I know for sure there's a reason why the best 100-400mm lenses are so consistently popular. These versatile telephoto zooms are some of the most flexible lenses you can buy in terms of subjects they can cover. For situations like sporting events, airshows, wildlife shoots, a good 100-400mm lens will get you close enough to the action and give you wiggle room to frame up as you need to — while also being a good sight more affordable than high-end telephoto primes.
These lenses used to resemble bazookas in size and weight. However, improving optical technology has seen significant reduction in size, and 100-400mm lenses are much easier to wield than they used to be. I should know — I've been testing them since the bazooka days, and my back hurts a lot less than it used to after a day's shoot.
Here, I've picked out the best 100-400mm lenses for each major system. So, whatever camera or cameras you use, there should be something here for you. If you think you need a bit more telephoto reach, check out our guide to the best 150-600mm lenses — and scroll to the bottom of this page for our primer on how to choose a 100-400mm lens if you need some help getting started.
Matthew Richards
Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! Here, he nominates the best 100-400mm lenses for all the major systems.
Compact and lightweight, with a highly effective stabilizer, the Canon RF 100-400mm f/5.6-8 IS USM is the top choice for Canon mirrorless cameras. Read more below
The original version of this lens was Nikon's first to feature optical stabilization but the replacement has massively faster autofocus. Read more below
The first 100-400mm lens for the Nikon Z-mount is a premium option, but one that delivers absolutely stunning image quality throughout its entire zoom range. Read more below
Available for Canon and Nikon DSLRs and their sibling mirrorless cameras via mount adapters, this lightweight lens offers fantastic value for money. Read more below
It's an expensive proposition, but this G Master lens really is an outstanding piece of optical work. The controls are also excellent, with plenty of physical on-body buttons. Read more below
For mirrorless APS-C Fujifilm X system, this lens is the obvious choice. With a weather-sealed body and sophisticated optical construction, it's a standout. Read more below
8. Panasonic DG Vario-Elmar 100-400mm f/4-6.3 Asph Power OIS
If you're using the Micro Four Thirds system, this Panasonic lens with Leica-made optics is an optimal buy. The crop factor converts it to an effective 200-800mm lens! Read more below
Sigma's popular 100-400mm zoom for DSLRs has been transformed into this great-value lens, for both L-mount and Sony E mirrorless cameras. Read more below
Tough, strong and dependable, this Pentax K-mount lens goes a little longer at both ends of the zoom range. Read more below
Best 100-400mm lenses in 2024
Why you can trust Digital Camera World
Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test.
This Canon 100-400mm lens is about 50% heavier than the competing Sigma versionthat I've also included – and what's more, it's almost three times as expensive. So, what does all that extra weight and cash actually get you?
Well, this Mark II version is extensively redesigned from its predecessor, ditching the questionable trombone-style push-pull zoom mechanism in favour of a more conventional twist ring. More importantly though, the optical design has been updated for greater sharpness, which is impressive throughout the zoom range. In our lab tests we found a little drop-off towards the outer end of the zoom, but it was still very impressive.
Then there's also the high-tech ASC (Air Sphere Coating), which effectively reduces ghosting and flare for a sharper image, as well as dirt-repellent fluorine coatings on the front and rear elements. It's a third of an f/stop faster than the Sigma, which may isn't a huge amount of difference, but could be handy in a low-light situation.
Image stabilization is uprated to four-stop effectiveness, with different modes for static and panning shots, and an option to only apply the effect during exposure, making it easier to track moving subjects in the viewfinder.
Is all this worth the price premium? Only you can answer that for yourself. However, the fact remains that this is a truly excellent lens in its own right, and a worthy option for any Canon EF user.
Compact and lightweight for a super-telephoto zoom, the Canon RF 100-400mm f/5.6-8 IS USM looks and feels very much like shooting with a classic 70-300mm lens on an APS-C format camera. Naturally, though, it’s designed for EOS R-series full-frame bodies, on which it’s an excellent fit, making for a slimline and easily manageable overall package.
Autofocus is super-fast, image stabilization is highly effective and image quality is highly impressive in all respects, with the caveat that sharpness drops off noticeably when combining close focusing distances with the longest zoom setting.
The aperture rating of f/8 at the long end of the zoom range might be a bit slower than some might like, but that’s the price you pay for the conveniently downsized design.
Nikon’s original AF 80-400mm was the company’s first lens to feature VR (Vibration Reduction). That’s been updated in the new AF-S version, but it’s still only worth about 3-stops and is less effective than in the cheaper Sigma 100-400mm. It does have a switchable dual-mode autofocus system, enabling you to give priority to autofocus or manual override.
The original Nikon AF lens relied on an autofocus motor in the host camera, coupled via a screw-drive mechanism. It was actually one of Nikon’s slowest lenses in terms of autofocus performance, and made autofocus completely unavailable with cameras like the D40, D3xxx and D5xxx series.
