The Best Professional Recommended Telephoto lens
If you’re looking for an upgrade to your ‘budget’ telephoto but can’t stretch to a fully professional lens, there are some smart mid-range options to be had. We test 8 top optics to find out which is the best telephoto lens for your money. On test are:
Canon EF 70-200mm f/4L IS USM, £965
Nikon AF-S 70-200mm f/4G ED VR, £950
Panasonic G X 35-100mm f/2.8 Power OIS, £895
Pentax DA* 200mm f/2.8 ED IF SDM, £745
Sigma APO 70-200mm f/2.8 EX DG OS HSM, £800
Sigma APO Macro 180mm f/2.8 EX DG OS HSM, £1,300
Sony FE 70-200mm f/4 G OSS, £1,250
Tamron SP 70-200mm f/2.8 Di VC USD, £1,100
With prices ranging from abut £100 to £400, budget 70-300mm lenses can be a movable feast, especially in terms of physical length and aperture.
Indeed, as you move through the zoom range, these lenses stretch considerably in length, while the widest available aperture tends to shrink from f/4 to a fairly narrow f/5.6.
To keep shutter speeds fairly fast for minimizing camera-shake and motion blur, you can often find yourself having to combine the longest zoom setting with the widest aperture, which can really degrade image sharpness.
At the other end of the scale, fully professional telephoto zooms like the Canon EF 70-200mm f/2.8 L IS II USM, Nikon AF-S 70-200mm f/2.8G ED VR II and Sony 70-200mm f/2.8 G SSM II are much more refined.
The relatively wide f/2.8 aperture remains available throughout the zoom range, and the physical dimensions of the lenses remain fixed at all zoom and focus settings.
However, they can be heavyweights in two undesirable ways. Hefty price tags of nearly £2,000 for the Canon and £2,500 for the Sony put them beyond the reach of many photographers who aren’t taking pictures for a living.
Secondly, with their large front elements to enable an f/2.8 aperture, they have a big, heavy build, typically weighing in at around 1.5kg.
A popular compromise is to opt for a 70-200mm f/4 telephoto zoom, usually costing less than £1,000. These lenses are more compact, lighter in weight, yet still tend to have robust build quality and premium quality glass.
They also boast a constant-aperture design, albeit at one f/stop narrower than their f/2.8 counterparts. That’s less of a problem than it used to be.
The latest SLRs usually deliver excellent image quality at raised ISO settings, putting less of a priority on ‘fast glass’. You can also get a tight depth of field when shooting at 200mm at f/4.
Switching brands
Another way of reducing purchase costs is to switch brands. Compared with 70-200mm f/2.8 lenses from the likes of Canon, Nikon and Sony, direct competitors from Sigma and Tamron often cost about half the price or less.
Even so, they still offer a very good standard of build quality, up-market optical elements, and similar ring-type ultrasonic autofocus systems, as used on own-brand telephotos.
It can be an important consideration, because many of us use this type of lens for sports, action and wildlife photography, where fast, accurate autofocus is vital.
The Panasonic Micro Four Thirds and Sony E-mount lenses in this test group are the only ones to lack ring-type ultrasonic autofocus. Instead, they use stepping motors.
Canon SLR users with the latest 18-55mm or 18-135mm kit lenses will be familiar with this technology. A plus point for video shooting is that autofocus is practically silent, while also giving very smooth focus transitions without the lurching effect of conventional systems.
The downside is that, in SLR lenses at least, autofocus isn’t particularly quick. In our tests, we’ll see just how the autofocus performance of the Panasonic and Sony lenses measures up.
For handheld telephoto shooting, image stabilization is another key factor. At long focal lengths, we’ve generally found that in-lens optical stabilization is more effective than camera-based, sensor-shift stabilization. Indeed, Canon and Nikon SLRs, as well as Sony’s current E-mount bodies, don’t have in-camera stabilization anyway.
Prime concern
Naturally, zoom lenses aren’t the only option. At any given price point, prime lenses often offer wider available apertures, a more compact build, and better overall image quality.
The Pentax DA* 200mm is certainly one of the smaller lenses in this test group, and the least expensive despite having a wide f/2.8 aperture.
By contrast, the Sigma APO 180mm prime is actually the heaviest and most expensive lens in the group. However, this one has the added attraction of being a dual-purpose telephoto and macro lens, delivering full 1.0x magnification at its shortest focus distance.
