Best Cameras For Wildlife Photography

Choosing a camera for wildlife photography used to mean selecting from a small group of professional-level DSLRs that had the speed and telephoto lens options needed to capture close-up views of fast-moving subjects. Today, there’s a much wider range of cameras that can meet the needs of wildlife photographers, including mirrorless systems that have some advantages over traditional DSLRs.

Mirrorless cameras like Sony’s a9 offer faster-than-DSLR continuous shooting speeds, plus totally silent operation, a decided advantage when you’re trying not to disturb your subject. And as mirrorless camera makers and third-party lens manufacturers continue to expand the lens options available, there are now many choices in the super-tele range, including affordable zooms and premium primes, plus teleconverters that can get you to focal lengths equivalent to 1200mm and beyond.

Battery life remains a key advantage for DSLRs, but overall, the performance gaps between DSLR and mirrorless cameras have closed. What’s important is that the camera you choose has the speed and autofocus precision to keep up with the action. Depending on your photographic style, the end use of your images and your budget for equipment, there are many terrific cameras—both DSLR and mirrorless—that are up to the challenge of wildlife photography.

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Cameras For Wildlife Photography: Full Frame, APS or Micro Four Thirds?

Telephoto lenses are one of the most important requirements for wildlife photography, bringing you close-up views of your subjects while allowing you to remain at a safe and respectful distance. Though larger full-frame sensors are in some respects superior to smaller APS-C sensors, the magnification factor of a smaller sensor enhances the telephoto reach of your lenses. For example, comparing a 20-megapixel full-frame camera with a 20-megapixel APS-C camera, the APS-C model will give you approximately 1.5x magnification of your lens’ focal length, making a 400mm lens equivalent to a 600mm lens. Keep in mind that this is only true if you’re comparing two cameras with the same resolution, as a full-frame image from a higher-resolution camera can be cropped for a similar result.

Learn more about working with extreme telephoto lenses for wildlife photography.

Micro Four Thirds sensors offer even greater magnification of 2x. This allows Olympus and Panasonic to design lighter, more compact telephoto lenses for their Micro Four Thirds cameras compared to zooms and primes with equivalent focal lengths for larger-sensor cameras. For example, the Olympus M.ZUIKO ED 300MM F4.0 IS PRO is equivalent to a 600mm prime on a full-frame camera—but at 3.7 inches in diameter, 8.9 inches in length and 2.8 pounds, this lens is just a little over half the size and more than 60 percent lighter than the AF-S NIKKOR 600mm f/4E FL ED VR (6.5-inch diameter, 17 inches in length and 8.4 pounds). The Olympus lens is also approximately one-fifth of the price at $2,499 versus the Nikon at $12,299. The point is that smaller-sensor cameras do offer an advantage of lighter, more compact lenses, and for many photographers, any trade off in overall image quality is negligible compared to the affordability and portability benefits of these systems.

Read a pro’s perspective on the advantages of Micro Four Thirds for wildlife photography.

Autofocus Performance

For wildlife action, AF speed and accuracy are prime considerations. Definitive numerical ratings aren’t available for AF performance, but higher-end cameras typically deliver better AF performance than entry-level bodies, and newer models with the most up-to-date AF technology improve upon earlier models.

More AF points are potentially an advantage, but evaluate the entire AF system. Cross-type points provide additional information to the AF processor and, therefore, improved accuracy. Algorithms and processor capabilities also play a major role—newer AF systems with fewer AF points and more powerful processors will potentially outperform older systems with more AF points. Multi-point AF is most useful when your subject is in front of a relatively uncluttered background. Otherwise, it may be more effective to simply use the center AF point, lock focus and then compose, or for stationary wildlife, to activate the AF point over the animal’s eye that’s nearest to the camera.

Technologies like AI-based subject recognition and machine learning are making their way into autofocus systems, and we expect to see these features become more common and capable. Sony has been one of the key leaders in this, with the introduction of Real-time Eye AF in the a6400, which was later improved via a firmware update to work with animal subjects in addition to humans. Real-time Eye AF for Animals was also added to the a7R III and a7 III through firmware updates, and though at the time of this writing the technology is officially limited to domestic animals, we expect to see the system become more sophisticated and capable of recognizing a wide variety of wildlife in the not too distant future.

