How to choose camera equipment for sports photography

If you’re interested in sports photography, you probably know how satisfying it is to freeze motion or capture an intense expression, a split-second emotion, an elusive moment… But sports photography also places serious demands on your camera gear. It is fast, dynamic, and often done in difficult shooting conditions: tricky light, both indoors and outdoors (believe me, I know from experience!), harsh weather with rain, wind, dust or cold, and constant handling that can put your equipment at risk…

As you can see, choosing your sports photography equipment can be more demanding than choosing gear for many other types of photography… And if you want to specialize in sports photography, you should also be prepared for the fact that it can get expensive.

There is no single setup that works for every situation. So I can’t give you a ready-made answer, because several factors come into play: the type of sport you want to photograph (indoors, outdoors, high-speed motorsports…), what else you plan to use your gear for, and, of course, your budget. Still, don’t worry: whether you’re a true beginner, an enthusiast, or simply trying to keep costs under control, today’s wide range of cameras and lenses, from mirrorless to DSLR, should help you find the right setup for photographing your favorite sport.

Based on my own experience, I’ll try to share a few tips and the main boxes to tick when choosing your basic setup, meaning camera + lens, as well as some useful accessories if you’re just getting started in sports photography. If you want to go further, I invite you to read our article on the best current cameras for sports photography (DSLR and mirrorless cameras).

Until recently, mirrorless cameras were not always considered a serious option for sports, mainly because of viewfinder lag, weaker subject tracking, shorter battery life, and a more limited choice of cameras and lenses.

With the latest mirrorless cameras from most brands, however, there are now some very capable options. The very best action cameras are still generally high-end and expensive, but capable mirrorless bodies now exist at more accessible levels too. Among DSLR cameras, you can also find older, less expensive bodies that still perform very well. The trade-off is that they won’t benefit from the newest lenses designed specifically for mirrorless systems, even if those lens ranges are still developing.

Also, when DSLR cameras offer similar sports performance, whether from Nikon or Canon, there can still be major differences between brands in autofocus and lens choice. Mirrorless cameras have another advantage over DSLRs: they can often be used with DSLR lenses through adapters. A DSLR, of course, can’t do the reverse.

If you want to know more, here’s our full and detailed article explaining how to choose a camera.

Among interchangeable-lens cameras, the smallest common sensor format is Micro Four Thirds (also known as MFT). Panasonic and Olympus developed this mount together, which means they can share lenses. In other words, if you buy a Panasonic Micro Four Thirds camera, you can use Olympus lenses, and vice versa. One of the advantages of these cameras is that they are relatively affordable. Their smaller sensor also creates a tighter crop factor — meaning a narrower perceived field of view at the same focal length — which can be useful in sports when you are far from your subject (with a 2x crop factor, a 200mm lens frames like a 400mm lens). Since 2021, OM Digital Solutions has taken over Olympus’s former imaging business and now continues the camera line under the OM SYSTEM brand.

APS-C cameras are among the most common, since this was the format many manufacturers chose when digital photography first became widespread. As a result, many DSLR cameras use this sensor size. Beyond DSLRs, brands have also adopted APS-C for their mirrorless systems, including Sony, which makes many of these cameras, and Fujifilm, which has built a strong position in the high-end APS-C mirrorless market. Like Micro Four Thirds, APS-C has the advantage of lower cost compared with traditional full-frame, along with a 1.5x crop factor (1.6x for Canon), so a 200mm lens frames like a 300mm lens (or 320mm on Canon), for example.

Of course, full-frame cameras have their own advantages too! They are generally more robust and often perform better in low light. With the same framing and settings, full-frame will also give you a shallower depth of field than APS-C or Micro Four Thirds, which can be useful in sports when you want to separate players from the background. Brands that offer full-frame systems, such as Nikon, Canon, Sony, Panasonic, and Leica, also put a lot of resources into developing them. It’s up to you to decide whether the advantages of full-frame matter for your use, and especially whether you have the budget for it…

There are also cameras with even larger sensors, namely medium format cameras proposed by Fujifilm, Hasselblad, and Phase One (with Sony-made sensors again), but they are not especially suited to sports photography. Their autofocus is generally slower, and long, adaptable focal lengths are few and far between for these formats. These cameras are better suited to fashion, portrait, and landscape photography.