Getting back to the greater convenience and versatility of zoom lenses, 70-200mm is the most popular telephoto range, at least for constant-aperture designs. All five 70-200mm lenses featured in this test group are compatible with full-frame sensors.
Being a Micro Four Thirds lens with a 2x focal length multiplier (or crop factor), the Panasonic 35-100mm has exactly the same ‘effective’ range as the other zooms when they’re mounted on full-frame bodies.
However, when using 70-200mm lenses on cameras with APS-C sensors, you get a boost in effective telephoto reach. This is usually 1.5x for most APS-C format cameras, and 1.6x for Canon bodies, resulting in effective zoom ranges of 105-300mm or 112-320mm respectively.
Features to look for in a telephoto lens
Explained – Tripod mounting foot
Lenses that weigh more than a kilogram can feel unbalanced when using a tripod or monopod, especially with the camera in portrait orientation.
A tripod mounting foot that attaches to the lens via a collar is therefore supplied with both Sigma lenses and the Tamron lens in the test group. A foot is also supplied with the Sony 70-200mm, despite its relatively light weight of 840g.
As well as balancing the weight, mounting feet also make it easier to switch between landscape and portrait orientation when using a tripod or monopod.
They’re available as optional extras for the Canon and Nikon lenses, but the genuine articles are pricey at around £125 and £150 respectively.
Best telephoto lens: Canon EF 70-200mm f/4L IS USM, £965
Like many of Canon’s L-series (luxury) lenses, this one is finished in cream or off-white, rather than the usual black.
Replicated by the Sony lens in this group, the idea is that the outer surface reflects more light, and therefore incurs less heat build-up when used in bright sunlight for long periods of time.
However, with comfortably large areas being given over to the black zoom and focus rings, the difference is likely to be minimal.
Another similarity between this and most other Canon L-series lenses is that it has a weather-sealed construction, which is lacking in the non-stabilized edition of the EF 70-200mm f/4L USM.
The image stabilizer itself is rated at having a four-stop effectiveness, and comes complete with switches on the lens barrel for on/off and selection of mode 1 or 2. The latter is for horizontal panning, as it applies stabilization only in the vertical plane.
Other switches are included for AF/M focusing and an autofocus range limiter, optionally locking out the closer 1.2m to 3m section of the range.
Performance
Aided by the inclusion of a top-quality fluorite element and two UD (Ultra-low Dispersion) elements, sharpness and contrast are exceptional throughout most of the zoom range, and still extremely good at the longest 200mm focal length.
The Canon also does better than most of the competition to hang onto sharpness towards the corners of the frame, when using wide apertures. Colour fringing and distortions are fairly low, while autofocus is extremely rapid.
Specs
20 elements in 15 groups, 8 diaphragm blades, closest focus distance 120cm, 67mm filter thread, ultrasonic (ring) autofocus, physical dimensions 76x172mm, weight 760g.
Sharpness
At all but the very longest end of its zoom range, the Canon beats even the Sigma 180mm prime macro for sharpness.
Fringing
There’s good control over colour fringing although three of the lenses on test turn in slightly better lab scores in this respect.
Distortion
The change from barrel to pincushion when extending through the zoom range is typical but the actual amounts in each case are low.
Verdict
The Canon delivers fabulous image quality, along with the best lab scores for sharpness of any lens in the group.
Features: 4/5
Build/Handling: 5/5
Image quality: 5/5
Value: 4/5
Overall: 5/5
Best telephoto lens: Nikon AF-S 70-200mm f/4G ED VR, £950
Until the end of 2012, a 70-200mm f/4 lens was a glaring omission from Nikon’s otherwise extensive range of SLR lenses. This lens fills the gap, while going into direct competition with the Canon 70-200mm that’s also on test.
As such, the Nikon is almost exactly the same size, has the same 67mm filter thread and costs about the same money. The Nikon features a weather-sealed mounting plate and similar all-round specifications, although it’s 90g heavier in weight, at 850g.
A switch is fitted for AM/M focusing, the ‘AM’ mode enabling autofocus with full-time manual override, typical of ring-type ultrasonic systems.
Further switches include a focus limiter which locks out autofocus distances shorter than 3m, and two VR (Vibration Reduction) switches – on/off and normal/active.
Unlike the Canon lens, the Nikon has auto-detection for panning, the active mode being intended for shooting from a vibrating platform.
