The best lens for safari photography is not, despite what you may think, simply the longest telephoto you can find. Safari photography is about capturing both wildlife and scenery, and this means your best bet is finding a lens that can cover as much range as possible (as you don't want to be swapping every two minutes). As such, in this guide we've focused on telephoto zooms.
Historically, the best superzoom bridge cameras have been very popular with safari-goers (Sony’s RX10 cameras are pretty clearly constructed with this audience in mind). However, for superior quality and performance, you're much better off with a mirrorless camera or DSLR, which will have a larger sensor.
in this guide to the best safari lenses, we’ve picked out a great variety of options for all the major mounts. We’ve included fantastic superzooms and telephoto zooms in an attempt to provide you with a broad, flexible range of options. These lenses all have different strengths and weaknesses, as we’ve discovered in our testing, but the one thing they all have in common is that we reckon they're the best safari lenses for each system right now.
Jon Stapley
Jon is one of our go-to specialists when it comes to all aspects of photography, from cameras and action cameras to lenses and memory cards. Here he looks at the best lenses for safari shoots.
Available for both Sony E-mount and L-mount, this exceptional lens delivers a dream range for safari shooting, with speed, flexibility and weather sealing.
If you're using a Canon RF mirrorless camera, the RF 100-500mm f/4.5-7.1L IS USM is our recommendation for safari shooting – well built, with great stabilization.
For Z-mount, the Nikkor Z 24-400mm lens will deliver excellent results for wildlife. It's stabilized and weatherproof, and delivers even more reach on DX-format cameras.
The longest telephoto for Fujifilm X-mount, this lens can even be extended further with teleconverters! Its image quality is brilliant too, and it's stabilized.
If you're looking for a dedicated L-mount lens for safari, this workhorse Panasonic is – for our money – better value than its more expensive f/2.8 stablemate.
With a focal range equivalent of 24-200mm, this lens for Micro Four Thirds is built to high quality standards, inside and out. We especially like the gorgeous metallic construction.
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Multi-mount
First up, we've grouped together some spectacular lenses that are available for multiple mounts, including Sony E, L-mount and Fujifilm X. If you're using any of these mirrorless systems, this is an excellent place to start.
Covering a focal expanse from telephoto 150mm to super-telephoto 600mm, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is a very popular format of lens. We could have filled this list with 150-600mm lenses if we wanted, but we picked this update to a very popular DSLR lens, the old Sigma 150-600mm f/5-6.3 DG OS HSM | Sport for Canon EF and Nikon F mounts. This time it fits Sony E-mount mirrorless, with a version also available for L-mount full-frame cameras made by Panasonic, Sigma and Leica.
Tack-sharp throughout its zoom range, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is designed for speed and flexibility. It focuses fast, delivers great-looking bokeh in its defocused areas, and it’s also comprehensively weather-sealed, which is good news if the heavens decide to open mid-safari. If you’re using an L-mount camera, we’d say it’s essential. If you’re on Sony E-mount, you have a few more competitive options (see our full Sony section further down the page).
Want to whip from expansive scenic shots to super-close-up images of wildlife within a moment? A good superzoom lens like the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD is just the thing. It’s available for two APS-C systems – Fujfilm X and Sony E-mount (the A6000 cameras) – meaning it delivers an effective focal range of 27-450mm. It’s got quality where it counts too, particularly in the centre of images. There’s some drop-off at the edges, as you’d expect with a lens of this type, but nothing that’s going to ruin your images. Autofocus speeds impress, meaning you shouldn’t have to worry about wildlife making a run for it while your camera hunts for focus. It weighs just 620g, too. See our full Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD review
A lens that weighs this much won’t be for everyone, that’s for sure. However, if you’re using full-frame Sony or L-mount cameras and want to cover your bases, the Sigma 60-600mm F4.5-6.3 DG DN OS Sports will do just that, running from standard focal length to super-telephoto. It impresses all across that zoom range too, with excellent sharpness and well-engineered handling despite the weight. It does feel a little weird using such a bulky lens at 60mm, but you get used to it. The stabilization is class-leading, providing up to 7 stops of effective compensation. Though bear in mind that the 105mm filter thread means you’ll have to fork out a sizable sum if you want even a simple protective UV filter. Check out our full Sigma 60-600mm F4.5-6.3 DG DN OS Sports review.