We have also written a comprehensive article that explains everything you need to know about the size of photo sensors.

In my opinion, these are the two most important things to look at when choosing a sports camera.

Mirrorless cameras have an advantage here because their autofocus coverage usually extends across most of the frame, while DSLR autofocus points, especially on full-frame bodies, are more clustered toward the center. Mirrorless cameras also offer more and more subject-detection features, mainly for people and animals, and more recently for vehicles too. That said, there is a difference between detecting a subject and reliably tracking it, and this is where some brands still stand out. Sony and Canon are among the strongest performers here, while Panasonic and Fujifilm have traditionally lagged a little behind. DSLRs generally offer very good tracking too, but with fewer automatic detection features, so you need a better understanding of AF modes and AF point selection.

Shutter speed is also crucial when you want to capture the decisive moment. Burst shooting is often the norm in sports photography, because it gives you more frames to choose from when selecting the best shot. You don’t always need to shoot at 20 fps, and most recent cameras offer at least 8 fps. After all, people photographed sports for years when burst speeds were much slower, or barely existed at all, so don’t focus only on this number. Instead, make sure the camera can sustain that burst for long enough by checking the buffer, the temporary memory that allows the camera to keep shooting. Having 30 fps is not very useful if the camera stops after 25 images because the buffer is full…

Unfortunately, sporting events often take place in poor light. Even with a fast lens, meaning one with a wide aperture such as f/2.8 or f/1.8, you will often need to raise the ISO to work with a fast enough shutter speed. Remember that each time you increase ISO by one stop, you can also double your shutter speed, since the three exposure parameters are connected. ISO is easy to use, but it comes with a major trade-off and can quickly ruin your images if you push it too far. That’s why high-ISO noise performance is important when choosing a sports camera. A camera that handles high ISO well will usually give you better results. If you’re choosing between several models, don’t hesitate to compare image-quality tests at different ISO settings.

Today, most sensors can work up to ISO 6400, and even Micro Four Thirds cameras can deliver very good results at that value, provided, of course, that you know how to process your images properly in-camera or that you shoot RAW and use good photo-editing software.

To compensate for camera shake, most manufacturers offer image stabilization systems. There are two main types: optical stabilization (built into the lens) and mechanical stabilization (built into the camera body).

Here, we’re talking about mechanical stabilization.

Advantages:

• Allows additional features such as pixel shift (the stabilization mechanism moves the sensor slightly to capture the same image several times, then recombines the frames to create a more detailed image),
• Works with all lenses, whether they are optically stabilized or not.

Disadvantages:

• Can feel awkward with long focal lengths on DSLRs when using an optical viewfinder, but this is not a problem with mirrorless cameras because the electronic viewfinder benefits from stabilization,
• Slightly less effective than optical stabilization.

How does your camera feel in real use? It is important to work smoothly with your camera, without wasting too much time digging through menus, and to make quick adjustments using two separate dials for settings such as shutter speed and aperture. A top LCD screen is also useful, both to save battery and to get a quick overview of your main camera settings. Also keep in mind how comfortably the camera sits in your hand.

Don’t underestimate durability either. Your camera’s sturdiness and build quality matter too. You may be shooting outdoors, in bad weather, with a heavy lens. For these reasons, it is worth choosing a camera body made from a robust alloy, with at least basic protection against water and dust (which will automatically rule out many cameras, especially entry-level models).

Now that you know the most important criteria to consider when choosing your sports camera, let’s look at the main camera categories where you can apply the advice above.

We have also published a more detailed article explaining which sports cameras to choose by camera type (DSLR/mirrorless) and brand. In it, I go through what I consider to be the best sports cameras for each brand.

