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Wildlife photography is a genre that DSLR cameras have dominated for decades. Their robust design and reliable autofocus system, in addition to the vast lens selection, are just a few of the many characteristics amateurs or experienced photographers require in order to capture animals in their natural habitat. Over the last few years, however, mirrorless cameras have reached a new level of maturity, making them an interesting alternative for this challenging genre.
Thanks to technological advancements, improved performance, a unique array of new features and an increasing number of telephoto lenses, wildlife photographers have a fresh new set of tools to work with. Five years ago, I started to practice this genre for several of my camera and lens reviews, analysing key aspects such as lens quality and autofocus performance. This article is the result of my experience so far.
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Thank you! Article updates 2. Preface: what makes a mirrorless camera good for wildlife photography 3. Fujifilm X-T3 and X-T4 6. Sony A and A 7. Panasonic G9 8. Nikon Z6 and Z7 series When I began working on this article, mirrorless cameras were only just starting to expand into the world of wildlife photography.
Olympus was the first company to release a professional super telephoto lens the mm f4 Pro and Micro Four Thirds was the first system to offer a good array of products for every budget. Then came autofocus improvements, dual card slots, faster continuous shooting speeds, more robust bodies and more competition. In , mirrorless cameras have come a long way, now offering a serious alternative to DSLRs, a breed that is slowly disappearing Canon already said it probably will not design new EF lenses , Sony has not produced an A-mount product in years, and Nikon might follow the same path.
So while DSLRs are still up to the task today, and will remain so for some time, it is safe to say that mirrorless cameras are the future for wildlife photographers. Where relevant, I will also mention video capabilities, this being a feature that can be interesting for photographers seeking a hybrid solution or those who are just curious to start doing some video in their favourite wildlife location.
Throughout the article, I will mention the autofocus score I measured for each camera for one of the most challenging wildlife genres, birds in flight. In the first version of this article, I dedicated a whole chapter to the Nikon D I did so because back in , DSLRs were still the undisputed kings of autofocus performance among other things and I wanted to try one of the very best to understand how close each mirrorless system was.
Mirrorless cameras have also started to outclass it with other features faster burst speeds, Animal AF and blackout-free live view. This chapter started to feel out of date, so I decided to cut this section also to make the article a bit faster to read.
Quite the contrary — I think it remains an excellent choice for wildlife photographers for the following reasons:. The E-M1X is the largest model in this article and is also the one that has been conceived for wildlife photographers more than any other. It has a built-in vertical grip and its construction has been designed to stand up to the most challenging weather conditions. Of course the E-M1 III is much smaller and is the obvious choice for those who want less weight when walking long hours.
It also gives you more versatility: you can attach the optional battery grip when needed, or keep the size smaller when not needed. They are both comfortable in their own way: the E-M1 III has a great grip despite the small size my personal favourite, all mirrorless cameras considered.
The E-M1X is of course very well carved out and you immediately get the impression of a serious build quality when you pick it up. Both cameras feature a hybrid autofocus system with cross-type phase detection points, and most of the settings are the same. Over the years Olympus has made good progress concerning the autofocus performance. The cameras lock onto the subject quickly and understand much better where it is, even against a confusing background.
The main difference between the two is that the E-M1X has Intelligent Subject Detection, which uses an advanced algorithm to recognise and track birds. All that said, in the AF remains at a lower level when compared to the likes of Sony, Canon or Nikon.
For static subjects or scenes where you can pre-focus, you can shoot up to 15fps with the mechanical shutter or 60fps with the electronic shutter focus is locked on the first frame. If you want continuous autofocus, the performance decreases to 10fps or 18fps respectively. The cameras have a fast sensor readout so rolling shutter is well-controlled when using the electronic shutter.
The Pro Capture mode lets you save up to 35 frames before you fully press the shutter release button, which can help you catch unpredictable moments. The built-in image stabilisation is the best on the market and despite the slightly different rating, the performance is very similar between the two cameras.
In addition to the 5-axis sensor shift, you can use Sync IS to combine sensor and optical stabilisation with select lenses mm f4 Pro, mm f4 Pro, mm f4. If you want to have a taste of it, watch my review below from minute where I showcase sample 4K footage shot hand-held at mm equivalent! The sensor shift technology allows you to take high resolution shots and the fast processing speed makes it possible to do so hand-held, giving you an 80MP file with more details and colour resolution than the normal 20MP shot.