The replacement AF-S lens has typically fast and near-silent ring-type ultrasonic autofocus, that works with any Nikon DSLR or mirrorless Z-series camera. Furthermore, it has Nikon’s old-style aperture control lever, rather than an electromagnetic system (as featured in the Sigma lens), ensuring compatibility with older Nikon DSLRs.
Performance and image quality are impressive overall. However, the Nikon struggles to justify its price tag when compared to newer Sigma competition.
After a long wait, there's now a 100-400mm lens for Nikon’s Z-mount mirrorless cameras. And it’s a lens that’s certainly been worth the wait, as the Z 100-400mm f/4.5-5.6 VR S is bristling with technology and handling exotica, and it delivers first-rate performance in all respects. You get rapid autofocus and highly effective 5.5-stop VR with superb image quality.
All-round performance is top-drawer, while handling is enhanced by customizable function buttons and an additional ‘de-clicked’ control ring, along with a multi-function OLED display.
It’s a weighty lens with a hefty price tag, but a worthy Z-mount successor to the aging Nikon AF-S 80-400mm f/4.5-5.6G ED VR lens (above), launched back in 2013 with DSLRs in mind. Nikon Z users may also want to consider another option — the Tamron 50-400mm F4.5-6.3 Di III VXD, which is also available for Z-mount.
This full-frame compatible 100-400mm lens is part of Sigma's ‘Contemporary’ range, meaning it's compact, lightweight and easy to tote around. In fact, it's only about two-thirds the weight of Canon's own equivalent length.
The handling of the Sigma 100-400mm f/5-6.3 DG OS HSM | C is excellent, as I said in my full review. The zoom and focus rings are smooth, and being able to twist the focus ring to override autofocus is a really useful feature for those times you need to be ultra-precise.
If you like, you can use the optional Sigma USB Dock to set up two switchable custom modes for autofocus speed and stabilization behaviour, meaning you can get the lens working just the way you want it.
Autofocus in this version and the Nikon F-mount version is rapid and practically silent, while the image quality is competitive with the own-brand versions. Something also to note is that in the Canon version, the rotational direction of the zoom ring is the same as it is in own-brand lenses, meaning it slots into an existing collection more naturally.
There are also a set of in-camera aberration corrections available with current and recent Canon and Nikon bodies, curbing peripheral illumination, distortion and lateral chromatic aberration.
Built to do full justice to Sony’s prestigious Alpha A7 and A9 series full-frame mirrorless cameras, this lens also works a treat with APS-C format E-mount bodies, where it gives an effective zoom range of 150-600mm. Build quality is fabulous, with a really solid yet refined feel to the construction and a comprehensive set of weather-seals.
A full set of switches is on hand for AF/MF focusing, an autofocus range limiter and dual-mode optical stabilization for static and panning shots. Buttons around the forward end of the lens enable a autofocus-hold function. The zoom ring has variable friction damping, applied via a separate ‘zoom torque adjustment ring’.
Image quality and overall performance are excellent in all respects. Autofocus speed is very rapid, based on a system that includes both linear motors and a ring-type ultrasonic actuator to drive different groups of elements. The effectiveness of the optical stabilizer is enhanced when used in conjunction with sensor-shift stabilization, featured in later Sony bodies. Good control over ghosting and flare is aided by a nano-structure coating.
One of Fujifilm’s highly acclaimed ‘red badge’ lenses, the XF100-400mm has robust, fully weather-sealed, professional-grade build quality. Handling is excellent, benefiting from Fuji’s typical control ring, ideal for controlling the aperture in aperture-priority and manual shooting modes.
Despite producing the relatively small image circle used by APS-C format cameras, the lens is about the same weight as competing Canon and Nikon full-frame compatible lenses. Thanks to the APS-C crop factor, the effective zoom range is boosted to 150-600mm and you can bump it up even more with one of Fujifilm’s 1.4x or 2x tele-converters, albeit with a loss of one or two f/stops in aperture width.
Optical highlights include five ED (Extra-low Dispersion) elements and one Super ED element, for minimizing chromatic aberrations. Super-fast and virtually silent autofocus is based on twin linear motors, and there’s a highly effective 5-stop image stabilizer with automatic panning detection.
Typical of Panasonic’s up-market lenses for Micro Four Thirds cameras, this one is impeccably turned out. The relatively small size of MFT image sensors equate to a 2x focal length multiplier or ‘crop factor’, giving the lens a humungous effective zoom range of 200-800mm. As an MFT lens, it will not only work on Panasonic cameras like the GH5, but also on Olympus OM-D and PEN mirrorless cameras (and some Blackmagic video cameras too).
It feels pretty epic in practice, like using a 100-400mm on a full-frame camera with a 2x tele-converter. And while the f/6.3 aperture rating at the long end is a third of a stop down on some competing lenses, it’s no narrower than in the latest Sigma and Tamron 100-400mm zooms.
