The Best Mirrorless Cameras for Wildlife and Bird Photography – 2017 Round-up

Wildlife photography is a genre that DSLR cameras have dominated for decades. Their vast lens selection, robust design and reliable autofocus system are just a few of the many characteristics amateurs or experienced photographers require in order to capture animals in their natural habitat.

In the last two years, however, mirrorless cameras have reached a new level of maturity, making them an interesting alternative for this challenging genre. The more compact design, improved performance, unique array of features and increasing number of telephoto lenses can give wildlife photographers a fresh new set of tools to work with.

Two years ago, I started to practice this genre for several of my camera and lens reviews, analysing key aspects such as lens quality, autofocus performance and other things. Now that I’ve gathered ample experience, I feel it is a good time to put this article out.

Important note: the article is “dynamic” meaning that it will receive updates after testing new equipment. If a newly announced camera fits the requirements, we will include useful information about it and update the article once we get our hands on it.

Ethics statement: All opinions expressed in this article are our own and based on real world experiences with each camera. We were not asked to write anything about these products, nor were we provided any compensation of any kind. Within the article, there are affiliate links. If you decided to buy something after clicking the link, we will receive a small commission. Don’t worry – prices remain the same for you. To know more about our ethics, you can visit our full disclosure page. Thank you!

I won’t go in-depth about sensor and image quality as I believe that all the cameras I’ve mention here give you enough results for this genre. Certainly the old rule applies – a body with a larger sensor can give you better dynamic range or high ISO performance – but I can safely say that I got good results with all the models listed here.

I will also mention video capabilities where applicable as this is a feature that can be interesting for photographers seeking a hybrid solution or curious to start doing some video in their favourite wildlife location.

Preface II: Nikon D500, the one to beat for birds in flight

When I started to work on this article, I realised that the only way to make it truly fair was to include my experience with one of the best DSLRs designed for this genre. So I picked the flagship APS-C Nikon D500 with the recent Nikkor 200-500mm f/5.6 to see how much better the performance was in comparison to today’s flagship mirrorless cameras.

I mainly concentrated on birds in flight, which is perhaps one of the most difficult subjects for your camera. I have no doubt that most mirrorless cameras can do just fine if the subject is static or moving slowly but a fast bird of prey flying close to you is another story entirely.

The results of this introductory test left no room for doubt: the D500 beats every other camera I’ve used for BIF so far.

First we have the continuous autofocus performance. My first set was rather disappointing: I used the 153 Points Dynamic Area and I got an average keeper rate of 56% (or 69% if I don’t count the slightly soft images). Switching to 3D Tracking raised the results to 80% (95% if I include the slightly soft photos). This is by far the best result I got at my beloved testing ground, the red kite feeding station in Bwlch Nant yr Arian near Aberystwyth. One of the main differences with the Nikon in comparison to the various mirrorless cameras is the low number of out-of-focus shots I got. I wound up with some soft results but very few images where the AF went completely wrong.

The second aspect is the optical viewfinder. I admit I had an easier time following the birds because of the zero lag between what was happening and what I was seeing.

I chose the Nikkor 200-500mm f/5.6 because it is a recent lens and gives you an excellent range to work with (300-750mm equivalent). Of course the main advantage of the DSLR system is the vast choice of lenses at your disposal, not only from Nikon but also Sigma and Tamron. (The same thing can be said for Canon users.) To give you a few numbers, more than 24 telephoto lenses (300mm or longer) are available for the D500 and that is without counting kit lenses, all-purpose lenses and teleconverter options. The kit I tested would cost you around $3200 / £2790 / €3700 but you can find both cheaper and more expensive combinations.

The only real disadvantage of the Nikon gear is the extra size and weight. The D500 and 200-500mm kit remains reasonable and I worked hand-held the whole time but I definitely felt the difference in comparison to similar mirrorless combos.

Check price of the Nikon D500 on Amazon | Amazon UK | B&H Photo | eBay

Used Nikon gear on MPB

There are many reasons I picked the OM-D E-M1 II as my number one choice. There are very interesting specifcations to talk about but above all, it is a question of feeling.

Of all the flagship mirrorless cameras we’ve tested, the E-M1 II definitely feels the most like a camera designed for wildlife photography.

