5. Telephotos

Why are these lenses in such demand? Medium telephotos (zoom or prime) are extremely useful lenses for just about any genre of photography. A 70–200mm or 70–300mm lens can be used creatively and effectively for everything from landscape (Figure 5.2) to portrait photography (Figure 5.3), from photojournalism (Figure 5.4) to sports and wildlife (Figure 5.5). Throw on an extension tube or two and you have a great macro lens (Figure 5.6). (We’ll talk more about macro lenses in Chapter 9.)

Folks buying an EF-S 55–250mm f/4–5.6 IS or an EF 70–300mm f/4–5.6 IS to photograph their children playing sports are happily surprised when they see how functional the lens is for portraits. Landscape photographers employ these focal lengths for a number of reasons, including quasi-macro work (zooming in from a long distance on something small, such as a flower) and creating patterns and textures in long shots with compression (see later in the chapter).

Sports photographers use these lenses to concentrate on action that gets within a range too tight for their super-telephoto lenses. And just about every photographer enjoys being able to throw a background out of focus easily when zoomed into a subject and using a wide-open aperture (Figure 5.10). Medium telephotos are extremely versatile lenses, just as long as the shooter accommodates for the extra focal length, which is greater than on most standard zooms.

In the grand scheme of telephoto focal lengths, 300mm is just a bit more reach than 200mm. But in that distance, the lens goes from being an all-around image maker to somewhat of a specialty lens. It’s not so specialized that it can only be used for one thing, like wildlife, but this long focal length moves into super-telephoto range. When I started photographing animals (Figure 5.11) and sports (Figure 5.12) and started concentrating on landscape composition that took full advantage of the long focal length’s great compression (Figure 5.13) and ability to isolate individual subjects (Figure 5.14), I entered into another world of photography.

Many popular starter telephoto lenses include 300mm, such as the EF 70–300mm assortment mentioned in the previous section, as well as the more expensive EF 28–300mm f/3.5–5.6L IS, the EF 100–400mm f/4.5–5.6L IS, and the new (and very pricey) EF 200–400mm f/4L IS. I personally like the EF 300mm f/4L IS. Although pricier than the zoom lenses, it is tough as nails, extremely sharp, and very light, especially compared to its heavyweight cousin, the EF 300mm f/2.8L IS. I primarily use it for sports and some wildlife, and occasionally landscapes.

A 400mm f/2.8L really is for those committed to professional photography (or for those with deep pockets who appreciate high-quality gear). I know I couldn’t do without one when shooting sports. Fortunately, Canon makes a few more lenses reaching 400mm that are less expensive without sacrificing build quality or the premium L glass. Two zoom lenses offer great focal length flexibility, the EF 200–400 f/4L IS and the EF 100–400 f/4–5.6L IS. A recent Canon addition, the 200–400mm is a powerhouse for wildlife and sports photographers; however, its price point is not far below that of the EF 400mm f/2.8L IS. Even though some folks do not like the push-pull zoom feature of the 100–400mm, it does offer the most flexibility of the lenses that reach 400mm.

Two other 400mm prime lenses are also worth considering: the EF 400mm f/4 DO IS and the EF 400mm f/5.6L. The DO in the former stands for Diffractive Optics, which means it is a much smaller and lighter lens than most 400mm packages, and the optics in it reduce the occurrence of chromatic aberration (color fringing). The EF 400mm f/5.6L is the least heavy of the 400mm lenses and also the most affordable (priced around US$1,500). As much as I like shooting the EF 400mm f/2.8L IS, it’s just not feasible to carry it around except for sporting events and some wildlife photography. This is when I turn to the EF 400mm f/5.6. Sure, it is two stops slower and does not have Image Stabilization, but it is sharp as a razor and doesn’t take up near as much room. In fact, I bought both the EF 300mm f/4L IS and the EF 400mm f/5.6L at the same time years ago to have great hiking telephotos (Figure 5.19), and I did it for a fraction of what it costs to buy the 400mm f/2.8L.