While cameras with focus-tracking capabilities can greatly enhance your chances of success, they’re not infallible, so it’s good to be able to fall back to basic technique and an understanding of your camera’s available settings. Review your manual’s recommendations for AF mode selection and experiment with your camera’s AF options to see which work best for your style of shooting.

Your lens also has a significant impact on autofocus performance. The availability and number of cross-type AF points may be limited by your lens selection. Professional super-telephoto lenses have faster motors and smarter AF algorithms, as well as finer optics than lower-end lenses. They’re more durable, with better sealing against weather and dust. They also cost a lot more, and are much larger and heavier—but that’s the price of superior performance.

Did you know your camera’s AF system operates with the lens wide open at its maximum aperture? When you activate the shutter, the lens then closes down to your selected aperture immediately before the shutter opens. Most AF systems require a minimum aperture of ƒ/5.6, which usually isn’t a problem. However, if you use a teleconverter to extend your focal length, you’re also reducing the effective maximum aperture of your lens—the stronger the teleconverter’s strength, the greater this reduction—making an AF system that’s compatible with apertures as small as ƒ/8 preferable for telephoto work.

Frames Per Second & Max Burst

While ulta-fast continuous capture rates aren’t absolutely critical for most wildlife photography, they’re certainly beneficial. More frames per second increase your chances of recording the perfect expression, gesture or wing position for moving wildlife. Pro wildlife photographer Melissa Groo recommends 8 fps as a minimum continuous shooting rate, a spec which all of the cameras in this article meet or exceed. Keep in mind that the continuous shooting for a camera can depend on your AF mode. Ideally, you’ll want a camera that can perform continuous AF at 8 fps or faster, rather than single AF where the focus is locked on the first frame, when following moving subjects.

In addition to frames per second, the number of frames that can be stored in a single burst is also important. To take full advantage of your camera’s speed, use the fastest-rated memory cards that your camera supports.

ISO Equivalence

For best image quality, it’s always preferable to set lower ISOs, but wildlife photography often means shooting in low-light conditions near dawn and dusk when higher ISOs are needed. Considering the minimum aperture requirements of AF systems, plus the creative flexibility of selecting the right aperture for your desired depth of field, cameras that offer wider ISO ranges provide a significant advantage for wildlife photography. Though noise increases at higher ISOs, it’s better to compromise with noise than with sharpness or not getting the shot at all.

More light translates to less noise, and larger sensors collect more light due to their increased surface area. That’s one reason why full-frame cameras are able to offer comparably higher ISO equivalents and provide better image quality at higher ISO settings than smaller sensors.

Suggested Cameras For Wildlife Photography

Following is a selection of DSLRs and mirrorless cameras which we recommend for wildlife photography. While not a definitive list, these models are excellent options from their respective makers. When selecting a camera, also consider the telephoto lenses and teleconverters available for the models you’re evaluating.

Canon EOS-1D X Mark II

Canon’s top professional DSLR, introduced in 2016, is arguably the best DSLR for wildlife photography, taking into account its speed and the lens options in the Canon system, including super-tele primes and teleconverters. It’s the fastest DSLR currently available, with 14 fps capture using the optical viewfinder or up to 16 fps when shooting in Live View. The AF system is also impressive, with 61 AF points, 41 of which are cross-type and compatible with apertures as small as ƒ/8. It’s no wonder why so many pro wildlife photographers shoot with this camera, but the price is steep for the more casual shooter. For more on this camera, read “Tech Tips” columnist George Lepp’s field test with the EOS-1D X Mark II.

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Canon EOS 7D Mark II

The top APS-C option from Canon, this DSLR features a 65-point, all cross-type AF system (with compatible lenses) for tracking fast-moving subjects. The center point of the AF system works with apertures of ƒ/8 or larger, allowing AF compatibility when using tele-extenders. Like the EOS-1D X Mark II, the AF system can function in low-light situations down to -3 EV, which is approximately the luminance of moonlight, helpful when shooting in early morning and evening light when wildlife tend to be most active.

