Long Telephoto Lenses

Long Telephoto Lenses

by William Lulow

Long telephoto lenses serve the purpose of bringing your subject closer and making in appear larger in the frame, so that the viewer can see details that would normally be too small to see otherwise.

Long telephoto lenses:

• Are usually heavy and require a tripod (some long lenses are actually mounted on the tripod and then the camera is attached)
• Compress distances and therefore, elements within the frame
• Only give a very narrow field of view
• Are usually expensive
• Should be used to gain access to subjects normally too far away
• Provide a very shallow depth-of-field

Long telephoto lenses are usually in the following focal lengths:

• 135mm
• 180mm
• 300mm
• 400mm
• 600mm

                                                   Canon 300mm                                                                        Canon 400mm                                                                               Canon 200mm

For example, the middle lens here is about $6,500. That’s just for the lens. Obviously, these lenses are for special applications. They are not for average types of images. If you are shooting animals on a safari, where you cannot get very close, you will need a lens of this type. If you are a sports photographer and you want to fill the frame with a player from the distance of the press box, you will need one of these lenses. Any specific occasion where you cannot get physically close enough to your subject to fill the frame, calls for one of these guys. Because they are so heavy, most long telephotos require some kind of support. That can come from a tripod, a monopod, or even a bean-bag placed on the window sill of a Land Rover while on safari. As a matter of fact, I recommended this technique for a student who was actually going on a safari in Africa. They come empty so they don’t take up much room with all your other gear and can be filled on location with sand, dirt or small rocks to create a stable platform.

One technique I have found helpful when using these lenses is to mount them on your tripod and then leave the controls loose so that the tripod head can move easily to follow action. You still get the benefit of increased stability, plus you can still move the rig easily. If I have a shot that calls for one of these behemoths, you can easily rent them from a company like BorrowLenses.com. If you are a sports photographer for a newspaper or magazine, on regular assignment, the publication should have an arsenal of long lenses. They are really much too expensive for the average photographer to buy. In the days of film, my 35mm Nikon kit consisted of six lenses from 24mm up to 200mm. I actually shot most of my rock concerts with the 200mm f/4. The film was push processed to around ISO 1600 (B&W) and I was able to make excellent 16×20 inch prints.

Singer/songwriter, Paula Cole shot with a 135mm f/2 lens, f/6.3 @ 1/125th of a second with an ISO of 2000.

Judy Collins, photographed in Denver, Colorado in 1972, in my days of shooting film. The image was made at a concert with a Nikon 200mm f/4 lens, wide open at 1/125th of a second. The film was Kodak Tri-X pushed processed to an ASA of 1600 and developed in fine-grain developer.

LPGA championship golfer Nancy Lopez, shot during a tournament from a great distance with my 200mm f/4 lens. All of the images shot with my longer telephoto lenses made exquisite 16×20″ enlargements.