There is certainly room for improvement in a few areas but if we consider the overall performance and features it has to offer, it ticks all the right boxes.

First we have the compactness of Micro Four Thirds. Here, weight and size make a relevant difference, more than any other system. Add to this the stunning 5-axis sensor shift and Sync IS (sensor + optical stabilisation working at the same time with select Olympus IS lenses) and you have a camera that can be used hand-held 99% of the time.

The E-M1 II also features impressive continuous shooting speeds. For static subjects or scenes where you can pre-focus, you can shoot up to 15fps with the mechanical shutter or 60fps with the electronic shutter (focus is locked on the first frame). If you want continuous autofocus, the performance goes down to 10fps or 18fps respectively.

Thanks to the fast sensor readout, rolling shutter is minimal and wasn’t a concern most of the time when using the electronic shutter. The Pro Capture mode lets you save up to 14 frames before fully pressing the shutter release button, which can help you to catch the perfect moment. The buffer is excellent and with an SD UHS-II card you can shoot at 15fps with RAW without losing any speed.

Then we have the electronic viewfinder that offers a fast refresh rate of 120fps, a good resolution of 2.36M dots and a very short lag time of 0.006s. The camera maintains live view up to 18fps with short blackouts.

Finally the E-M1 II features all the most important details a wildlife photographer can appreciate: full weather-sealing (including freeze-proofing), a dual SD card slot (the first is UHS-II compatible), lots of customisation and a large battery that is almost as good as a high-end DSLR. An official battery grip that houses two batteries is also available. The camera can record 4K video with good quality at low ISOs and the image stabilisation system does wonders for video too.

An example of how good the IS system is: below you can watch a video taken hand-held with the original E-M1, the 300mm Pro and the TC 1.4x teleconverter. The E-M1 II has an improved stabilisation system which means that you can get even better results than the already impressive footage below.

Is it the perfect choice then? Mostly, and the only thing that prompts me to write “excellent” rather than “perfect” is the autofocus system. Don’t get me wrong – the new phase detection area with 121 cross-type points is an excellent step forward in comparison to the original E-M1. Indeed, it is currently the best AF you can find within the Micro Four Thirds range. However it isn’t the best I’ve tested on a mirrorless camera. My keeper rate for birds in flight averages between 55% and 70% which means it is good enough.

I also wish Olympus could add more AF-Target groups to work with: as of now you can only choose between All, 9 or 5 points but something in between would be of help. AF+Tracking works when the bird is in the sky but can become confused with a busier background. The good news is that the brand is committed to improving the camera’s performance via firmware updates. If they manage to improve the accuracy of the AF and add a few extra options concerning the AF area, there will be nothing left to nitpick.

One of my favourite lenses is the Pana-Leica 100-400mm for its extreme versatility and excellent optical quality. However to take full advantage of some features like Sync IS and Pro Capture (compatible with Olympus lenses only), the 300mm f/4 PRO is the best choice, also because it provides the fastest aperture at that focal length.

There is very little to complain about when it comes to the quality and performance of the Fujifilm X-T2.

Along with select Sony cameras, the X-T2 has the best autofocus of all mirrorless cameras I’ve tested. You can choose between a 7×13 or 13×25 grid but keep in mind that only the former is available when shooting in C-AF and high burst mode. It features useful focus areas like Zone AF and the in-depth AF-C Custom Settings allow you to fine-tune the performance according to the type of subject, which can make a big difference for birds in flight. My average keeper rate hangs between 70% and 80%.

The 24MP APS-C sensor gives you excellent image quality in terms of dynamic range and high ISO performance. You can also add to the equation complete weather sealing, a dual SD card slot (both are UHS-II compatible) and the optional battery pack that extends the continuous shooting speed from 8fps to 11fps (with C-AF). Note that the X-T2 can go as fast as 14fps with the electronic shutter but the rolling shutter effect can become annoying.

The camera is easy to use thanks to its numerous dials and focus joystick. It offers a good level of customisation as well. The battery life is good but not the best I’ve tested. You can take 800/900 images on a single battery charge. There is also a battery grip available that houses two more batteries. The 4K video quality delivers excellent colours and sharpness, although the video options are more limited in comparison to other cameras.