I’m bunching Canon’s EF 500mm f/4L IS, EF 600mm f/4L IS, and EF 800mm f/5.6L IS together in a section because of their increasingly specialized use. They are heavy, a bit unwieldy for most folks, and like the EF 400mm f/2.8L IS, very expensive. The question to ask yourself is, “Can I use a 500mm, 600mm, or 800mm lens enough in my work to justify its US$10,000+ price tag?” Although many of us would like to answer, “YES!,” I imagine it might be difficult to do so.

All that said, these lenses are highly functional for the right shooters, such as wildlife photographers. I know wildlife photographers who swear by their EF 500mm f/4L IS lenses for capturing everything from rabbits to deer to bears (Figure 5.21). Wildlife photography is hard work outside the zoo, and the incredible reach each of these lenses offers is suitable for animals that can be a bit unpredictable or skittish.

Bird photographers are especially drawn to these longer focal lengths due to the size of—and distance from—their subject matter (Figure 5.22). A super-telephoto lens lets a photographer shoot in tighter on wildlife from a distance, making for more authentic images of the animals. It also makes it easier to photograph potentially dangerous animals, such as bears or lions, safely.

Because the focal plane is farther away when the subject is far away from the camera, the background remains more in focus (Figure 5.28). The closer the subject, the more isolating you can make the shot (Figure 5.29). In this case, the lens is saying, “Look at this!” Shots like these are fun to make, and they are extremely useful for portraiture and editorial purposes.

Other shots may call for the background to play a bigger storytelling role. Tight portraits or close-ups of static subject matter may need the background to say something more than just blurred color and shapes (Figure 5.34). Photographers have a tendency to use the shallowest depth of field for shots like this.

It may be to your advantage to increase the depth of field sometimes, to draw a stronger connection between subject and the environment serving as a background. Instead of shooting at f/2.8 (Figure 5.35), perhaps use f/5.6 or f/8 (Figure 5.36). You can produce an image that is aesthetically pleasing yet not decontextualizing. You may also choose to move the subject closer to the background instead of stopping the aperture down.

These elements can be found just about anywhere, such as a hayfield or the clouds in the sky (Figure 5.40), windows on a building (Figure 5.41), or a small plant outside your apartment door (Figure 5.42). Of course, you can make great shots of these elements at any focal length, but longer lenses let you see them in a variety of ways, and certainly in ways that can be more abstract. They allow you to compress layers and other repetitious elements, forcing the eye to immediately notice something it would not otherwise in passing (Figure 5.43).

Repetitious shots like this can often be a mystery, and aside from the playfulness of these images, they allow the photographer to produce a sensory connection with the viewer. I often describe close-ups as those shots that make someone use their sense of touch imaginatively. Although we cannot replicate this sense with the camera, a tight shot of the patterned texture of a rocky ledge or a small succulent plant (Figure 5.44) can help someone imagine how that subject feels.

Longer lenses let the photographer draw the viewer’s eye to a pattern as if it were more important than the content itself (Figure 5.45). It is another interesting way of presenting subject matter, as well as a great way to create interest in other shots of the same subject or in the same story.

The surest way to find this out is to simply put a camera to your eye with your long lens on and make exposures with slower shutter speeds each time you snap a shot. Look at the shutter speed on the last shot in focus, and you’ll know your minimum sustaining shutter speed for that lens. If you are new to photography, this shutter speed will more than likely have a denominator that is close in numerical value to the focal length you used.

For example, if you are shooting with a 200mm lens, the theoretical minimum sustaining shutter speed would be 1/200 of a second. The idea is to shoot at that shutter speed, or faster, to avoid your body movement forcing a shot out of focus. The longer the lens, the faster the minimum sustaining shutter speed becomes.

Of course, with practice, any photographer can reduce the minimum sustaining shutter speed for any lens. Using the lens enough to be familiar with how it handles is one way. The other way is through increased stability.

So, what if you own a non-L-series telephoto lens that seems to jump around with the slightest movement of your hand or body? I have seen photographers tape small weights to their longer lenses. I even know one wildlife photographer who wraps one-pound ankle weights around the circumference of his EF 400mm f/5.6L with camouflage tape. You probably can’t put ankle weights around non-L-series telephoto zooms, and some lenses do not have enough room on the barrel for large weights, but there’s always a creative way to add more weight. There are no rules about how much weight to add. It is simply worth experimenting if you experience more than normal movement of the lens when you are shooting.

