Bird watching and photography seem to go hand in hand. While there are some who prefer to enjoy the sights free of distraction, there are others who like to record their findings to share with others. To do that, we need a camera and picking one can be overwhelming. Many opt for the tried-and-true bridge camera, but these are limited in the quality they can deliver.
For this reason, we're big proponents of the interchangeable lens camera systems, from DSLR to mirrorless. Years ago, bird watchers looking to seriously dabble in photographer fell into two schools: that of the Nikon D500 and that of the Canon 7D mark II. In those days, 10 frames per second continuous shooting rates, and 20 megapixels were all one could dream of.
Today, things are quite different. In the years since the reign of APS-C flagship cameras, the mirrorless revolution came and went. Now, there's no shortage of cameras with bird eye autofocus, real-time tracking, and even faster continuous shooting speeds. These features have made choosing the right tool even more challenging than ever before.
In this guide, we've compiled a list of some of our favorite camera lens combos to help you narrow down your search. If you haven't done so already, check our guide to the top gear wildlife photographers need for some more details. First, let's discuss what features we should look for in a camera and lens.
What to Look for in a Camera and Lens
There's a lot to consider when getting a camera kit, more specifically what we want from a camera and lens. As birders, the first and foremost consideration is reach. A long lens is essential to capture close-up views of tiny birds from 10 feet away to 100 feet away. For this reason, we recommend a lens with a focal length of 500 or 600mm. These are comparable to a magnification of 8x and 10x respectively. 8x is good, but 10x is even better!
Reach alone does wonders for our images! The longer our focal length, the more separation, or blur, we get in our backgrounds and foregrounds. There's certainly a science to getting those smooth, blurry backgrounds, but the longer the lens, the easier it gets. That said, there's one more piece of the puzzle we cannot ignore, and that's aperture.
Aperture is the opening in the back of our lens that controls the amount of light that reaches our cameras imaging sensor. The bigger this opening is, the more light we allow through, and subsequently, the narrower our area of apparent focus. This means our subject, the bird, will be sharp whereas the background will be blurry. Now let's turn our attention to the camera itself.
Aside from reach, aperture, and magnification, we just need one more thing. Speed. Speed is essential to bird photography in more ways than one, from how fast the camera can focus to how quickly it can cycle between frames and continuously capture images. Folks survived with considerably slower cameras than what we have access to today but why settle for less when we have access to animal and bird recognition focusing modes.
First up, we're going to look at some compact, lightweight rigs that are perfect to toss in a backpack or over your shoulder when photography isn't your main focus. These are great for hikes, long walks where you want the tools required to capture quality images of the odd close encounter or rarity.
Canon EOS R10 + RF 100-400mm f/5.6-8 STM
When Canon released the EOS R10 and R7, sports and wildlife photographers rejoiced at the inclusion of subject tracking and fast continuous shooting speeds. What's even more practical for our uses, Canon's RF 100-400mm f/5.6-8 IS USM lens is a remarkably small yet powerful telephoto lens. At just 1.4 lb., the lens is the smallest autofocus 400mm lens available for the Canon R mount. Pair it with the EOS R10, and you've got just about everything you could need for a lightweight birding rig.
Before you ask, yes, this 400mm falls quite short of the aforementioned 600-800mm parameters we set at the start. The camera has the added benefit of having a smaller sensor, meaning the camera sees less of the image than a full frame option. In this case, the R10 is an APS-C crop sensor camera with a 1.6x crop factor. This makes the 400mm maximum focal length effectively appear as a 630mm lens. A 630mm lens that weighs less than 1.5 pounds.
For added reach, Canon has fleshed out their RF line to offer 600mm and 800mm f/11 prime lenses. These are quite portable at an even greater cost to light gathering capabilities, though when used on a bright, sunny day, this issue becomes negligeable. Canon even has a zoom in this category with the RF 200-800mm f/6.3-9 IS USM lens, an affordable super zoom with the power to get us close up views of even the tiniest birds.
Nikon Z50 II + Tamron 50-400mm
Tamron zooms have long been a popular lens for the bird photographer. Their legendary 150-600mm G2 lens was a staple of the birders kit as one of the few affordable zooms to deliver 600mm focal lengths for the average joe. As time went on, the major brands started delivering their own, competitively priced 600mm zooms, many of which will appear on this list, but Tamron evolved.
While everyone else made 100-400mm zooms, Tamron released the 50-400mm f/4.5-6.3 Di III VC VXD. It may not seem like a huge departure from the previous model, but 50mm to 100mm is nothing to ignore. When paired with an APS-C body from Nikon, Sony or Fujifilm, that 50-400mm focal length effectively increases to 75-600mm.
The Nikon Z50 II is a worthy companion to the Tamron, bringing an updated version of the very same sensor found in the aforementioned D500 from 2016, now packed with features we couldn't have dreamed of back then. Many of the features found in the flagship Z9 have trickled down, giving the Z50 II powerful features like full resolution 30 fps continuous shooting as well as Nikon's most advanced autofocus system.