Of course, you can use almost any camera to photograph a sporting moment. But if you want to capture high-speed action while dealing with outdoor conditions and the constant pace of sports and action photography, I recommend choosing an expert or pro-grade camera. Nikon and Canon were among the first brands to produce cameras truly designed for sports photography. On the mirrorless side, we had to wait for the Sony A9 to get a genuinely sports-oriented camera. Since then, each brand has released bodies aimed at action photography, such as the Z9 from Nikon, the R3 from Canon, the OM-1 from OM System, and the X-H2s from Fujifilm. Sony also followed the A9 with the A9 II, later introduced the A9 III, and released the all-in-one A1, which combines sports performance with high resolution.

Among DSLR cameras, there are still some very capable APS-C bodies, such as the D7500 and D500 from Nikon, or the 90D and 7D II from Canon. In full-frame, references such as the D6 from Nikon and the 1D X III from Canon remain very powerful cameras, but they are also very expensive and are gradually being replaced by mirrorless bodies. When choosing today, you might as well look at the Z9 or R3, unless you find a great deal on a DSLR. Lens choice should not be a major issue, since mirrorless cameras can use DSLR lenses with an adapter.

Now it’s up to you to balance performance and budget for your own personal use…

No matter what kind of photography you do, most of your budget should usually go toward lenses. Cameras come and go, but good lenses can stay with you for a long time, which is why people often recommend saving money on your first camera body and investing in a quality lens instead. If you want to know how to choose a lens, I invite you to read the article mentioned above.

For sports photography, you’ll need a fast, high-quality lens with solid build quality. If you’re just starting out, you may only have one camera and one lens. In that case, I would recommend buying a zoom lens first. Over time, you can expand your kit with another quality zoom lens and a prime telephoto lens. Your first telephoto lens often represents a real financial hurdle, but don’t forget that renting a long lens for specific events can also be an option, and keep teleconverters in mind too.

Check out our guide to the best Canon RF and EF lenses for sports photography.

In sports photography, relatively long focal lengths are often essential: 70-200mm, 300mm… These focal lengths are perfect for capturing strong, emotional images from a distance.

But again, it all depends on the sport, the type of subject, how far away it is, where you are positioned, how much you can move around, and so on. Telephoto lenses are especially important for sports photography, but standard and wide-angle lenses can be just as interesting. If you can move around and get close to the players, a 24-70mm or 24-105mm lens can be a good all-rounder. You’ll also find 85mm lenses, and especially ultra-wide-angle zooms, in many sports photographers’ bags. Close-ups of players or vehicles are not the be-all and end-all of sports photography. It is also important to use a lens that lets you showcase the event’s site and share the emotion.

For sports photography, it is usually best to use a wide aperture (f/2.8 to f/5.6) to make your subject stand out. A wide aperture also helps you shoot at faster shutter speeds. An f/2.8 lens lets more light through, which in turn makes it easier to freeze sports action.

In daylight, however, a lens that fast may not be necessary, so think carefully about your real needs before spending a lot on an f/2.8 telephoto lens. An f/4 lens may be perfectly fine, depending on the situation. Keep in mind that there can be a twofold price difference between a 70-200mm f/2.8 and an f/4. There is a reason for that difference too.

We talked about mechanical stabilization in the camera chapter. Now let’s look at optical stabilization, which, in my opinion, is the one to prioritize.

Advantages:

• Stabilized viewfinder regardless of camera type (DSLR or mirrorless),
• Better performance (up to 4 stops gained),
• Optimized for the lens,
• Also works with an old film SLR camera.

Disadvantages:

• Adds weight, size, and cost to the lens,

Since you’ll probably be working with long focal lengths and relatively slow shutter speeds at times, it is generally recommended to activate the equipment’s stabilization function. Unless you want to create a panning effect (but that’s another story I’ll cover one day), or you’re working with shorter zooms at high shutter speeds…

To increase the focal length of your telephoto lens, you can consider teleconverters, also known as focal length multipliers or extenders. They can help you deal with subjects that are farther away. But remember that you will lose light and optical quality: the higher the multiplication factor, the greater the loss. Your telephoto lens will have a longer focal length, but its maximum aperture will also be reduced. That’s why it is usually best to use teleconverters only with fast lenses, ideally those that open to f/2.8.