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Canon EOS R

Canon’s first full-frame mirrorless camera, the EOS R, employs Canon’s Dual Pixel CMOS AF, a sensor-based phase detection AF system with 5,655 manually-selectable AF points that cover approximately 88 percent of the image frame. Also noteworthy is the system’s ability to function in low-light conditions down to -6 EV (depending on the lens used) and at apertures as small as ƒ/11 equivalent, meaning that that the AF system can support, for example, an EF 100–400mm f/4–5.6 IS II lens with a 2x teleconverter attached. The EOS R can shoot at up to 8 fps with the focus locked on the first frame, or 5 fps with continuous AF. Read our field test of the Canon EOS R.

Fujifilm X-T30

New to the list this year is the Fujifilm X-T30. Compared to the X-H1, it’s nearly half the weight and noticeably more compact. It’s an upgrade in other respects, too, with faster continuous shooting and higher resolution. At full resolution, the camera can capture up to 8 fps with its mechanical shutter or 20 fps with its electronic shutter. At a reduced resolution of 16.6 MP, it can capture up to 30 fps with its electronic shutter. One potential advantage of the X-H1 is its in-body image stabilization—the X-T30 relies on stabilization built-in to its lenses—though for wildlife photography, you’ll probably be using the FUJINON XF100-400mmF4.5-5.6 R LM OIS WR which incorporates OIS. The 425-point, sensor-based contrast detection AF system employs 2.16 million pixels that cover 100 percent of the frame and can function in dim conditions down to -3.0 EV.

Fujifilm X-H1

The Fujifilm HX-1, introduced in 2018, was the first Fujifilm X Series model fast enough to make our list of cameras for wildlife photography. It can shoot at speeds up to 14 fps with its electronic shutter, or 8 fps with its mechanical shutter. The latter can be increased to 11 fps when using the optional Vertical Power Booster Grip VPB-XH1, which also extends shooting time to about 900 still frames. The 24.3-megapixel APS-C mirrorless model is the first in the X Series to include in-body image stabilization, providing up to 5.5 stops of 5-axis correction with all Fujinon XF and XC lenses. The camera’s AF system is designed for low-light performance and is compatible with apertures as small as ƒ/11. This is great for wildlife photographers, as it means you can use the Fujinon XF100-400mmF4.5-5.6 R LM OIS WR with the Fujinon 2x Teleconverter XF2X TC WR for a 35mm-equivalent range of 304-1218mm without sacrificing autofocus.

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Nikon D5

Nikon’s flagship DSLR is ideal for wildlife, promising extremely fast and precise AF, with 153 AF points, 99 of which are cross-type, and 15 that can function at apertures as small as ƒ/8. The AF system also features a dedicated processor, and works in extremely low-light conditions, down to -4 EV. It can capture 12 fps using the viewfinder or 14 fps with the mirror locked up. It also offers an astounding ISO range, expandable up to 3,280,000. While images taken at that extreme will be very noisy, it’s an indication of the sensor’s excellent ability to collect light in dimmer conditions at the ends of the day. Nikon’s system includes a robust range of premium telephoto lenses and teleconverters, making this camera another top choice of wildlife photography pros.

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Nikon D850

Introduced in 2017, the D850 is one of the best DSLRs ever made and an excellent choice for wildlife work. It offers massive 45.7 MP stills and can capture 7 fps at that full resolution, or up to 9 fps with the optional MB-D18 Multi Power Battery Pack. Like the D5, the D850 includes Nikon’s 153-point, Multi-Cam 20K AF system, which features 99 cross type sensors, 15 of which are sensitive to ƒ/8. Of particular interest to wildlife photographers, the D850 offers a silent shooting mode when using its electronic shutter, with frame rates up to 6 fps at the camera’s full resolution with exposure and focus locked, or up to 30 fps at 8.6-megapixel resolution in DX mode. That latter option will be particularly advantageous for telephoto wildlife work because, while it does produce a lower-resolution image, it’s incredibly fast, silent and the DX mode crop means your focal length equivalent is magnified by 1.5x.