Using inherited algorithms from the Z9, the Z50 II uses subject detection to acquire initial focus on a subject, a process that can be narrowed down by subject type such as people, vehicles, animals, and even birds. From there, the camera will track the subject to ensure sharp focus.
Sony A7 V + FE 200-600mm f/5.6-6.3 G
First launched in 2019, the FE 200-600mm f/5.6-6.3 G OSS was truly ahead of its time, not just in capabilities, but in performance as well. A 600mm zoom, internal zoom mechanism, and fast, accurate autofocus make this a compelling choice for the bird photographer. It can handle the 1.4x teleconverter with ease, reaching a focal length of 840mm at the long end, plus it's lightweight. Relatively speaking of course.
At 4.65 lb, it's lightweight compared to the big primes out there. It is also better balanced due to its small size, though its balance does shift as the zoom mechanism is extended. Seven years later, and the 200-600 still holds its own. This has been my main lens for just about 6 months as of the writing of this article, and I can confidently say that it rivals the sharpness of my old Nikkor 500mm f/4E FL VR.
Speaking of 500mm lenses, Sigma has an alternative to the bulky zoom that may pique the interest of those looking to adopt a full frame system while keeping the weight down. That lens is the Sigma 500mm f/5.6 DG DN OS Sports Lens. While currently only available for the Sony E and Leica L Mounts, this portable prime lens sheds over a pound and half from the 200-600mm and does so while maintaining a similar build and optical quality.
What camera could we pair with either of the above-mentioned lenses? In reality, nearly any Sony alpha body can stand up to the task. Even after all this time, the lens continues to hold up even when paired with the newest, high-resolution cameras. That said, we'll be turning to Sony's latest iteration of their versatile full-frame A7 line-up delivers the speeds of its high-end contemporaries, in a much more attainable package.
The a7V is the first in its line to offer a partially stacked imaging sensor, which increases the cameras readout speed, delivering up to 30 fps continuous shooting. It retains the same resolution of the a7IV at 33 megapixels, which leaves plenty of room for cropping when we can't get closer to the bird. It also ups the processing power for improved subject detection and tracking, cutting through dense vegetation and distractions to better find and follow the target bird.
Some other features that make the a7V a great choice for photographing birds is the inclusion of the 4-axis multi-angle rear LCD first adopted by the R series. This tilting/flip-out screen suits various purposes, but for ours, the tilting feature is essential. There will come a time when a bird is too high or too low to photograph easily, so we'll need to raise or lower our camera to get the job done.
Nikon Z8 + NIKKOR Z 180-600mm f/5.6-6.3 VR
Nikon's own Z 180-600mm f/5.6-6.3 VR was a welcome addition to the Z line-up, following the highly praised 200-500mm of years gone by. The most apparent update is the inclusion of an internal zoom mechanism to the table, a first for the Z mirrorless system. This does a good job at keeping moisture and debris out of the lens, which was a welcome addition to someone who spent rainy days wiping droplets from the extended part of the 200-500mm's barrel.
To make this lens even more ideal for the outdoorsman, a fluorine coating on the front element keeps droplets and debris from building up, making for easier, less frequent cleanings. Plus, the coatings' anti-reflective effect contributes to the clarity and contrast in images.
When paired with quite literally any of the current Z cameras, it's a formidable imaging tool, but in this case, we're looking to the Nikon Z8. With the same guts as the flagship Z9, this camera delivers the speed and performance we need when photographing wild animals. More importantly, the Z8 is equipped with a tilting rear LCD. This may sound inconsequential, but this style screen is much easier to use when photographing birds at low or high angles.
Canon EOS R5 Mark II + RF 100-500mm f/5.6-7.1L IS USM
Remember the old Canon 7D Mark II we reminisced about earlier? Canon fans can rejoice that the legend lives on in mirrorless form via the Canon EOS R5 Mark II + RF 100-500mm f/4.5-7.1L IS USM. Canon offers even longer lenses, but their L series zoom offers the best image quality, focusing speeds, for a better all-round lens. The 45 Megapixel sensor in the R5 delivers more than enough resolution, and when cropped to the same imaging area of the 7D series, it delivers nearly the same resolution.
Earlier we mentioned longer options like 200-800mm zoom, but these lenses aren't for the faint at heart. Like binoculars or scopes, more magnification brings with it amplified shake, and more difficulty when initially finding the subject in the narrower frame. Additionally, these longer lenses can get us closer looks at distant subjects for sure, but they often come at a sacrifice to aperture. Just look at the f/11 primes mentioned earlier as well.
If you're planning on heading outside a half-hour before sunrise, these longer, slower lenses may not be for you. But, if you're generally out later in the morning once the light is good, or if you're comfortable shooting as high ISO values, you may consider one of them for their added magnification.
Sony A1 II + FE 400-800mm f/6.3-8 G OSS
There's a saying among bird photographers that no matter how much lens you have, it's never enough. One of the latest additions to the Sony G line-up seeks to give photographers a little more of the ever fleeting reach, and that lens is the hefty FE 400-800mm f/6.3-8 G OSS.