Nikon originally claimed a five-stop effectiveness for the new, third-generation VR system fitted to this lens, but has since revised the claim downwards to four stops, based on CIPA (Camera & Imaging Products Association) testing. This was borne out in our testing.
Performance
As with the Canon lens, the Nikon features good glass including three ED (Extra-low dispersion) elements and an HRI (High Refractive Index) element.
However, while colour fringing is remarkably well controlled, outright sharpness is less inspiring, especially around the mid section of the zoom range.
We found this to be particularly true when testing the lens on a D7100 body, although we’ve experienced better sharpness in the past when using this lens on full-frame bodies. Autofocus is equally fast as in the Canon lens.
Specs
20 elements in 14 groups, 9 diaphragm blades, closest focus distance 100cm, 67mm filter thread, ultrasonic (ring) autofocus, physical dimensions 78x179mm, weight 850g.
Sharpness
Tested on our D7100, levels of sharpness proved merely mediocre, although we’ve experienced better sharpness on full-frame bodies.
Fringing
There’s minimal colour fringing towards the corners of the frame, rising only a little as you extend through the zoom range.
Distortion
Distortions are fractionally more noticeable than from the competing Canon lens at any given focal length, but still well controlled.
Verdict
Image quality is very good overall but it’s not one of the sharpest lenses in the group, especially at mid-range zoom settings.
Features: 4/5
Build/Handling: 5/5
Image quality: 4/5
Value: 4/5
Overall: 4/5
Best telephoto lens: Panasonic G X 35-100mm f/2.8 Power OIS, £895
Thanks to the relatively small image circle required by the Micro Four Thirds system, this 35-100mm lens is very compact, yet gives the same ‘effective’ zoom range as a 70-200mm lens on a full-frame body.
Measuring 67x100mm, it’s not much more than half the length of the Canon and Nikon lenses on test, and well under half the weight at just 360g.
Despite the smaller filter thread of 58mm, it’s a full stop faster than the Canon and Nikon lenses, with a constant f/2.8 aperture. This pays dividends in terms of enabling fast shutter speeds under low lighting conditions.
However, due to the relatively short ‘actual’ (rather than effective) focal length range, the depth of field available isn’t massively tight even at f/2.8.
Build quality feels excellent and includes dust/splash resistance, while the stepping motor autofocus system is typically silent in operation.
As usual for this type of system, manual focusing relies on an electronic connection to the focus ring, rather than a physical coupling, but it’s precise and smooth in operation.
Panasonic’s ‘Power OIS’ (Optical Image Stabilizer) is also good to have, giving a benefit of about three stops in our tests and performing nearly as well as the stabilizers in most of the 70-200mm lenses on test.
Performance
Sharpness is good rather than great at medium apertures but the lens hangs onto sharpness well at its widest f/2.8 aperture, throughout the entire zoom range.
Panasonic’s ‘Nano Surface Coating’ does well to minimise ghosting and flare. Autofocus isn’t quite as quick as in the ring-type ultrasonic lenses, but it’s not far behind.
Specs
18 elements in 13 groups, 7 diaphragm blades, closest focus distance 85cm, 58mm filter thread, stepping motor autofocus, physical dimensions 67x100mm, weight 360g.
Sharpness
It’s a fairly close match to the Nikon in terms of sharpness, although the Panasonic fares better at its mid-range zoom setting.
Fringing
Colour fringing is slightly more noticeable than from most of the other lenses on test, but it outperforms the Pentax and Sony.
Distortion
There’s slight barrel distortion at any given focal length, which decreases steadily as you zoom towards 100mm.
Verdict
Outright levels of sharpness aren’t terrific but at least the Panasonic delivers remarkable consistency throughout its whole zoom range.
Features: 4/5
Build/Handling: 4/5
Image quality: 4/5
Value: 4/5
Overall: 4/5
Best telephoto lens: Pentax DA* 200mm f/2.8 ED IF SDM, £745
Slightly shorter but more stocky than most 70-200mm f/4 zoom lenses, the Pentax prime is also roughly the same weight, at 825g.
Even so, that makes it significantly shorter and lighter than the Pentax-fit edition of the Sigma 70-200mm f/2.8 lens, which weighs 1.43kg.
It’s one upside of sticking to a fixed focal length, along with potentially superior image quality in some respects, which we’ll come to later.
Pentax camera bodies tend to have built-in, sensor-shift image stabilization so it’s no surprise that the lens lacks an optical stabilizer.