While the performance is top notch where it matters most (AF and IQ), there are different reasons I didn’t put the X-T2 at the top of the list.

First we have the grip which hasn’t really been designed for big lenses. Thankfully you can work around this by attaching optional accessories but I still don’t find it the most comfortable.

Second we have the EVF. Although it is wonderful in terms of clarity, magnification, lag (0.005s) and the refresh rate (100fps), the live view stops after 5fps. At 8fps or 11fps the camera displays the last picture taken instead which adds an extra delay.

For now there is only one true lens designed for wildlife and that is the XF 100-400mm f/4.5-5.6. It is excellent concerning sharpness, autofocus speed and optical stabilisation but those who seek faster options or prime lenses need to wait for future releases. There are two teleconverters that also works with the XF 50-140mm f/2.8 but to get the most reach, you need to use the TC 2.0x which decreases the fastest aperture to f/5.6. At that point, the 100-400mm becomes the better solution. The 55-200mm f3.5-4.8 is a decent lens but can feel a little bit short, doesn’t have the fastest AF motor and lacks weather-sealing.

Another thing worth mentioning is that while the camera is definitely lighter and more compact than a DSLR, the XF 100-400mm isn’t any smaller than the Canon equivalent for example. So if you are considering switching over to Fujifilm to reduce the weight of your gear, keep in mind that the advantage is lost with some telephoto lenses.

The Sony a6000 series isn’t my favourite as far as ergonomics and ease of use are concerned. Certainly the size can be an advantage for other genres but when using larger lenses, you inevitably feel a lack of balance and wish for a larger grip, in addition to more buttons and dials to control the most important settings.

That said, there are advantages worth considering. First is the price: the a6300 can be found for around $1000 which is the cheapest option available on this list.

Then we have the autofocus system with 425 phase detection points which is the best (along with the Fuji X-T2) on the mirrorless market and as of now, only the new Sony A9 can challenge them. My average keeper rate for BIF is around 75%-85%. The cameras offer useful settings for the AF areas, as well as effective 3D tracking (Lock-On AF).

The continuous shooting speeds go up to 11fps or 8fps if you want live view in the EVF. Though the viewfinder is smaller than those of the other cameras listed here, it makes up for it with good clarity and a fast refresh rate (120fps). The 4K video quality is excellent and there are lots of useful settings for advanced video makers but rolling shutter can be severe when panning quickly.

The a6300 and a6500 are very similar in most respects including the excellent 24MP APS-C sensor but there are a few differences worth mentioning. First the grip on the a6500 is slightly more prominent. Second the buffer capabilities of the latter are much better than the a6300. Finally the a6500 features in-body 5-axis stabilisation but in our tests we found no concrete benefit when using OSS lenses.

Additional read:

• Sony a6300 vs a6500 – The complete comparison

Amongst the negative things to point out, there is the short battery life and the lack of an official battery grip, although some third-party manufacturers such as Meike provide one. The cameras offer resistance against dust and moisture but aren’t freeze proof.

Here the best choice is the new 100-400mm G Master but like most Sony lenses, it comes at a rather expensive price in comparison to other offerings which cancels out the advantage of a cheaper camera body. I used the FE 70-300mm with good results but it can feel short in some situations.

Thanks to its phase detection system, the cameras work with Sony A-mount and Canon EF-mount lenses when paired with a compatible adapter. The AF performance is good but not as fast as with native E-mount lenses. I performed different tests but in my opinion, this is not a solution worth considering if wildlife is your main interest. The cameras becomes unbalanced when used with large and heavy lenses and at this point it makes more sense to consider a native DSLR system instead. There are a few exceptions such as the new Sigma 100-400mm f/5-6.3 which looks quite compact but I haven’t tested it yet.

From an ergonomics point of view, the Panasonic GH5 is the camera that most resembles a DSLR and there is a good reason this type of design has been successful over the years. It features a solid and comfortable grip and is completely weather-sealed. There are lots of buttons, dials, an AF joystick and up to 20 function buttons (4 of them are virtual on the LCD screen). We find a dual SD card slot with UHS-II compatibility as well. Honestly it is one of the best mirrorless cameras I’ve ever tested when it comes to controls and ease of use. The battery life is also excellent.