If you have a lens that has a tripod mount collar, use it (Figure 5.49). Lenses that have these, such as the EF 70–200mm f/2.8L, the EF 300mm f/4L IS, and the EF 400mm f/2.8L IS, are simply too heavy for the tripod to be connected to the camera. If the lens doesn’t break off the camera, the weight of the lens may tip the tripod over, or more likely, the instability of this kind of setup will rock the camera and lens up and down while you are trying to make a steady shot. If your lens did not come with a tripod mount collar or have room for one, it probably doesn’t weigh enough to cause this issue. Set the tripod legs apart as far as they will go at the height you have the tripod. The closer the legs are together for any height, the more likely the rig will tip over. Add the weight of any telephoto lens on top, and it will tip more quickly.

Add weight to the tripod. Many tripods have hooks at the bottom of the center column. Hang your camera bag from this to further stabilize the platform (Figure 5.50). If you don’t have a bag or anything that can hang from this hook, use your body to add weight. Make sure your tripod legs are secure and will not slip, and while you are shooting, hold onto one of the legs, adding a bit of your own weight for stability. This works for fairly quick shutter speeds, but I wouldn’t trust your body for stability if your exposure is longer than, say, a second or two.

Also consider carbon. Carbon tripods are not heavy (quite the opposite), but they have one thing going for them in terms of stability that aluminum tripods don’t: Carbon legs translate less vibration than aluminum legs. There have been times when I became frustrated with my aluminum tripod in a river because I could feel the water moving by the tripod legs. The vibrations were stronger the closer I got to rapids. Carbon legs are helpful in these situations, and you can always add more weight. Carbon sticks are more expensive than aluminum sticks, but there are some great companies making affordable carbon gear. I use both aluminum and carbon tripods, with Manfrotto being my go-to for aluminum sticks. They also have relatively affordable carbon alternatives to some of their most popular aluminum tripods.

Some folks like to use a monopod in place of a tripod. Make no mistake, they serve two different purposes, and they are not necessarily interchangeable. A tripod, in my opinion, is a photographic necessity. A monopod is necessary in certain types of photography (like sports and some wildlife) when the purpose of using one—endurance and efficiency—is paramount.

Go long!

Like I did in Chapter 3, I encourage you to take a photo walk with only one focal length. This time, rack your lens out to 200mm (if you have a lens that goes to 135mm instead, lock it there). This is a nice standard telephoto focal length that will force you to see the world around you in terms of compression and composition at a distance. Make images only at this focal length to become comfortable with the lens as well as to become more capable of previsualizing images at this focal length. If you have a zoom lens, it might be easy to just zoom in and out depending on your composition, but I encourage you to leave it where you started to train your eye. If you would like, take another photowalk using only 300mm, and another with 400mm if you have it. Unless you’re using telephoto focal lengths all of the time, it is difficult to see or imagine the shots you can make with them. This exercise, although simplistic, helps do just that.

Pick out patterns

While on that photowalk discussed above, look for repetitive patterns, rows, and layers to tighten in on and create images that attract the eye but do not necessarily give away the subject outright. If you are downtown, concentrate on the sides of buildings, windows that are lit well or reflect an interesting sky, manhole covers, or layers of people walking during rush hour. If in the wilderness, consider layers of plant leaves, trunks of trees, or boulders in a stream, and always be cognizant of the cloud structure in the sky.

Practice tracking

One of the hardest techniques to do without practicing is tracking a moving subject with a long lens, especially if said subject is moving fast. Work with another person—perhaps a runner or cyclist—and practice tracking her movement with a telephoto focal length of at least 200mm (go longer for a more challenging exercise). Switch the autofocus mode on the camera to one that constantly engages the autofocus system for movement (AI Servo). Have your subject move across your field of vision as well as toward and away from you at angles. Practice handholding the lens while you make shots of her, keeping only one autofocus point locked on her as much as possible. The closer the subject matter, the more challenging tracking becomes.

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