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Nikon D500

The D500 includes the same AF system as the top-end pro D5, as well as its EXPEED 5 processor. Though it’s not quite as fast as the D5, it’s still very speedy at its max rate of 10 fps. It also features the same level of weather sealing as the pro model D810, and though less than the D5’s astronomical ISO max, offers a remarkable ISO range, expandable to 1,640,000.

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Nikon Z 6

Both the Nikon Z 6 and Z 7, the company’s first full-frame mirrorless cameras, are a good choice for wildlife photography, but we lean toward the Z 6 for this application. Though it’s much lower in resolution than the Z7 (24.5 MP versus 45.7) it offers a faster continuous capture rate of 12 fps (8 fps for the Z 7). Firmware Version 2, released May 2019, gave both cameras improved low-light AF performance, but the Z 6 was the bigger beneficiary, able to operate in -6 EV conditions (-2 EV for the Z 7). It also has a higher max native ISO of 51,200 compared to the Z 7’s 25,600. It’s not a huge distinction, but when shooting in early morning and late evening when wildlife is active, any improvement in low-light performance is noteworthy. Read our field test of the Nikon Z system.

Olympus OM-D E-M1X

Designed with professional photographers in mind, the newest OM-D system camera from Olympus is an excellent choice for wildlife photography. The OM-D E-M1X features an in-body image stabilization system capable of 7 stops of correction. It can shoot at speeds up to 18 fps with AF/AE tracking and in silent mode, or up to 60 fps with focus and exposure locked. Another feature beneficial for wildlife photography is the Olympus Pro Capture Mode, which when activated, buffers up to 35 frames continuously and, when the shutter is fully depressed, records the preceding 35 frame

Like the OM-D E-M1 Mark II, as a Micro Four Thirds sensor camera, the focal length of lenses attached to the OM-D E-M1X are effectively magnified 2x, meaning that the Olympus M.ZUIKO ED 300MM F4.0 IS PRO is equivalent to a 600mm lens, but considerably smaller and lighter than the 600mm primes for full-frame cameras.

Olympus OM-D E-M1 Mark II

The OM-D E-M1 Mark II is capable of capturing up to 18 fps with continuous AF tracking using its electronic shutter, or up to 60 fps with focus locked. The AF system employs 121 all cross-type phase detection sensors, and an AF Limiter function can speed up focus acquisition with three customizable focus distance ranges when working from a consistent distance from your subject. The camera’s unique Pro Capture mode helps you record the decisive moment with wildlife action by buffering up to 35 frames when you depress the shutter release halfway, and recording an image plus those 35 previous frames when you fully depress the shutter. The E-M1 Mark II also includes 5-Axis image stabilization for shooting handheld.

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Panasonic LUMIX GH5

Another Micro Four Thirds option for wildlife work is the Panasonic LUMIX GH5. The 20.3-megapixel camera can capture full-resolution images at up to 9 fps with continuous AF using its mechanical shutter (12 fps with focus locked), but switch to the 6K PHOTO mode to record 18-megapixel images at up to 30 fps, or 8-megapixel stills at up to 60 fps in 4K PHOTO mode. Up to 5 stops of image stabilization are possible with the camera’s 5-axis Dual I.S. system. The body is built to protect against moisture and dust and can operate in temperatures as low as -10 degrees Fahrenheit.

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Panasonic LUMIX S1R

Panasonic introduced the first models in its new full-frame mirrorless LUMIX S camera system in 2019, working in partnership with Leica and Sigma to develop the system and lenses. The system is relatively young and there aren’t a lot of lenses available yet that will satisfy the needs of wildlife photographers—the longest is the Panasonic Lumix S PRO 70-200mm f/4 O.I.S. But considering the partners involved, we expect the lens options to improve, so we’re including the Panasonic LUMIX S1R here because of its high resolution and ability to capture up to 6 fps with continuous AF, or 9 fps with focus locked on the first shot. Of the three Panasonic S series cameras introduced so far, it’s the best for wildlife.

