Not all of us are TinTin or Cairo Jim or The Wild Thornberry’s, hell, even Dora the Explorer’s. In the Internet age, we sometimes forget that we live on a big old beauty of a planet,  both stunning and terrifying in equal measure. For us, there is often a disconnect, between the images we see and the full effect of those situations in the real world. Jess Sara Wright is a photographer who captures both the intimate world of wild animals, but also confronts the very real situation of animal poaching in her own back yard.

TAH: Can you introduce yourself a little? Who you are, where you are and what you’re doing. Jess: I am from Cape Town, born and raised. It seemed natural to study Visual Communication Design after school – I had an outdoor-orientated, active childhood, yet some of my fondest memories come from vivid hazy daydreams. I am completing my Honours this year, and I find myself in a state of suspension with no set plans for the future just yet.

Have you been photographing long? I first started taking photographs – bizarre, awfully over-edited ones – when my grandparents bought me a digital snap-happy camera in Singapore duty-free. It was great for discovery and development, and for making many mistakes. It was only until others started paying attention to my photography that I gave my own photographs a second thought.

What makes you want to travel? I was born in South Africa. Growing up at the Southern tip of the continent made Africa a viable travel option. My parents had an unspoken philosophy about exploring our own country before the rest of the world. This meant roadtrips through the Karoo and the Kalahari, along both coastlines, out of the country to Botswana and Namibia, and even further north into Tanzania and the edge of Kenya.  I am so grateful for this. I am now increasingly curious about Central and North Africa, but exploring those areas independently as a young woman is challenging. When you go on these trips, do you find yourself adequately prepared for your encounters? The bushveld is in my blood; the sounds and the smells are second home to me. In summer, it’s lush green, the afternoons arrive with cracks of lightning, and then there is this arid, sun-baked smothering heat. The photographs from this series were taken at Olifants River Private Game Reserve, which falls part of the Kruger National Park. I go there every year.

What is your background with these kinds of projects – was this the first kind of ‘activist’ or ‘investigative’ photography you’ve done? Over time I’ve picked up knowledge about wildlife, game ranging and conservation efforts, and I’ve followed animal rights and poaching debates from a quiet distance. I argue that animal life must be valued as highly as human life. Capturing wildness and the raw beauty of nature has always appealed to me, and I find a thrill in travel photography. This series is the first time I’ve ventured into photojournalism. The opportunity fell into place; I happened to be at the right place at the right time. I wasn’t prepared for the evident increase in poaching and anti-poaching activity this time around, and that was a shock. It’s a strange series to reflect on. It’s dichotomous – one photograph can hold the beauty of Mother Nature yet also reveal the cruel flaws of humanity.

What are the pressing issues for wildlife in the region? Rhino poaching and the anti-poaching effort is getting heated press attention because it is the ‘big issue’. It is necessary, but it tends to put other concerns on the backburner. This includes devastations to lion numbers, an increase in elephant poaching, as well as ongoing destruction of natural habitats and low abundance of clean water. I get upset about the ill-treatment of animals in commercialized ‘safari’ parks. Also, animals bred for prize hunting is something that bothers me.

Can you tell us about the rhino anti-poaching units? Who is running them? Information on the anti-poaching units is scarce, for obvious reasons. The unit that provides security at Olifants is ProTrack, and the rangers are seen as a law-enforcing barrier between poachers and the slaughter of wildlife. It’s heroic. These people fight the good fight; they make the world a better place. Were you involved in the anti-poaching operations? This specific incident got underway on Christmas Eve. The game rangers went into high alert after a warning was sent out about a potential poaching incursion. Footprints were found early on Christmas morning. The heat was pressing down. Mario, a brilliant man I respect hugely, led the team around the area. Glen, a wise and witty ranger, spent his day on top of a power pylon scanning the ground with his binoculars. ProTrack caught one of the poachers, a big yes for anti-poaching morale. Still, it doesn’t make it any less distressing to watch people you care about risk their lives. The following day, the anti-poaching units sent up helicopters to search for signs of other poachers, or for a carcass. This is where I come in, playing my miniscule role. The funding for anti-poaching operations is lacking, and a way to support these efforts is to pay for the heli-fuel. So, besides being eyes on the ground, I got the opportunity to be the eyes from above for a day.

Will you continue to use photography in this capacity?  Yes! The photojournalism bug has bitten. That and travel photography. If I can use my photographs to convey a story, and potentially create a positive shift, I’ll be content. Is there anything else you’d like to mention? A current, or future project? 2015 is about putting together a body of work for my graduate exhibition and writing my research thesis. I have a handful of future projects on my mind too, but I’ll just have to wait and see how it all unfolds.   Interview by Emilia Batchelor at The Adventure Handbook, images by Jess Sara Wright