It's a bit bigger, a bit heavier, and comes packing all of the latest and greatest tech Sony has to offer. This includes the new Dual Linear focusing motors for quicker acquisition and improved tracking for smaller, erratically moving subjects. If that's not specifically designed around birds, we don't know what it's for.
The only drawback is the relatively slow f/8 maximum aperture at 800mm. This is no issue for bright days, but it can be in low light. Not that newer Alpha series cameras don't have the low-light performance to accommodate for this in a pinch.
Sony's most impressive super-telephoto zoom can be paired with any camera body, but we've decided to use the flagship A1 II. With bird-eye tracking, blisteringly fast frame rates and shooting speeds, and of course, 50-megapixels to play around with in post, there are few cameras that stand toe to toe with this camera when it comes to bird and wildlife photography.
With 30 fps shooting speeds and 800mm of focal length, bird watchers will find little they can't accomplish with this setup. The only thing that may pique your interest is improved light gathering capabilities, and we're not talking about expensive primes. Enter the FE 100-400mm f/4.5 GM OSS, a G master zoom packing the high-end optical quality and performance into a relatively accessible zoom.
To make this lens more enticing, it is fully compatible with both 1.4x and 2.0x teleconverters, turning it to a 140-560mm f/6.3 zoom. This not only increases the reach of this lens, but also rivals the 200-600 in focal length, while offering that much sought after G master optical design.
OM System OM-1 Mark II with the M. Zuiko 150-400mm f/4.5
Micro four thirds has quickly become quite popular in the bird photography sphere, offering effective focal length thanks to its small form factor and resulting crop factor of 2x, doubling the focal length of mounted lenses.
This turns a lens like M. Zuiko 150-400mm f/4.5 TC 1.25 PRO effectively into a 300-800mm lens, and that's before we engage the built-in 1.25x teleconverter. With the TC engaged, we extend the already stellar zoom range to an equivalent 375-1000mm range, making smaller subjects appear all the closer.
The lens also features an internal zoom mechanism, keeping the lens size uniform throughout its zoom range while keeping dirt and rain from easily entering the mechanism. In fact, the lens is rated at an IP53 rating, which means the device is protected from debris and splashes for added confidence when in less than stellar field conditions.
What's a solid lens like the 150-400mm without an equally robust camera body behind it, and what better choice than the OM System OM-1 Mark II mirrorless camera with the same IP53 rating, and durable construction for all shooting situations. The OM -1 Mark II features the same fully stacked technology seen in other cameras on our list, allowing continuous shooting speeds up to 120 fps and quick, accurate focus tracking for birds and other subject matter.
Big Primes
Owning a big prime is the dream of many in this field. A 400mm f/2.8 lens and a 600mm f/4 are two of the sharpest, fastest focusing lenses out there. The keen eye can decipher an image taken with one of these from a line-up of shots, though zooms continue to get better and better.
Primes have long been considered the end all be all, but they do have their drawbacks, namely versatility. A 600mm f/4 is a staple for photographing birds, as it easily delivers clear, isolated looks at distant subjects, plus with a 1.4x TC, it can easily capture the smallest subject matter. A 400mm f/2.8 prime lens is unrivaled in its ability of capturing small subjects from afar in challenging lighting conditions, but what happens when our subject gets closer. We're forced to swap lenses.
On the other hand, there are times when 400mm just isn't enough. Of course, we can mount a teleconverter on our lens, but this takes time. Time we could otherwise be shooting, and time that could cost us the shot if working with a fast moving or skittish subject. Nikon aimed at expediting this process by putting the teleconverter in the lens, as seen in the Z 400mm f/2.8 TC VR S, which features a built in 1.4x TC, activated at the flip of a switch.
Pair this lens with any of the aforementioned Nikon cameras and beyond, and you'll be more than pleased with the results, but will you miss the ability to zoom out? Will you find lugging such a big lens tiring? These are all considerations to make when picking the best camera kit for your needs.
Put It to Practice
Any of the above camera and lens combos can be mixed and matched so long as they're compatible. You can put the FE 200-600mm on an A1 II and you can certainly mount even the most exotic of super-telephoto primes on an EOS R10 if so wish. Each camera and lens has its own pros and cons, and each can deliver stunning images if you put in the time to learn and master it.
Remember that it's the lens, often called "glass", that does much of the heavy lifting. Even an entry level body can produce great images when paired with a high-end lens and a good photographic eye. As with all things, practice with whichever rig you choose to use and keep at it until you get the results you want.
If you already have a camera and lens and want to learn it better before you make an upgrade, we've got you covered. Outside of good old practice, there are plenty of tips and techniques you can learn to improve your wildlife photography with the gear you have.
We hope this list has helped you narrow down your choice of camera and lens for your birding adventures. To learn more about birding and bird/wildlife photography, check out our other guides and articles on the B&H Explora site!
