You can still buy exceptional DSLR cameras, mainly from Canon and Nikon, but most manufacturers have shifted their focus towards producing mirrorless cameras, says Graemme Green.
What's the difference between a mirrorless camera and a DSLR?
(The difference between the two is that the mirror inside a DSLR sends light into the viewfinder; a mirrorless sends the light directly to the image sensor, allowing a preview on the screen.)
I’m still a DSLR user (usually a Canon EOS 5D Mark III or IV), as are many other wildlife photographers. They weigh more, but I like their solidness and durability, essential for working in challenging conditions, as well as the way they feel and operate. But in years to come, you’re likely to find fewer new DSLRs on the market.
“Arguably, the shift to mirrorless has already happened,” says James Gilbert, Fujifilm’s technical product specialist. “There are few, if any, camera manufacturers making DSLRs any more, and it’s likely that nobody will be making them in two to five years’ time. Mirrorless cameras are smaller, lighter and relatively cheaper. They are also quieter, and capable of significantly higher frame-rates for action shots.”
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The ergonomics of a camera are important, including size and weight, how it fits in your hand, and where the buttons and dials are located. Successful wildlife photography is often about split-second decisions, so you need to be able to operate the camera quickly and easily.
Cameras often take a few knocks, so it’s important to buy something tough and weather-sealed. Other factors to consider include autofocus and detection capabilities, continuous shooting speed, processing speed, image stabilisation, sensor size, ISO and battery life.
What are full frame cameras?
Most professional wildlife photographers I know prefer full-frame cameras (cameras with full-frame sensors, which enable you to take a full picture without cropping). But there is a choice. “The two common imaging sensor sizes are full frame and APS-C (crop sensor),” explains Mehdia Mehtal, product intelligence professional for Canon. “Full frame, being the larger sensor, generally offers better low-light performance, better dynamic range and allows for shallower depth of field.
What is aps-c
But APS-C is still a good option. It creates a narrower field of view, and the crop factor makes smaller or distant subjects larger in the frame. APS-C sensor cameras tend to be smaller. The quality of sensors has improved significantly over the past few years, and advanced mirrorless APS-C cameras can perform better than older DSLRs.”
Wild animals often move quickly. “Having a fast, reliable autofocus that can lock onto a subject is important,” says Mehtal. “There are animal-tracking features in many cameras. High continuous shooting speeds can also make the difference between getting and missing a shot. Most cameras nowadays are capable of shooting at speeds around 20-40 frames per second, which is great for wildlife.”
How many megapixels do I need?
Megapixels is another consideration. “With megapixels, it depends what you’re going to do with the image,” says Sam Pilling, technical product manager at Sony. “If it’s for Instagram or the internet, you don’t need high resolution – 12 megapixels might be enough. A lot of cameras tend to be in the sweet spot of 20-40 megapixels.
If you want to do fine art prints or books, you might need 60 megapixels or more. Another advantage of high resolution is that you’re able to crop into an image while retaining high levels of detail.” The decision isn’t as simple as getting as many megapixels as possible, though – you need the right balance between resolution, low-light performance and continuous shooting speed.
If you’re planning to work in low-light conditions, such as thick forests or at dusk, you might want to look at cameras with impressive ISO capabilities. It’s also worth thinking about features that you don’t need. Many cameras now have professional-level video capabilities, for example, but if your priority is stills photography, it’s probably not worth it.
For professional-level DSLR camera bodies, you could look at the Canon EOS-1D X Mark III, Canon EOS-5D Mark IV and Nikon D850. For high-end mirrorless cameras, check out the Canon EOS R3, Nikon Z9, Fujifilm X-H2S, Sony A9 III and Leica SL3 – and possibly the Lumix S5II.
What focal length do I need
Focal length is the key factor to think about with lenses. Wild animals often keep their distance from humans and powerful lenses with longer focal lengths allow photographers to take pictures that feel closer to their subjects. But wildlife photography doesn’t always mean defaulting to gargantuan, ultra-expensive lenses. One of the camera bodies I always carry has a Canon EF 24-105mm f4L IS II USM attached, a versatile lens I can open out wide to set animals in their environment.
With many creative choices in wildlife photography, though, from intimate portraits with a sense of character to dramatic action shots, getting ‘closer’ is important.
I regularly use a Canon EF 100-400mm f4.5-5.6L IS II USM, an adaptable zoom lens with an impressive range. Also for DSLRs, Nikon has the AF-S NIKKOR 180-400mm f4E TC1.4 FL ED VR, while for mirrorless cameras, high-quality zooms with the range to capture wild beasts near and far include Canon’s RF 100-500mm f4.5-7.1 L IS USM, Nikon’s NIKKOR Z 100-400mm f4.5-5.6 VR S or NIKKOR Z 180-600mm f5.6-6.3 VR, Fujifilm’s XF 100-400mm, Leica’s Vario-Elmar-SL 100-400mm f5-6.3, and Lumix’s S 70-300mm f4.5-5.6 Macro OIS. You can also add focal length with an extender.