To wrap up this chapter on sports lenses, here is a small selection of options. The range is huge, of course! That said, you now have the basics you need to make the best choice for your own use.

With telephoto lenses, a 70-200mm is a good starting point if you can afford it. A 300mm or 400mm lens is even better if you really want to get close to your subject and isolate it from its surroundings. If you shoot Canon, the EF 70-200mm f/2.8L IS III USM and the Canon EF 400mm f/2.8L IS III USM are must-have options! The f/4 version (Canon / Nikon) should already be bright enough for most uses and, more importantly, cheaper. You’ll also find Nikon equivalents in the Nikkor AF-S range (see the f/2.8 and f/4 versions). Tamron also offers a very good 70-200mm f/2.8 G2 at a much lower price than the Canon and Nikon manufacturers’ versions.

For standard zoom lenses (if the sport lends itself to that kind of focal length), my choice would be a 24-70mm f/2.8 (Canon or Nikon), or a Canon 24-105mm f/4, which is a true all-around zoom. For more affordable lenses, you can choose f/3.5-5.6 apertures, knowing that at longer focal lengths you will be more limited in low light and will have to raise the ISO to compensate. As always, the key is to find the right balance between pushing ISO too high, buying a brighter and more expensive lens from the start, isolating your subject better, and staying within your budget. Here again, Tamron offers an excellent option with the 35-150mm f/2.8-4, which is light and very affordable (Canon / Nikon version).

For wide-angle lenses, the Canon EF 16-35mm f/2.8L III USM and the Nikon AF-S NIKKOR 14-24 mm f/2.8G ED are solid full-frame options. Tamron offers an affordable 17-35mm f/2.8-4 (Canon / Nikon), while Sigma offers a 14-24mm f/2.8 (Canon / Nikon). If you use APS-C, choose wide-angle lenses designed for that format, such as 10-20mm or 10-24mm lenses, although there are unfortunately few APS-C wide-angle lenses with large apertures.

For mirrorless lenses, the range is growing, but your choice may still be more limited than with DSLR systems, especially with APS-C bodies. That said, it is worth repeating the advantage of being able to use DSLR lenses with an adapter, including adapters that allow you to use Nikon lenses on a Sony or Fujifilm mirrorless camera, for example (Canon’s adapter is designed for Canon lenses).

Let’s start with Sony. For APS-C E-mount cameras, I particularly recommend the Tamron 17-70mm f/2.8 Di III-A VC RXD standard zoom lens, as well as the Sony 18-105 mm f/4. If you want a longer zoom lens, then have a look at the 70-350mm f/4.5-6.3 G OSS. With the full-frame FE mount, the choice is a bit wider, with the FE 24-105mm f/4 G OSS (standard zoom), the 70-200mm f/4 G OSS (telephoto), and the much cheaper, excellent Tamron 70-180 mm f/2.8 Di III VXD. All of these are worth considering (I personally bought the latter). If your budget is bigger, then don’t hesitate to invest in the 70-200 mm FE telephoto lens with f/2.8 aperture (a Mark II version has also been released) or the FE 400mm f/2.8 G Master! If you’re very far from the action, such as during an F1 race, you can go for the 100-400mm f/4.5-5.6 GM, or one of the options offered by Tamron and Sigma, such as the 150-500mm f/5-6.7 or the 150-600mm f/5-6.3.

Let’s continue with Canon and its RF mount lenses. As with DSLR cameras, both the RF 70-200mm f/2.8 L IS USM and the Canon RF 24-105mm f/4 L IS USM — as a more versatile option — are must-have lenses for sports photography. Canon’s own RF lenses are still often expensive, but the situation has changed: Sigma now offers Canon RF-mount APS-C lenses, and Tamron has also started offering RF-mount options. Full-frame RF shooters, however, still have a more limited third-party autofocus lens choice than Sony E-mount users. If you are far from the action, Canon offers the 100-500mm f/4.5-7.1.