Pentax K-3 II

Like the full-frame Pentax K-1, the APS-C K-3 II is well protected against the elements, with 92 seals. It’s the camera’s speed lands it in this list—it’s roughly twice as fast as the K-1 at 8.3 fps versus the K-1’s 4.4 fps. The 27-point AF system includes 25 cross-type points and can function in low-light conditions down to -3 EV. Also like the K-1, the K-3 II has image stabilization built in, offering up to 4.5 stops of shake reduction regardless of the lens used.

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Sony a9

Sony’s full-frame mirrorless flagship features a 24.2-megapixel stacked CMOS sensor combined with a 693-point focal plane phase detection AF system, which covers approximately 93 percent of the frame. The camera is capable of making 60 AF/AE tracking calculations per second and able to shoot at 20 fps continuously for up to 241 RAW or 362 JPG images at the camera’s full resolution in a single burst. Also advantageous for wildlife photography is the camera’s silent shooting mode and a high-resolution Quad-VGA OLED Tru-Finder that’s one of the best EVFs we’ve used—and there’s no blackout during capture. The a9 has built-in 5-Axis image stabilization that provides up to 5 stops of compensation for camera movement when shooting handheld. The NP-FZ100 battery introduced with this camera provides approximately double the life of previous Sony full-frame mirrorless camera batteries, and an optional VG-C3EM Vertical Grip extends shooting time even further. For more info, read our review of the Sony a9, and “Wild By Nature” columnist Melissa Groo’s impressions.

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Sony a7 III

Though not as fast as the a9, the 24.2-megapixel full-frame a7 III is still quite capable for wildlife work, with a max continuous shooting rate of 10 fps in both mechanical and electronic shutter modes.The a7 III’s autofocus system has 425 contrast AF points and 693 focal-plane phase detection points that cover 93 percent of the image frame, the same system used in the Sony a9. Compared to the previous a7 II model, the a7 III is nearly twice as fast focusing in low-light and when tracking subjects. Also like the a9, the camera’s 5-Axis image stabilization system provides up to 5 stops of compensation for shooting handheld. One of the most noteworthy aspects of this camera is its price for the performance it offers, at under $2,000. Read our review of the Sony a7 III.

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Sony a6400

While the full-frame Sony a9 is in many ways the ultimate wildlife camera, don’t count out the APS-C sensor a6400 introduced this year. It was the first Sony camera to introduce Real-time Eye AF, and recently added Real-time Eye AF for animals via Firmware Update 2 (also available now on the a7 III with Firmware Update 3 for that camera). Pair it with the new Sony FE 200-600mm F5.6-6.3 G OSS for an equivalent focal length range of 300-900mm, and add a 2x teleconverter for a remarkable 600-1800mm telephoto. It can capture at 11 fps with full AF/AE tracking when shooting with the mechanical shutter, or up to 8 fps when shooting in silent mode with the electronic shutter.

Sony a99 Mark II

With the popularity of Sony’s E-mount mirrorless cameras, we were pleasantly surprised when it updated the A-mount a99 to Mark II in late 2016. That was great news for those who had invested in A-mount lenses. Technically not a DSLR but not mirrorless either, the a99 II is built around Sony’s Translucent Mirror Technology, which passes most of the light to the image sensor, but reflects a small amount to the 79-point phase-detection AF system. In addition to that dedicated phase-detection sensor, the a99 II also has a 399-point focal plane phase detection AF sensor similar to those found in Sony’s mirrorless cameras which enables capabilities like Eye AF. At full resolution, the a99 II can capture at 12 fps with AF tracking, doubling the capture rate of the original a99. That’s impressive, because the Mark II also nearly doubles the resolution of its predecessor (42.4-megapixel versus 24.3-megapixel). Though the future of Sony’s A-mount cameras is uncertain considering the popularity and capability of its E-mount line, the a99 Mark II is a significant upgrade from previous models in this series.

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Updated June 26, 2019
First published July 23, 2013