What about camera lenses?
Fixed (or prime) lenses are also available, which have a fixed focal length. “Typically, fixed lenses give greater sharpness,” explains MacNeice. “Modern zoom lenses are optically impressive, but there may be some sharpness fall-off, especially at the extreme ends. Zoom lenses allow for more flexibility and can be a good choice if you’re looking to save on weight or want one lens that covers every focal length you need.”
Top-end fixed lenses for DSLRs include Canon’s EF 600mm f4L IS III USM and Nikon’s AF-S NIKKOR 600mm f4 FL ED VR. For mirrorless cameras, fixed lenses range from Fujifilm’s XF 200mm f2 and Sony’s FE 300mm f2.8 GM OSS, up to really powerful lenses, such as Canon’s RF 600mm f4L IS USM, Nikon’s 600mm NIKKOR Z 600mm f4 TC VR S and Sigma’s 500mm f5.6 DG DN OS. Be warned: these powerhouse lenses are extremely pricey. Hiring, rather than buying, is always an option.
Another key element with lenses is the f-number, which relates to aperture. “The aperture is the opening in the lens through which light passes into the camera,” explains Mehtal. “The wider the opening, the more light can reach the sensor, which affects the exposure.” A small f-number means a wide aperture and more light, while a larger f-number means a small aperture and less light.” An f2, for example, will allow more light in than an f4. Large aperture lenses are generally more expensive, as they require larger glass elements, and should be optically superior to small aperture lenses.
“Fast or wide aperture lenses are recommended when shooting in low light or for a shallow depth of field,” says Mehtal. “For wildlife, a wider aperture (small f-number) lets more light in, which allows for faster shutter speeds to enable capturing fast-moving subjects.”
Many lenses now come with inbuilt image stabilisation, often customisable to allow different modes, such as for panning shots (to photograph animals running, for example) or erratic movement (to photograph birds in flight, for example). “Stabilisation is especially useful when tracking moving subjects,” explains James Gilbert from Fujifilm. “The longer the lens, the more any movement made by the photographer is magnified.”
It’s important to consider the autofocus capabilities of both the lens and the camera. “It’s great having the world’s fastest camera, but if the lens can’t react, it’s not as useful,” says Sony’s Sam Pilling, noting that mirrorless cameras now have electronic connections, faster than the technology of many DSLRs.
As with camera bodies, weather-resistant lenses allow you to keep capturing images in adverse conditions that might damage cheaper, unprotected cameras and lenses.
Companies such as Tamron and ZEISS produce fixed and zoom lenses that can be used on cameras by Canon, Nikon, Sony, Lumix and others. They’re usually cheaper than the camera brand’s own lenses and worth considering if you’re on a budget. Canon, Nikon and Sony will recommend their own lenses to be used with their cameras, arguing there might be a loss of functionality or quality. I’ve heard from photographers who use third-party lenses and love the results. It’s another personal choice, but I’ve always preferred Canon lenses on my camera.
A range of accessories can enhance your photo journey. Here are a few essentials.
Batteries
For long days out in the wild it pays to have good batteries. It’s worth buying several, so you don’t run out of power in front of unmissable wildlife behaviour.
Binoculars
A good pair of binoculars, such as Swarovski’s CL Pocket 10x25, can be useful for spotting animals before training your lenses on them.
Memory cards
You need memory cards with plenty of space that can handle lots of rapid shots in raw or jpeg. SanDisk Extreme PRO UHS-II cards have write-speeds up to 300MB and memory up to 512GB. Take plenty to avoid being caught short when magical moments occur.
Camera bag
It’s important to use a bag that is durable, water-resistant, comfortable to carry, padded for protection, and with sections to keep gear organised, such as Vanguard’s VEO Active 53.
Battery case
A Vanguard Alta Battery Case is handy to keep batteries and memory cards safe and dry. In very heavy rain even weather-proofed cameras will benefit from a cover.
Tripods
A camera with a big lens can feel heavy during long waits. Manfrotto Befree 3-Way Live Advanced Tripod and Vanguard Alta Pro 3VL 303AV are good options.
Hide
Blinds and hides will keep you out of sight. Choose one that’s lightweight and quick to set up, and consider comfort for lengthy stays. This Tragopan V6 features a waterproof material that keeps it cool.