Let’s finish this chapter with Nikon and its Z mount. The system has fewer native third-party options than Sony E-mount, but let’s mention the Nikkor Z 70-200mm f/2.8 VR S as a professional zoom lens, the Nikkor Z 24-70mm f/2.8 S as a standard zoom lens, or its more affordable f/4 version. If you need even more reach, the Nikon 100-400mm f/4.5-5.6 S is an option.

For more choices and details on the various DSLR and mirrorless lenses by brand, have a look at the various articles on the camera lens page! You’ll find a list of all available lenses by brand and sensor type (between you and me, that was a huge job).

A camera and a lens are not enough for sports photography. You’ll quickly realize that one or two memory cards may not be enough either. Here are a few useful accessories to consider for sports photography.

This tip may seem obvious, but it’s worth mentioning because it can make your life much easier. Since you’ll be shooting in burst mode, it’s best to use the fastest memory cards on the market. If your camera takes too long to write images to the card, it will be locked up for longer before it can start shooting again. And since you’re going to take many more photos in sports photography, it’s also a good idea to carry enough memory cards to cover the whole event. We already have an article on memory cards and how to choose them!

The second essential thing to have is at least one spare battery. If you’re shooting in winter, your battery capacity drops and it won’t last as long as it does in summer. A battery grip can also be very useful. You insert a second battery and don’t have to worry about changing it in the middle of a shoot. While the grip makes the camera a bit larger, it also makes it easier to hold.

It may not seem like a big deal, but this small accessory can make a real difference! Sports photographers often work outdoors and are therefore dependent on the weather. You’ll never regret having your lens hood with you when it starts to rain, or under strong sun at 2 p.m… This piece of advice also applies indoors! Sports arenas are lit by powerful light sources that can create unwanted flare. That’s when a lens hood comes in handy. Don’t forget to use UV or clear protective filters to protect your lenses.

Low light and long focal lengths? In those conditions, it is highly recommended to use solid support for your camera to avoid problems with camera shake. You can use a tripod, of course. It works, but it is not very practical for sports. That’s why a monopod is often a much better choice. It doesn’t offer as much stability as a tripod, but it is usually enough for this kind of use. It is also more versatile and much easier to move around with when the camera is already mounted on it. I recommend reading our article on tripods. Otherwise, here is a selection of the best monopods available nowadays.

Where should you store all your gear? You can choose a backpack or a shoulder bag. The right answer depends on your preferences. Personally, I use a backpack and find it much more practical. I have written a complete article to help guide you through choosing a camera bag.

If you’re shooting indoors or in a stadium, where you can leave most of your gear at the media center, both options can work well. However, if you’re shooting motorsports, for example, you may have to cover longer distances, so a backpack will usually be more appropriate. Beyond compartments for your camera and lenses, look for bags that can carry a tablet or small laptop, offer extra storage compartments, and remain comfortable to wear.

Here is a selection of the best camera bags, to be chosen according to your equipment and budget!

Don’t underestimate bad weather. You need to protect yourself, but above all, your equipment. There are many types of rain covers available for cameras and lenses online. They can be very useful when you’re dealing with leaks, splashes or condensation… But in heavy rain, you really can’t afford to shoot without a cover, or with a camera that is only poorly weather-sealed.

Sports photography often takes place outdoors, in bad weather, in mud, dust, and who knows what else. So it is very easy for dust (or worse) to end up on your lens. In these situations, you need to keep a cloth and brush kit close at hand to clean the lens. Here is an example of an interesting and inexpensive kit.

I’m coming to the end of this article. I hope it helped you, even just a little, understand what to focus on when choosing both a camera and lenses for sports photography. I’ve tried to focus on the elements I find most important, but of course there are many other features and accessories that can be useful depending on the situation. Very soon, I will write an article with technical and preparation tips for sports shooting. To go further, I invite you to read our article with all the tips for shooting with a long focal length.

See you soon,

Written by Sylvain PONS

I've been passionate about photography since 2010, learning as I went along. Today, I dedicate myself to guiding others in their choice of camera gear and sharing a variety of tips to improve their photography skills.

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