How to photograph otters at riverbanks without disturbing them: approach, hide alternatives and best settings for handheld shots

I’ve spent countless hours by UK rivers watching otters move through reedbeds, glide in the water and hunt along the banks. Photographing them is one of the most rewarding — and delicate — wildlife jobs you can try. Otters are curious but easily spooked: the first rule is to prioritise their wellbeing over the shot. Below I share how I approach riverbank otter photography without disturbing the animals, alternatives to full hides, and the handheld camera settings and techniques that work for me in real-world conditions.

Respect first: ethics and permissions

Before I even think about camera settings, I remind myself of three things: never force an encounter, minimise disturbance, and follow local rules. Many riverbanks are on private land or within protected areas. Always check access rights and obtain permission when needed. If you’re near a Site of Special Scientific Interest (SSSI) or a nature reserve, follow the reserve’s guidance — keep to paths, avoid sensitive zones, and obey any seasonal restrictions (especially during breeding).

Signs of disturbance to watch for — if an otter freezes, looks directly at you, dives and doesn’t reappear, or if you see increased alert behaviour over time, that’s a cue to back off. I’ll often stop shooting immediately and retreat quietly to a different location.

Approach: how to get close without spooking otters

Otters have excellent hearing, smell and a strong sense of the environment. My approach is always slow, indirect and low-profile.

Arrive early or late. I favour dawn and dusk — otters are most active at these times and light is softer. Fewer people around also means less stress for the animals.

Move quietly. I walk slowly, in soft-soled shoes if the terrain allows, keeping conversations low. Sudden movements are the quickest way to flush an otter.

Use the landscape. I use vegetation, bends in the river, and outcrops to break my silhouette. Approaching along a snaking path and stopping often to listen helps me detect otters before I’m close enough to disturb them.

Keep distance. Even if you see an otter on the near bank, resist the urge to close the gap. A decent telephoto lens will do the heavy lifting — I prefer to keep at least 20–30 metres when possible and increase distance if the animal shows any signs of stress.

Hide alternatives when you don’t want to carry a full hide

Traditional hides are great but bulky. Over the years I’ve learned several effective low-cost alternatives that keep me concealed yet mobile.

Natural hide: Crouch behind reedbeds, fallen trees or raised banks. I’ll sit low, wear muted colours and avoid any fabrics that rustle.

Pop-up camo shelter: Lightweight pop-up shelters (e.g. sporting makes like SLR Lounge or smaller birdwatching shelters) are handy if I expect long sessions. They’re quick to erect and provide good concealment and stability for a monopod.

Groundsheet and foliage: I sometimes lay a polar fleece or waterproof groundsheet and pull local vegetation over me — works best if you can stay still for extended periods.

Car hide: If a river runs by a quiet lane, shooting from inside a parked car is an excellent option. It’s inconspicuous, warm in cooler months and gives you a stable platform.

Camouflage clothing: Rather than a hide, a camo jacket and hat can blur human outline. I avoid heavy face paint or gear that alters my natural scent — often scent is what gives you away.

Handheld shooting: why I favour it and when to use a monopod

Handheld shooting gives me agility. Otters move quickly and unpredictably; I don’t always have time to set up a tripod. That said, incorporating a compact monopod or a beanbag when possible increases keeper rate and sharpness.

Handheld pros: fast reaction, easier to track moving subjects, minimal footprint.

Monopod pros: steadier at long focal lengths, faster to deploy than a tripod, good compromise between mobility and stability.

Recommended camera settings for handheld otter shots

These are settings I use as starting points. Adjust based on light, lens reach and the behaviour of the otter.

Situation	Shutter speed	Aperture	ISO	Focus mode	Drive mode
Otter walking on bank (slow to moderate movement)	1/500 – 1/1000s	f/4 – f/8 (depending on lens)	ISO 400 – 1600	Continuous AF (AF-C) with a small tracking zone	Continuous high
Otter swimming or diving	1/1000 – 1/2000s	f/4 – f/5.6	ISO 800 – 3200	AF-C with subject-tracking (eye detection if available)	Continuous high
Low light dawn/dusk	1/500s+ (if possible)	As wide as lens allows (f/2.8 – f/4)	ISO 1600 – 6400 (use camera’s low-light performance)	AF-C, wide-ish zone	Continuous high

Notes: I favour faster shutter speeds to freeze sudden lunges and splashes. If you have IBIS (in-body image stabilisation) and a lens with stabilisation, you can drop the shutter a touch, but movement in the scene (water ripples, sudden head turns) needs faster speeds anyway.

Lens choice and focal lengths

My go-to lens for riverbank otters is a 100–400mm or a 150–600mm zoom. These give me enough reach to maintain respectful distance yet provide framing flexibility. On a full-frame body, 300–600mm is often ideal; on APS-C cameras, a 200–400mm is a good compromise.

If you prefer primes, a 300mm f/2.8 or 400mm f/4 will yield excellent subject separation and low-light performance, but they’re heavier and more conspicuous. A mid-range telezoom like the Canon RF 100-500/Canon EF 100-400 or Nikon 200-500 and third-party options from Sigma/Tamron are excellent for wildlife photographers who want balance between weight, cost and reach.

Focus strategy and composition tips

Use continuous AF (AF-C) and a tracking mode that suits your camera — modern eye/animal detection can help but don’t rely on it completely.

Aim for the otter’s eye or head area when composing. A slightly off-centre composition with space in the direction the otter is moving improves storytelling.

Watch for reflections and glare on water. Positioning yourself lower to the waterline can help create cleaner reflections and a more intimate perspective.

Anticipate behaviour. Otters often hunt in shallow margins, play, or carry fish — if you can read patterns, you’ll capture more decisive moments.

Practical field tips and kit I carry

Binoculars — a small pair (8x32) to scan before committing to a position.

Beanbag — collapsible ones (Gunmount-style or small padded sacks) to sit on or to rest a long lens on uneven bank edges.

Waterproof clothing and footwear — riverbanks are wet and muddy; Neoprene socks or gaiters save a lot of discomfort.

Lens cloth and rain cover — otter photography often involves spray and mist; keep gear dry.

Spare batteries and memory cards — continuous burst mode eats both.

Neutral-coloured backpack or car hide — bright colours catch attention and spook wildlife.

Reading otter behaviour: when to stay and when to go

Once an otter detects disturbance it’ll often leave the area for some time. If it stays, you can continue but limit flash, sudden repositioning or loud noises. If it dives and doesn’t return within a few minutes, it’s best to reposition yourself — continuing to wait in place can increase stress and may push the animal away from a preferred habitat.

Finally, share responsibly. If you post images online, avoid revealing exact locations of sensitive populations. I usually give general area descriptions and encourage followers to respect wildlife and habitat. Photographing otters is as much about patience and humility as it is about technique — the better you learn to be invisible and ethical, the more natural behaviour you’ll be able to capture.