Canon
Here we've picked out the best Canon safari lens for both RF-mount mirrorless and good old EF-mount DSLRs – the latter of which can also be adapted to fit mirrorless cameras.
Stabilizer: Yes, 5 stops (6 stops with compatible EOS R bodies)
Min focus distance: 90-120cm
Max magnification: 0.33x
Filter thread: 77mm
Dimensions (WxL): 93.8x207.6mm
Weight: 1,530g
Reasons to buy
+
Generous focal range
+
Ultra-tough build
+
Tremendous image quality
Reasons to avoid
-
Restrictive max. aperture
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Performance varies camera to camera
Canon lenses with the ‘L’ designation in the name are designed with the utmost attention to quality. This means a lens like the Canon RF 100-500mm f/4.5-7.1L IS USM is built to last in all sorts of conditions, with a heat shield coating that means it can withstand ultra-hot weather (or ultra-cold, for that matter). The generous zoom range gives you a lot of shooting flexibility, with a smooth zooming action with speed that can be adjusted to taste. Its stabilization is very effective too (even more so with higher-end EOS R cameras like the EOS R5), meaning you can use slower shutter speeds and still get sharp shots. This is especially helpful when dealing with the somewhat pedestrian maximum aperture, which drops to a weak f/7.1 at the telephoto end. See our full Canon RF 100-500mm f/4.5-7.1L IS USM review.
The Canon EF 70-300mm f/4-5.6 IS II USM is an update to a popular lens, providing a little more reach than your average workhorse telezoom, at the cost of a slower maximum aperture. Image quality is gorgeous, and stays so even at the outer limits of the 300mm focal length, which is good news for safari shooters. The handling is great too – smooth and intuitive, with a useful digital information display for checking settings. Plus again there’s that L-series build, meaning the lens is capable of surviving a sudden downpour. If you’re using Canon DSLRs, whether APS-C or full-frame this is definitely a lens to consider adding to a safari kitbag – it’ll deliver great quality and flexibility without adding too much weight. See our full Canon EF 70-300mm f/4-5.6 IS II USM review.
Nikon
Nikon shooters may be using Z-mount mirrorless cameras or F-mount DSLRs – so once again we've included here our favourite lenses for both systems. Remember that F-mount lenses can be adapted to fit Z-mount mirrorless cameras with an FTZ adapter (though not the reverse).
This lens is compatible with both full-frame and APS-C Nikon Z cameras – and you get different advantages with each one. Use it with the full-frame models like the Z5 or the Z7 II and its built-in Vibration Reduction stabilizer can work in tandem with the in-body VR on those cameras to deliver highly effective stabilization. Or, use it with DX-format cameras like the Nikon Z50 to bump the effective focal range up to 26-300mm. Either way, you’re getting a travel-friendly zoom that’s equally capable at capturing scenic vistas and close-up wildlife images. S
ee our full Nikon Z 24- 200mm f/4-6.3 VR review.
Reasonably priced for a telephoto zoom of its kind, the Nikon AF-S 80-400mm f/4.5-5.6G ED VR offers tremendous value for users of Nikon DSLRs – which are still some of the most popular wildlife cameras out there. Its image quality is top-notch, delivering clean and sharp images right the way through the zoom range, and both the autofocus and stabilization are consistently effective. We would have liked a full suite of weather seals – there’s a rubber mount around the gasket, but it’s not overall comprehensive. You’ll probably be okay in light drizzle, but it might be worth investing in a rain cover if you’re anticipating any torrential downpours. See our full Nikon AF-S 200-500mm f/5.6E ED VR review.
