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There’s an open nature reserve with a wetland, encircled by woodland, a few 10-minute drive from my home, and it’s considered one of my favourite locations to go operating. Sunrise on a chilly morning right here might be magical for images too — the sun-kissed mist hovering over the water makes for dreamy situations.
Throughout the yr, the character reserve attracts a variety of migratory and uncommon species of birds, making it a preferred spot for birding — individuals will drive an excellent hour or extra to go to with their lengthy lenses, recognizing scopes and binoculars.
I paired the super-telephoto zoom lens with the new Sony A7R VI. My logic was that the camera’s stellar bird-detection autofocus skills, blazing-fast shooting speeds of up to 30fps, and 66.8MP stacked sensor were perfect for bird photography when armed with the 400-800mm focal length.
One visit led to another, and before I knew it, I was out the door at 5am every morning, gear in hand.
I had just found my new hobby. It happened a few years earlier than I care to admit, but why resist the inevitable? Yes, I’m now into birding, and I have this incredible Sony camera gear to blame.
The super-supertelephoto lens
When I first saw Sony’s 400-800mm lens in 2024, I thought it was a peculiar focal length. But after my bird photography testing, it feels like the perfect range for this genre.
For most bird photography — in the wild at least — you’ll want a focal length of at least 600mm to get close enough, but I found that even longer, at 800mm, was my most-used setting.
I wouldn’t want an 800mm prime lens, mind you, even if that meant benefitting from a slightly faster aperture. When you’re locked in on a bird at 800mm, and it moves, which it will, it can be tricky to locate them again. That’s why quickly zooming out to 400mm is handy.
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With a wider perspective at 400mm, you can locate the subject more easily, and then zoom back in again. In any case, about 10% of the time, the 400mm focal length was actually the better pick when I was lucky enough to get physically close.
Optical image stabilization is handy, smoothing out camera shake and consequently making this lens totally usable handheld. The focus range limiter is neat too, but I tended to keep the focus range set to ‘full’ given the birds could be located any distance from me at any point — in one spot, there are gauze bushes next to a boardwalk.
The one thing against the lens is its maximum aperture, which is f/6.3 at 400mm and reduced to f/8 at 800mm. I usually opted for a 1/1000sec shutter speed at 800mm to freeze action, and at f/8 in anything but good light, you’ll find ISO needs to be bumped up, which impacts image quality.
Depth of field is not an issue, though. At 800mm and f/8, backgrounds are delightfully blurred, just about all of the bird is in sharp focus, and the photos looks great.
An upshot of the limited maximum aperture is that the lens is much lighter than Sony’s professional fast-aperture telephoto primes, such as the 600mm F4, and it’s much, much cheaper, too. For amateur bird photography, I think the 400-800mm F6.3-8 is the practically perfect lens.
The speedy, highly detailed camera
If the 400-800mm F6.3-8 is the ideal lens for bird photography, the A7R VI proved to be its perfect partner. Like its predecessor, the camera features subject-detection autofocus with a dedicated option for birds, but it adds an auto option, which is handy when you’re regularly switching between subjects.
For bird photography, however, I selected the dedicated AF mode on the assumption that this could help improve the camera’s scan rate, with less in the scene for it to be looking for — after trying both options, I would advise you to do the same.
I also tried bird photography with the 400-800mm lens and the older Sony A7R V, and it felt like autofocus was slightly slower compared to the new camera. I don’t have numbers to back this up or give a measurable difference, just my experience.
I was impressed by how the camera could latch onto birds even when they filled just a small portion of the frame. Check out the example below — the A7R VI easily located the distant male stonechat.
With continuous burst shooting set to 10fps using the mechanical shutter, bird-detection autofocus in play, camera and lens image stabilization active, I had a dream setup, on the foundation of a high-resolution stacked sensor and extreme dynamic range.
Sony says the A7R VI has a 16-stop dynamic range, which is 1-stop more than the A7R V and most other professional cameras. It also has the most pixels in a full-frame sensor — all 66.8MP of them.
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What I appreciated about the high-resolution sensor was the ability to crop into images where the subject filled a small portion of the frame, even when shooting at 800mm.
Just how much can you crop? Well, the camera’s APS-C crop mode (1.5x) is still 28MP, and in that mode the 800mm setting of the lens effectively looks like a 1200mm lens (see the sequence above at 400mm, 800mm, and 800mm with the 1.5x crop mode). It’s possible to crop in much more than that and still get a detail-rich image, especially for images displayed on mobile devices. You might not need such big files in terms of output, but for bird photography, being able to crop is supremely helpful.
The birdlife
That’s the gear covered — but how was my experience itself? I had an absolute blast — in the space of a week, I went from a complete novice to confidently identifying a range of bird species for inquisitive passersby impressed by the camera gear in my hand. Yep, I had become one of those guys.
The nature reserve is home to a wide range of birdlife. My very first snaps were of Canada geese on the water, mainly because the light and mist were magical. But venturing further along the boardwalk, I saw ground-nesting birds and more.
There were Chats, Finches, Woodlarks, and I even saw a family of Dartford Warblers. I tuned in my ear for birds; the car alarm-like shrill of a Lapwing and the peculiar call of a Curlew — I was told that I was looking at the only nesting pair in this county. Common Cuckoos were present too, though I never got the camera tracked onto one of those.
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I photographed European Stonechats who had caught dragonflies and grubs, and watched a Reed Bunting go back and forth gathering nest-building material. The delightful contrast of a (European) Goldfinch amidst the pale green leaves of a birch was spectacular.
Seemingly, it was my time — I was becoming a bird enthusiast. I had given in to the inevitable. I was hunting for birds, enjoying the thrill of getting the shot, but with a camera and not a rifle.
And honestly, it was the most fun I’d had with the camera in ages. This didn’t feel like work, but something that fed me. And, yes, I did ask Sony to extend the loan of the lens, because I wasn’t ready to give it back. Once I bid farewell, I’ll be looking into buying a super telephoto zoom lens of my own (but I’m not quite ready for a bird spotting journal…yet).
Interested in trying bird photography out for yourself? Check out our selection of the best wildlife photography cameras.
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