The continuous shooting speed goes up to 12fps or 9fps with continuous AF and the buffer capabilities are excellent. The electronic viewfinder has the best resolution (3.68M dots) and a decent refresh rate (60fps). Live view is available up to 9fps. The image quality is very similar to the E-M1 II when it comes to dynamic range and high ISO.

The GH5 features in-body stabilisation with 5-axes as well. The performance is not as good as the Olympus camera but it delivers very good results. Combined with many Lumix lenses, you can take advantage of both sensor and optical stabilisation (Dual IS) which makes the camera usable hand-held with long focal lengths.

The Panasonic camera was designed with professional filmmakers in mind and I have no doubt that its stunning 4K and slow motion capabilities can make it a good companion for wildlife documentaries. At the time of publishing this article, I’ve already collected many video samples: the quality is really excellent and again the user friendly interface makes the experience really pleasant. Dual IS is effective for video as well. More than any camera mentioned in this article, this is definitely the one I would choose for wildlife video work.

The GH5 doesn’t share the same continuous shooting speeds with full sized RAW files as the E-M1 II but it has an interesting alternative called 6K and 4K Photo. It takes advantage of its video capabilities to record a video clip at 30fps (6K) or 60fps (4K) and lets you save any frame you want (18MP with 6k and 8MP with 4K) in playback mode. If you select the Start and Stop mode you don’t have any buffer limitations since the camera records a video. With the Pre-burst mode the camera saves 30 or 60 frames before and 30 or 60 frames after the shutter button is fully depressed. Similar to the Olympus Pro Capture mode, it raises your chances of framing the perfect moment in a very fast-paced situation.

The mode has some limitations that are important to be aware of. First because the picture is extracted from a compressed video file, you can only save a JPG image which means you won’t have much flexibility in post. Second this mode uses the electronic shutter so distortion can appear in your image.

Thanks to all the excellent features described above, the Panasonic GH5 almost made it to the top of my list. It handles everything perfectly with one exception: birds in flight.

The GH5 features a new version of its DfD (Depth from Defocus) contrast detection technology with 225 points and the good news is that it is a relevant improvement over the previous generation (GH4, G85, G7, etc). In most situations where the subject is static or moves at a slow pace, you won’t have any problems. However as soon as birds in flight and other fast-moving animals come into the picture, the camera struggles. I managed to capture good images but overall the keeper rate was poorer than any other camera on this list (between 40 and 55%). The main difference between it and other cameras that use phase detection AF is that it struggles to lock onto a moving subject and can easily misfocus or focus on the background instead. Backlit situations as well as scenes with less contrast can also challenge the camera.

That said, there is a great variety of AF areas to choose from and many settings to fine-tune the AF performance. With the right combination you can improve the results a little but overall they remain below the average of Olympus, Fujifilm and Sony cameras.

Promising new release: Sony A9

The Sony A9 features very interesting specifications for shooting fast subjects. It has the most advanced autofocus system amongst Sony cameras and given the excellent results I got with the previous mirrorless models (a6000 series and the A7r II), I am sure that the A9 can live up to the task, if not become the best mirrorless camera in terms of the autofocus performance.

Continuous shooting can go up to 20fps with AE/AF Tracking by using the electronic shutter and distortion is minimal. Furthermore it can achieve all this with a constant live view and no blackouts which is a first for a mirrorless camera. We haven’t tested the camera yet but the idea of tracking a bird with constant live view and no blackouts is certainly very appealing (basically it is like shooting a video at 60fps in the EVF).

The A9 features weather-sealing, a dual SD card slot and a revamped design that includes more dials and an AF Joystick. Keep in mind however that it is the most expensive body in this article with a price point of $4500 (more than double the price of any other mirrorless camera mentioned here except the A7r II).

Concerning the lenses however, the Sony might be the option with the smallest selection so far. It features a full frame 24MP sensor so the longest lens available is the 100-400mm (+ teleconverters). Here as well you can take advantage of adapted lenses but the same reasoning seen with the a6300/a6500 applies. That said, I am anxious to try it in the field to see what the camera is truly capable of and if the live view with no blackouts in the EVF can be a game changer for this genre of photography.