However, we were only able to get an effective benefit of about 2.5-stops in handheld shooting, so Sigma’s decision to include its optical stabilizer in the Pentax-fit version of its 70-200mm is a good choice. That said, Sigma’s stabilizer isn’t compatible with Pentax ist or K100D bodies.
Up-market build quality includes weather seals and a robust and rugged feel, along with a dirt-resistant coating on the front element.
Other attractions include ED (Extra-low Dispersion) glass, internal focusing and ring-type ultrasonic autofocus, all of which are to be expected in this class of lens.
Performance
Tested on a K5 II body, autofocus proved fast but not quite as rapid as in some competing lenses. It was also more prone to hunting in dull lighting conditions.
Sharpness is better than the competing Sigma 70-200mm lens at its 200mm focal length, but the Pentax has more noticeable colour fringing. Distortion is practically non-existent.
Specs
9 elements in 8 groups, 9 diaphragm blades, closest focus distance 120cm, 77mm filter thread, ultrasonic (ring) autofocus, physical dimensions 83x134mm, weight 825g.
Sharpness
It’s one of the better lenses in the group for sharpness, which is retained very well at the widest f/2.8 aperture and into image corners.
Fringing
The Pentax has the joint worst score for colour fringing in the group, along with the Sony 70-200mm at the latter’s 70mm focal length.
Distortion
Practically non-existent, the tiny amount of pincushion distortion is effectively impossible to spot in images.
Verdict
With its impressive sharpness and minimal distortion, image quality is very good. In-camera corrections are typically available for fringing.
Features: 3/5
Build/Handling: 5/5
Image quality: 4/5
Value: 4/5
Overall: 4/5
Best telephoto lens: Sigma APO 70-200mm f/2.8 EX DG OS HSM, £800
Compared with the equivalent Canon and Nikon stabilized 70-200mm f/2.8 lenses, this Sigma is a shade under half the price of the Nikon, and a massive £1,200 less than the Canon. Even so, it has solid build quality, albeit without any weather seals.
There’s a dual-mode optical stabilizer for static or panning shots, a removable tripod mounting foot, and the expected ring-type ultrasonic autofocus, or ‘HyperSonic Motor’, as Sigma calls it.
As well as a smartly finished exterior, typical of Sigma’s EX range, the lens impresses on the inside too.
There are two FLD (F Low Dispersion) elements, claimed to equal top-quality fluorite glass in performance, as well as three SLD (Special Low Dispersion) elements, plus Super Multi-Layer Coatings.
The aim is for excellent sharpness and contrast, along with minimal colour fringing, ghosting and flare.
Being a 70-200mm f/2.8 lens, it’s a big and beefy item, with almost exactly the same dimensions as the equivalent Tamron lens that’s also on test.
The Sigma is identical in width and a single millimetre longer, at 86x198mm. However, it’s slightly lighter at 1.43kg, compared with the Tamron’s 1.47kg.
The Sigma is also available in a wider range of mount options, including Canon, Nikon, Pentax and Sony, all of which are fitted with a four-stop optical stabilizer.
Performance
There’s little to choose between the Sigma and Tamron in terms of centre-sharpness through most of the zoom range, although the Tamron is noticeably sharper at the long end, as well as retaining better sharpness towards image corners.
The Tamron also handles colour fringing and distortions marginally better but, overall, the Sigma is outstanding value for a 70-200mm f/2.8 stabilized lens.
Specs
22 elements in 17 groups, 9 diaphragm blades, closest focus distance 140cm, 77mm filter thread, ultrasonic (ring) autofocus, physical dimensions 86x198mm, weight 1,430g.
Sharpness
It’s very good through most of the zoom range but drops off more than most at the long end, and could be better in image corners at f/2.8.
Fringing
Fringing peaks at mid-range zoom settings but, overall, it’s very well restrained and beats the Canon lens on lab scores.
Distortion
There are marginal differences in scores but, in practical terms, distortion follows the same path and magnitude as the Canon and Nikon lenses.
Verdict
Even though there’s a slight drop in sharpness at 200mm, the Sigma delivers excellent overall image quality, making it exceptional value at the price.
Features: 4/5
Build/Handling: 4/5
Image quality: 4/5
Value: 5/5
Overall: 4/5
Best telephoto lens: Sigma APO Macro 180mm f/2.8 EX DG OS HSM, £1,300
There’s often a compromise with this sort of lens, and it usually comes in terms of autofocus speed, which we’ll come to later.
