Why use Super Fast Telephoto Lenses for Wildlife?

Why use an f2.8 (or other super fast) telephoto lens for your wildlife work when modern cameras are so good at high ISO?

It’s a good question; and one I get asked on a frequent basis on the workshops and expeditions I run in the world’s polar regions. The truth is, super fast telephoto lenses do weigh more than their f4 or slower equivalents and that can be an issue schlepping them through airports; especially if you are unfortunate enough to run into any airport staff having a particularly bad day. Just as an aside,  the latest generation MK3 super-telephoto lenses from Canon are now much lighter than their predecessors, so the issue of weight is starting to disappear. Super fast telephoto lenses also cost more than their slower, smaller and lighter brethren; but there are some BIG advantages that far outweigh the extra weight (and cost) if capturing something special and unique is your goal. The most obvious advantage a super fast telephoto lens brings to the party is the shallow depth of field obtainable with a wide open aperture; which for wildlife can be a real boon in isolating the subject from its background. In addition, a wide aperture gives you a faster shutter speed; which in low light can make the difference between a sharp shot and a blurry one. A very good friend of mine recently waxed-lyrical, ‘Which would you rather? A sharp grainy image, or a soft blurry one? Well, truth be known I want to eat my cake and as such I want a sharp shot with a soft background free from excessive grain! And thankfully you and I can have it with a super fast telephoto lens strapped to a modern digital camera.

The third and probably the most useful (although vastly underrated) feature of a fast super telephoto lens (after creative DOF control) is you gain access to a lot more cross-type auto focus points and thus significantly faster and more accurate auto focus. The benefit of cross type points is more than considerable with moving wildlife and is in my experience often the difference between a sharp capture and one that doesn’t quite make it. The photograph above of a polar bear on the sea ice in Svalbard was shot with the Canon 400mm f2.8L IS MKII wide open at f2.8 in low light (I recently updated to the MKIII version of this lens, but have not yet had a chance to use it in the field). You just cant replicate this creamy bokeh and ‘look’ with a significantly slower lens. Nor could I have achieved the shutter speed I wanted and needed in the light conditions I was shooting in with a slower lens. If you are not familiar with cross-type auto focus points then its well worth your time to either break out your manual (that paper book thing that used to ship with a new camera) or read up online about the differences. Cross types are one of the best ‘guns’ in any wildlife photographers arsenal.

Why the DSLR is Here to Stay for Many Years to Come

Very recently F-Stoppers published a short article titled ‘Why the World’s Best Photographers are sticking with DSLR’s‘. Whilst I find the articles title to be nothing more than a poorly veiled ‘click bait’ effort; the nuts and bolts of the article are both accurate and profound (and I find myself in full agreement with the articles conclusions based on my own experience in the field). The article is well worth five minutes of your time if you want to understand why the DSLR is still the weapon of choice for a great many professional photographers, why photographers (myself included) still choose a DSLR for our serious photography and why the DSLR is going to be around for many years to come (as a matter of supplementary evidence Canon has stated several times in recent weeks it is not finished with EF lens development!) You can read the full article over at F-Stoppers HERE.


Great Ocean Road & Van Diemens Land Workshop Departure

My new workshop to the Great Ocean Road and Van Diemens Land (Tasmania) has quickly rolled around and tomorrow morning my co-leader Phillip and I will be getting underway on our two week adventure with our small group of participants. This is the first of two sold out back-to-back workshops and I am really looking forward to getting underway. These workshops are primarily landscape based and as such my choice of lenses is quite different to the usual long lens wildlife work I have specialised in over recent years. I will still be shooting with the Canon EOS 1DX MKII as my main camera, but have substituted my long telephoto lenses for my wide angle tilt shift lenses (and will very much enjoy the reduction in weight!). I am also packing my Sachtler tripod and a selection of neutral density and graduated ND Filters. The addition of the 1.4 Teleconverter is specifically for the 24mm TSE lens as I frequently find a need for a 35mm TSE in my landscape work. If time permits I will try and post a few updates from the field. See you along the Great Ocean Road and in the wilds of Tasmania!

  • Canon EOS 1DX MKII Camera Body

  • Canon 17mm F4L TSE Lens

  • Canon 24mm F3.5L MKII TSE Lens

  • Canon 1.4 TC MKIII

  • Canon 24-70mm F4L IS Lens

  • Canon 100-400mm F4-5.6L MKII Lens


Photo of the Month May 2019 – Reindeer Sketch

The photograph of the month for May 2019 is from my recent Svalbard Snow Mobile Expedition (Read the Trip Report). One of the greatest joys for me of photography in the Arctic in winter is the monochromatic colour palette (along with the driving snow). The combination of a muted monochromatic palette with fresh wind blown snow on the fur of the Reindeer (with its perfect antlers) is highly evocative. This is a very simple, yet very elegant photograph that tells a great story about the environment the animal lives in.

Svalbard Winter Ship 2019 Expedition Report

In March and early April of 2019 I lead my annual winter expedition by ship in the Svalbard archipelago in search of wildlife and frozen landscapes. As I have written recently before, Winter has become my favourite time of year to visit Svalbard.  The low angle of sun, snow and ice covered landscape draped with stunning ethereal light make for wonderful photographic opportunities and unlimited potential. Of course, winter also brings with it an increased chance in inclement weather which can present a different set of challenges to summer expeditions when the weather is typically more stable. For those that are willing to brave the elements of a winter trip the rewards can be truly outstanding.

Unlike my snowmobile expeditions (Read the Trip Report), the 2019 ship expedition proved a challenging year for weather with repeated days of high winds and often poor visibility. Strong winds over the entire archipelago prevented us from heading to the edge of the permanent pack ice north of Spitzbergen. Instead, we made the decision to search many of the fjord systems still partially frozen with sea ice. We played cat and mouse with the high winds, seeking shelter in the fjords wherever possible.  This strategy proved fruitful with some great landscape opportunities that we might otherwise have missed. We also had some really great wildlife encounters whilst we sheltered from the weather.

This year we encountered just two Polar Bears during the expedition. Thankfully, both encounters proved extremely profitable with fantastic photographs of both the  bear in front of one of Svalbard’s many glacier fronts as well as the playful teenage bear that put on a wonderful show for us on our last full day of the expedition. As I have frequently lamented – its not the number of bears one encounters during an expedition; its the chance for a ‘photo-friendly’ bear encounter that really counts. I would trade ten bear sightings for one good ‘photo bear’. This year we had two wonderful bears and all aboard made fantastic photographs.

Although Polar Bears were quite thin pickings this year we did have some absolutely superb Walrus encounters on ice flows that more than made up for the lack of bears. Walrus are fantastic to photograph and vastly underrated as a subject. In addition we also had multiple encounters with both white and blue Arctic Fox, Harp Seals, Ivory Gulls and more.

My 2020 expedition to Svalbard in Winter is already almost sold out with just a few places remaining. If you are keen to photograph in this amazing archipelago in the beauty of winter then just drop me an email to express your interest. The remaining places are filled on a first come, first served basis.  If you want to get an idea of what to expect check out the Article – The Art of Polar Bear Photography.