The Best Lenses for Wildlife Photography Safaris (And What I Actually Pack)

Because nothing says “once-in-a-lifetime moment” like realizing you brought the wrong lens.

A wildlife photo safari can be the pinnacle of a photographer’s year — maybe even their career. And I’m not just talking about the classic African safari (though… yes, that counts). I’m talking about everything from brown bears in Alaska to tigers in India to wolves in Yellowstone and polar bears in the Arctic.

These trips are epic. They’re also wildly demanding on your gear.

You’re often shooting in unpredictable light, from unstable vehicles, at unknown distances, and in environments that might include dust, rain, salt spray, and the occasional adrenaline spike when a lion decides your safari truck looks interesting.

So today, let’s talk about the best lenses for wildlife photo safaris — not in the “buy the most expensive lens on Earth” way, but in a way that helps you come home with the shots of a lifetime.

What Makes a Safari Lens “Good”?

(Four Big Pillars)

Safari photography forces you to balance four key things:

1. Adequate reach

Not perfect reach. Because perfect doesn’t exist. You will always find a situation where you wish you had more.

2. Low light performance

Golden hour is where the magic happens… and also where your lens starts sweating.

3. Flexibility

Zooms rule safaris for a reason. Wildlife doesn’t politely stay at a fixed distance.

4. Travel-friendliness

Because bush planes do not care about your dreams. They care about weight limits.

The reality? No lens nails all four perfectly. So the secret is knowing where you’re willing to compromise.

The Workhorse Lens: The 100–400 / 200–600 / 150–600 Class

If you take one lens on safari and want it to do most of the heavy lifting, it’s one of these:

• 100–400mm

• 100–500mm

• 150–600mm

• 200–500mm

• 200–600mm

This is the sweet spot where you get reach, flexibility, and (usually) reasonable weight and cost.

Why this range works

Most safari wildlife photography happens between 400–600mm — and honestly, even on a crop sensor, 300mm often isn’t enough for the distant drama: cheetahs scanning the plains, leopards in trees, birds on impossible branches, etc.

The drawback

These lenses usually have slower apertures like f/5.6–f/7.1, and some even creep into f/9 territory at the long end.

That means:

• Less background blur / subject separation

• Worse low-light performance

• More dependence on high ISO

And yes — modern cameras are incredibly good at high ISO. But there’s still a difference between photographing a lion at dusk at f/4 versus f/7.1.

The Low-Light Power Move: Big Prime Lenses (300, 400, 500, 600mm)

If low-light performance is a top priority, then prime lenses are the holy grail:

• 400mm f/2.8

• 500mm f/4

• 600mm f/4

These lenses deliver:

• Stunning sharpness

• Better background separation

• Better autofocus performance

• Massive low-light advantage

But… there are two big downsides:

1. They cost the price of a used Subaru

(Not exaggerating...price it out...)

2. They’re not flexible

If a lion walks up close and you’re stuck at 600mm… congratulations, you now own a very expensive portrait lens for noses and eyeballs.

Also? They’re huge. They’re harder to travel with, harder to pack, and harder to justify when your safari includes tiny regional aircraft.

The real secret? Rent them.

If you want the big prime experience without selling a kidney, renting is where it’s at.

👉 I use LensRentals.com constantly — and if you use promo code WILDPHOTO15, you’ll get 15% off a rental. Renting a 600mm f/4 for a week is shockingly affordable compared to buying one.

The Sleeper Hero: 70–200mm f/2.8

This lens doesn’t get enough safari love.

No, it’s not your main wildlife lens. But it’s phenomenal for:

• Wildlife in landscape (especially elephants, giraffes, bears)

• Action when animals get close

• Low-light shots from the vehicle

• Creative storytelling

It’s also small enough to handhold comfortably, and the f/2.8 aperture makes it a great low-light partner when your longer zoom is struggling.

If you’re the kind of photographer who wants more “environmental portraits” and less “count-the-whiskers” framing, this lens will make you happy.

Teleconverters: Great Idea… Sometimes

Teleconverters sound magical: instant extra reach!But here’s the catch: they steal light.

What happens when you use one:

• 1.4x converter → lose 1 stop of light

• 2.0x converter → lose 2 stops

So a lens at f/5.6 becomes:

• f/8 with a 1.4x

• f/11 with a 2x

That’s tough on safari, especially in early morning or late evening.

When teleconverters do make sense:

When you start with a fast prime, like a 300mm f/2.8.

• 300mm f/2.8 + 2x = 600mm f/5.6That’s actually pretty solid, and it gives you a flexible mini-system without hauling a 600mm bazooka.

Don’t Forget the “Other” Lenses: Landscapes + Storytelling

Wildlife safaris aren’t just about tight shots. You’re going to want to tell the story — the places, the people, the mood, the sky, the landscapes that make the wildlife meaningful.