The Sigma is available in Canon, Nikon, Sigma and Sony mounts, all of which feature optical stabilization.
In our tests, it gave nearly a four-stop benefit in general shooting, but was largely ineffective for extreme close-ups, which is only to be expected from any stabilized macro lens.
Build quality is of a similar standard to the Sigma 70-200mm lens on test, being robust but lacking weather seals.
The number of top-grade ‘FLD’ elements is boosted from two to three and, again, there’s a tripod mounting foot included.
It’s just as well, considering the need for tripod use in macro photography and this being the heaviest lens in the group, at 1.64kg.
Performance
Like most macro lenses, the Sigma has a long travel distance in its manual focus ring, to enable very precise close-up focusing.
It’s surprising, therefore, that autofocus is incredibly fast, snapping into focus even over large transitions of range.
There’s also a three-position focus limiter switch fitted, for locking the autofocus range to either end or enabling full travel.
Sharpness and contrast are excellent, both at the centre and into the corners, even at the widest aperture of f/2.8. It’s undeniably expensive, but is excellent as a genuinely dual-purpose lens.
Specs
19 elements in 14 groups, 9 diaphragm blades, closest focus distance 47cm, 86mm filter thread, ultrasonic (ring) autofocus, physical dimensions 95x204mm, weight 1,640g.
Sharpness
It loses out slightly to the Canon 70-200mm at the latter’s short to mid-range zoom settings but, apart from that, this Sigma is the sharpest in the group.
Fringing
There’s not normally any fringing in evidence, although this lens doesn’t score as well as some of the 70-200mm zooms on test.
Distortion
Like the Pentax 200mm lens on test, the Sigma gives the barest hint of pincushion, which is usually impossible to see in images.
Verdict
Absolutely excellent, the Sigma macro lens delivers equally brilliant image quality for extreme close-ups and general telephoto shooting.
Features: 4/5
Build/Handling: 4/5
Image quality: 5/5
Value: 4/5
Overall: 4/5
Best telephoto lens: Sony FE 70-200mm f/4 G OSS, £1,250
We’ve been impressed by Sony’s recent A7 series of full-frame mirrorless cameras, with the reservation that lens choices have been somewhat limited.
True to its word, Sony has been steadily adding to the line-up of E-mount full-frame lenses, which now includes this constant-aperture 70-200mm zoom.
While the A7 cameras themselves are super-slim compared with SLRs, there’s nothing small about this f/4 lens.
It’s bigger and heavier than the Canon equivalent, and almost as heavy as the Nikon, at 840g. The filter thread is also larger than on both other lenses, at 72mm compared with 67mm.
The Sony is ‘dust and water resistant’ but lacks a weather-sealed mounting plate, as featured in many competing lenses.
Refinements include a similar set of switches as the Canon lens, for AF/M focusing, an autofocus range limiter, on/off for the optical stabilizer, and mode 1/2 for static or panning stabilization.
The Sony is also finished in a similar off-white paint job. Further additions include three focus-hold buttons which are neatly placed around the barrel between the zoom and focus rings, plus a tripod mounting foot which is usually only available as an expensive optional extra in this class of f/4 zoom.
Performance
Levels of sharpness are a little below average in the central area of the image frame, and drop off more towards the corners than with most other lenses on test.
Performance of the optical stabilizer is also disappointing, equating to about two f/stops in our tests. As with the Panasonic 35-100mm, the Sony’s ‘dual linear motor’ autofocus system is silent and quite fast, but not as quick as in the SLR lenses on test.
Specs
21 elements in 15 groups, 9 diaphragm blades, closest focus distance 100cm, 72mm filter thread, stepping motor autofocus, physical dimensions 80x175mm, weight 840g.
Sharpness
It’s good at the long end of the zoom range but, at most settings, sharpness lags behind the majority of other 70-200mm lenses in the group.
Fringing
Colour fringing is more noticeable than from any other zoom lens in the group, particularly at both ends of the zoom range.
Distortion
Barrel distortion at 70mm is average but pincushion at mid to long zoom settings is more pronounced than in competing lenses.
Verdict
Overall image quality isn’t quite as good as from most competing lenses on test, which is disappointing considering the price of the Sony.