Sony
Thanks to Sony's historic openness to third-party lens manufacturers, Sony E-mount users are particularly spoilt for choice. All of the lenses in our top Multi-mount section are compatible with Sony E cameras to some degree (two for full-frame and APS-C, one for just APS-C). However, if you'd prefer a Sony-made lens, here is our top pick.
Sony’s ‘G Master’ designation is conferred only on its top-end lenses, ones that deliver an exceptionally high standard of optical quality. As such, while the Sony FE 100-400mm f/4.5-5.6 G Master OSS is undoubtedly an expensive lens, it’s also a beautiful piece of kit. One thing it particularly excels at is creating images with attractive bokeh – meaning the quality of the defocused areas of images. This means if you want to create portrait-style images of wildlife with a shallow depth of field, it’s a good choice of lens. Also, if you need more reach, it can be used with Sony’s 1.4x and 2.0x teleconverters (just remember that the extra focal length comes at the cost of reduced maximum aperture). See our full Sony FE 100-400mm f/4.5-5.6 G Master OSS review.
Fujifilm
Fujifilm's APS-C X cameras are a brilliant choice for safari photographer, and the telephoto lens range for the system has expanded in recent years. Here are our top picks for Fujifilm X safari shooting. Remember also that the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD in our Multi-mount section is available for Fujifilm X-mount.
With the release of highly capable cameras like the X-H2S and the X-T5, Fujifilm has signified it is playing in the big leagues. This weighty lens is a perfect partner for those who want to use Fujifilm’s flagship cameras for challenging pursuits like safari photography. It may be heavy for an APS-C lens, tipping the scales at just under 1.4kg and stretching out to 270mm in length when fully zoomed, but it delivers a focal range equivalent to 152-609mm in full-frame terms. It’s thoroughly weather-sealed as well.
The APS-C crop factor of Fujifilm X plays into this lens’s strengths, transforming it into an amazing 229-914mm equivalent in full-frame terms. To get the same thing on a full-frame Sony system you’d need a 600mm lens and a 1.4x teleconverter, which makes both the price and the modest maximum aperture of this lens look a bit more reasonable. The XF150-600mm also features a ‘sensing and control system’ to help control for movement when using it at full zoom, and it really does make a difference to hand-held shot sharpness. This is definitely helpful as you’ll already have a bit of softness to contend with at the maximum focal length. Not enough to ruin shots, but it’s worth being aware of.
L-mount shooters should note that, like Sony E users, they can also take advantage of the Sigma 150-600mm f/5-6.3 DG DN OS Sports and Sigma 60-600mm F4.5-6.3 DG DN OS Sports lenses featured in our Multi-mount section. For more options, read on as we pick our favourite dedicated L-mount lens for safari.
We love this lightweight telephoto zoom for L-mount cameras – in many ways, we prefer it to the flashier, professional Lumix S Pro 70-200mm f/2.8. The f/4 version is much, much lighter and still delivers spectacular sharpness with impressive consistency throughout its zoom range. In good news for safari shooters, the lens is comprehensively weather-sealed, and the focus ring features a clutch mechanism that allows you to switch between auto and manual focus with a simple push-pull action. The stabilization is also highly effective – when paired with a compatible system in a Panasonic Lumix S camera, it can deliver up to six stops of effective compensation, helping keep images sharp while shooting handheld.
Micro Four Thirds lenses are compatible with Panasonic Lumix G, Olympus and OM System cameras. The 2x crop factor of the smaller sensor means the stated focal length of the lens is effectively doubled, giving you some serious telephoto reach in a compact lens body.
Olympus 12-100mm
(Image credit: Olympus)
12. Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro
One of the best superzooms ever made? It could well be.