Here’s what I recommend:

1) The “Everything Else” Lens: 24–105mm f/4

This is my personal favorite safari lens after the telephoto workhorse.

Why?

• Perfect for travel & people photography

• Great for lodge life, camp scenes, markets, meals, storytelling moments

• More reach than a 24–70mm, which is surprisingly useful

Alternative: 24–70mm f/2.8

If you’re prioritizing low light and background blur, the 2.8 version is excellent — but you lose that extra reach.

2) Ultra Wide: 16–35mm f/2.8

This is your storytelling weapon.

Use it for:

• Dramatic landscape scenes

• Inside vehicles / tight spaces

• Camps, lodges, tents

• And… night sky photography

If you’ve never seen the Milky Way from the Serengeti, Kenya, or anywhere remote — just trust me. You’re going to want a wide fast lens and a tripod.

3) The Tiny X-Factor: The Nifty Fifty (50mm f/1.8)

It’s cheap. It’s light. It’s surprisingly useful.

A 50mm f/1.8 gives you:

• Four times more light than f/2.8

• Beautiful low-light portraits

• Campfire moments, lodge interiors, early morning scenes

It’s the lens you’ll be grateful you threw in your bag “just in case.”

Third-Party Lenses: Worth It?

Brands like Sigma, Tamron, and Tokina can be great — and they’re improving rapidly.

But I personally tend to stick with manufacturer lenses for three reasons:

1. Optical quality (especially for heavy cropping and printing)

2. Reliability (third-party lenses occasionally have communication quirks with camera bodies)

3. Resale value (manufacturer lenses usually retain value extremely well)

If you’re going third-party, just research carefully and read real-world field reviews — safari conditions are not kind to mediocre gear.

Quick Safari Gear Bonus Round (Accessories That Matter)

Bring a tripod (if you’ll shoot night skies or time lapses)

A travel tripod is great… but be cautious of anything that’s too lightweight. A tripod’s job is to be steady.

The one exception I’ve found? Peak Design’s carbon fiber tripod. Not cheap — but impressively sturdy and packable.

Bring a dry bag (seriously)

My favorite non-lens safari accessory. An 8–13L dry bag keeps your camera protected from:

• Dust (which is everywhere)

• Water spray

• Surprise downpours

• Boat splashes

• And general safari chaos

Lightweight, packable, and wildly useful.

Invest in a good travel-friendly camera bag

A safari bag should be:

• Comfortable for airports and long travel days

• Sturdy enough for bush flights

• Easy to access quickly

• And ideally opens from the back panel (clean side against your back)

I personally love Shimoda Designs for safari travel, but Peak Design, Lowepro, and F-Stop also make great options depending on your style.

Skip the bean bag (my opinion)

They’re useful in theory, but:

• Heavy if filled

• Annoying to fill on location

• Restrict movement

My workaround? A bandana, buff, or t-shirt wrapped around the lens tip for padding when bracing against a vehicle door or boat edge.

Simple. Light. Effective.

My Biggest Takeaway

If you’re going on a wildlife photo safari and want the best chance at coming home with killer shots:

• Start with a 100–400 / 100–500 / 200–600 style zoomIt’s the best all-around safari tool for most people.

• Bring one storytelling lens (24–105 or 24–70) + one wide lens (16–35)Because safaris are about place, not just subjects.

• Consider renting a big prime if you want to level up your wildlife gameIt’s the fastest way to dramatically improve your low-light wildlife results — without committing to a kidney-for-lens trade.

Sponsor Shoutouts (Because Great Prints Deserve Great Partners)

Bay Photo

If you’re going to the effort of photographing wild, iconic wildlife… don’t let your shots live and die on your hard drive. Printing your work changes everything.

Bay Photo makes incredible wall prints — metal, canvas, traditional papers, plus framing options that actually make your images feel like artwork.

Use promo code TWP15 for 15% off one wall print order at BayPhoto.com.

Art Storefronts

If you’re serious about selling your work, Art Storefronts is a one-stop shop for building a gorgeous photography website and automating your print sales through companies like Bay Photo.

They also offer concierge-level support — plus marketing tools (and help!) so you’re not stuck designing galleries and writing posts at 11 PM.

If you mention my podcast (The Wild Photographer) when signing up, you get their website build service free (nearly a $2,000 value). Worth a look if you want to level up your art business.

Want More?

If you enjoyed this, make sure you’re subscribed to The Wild Photographer podcast so you don’t miss upcoming episodes (some very exciting guests are lined up).

You can also find visual tutorials and episodes on YouTube at youtube.com/@courtwhelan📬 And for new blogs, tips, and photography travel stories, subscribe at courtwhelan.com

Happy shooting — and may your next safari gift you a leopard in perfect light. 😉

Court