to communicate those issues in the digital world. We live in a culture of immediacy, where people consume images and stories very quickly, often in just a few seconds before moving on to the next thing.

Because of that, I feel that the deeper conservation message can easily get lost in the noise of social media. Wildlife photography has the power to move people, but in a digital space filled with constant content, trends, and distractions, our work sometimes has less impact than it should. A photograph that represents days, weeks, or even years of effort can be seen for a moment and then disappear in the feed.

I believe one possible solution is to focus less on posting only beautiful images and more on building deeper stories around them. Photographers, conservationists, and communicators need to create content that gives context: why the species matters, what threats it faces, what local communities are doing, and how people can help. Long-form storytelling, educational captions, talks, workshops, exhibitions, and collaborations with conservation projects can give images a longer life and a stronger purpose.

For me, one of the biggest challenges now is finding ways to make people slow down, pay attention, and connect with the story behind the image. Conservation needs more than beautiful photographs; it needs context, emotion, education, and a real sense of responsibility. I believe photographers must keep adapting so our work does not become just another image online, but a meaningful tool to create awareness and care for the natural world.

 

 

Is there still a dream species or photographic story you hope to capture?

Yes. One of my biggest dream species is still the Siberian tiger. For me, it represents one of the most powerful and mysterious animals on Earth. There is something almost mythical about imagining a tiger moving silently through the snow-covered forests of the Russian Far East.

Photographing the Siberian tiger would not only be about capturing a beautiful or dramatic image. It would be about telling the story of an animal that survives in one of the harshest environments on the planet, facing extreme cold, vast territories, and serious conservation challenges.

It is a species that combines beauty, strength, rarity, and vulnerability. To photograph it in its natural habitat would be one of the most meaningful wildlife stories I could ever tell.

What excites you most about the future of your work?

What excites me most is the possibility of inspiring more people to enter the wonderful world of photography and wildlife. Photography has changed my life completely, and I love the idea of helping others experience that same sense of wonder, curiosity, and connection with nature.

I also feel very motivated by the opportunity to share knowledge. Over the years, I have learned not only technical aspects of photography, but also how to read animal behaviour, understand light, work ethically in the field, and tell stronger stories through images. Being able to transmit that experience to others through workshops, expeditions, talks, and personal guidance is one of the most rewarding parts of my work.

In the future, I hope to continue creating experiences that help people grow as photographers, but also as more conscious observers of the natural world. If my work can inspire someone to see wildlife with more respect, patience, and emotion, then I feel it has a real purpose.

 

---

Alvaro Cubero’s journey is a powerful reminder that wildlife photography is never just about the final image. It is about patience, presence, respect, and the stories that unfold when we take the time to truly observe the natural world.

From Costa Rica to Africa, Mongolia to Alaska, and the Serengeti to the forests of the Russian Far East, his work continues to reflect a deep love for wildlife and a growing commitment to using photography as a bridge between people, nature, and conservation.

At a time when images are often consumed in seconds, Alvaro’s perspective encourages us to slow down, look deeper, and remember that every photograph has the potential to carry meaning far beyond the frame.