Specifications
Mount: Micro Four Thirds
Elements/groups: 17/11
Diaphragm blades: 7
Stabilizer: Yes, up to 7.5 stops depending on camera
Min focus distance: 15-45cm
Max magnification: 0.3x
Filter thread: 72mm
Dimensions (WxL): 77.5x116.5mm
Weight: 561g
Reasons to buy
+
Hugely effective stabilization
+
Weather-sealed
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Consistently great image quality
Reasons to avoid
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Maximum 200mm reach
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Expensive for a superzoom
This lens is something of a wonder, and though the 200mm maximum equivalent reach may not be enough for all safari goers, its sheer image quality and supremely effective stabilization make it well worth considering for your kit bag. The ‘PRO’ designation means it’s built to high quality standards inside and out – so as well as the excellent optical quality, you also get a weather-sealed barrel, with a metallic construction and textured rings. This is one of the more ambitious lenses for Micro Four Thirds, and that is reflected in the price, which is higher than average for a lens in this class.
With the Micro Four Thirds crop factor, this lens delivers the workhorse focal length of 70-200mm, which is pretty good coverage for safari work. Plus, the compact size and affordable asking price mean it doesn’t have to be the only lens you take – this really is one of the key advantages of MFT. The Lumix G X Vario 35-100mm impresses in most categories, delivering very good sharpness at all focal lengths. It drops off a little at f/2.8, and the bokeh quality isn’t the smoothest, but when stopped down the lens delivers the goods, with color fringing and distortion basically nullified when combined with in-camera corrections. See our full Panasonic Lumix G X Vario 35-100mm review.
How to choose the best lenses for safari
Naturally, safari photography shares a lot of DNA with wildlife photography – however, there are a few factors specific to shooting safari that will impact your lens choice. For one, the guided nature of a safari means you're likely going to be able to get closer to your subjects than you would if you were out on your own relying on bushcraft. For this reason, you don't necessarily need the kinds of ultra-long telephoto lenses that are the hallmarks of professional wildlife photographers – 600mm and 800mm lenses are probably going to overkill (which is good news for your bank balance).
You do need a bit of telephoto reach, and having a zoom is a good idea, since you're unlikely to be able to move much from your initial position. For this reason, many safari photographers favour standard workhorse telephoto zooms like 70-200mm, 100-400mm or even 150-600mm. This gives you plenty of range and flexibility.
Naturally, the wild animals you encounter are not going to pose obligingly for you, so a lens that focuses quickly is certainly an asset. Having stabilization is also going to help, as you won't necessarily be able to set up a tripod – and this also means you'll want to keep an eye on weight, as you may be hand-holding the lens for extended periods. Weatherproofing is also a good idea.
How we test lenses
We test lenses using both real world sample images and lab tests. Our lab tests are carried out using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths / picture height – a measurement widely used in lens and camera testing. We also take lenses out into the real world to get a feeling for how they perform, and whether they do everything their manufacturers claim.
FAQs
What equipment do you need for safari photography?
As well as your camera and lens, there are a number of valuable photographic accessories worth taking along for safari photography. A good camera support is always going to be an asset – a tripod is great, or a monopod is also handy, and even a beanbag could potentially be a lifesaver as a place to rest your lens for steadier shots.
Otherwise, you shouldn't need to carry too much – flashguns are a no-no. Do remember some spare batteries and memory cards however, as you won't be able to stock up once you're out there.
Are bridge cameras good for safari photography?
If you're looking for a more affordable alternative to an interchangeable camera/lens system, then a bridge camera could be the way to go. These are essential SLR-styled compact cameras with big zoom lenses, and they are quite popular among safari enthusiasts. However, while they are cheaper and more portable than mirrorless or DSLR cameras, their smaller sensors do have an impact on image quality, particularly in terms of dynamic range. Check out our guide to the best bridge cameras to learn more.
Jon spent years at IPC Media writing features, news, reviews and other photography content for publications such as Amateur Photographer and What Digital Camera in both print and digital form. With his additional experience for outlets like Photomonitor, this makes Jon one of our go-to specialists when it comes to all aspects of photography, from cameras and action cameras to lenses and memory cards, flash diffusers and triggers, batteries and memory cards, selfie sticks and gimbals, and much more besides.
An NCTJ-qualified journalist, he has also contributed to Shortlist, The Skinny, ThreeWeeks Edinburgh, The Guardian, Trusted Reviews, CreativeBLOQ, and probably quite a few others I’ve forgotten.
