For the past 20 years, my career as a sports photographer has been defined by two lenses: the Nikon 200mm f/2 and the Nikon 600mm f/4. These primes have been my workhorses, delivering unparalleled image quality, speed, and reliability.
I’ve long believed in the precision and optical excellence of prime lenses, and to this day, all my personal work is shot exclusively with them. But when it comes to covering live sports, where speed and adaptability are paramount, I can’t deny that the latest generation of super-zoom telephoto lenses represents the future of professional sports photography.
The convenience of a super-zoom telephoto lens cannot be overstated. Covering a major football match or an Olympic event often means either swapping between multiple lenses or carrying two camera bodies with different primes attached. With the introduction of lenses like Nikon’s 180-600mm, Canon’s 200-800mm, and Sony’s 100-400mm or 200-600mm, photographers now have a single tool that can cover a wide range of focal lengths without the hassle of switching gear mid-game.
Imagine being at a track-and-field event where you need to capture both the long jump and the javelin throw—previously, you’d need to juggle different setups, but with a modern super-zoom, you can cover it all with one lens. The ability to adjust the focal length on the fly ensures that no moment is missed and no shot is out of reach.
Beyond convenience, there’s also the undeniable benefit of reducing physical strain. Anyone who has spent years carrying around a 600mm f/4 knows the toll it takes on the back and shoulders. The idea of replacing multiple heavy primes with one relatively compact super-zoom is a game-changer, especially for those of us who spend long hours on the sidelines. A lighter load means better endurance, which is essential in a field where you need to be sharp from the first whistle to the last.
Of course, this convenience comes with trade-offs. One of the biggest drawbacks of super-zoom lenses is their variable aperture. Many of these lenses start at f/5.6 or f/6.3 at the wide end and stop down to f/8 when fully extended. Compared to an f/2.8 or f/4 prime, this means less light hitting the sensor, which can be challenging in low-light environments such as evening matches or indoor arenas. To compensate, photographers need to adjust their shooting style—whether by increasing ISO, relying on noise reduction in post-processing, or setting an auto-ISO range to ensure shutter speeds remain fast enough to freeze action.
When Nikon first announced they were launching a pro-grade super-zoom, I was excited. I immediately saw the potential for a lens that could replace my heavy primes and revolutionize how I covered events. Many of my colleagues had already moved away from big primes when the 200-400mm lenses became available, and now, with 400-800mm lenses hitting the market, I see even more photographers making the switch.
While an f/6.3-f/8 aperture range might seem slow compared to traditional primes, the flexibility of having three lenses in one package is a trade-off that makes sense for many professionals. Wildlife photographers, in particular, have already embraced these lenses, and it’s only a matter of time before they dominate the world of sports photography as well.
The concept of a supertelephoto zoom lens isn’t new, but the technology has finally caught up to the needs of professional photographers. Carrying one lens instead of multiple primes is no longer an option but an advantage.
As much as I love my 200mm f/2 and 600mm f/4, I can’t ignore the industry's shift. Super-zoom lenses are here to stay, and for many photographers, they represent the future of capturing sports at the highest level.