For wildlife it is difficult to take advantage of it because your subject needs to be perfectly still. But it is not impossible, as proven by photographer Thomas Stirr amongst others. Speaking of video, the cameras can record 4K up to 30p and Mbps, or Cinema 4K at 24fps and Mbps variable. You still get 20MP but with improved dynamic range when recovering the shadows. Concerning the lens selection, there are eleven telephoto lenses that can suit the genre very well, with different price points to satisfy different budgets.
Note: the Olympus mm is not weather-sealed. Pro Capture is limited to the H mode with Panasonic lenses. One of my favourite lenses is the Pana-Leica mm due to its extreme versatility, excellent optical quality and compact size. Also keep in mind that features such as Pro Capture are not compatible.
Note: prices as of April Reminder: the links below are affiliate links. If it were just a question of sensor quality or AF performance, then there would be no better choice than one of these three Sony cameras. On the outside, they look identical. On the inside they are each very different and have something unique to offer when it comes to wildlife photography. Its phase detection system with points and real time tracking has made the leap forward we were waiting for.
The AF is not in the same class as the A9 series, but it features all the latest software tweaks including real time tracking and Eye AF for Animals. Thanks to its complex stacked sensor that includes an integral memory, the A9 II can process a huge amount of data simultaneously, bringing the electronic shutter performance to a whole new level. More importantly, it can do so while maintaining a live view feed in the EVF or LCD screen no blackouts thanks to the electronic shutter.
In simpler terms, when you start to follow the bird and capture a series of images, the live view in your EVF is maintained without any lag, interruption or delay whatsoever. In fact, in a moment of distraction, you might mistakenly start to record images without realising it. This is why Sony gives you the option to activate a fake shutter sound and a blinking marker on the screen to notify you that the camera is taking pictures.
To fully understand the advantage and experience the potential of this technology, you really need to try it for yourself with a fast moving subject. Birds in flight are ideal for this and tracking them while shooting has never been easier. Live view is deactivated and you see the images that are being recorded on the SD card instead. If you want live view with blackouts , you need to select 8fps. The A9 II has better buffer capabilities not just because of the faster processing speed but also the lower resolution, which translates into a smaller file size in comparison to the A7R IV 60MP file.
The best of both worlds: Sony A1 Then we have the A1, which is the latest release. On paper, it takes the best of the other two models and combines them into one package.
Find our more about the camera in our A1 vs A9 II article. As for the A1, the first reports suggest that its 50MP chip is class-leading. The performance is good but mostly thanks to the optical stabilisation of the lenses, and either way it is not comparable to the likes of Olympus, Canon or Panasonic.
The design of the cameras has improved over the previous models. They have a dual SD card slot, a precise AF joystick, weather sealing and a deep level of customisation. The grip is more comfortable, the buttons are thicker and feel more precise, especially when wearing gloves.
That said, I found the Sony design to be the least comfortable when compared to Olympus Canon or even Nikon. The grip in particular is a bit small and you need to squeeze your fingers more than with other products that of course also depends on how big your hands are, others might be fine with it. Optional landscape or vertical grips can help. The A1 has a state of the art EVF with 9. The A9 II has 3. They share the same magnification of 0.
The battery is larger and improves the lifespan significantly, putting it closer to DSLR territory despite the huge processing power employed by the cameras. An optional battery grip is available for all three. The A1 stands out again thanks to its 8K capabilities, 4K up to fps and all the latest settings and colour profiles seen on the video-oriented A7S III.
The cost increases considerably if you want the best telephoto lenses available. Here are all the most interesting lenses to consider:. The mm f5. The AF performance remains good but is not on the same level as native lenses. The fastest continuous shooting speed drops on the A9 II and A1.
The X-T3 inaugurated the fourth generation of X-series cameras, and the X-T4 came less than two years later with extra improvements, which were then given to the X-T3 via firmware update most of them at least. So it is safe to say that, as far as wildlife photography goes, these two cameras are the same.
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