Additional read:

• Sony A9 vs E-M1 II, or the evolution of electronic shutters

About other mirrorless cameras

Before wrapping up, I’d like to take a moment to briefly mention some other cameras I’ve used for wildlife photography. I don’t consider them the best option if this genre is your main priority but some of them can now be found for $1000 or less while others offer other advantages.

Olympus OM-D E-M1

I started to get more serious about wildlife and BIF while using the original E-M1 and testing the 300mm Pro lens. The AF doesn’t lock as fast as the E-M1 II and is more inconsistent but if you aren’t interested in fast moving subjects, it remains an interesting solution for those on a budget. It can shoot up to 9fps with live view, has excellent image stabilisation and is fully weather-sealed. Note that the camera is soon to be discontinued but you may still find deals online or on the second-hand market.

Additional read:

• Olympus OM-D E-M1 vs E-M1 II – The complete comparison

Panasonic GX8 and G85

I had the chance to take wildlife pictures with various Panasonic cameras. They offer good stabilisation and have a robust build quality but the main limitation is the DfD AF system with BIF and fast subjects. It simply isn’t as good as other cameras but for more static situations, they work well and you can take advantage of extra features like 4K Photo and the good video capabilities.

Fujifilm X-Pro2

I got very good results with the X-Pro2 since its AF system is the same as the one found on the X-T2. Furthermore, the optical viewfinder and its display options proved a good ally for BIF, mimicking the use of a red dot sight (more info here). I wouldn’t recommend the camera for this genre primarily but if you are interested in Fuji gear, perhaps it could be an interesting back-up option.

Additional read:

• Fujifilm X-T2 vs X-Pro2 – The complete comparison

Sony A7r II

The 42MP full frame sensor of the A7r II not only gives you stunning dynamic range but also more room for cropping thanks to the higher resolution. The hybrid AF system is fast and reliable and it performed reasonably well with adapted DSLR lenses. However the maximum speed is just 5fps without live view and the buffer is short. It can work but the camera has mainly been designed for other things. A similar reasoning applies to the A7 II minus the higher resolution advantage.

Conclusion

The honest truth is that DSLRs still rule if you are looking for the best autofocus performance and a wider selection of camera bodies and lenses for every need and budget. However it isn’t the only camera system that can give you excellent results in this field today.

Mirrorless systems may be newcomers to this market but they are starting to become a reliable alternative. In addition to their reduced size, their technology can also bring some interesting advantages. Think about the stunning continuous shooting speeds of the E-M1 II, the 6K Photo mode of the GH5 or the blackout-free live view of the Sony A9. These are all features that you won’t find on other systems.

Another important point to make is that all four brands have greatly improved the autofocus performance of their cameras and are continuing to refine the performance. Today most flagship mirrorless are capable of delivering very good results even in difficult conditions.

Mirrorless cameras may not yet have a complete offering for wildlife photographers but they are progressing fast in that direction. In a few years time, the conclusion of an article like this could be quite different.

Whether you already invested in a DSLR or are new to the genre, I feel that Micro Four Thirds is the most interesting solution as of now because of the reduced weight and size, the wider selection of lenses and the additional choice for people on a budget.

As for Fujifilm, they offer excellent autofocus capabilities and image quality but we still need more lenses. Hopefully it is just a question of time.

Sony has more camera choice and continues to improve the autofocus and speed of their models with every new release. Their high-end APS-C products offer some of the best image quality on the market, though they are lacking in terms of ergonomics and ease of use in comparison to the competition. The lens selection isn’t bad but they can be pricey.

Finally we mustn’t forget the A9, which will likely climb onto this list as soon as we can get our hands on a copy. The 20fps burst rate with continuous AF, the new focus system and the blackout-free live view could deliver one of the best experiences yet, though once again the high price will certainly put off more than one photographer in the field. It is the latest example of a constantly evolving market and I am sure we will see an increasing number of capable models in the years to come.

You may also like:

• Olympus OM-D E-M1 II vs Fujifilm X-T2 – The complete comparison
• Sony a6500 vs Fujifilm X-T2 – The complete comparison