Features: 4/5
Build/Handling: 4/5
Image quality: 3/5
Value: 3/5
Overall: 3/5
Best telephoto lens: Tamron SP 70-200mm f/2.8 Di VC USD, £1,100
Tamron has launched some truly excellent SP (Super Performance) lenses of late, one of our favourites being the SP 24-70mm f/2.8 Di VC USD. The 70-200mm follows suit, with a truly professional feel to its build quality.
It includes weather seals, fast ring-type ultrasonic autofocus and Tamron’s proprietary optical stabilizer or VC (Vibration Compensation). At least, you get all of this if you buy the Canon or Nikon editions of the lens.
The optical stabilizer is omitted from the Sony (A-mount) version of the lens, for which in-camera, sensor-shift stabilization may be available.
Like the competing Sigma lens, the Tamron is a stop faster than the usual f/4 class of zoom you’d expect in this price bracket.
That said, the Tamron is about £300 more expensive than the Sigma, but it’s still £150 less than the Sony f/4 lens. As an f/2.8 lens, the Tamron has a typically large front element and 77mm filter thread, and is quite weighty at 1.47kg.
As you’d expect, the lens comes complete with a tripod mounting foot. There are only two switches on the lens barrel, one for AF/MF and the other for VC on/off.
As usual for ring-type ultrasonic autofocus, full-time manual override is available. There’s no separate panning mode for the optical stabilizer but the system works well for both static and panning shots.
Performance
Autofocus is super-fast and, in our tests, the optical stabilizer gave a useful four-stop benefit. Sharpness and contrast are excellent, throughout the entire zoom range.
This holds true even at the widest f/2.8 aperture, and towards the edges and corners of images. In these respects, the Tamron eases ahead of its Sigma rival.
Specs
23 elements in 17 groups, 9 diaphragm blades, closest focus distance 130cm, 77mm filter thread, ultrasonic (ring) autofocus, physical dimensions 86x197mm, weight 1,470g.
Sharpness
There’s excellent sharpness throughout the entire zoom range, with great consistency across the image frame, even at f/2.8.
Fringing
The Tamron delivers the outright best scores for colour fringing in the whole group, edging the Nikon into second place.
Distortion
It’s another win for the Tamron here, with less barrel and pincushion distortion than any of the other 70-200mm lenses on test.
Verdict
Spectacular image quality reinforces the up-market build quality and handling of this f/2.8 lens, making it an unbeatable buy at the price.
Features: 4/5
Build/Handling: 5/5
Image quality: 5/5
Value: 5/5
Overall: 5/5
Best telephoto lens in mid-range: Tamron 70-200mm f/2.8 SP Di VC USD takes top honours
There’s no denying that 70-200mm f/4 lenses are smaller and more lightweight than their f/2.8 counterparts. However, denying yourself that extra f/stop in aperture width can feel like a compromise, and a step down the quality ladder.
The Tamron 70-200mm f/2.8 features a weather-sealed build, super-fast autofocus and excellent optical stabilization, all at a very affordable price. Indeed, it costs only a little more than the Canon and Nikon f/4 zooms.
Best of all, the Tamron delivers stellar image quality, throughout its entire zoom range and right into the corners of images.
For our money, it’s simply the best option in its price bracket for Canon, Nikon and Sony (A-mount) cameras.
The Sigma 70-200mm f/2.8 is another very appealing lens at a pretty astonishing price, being some £300 cheaper than the Tamron.
However, it lacks any weather seals and doesn’t maintain such excellent sharpness at its widest available aperture, or at the long end of its zoom range.
If compactness and light weight are more important to you than that extra f/stop, the Canon and Nikon 70-200mm f/4 lenses are both very good and sensibly priced, the Canon leading the way for sharpness.
At the other end of the scale, the Sigma 180mm f/2.8 is the biggest and heaviest lens in the group, as well as being the most expensive.
Even so, if you’re in the market for both a fast telephoto prime and a great macro lens, it serves both purposes superbly well.
Lens Benchmarks Explained
How the telephoto lenses on test compare
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| Belanove K Binu |
About The Author
Belanove is a Software Engineering Student and a photographer who has spent the last 5 years Researching and Understanding Dslrs & Technology
but has never hacked DSLR and specializes in writing about Photography Products and Emerging photography technology.
When not writing for DSLR360, Belanove Conducts photography classes online,Goes out for bird watching,Wildlife photography and off course Attends college.
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