Switches are on hand for auto/manual focusing, an autofocus range limiter, and stabilization on/off. The built-in Power OIS (Optical Image Stabilizer) can work in conjunction with sensor-shift stabilization, available in Panasonic cameras with a ‘Dual IS’ function.
A handy locking ring between the zoom and focus rings enables variable friction damping and can put a stop to zoom creep. Build quality feels very solid and the lens has a dust- and splash-proof construction.
Typical of MFT lenses, this one has fast and practically silent autofocus, based on a linear motor. Sharpness and contrast are impressive and there’s practically zero distortion at any zoom setting.
Nicknamed the ‘light bazooka’, Sigma launched a relatively compact and lightweight 100-400mm zoom for Canon and Nikon DSLRs back in 2017. Three years down the line, this ‘DN’ edition is now available for Sony E and Leica L-mount mirrorless cameras.
The optical path is upgraded and includes a top-notch FLD (‘Fluorite’ Low Dispersion) element, in addition to four SLD (Special Low Dispersion) elements. Other enhancements include a customizable Focus-lock button and a TS-111 tripod mounting ring, which is available as an optional extra (£139/$130).
I’ve found the new DN lens to be sharper than its older sibling, throughout the entire zoom range. Overall, it’s an excellent performer at a very attractive price.
Compared with typical 100-400mm lenses, this Pentax sets its sights a little higher, with a 150-450mm zoom range. It gives you generous telephoto reach on full-frame cameras, boosted to an effective 230-690mm range on APS-C format bodies.
I'm used to seeing robust kit from Pentax with impressive build quality, and this lens is no exception. It feels particularly solid and has a durable, weather-sealed construction. The flipside is that it’s physically larger and noticeably heavier than competing lenses, weighing in at 2kg. That’s nearly twice the weight of the Sigma and Tamron 100-400mm lenses, although they’re only available in Canon and Nikon mount options.
The Quick-Shift autofocus system has switchable auto/manual priority for override, along with a three-position range limiter switch. It also benefits from four focus buttons around the mid-section of the lens barrel, which you can use to start or stop autofocus, or to apply a preset focus distance.
Based on an internal DC motor, autofocus isn’t quite as quick as most ring-type ultrasonic systems but is nevertheless quicker and much quieter than in Pentax lenses that rely on an AF motor in the host camera.
The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The Nikon Z and Sony FE lenses score particularly well for sharpness, although some of the other lenses are close behind. With distortion being automatically corrected by firmware, the Fujifilm and Panasonic lenses give practically perfect lab scores. The Pentax lens has the worst averaged result for color fringing.
Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion. Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.
How to choose the best 100-400mm lenses
A 100-400mm lens lets you push a little further than the standard professional focal length of 70-200mm, and also offers more flexibility than a 500mm prime. They tend to be more affordable than these types of lenses, too, though with an understandable trade-off in terms of raw sharpness. A 100-400mm is more for versatility than getting the absolute sharpest picture possible, so bear that in mind going in.
You will of course need to get the right 100-400mm lens for your camera system. Most of the major manufacturers produce their own 100-400mm lenses for each of their systems, and there are also a lot of third-party options from the likes of Sigma and Tamron, which are often more affordable than the own-brand versions. As you may have noticed, we have taken a broad view of focal length in this guide – if a lens is roughly in the 100-400mm range, like Nikon's 80-400mm or Pentax's 150-400mm, then it's worth including as far as we're concerned.
Something to bear in mind is that the reach of a 100-400mm lens will be extended if it's used on a crop-sensor camera (i.e. one with a smaller sensor than a full-frame), then its effective reach will be extended. On an APS-C camera, like a Fujifilm X mirrorless model, or a Canon EF-S DSLR, a 100-400mm lens will provide an effective focal length of 150-600mm. On a Micro Four Thirds camera from Olympus or Panasonic, meanwhile, a 100-400mm will provide a considerable focal range of 200-800mm, allowing for impressively long-ranged shooting.
The maximum aperture of a 100-400mm lens will be variable, meaning it changes when you zoom the lens in. Most 100-400mm lenses will have a maximum aperture at the 100mm end of about f/4.5 to f/5.6, with around f/5.6 to f/6.3 at the 400mm end — though as you can see above, it does vary. If you're looking to shoot a lot in low light, it's worth looking for a 100-400mm lens with the widest aperture possible. Even having f/4.5 rather than f/5.0 will make a tangible difference to your images, as you won't have to push the ISO as high.
How we test lenses
We test lenses using both real world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. We find the combination of lab and real-word testing works best, as each reveals different qualities and characteristics.
Get the Digital Camera World Newsletter
The best camera deals, reviews, product advice, and unmissable photography news, direct to your inbox!
Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners!
His expertise with equipment doesn’t end there, though. He is also an encyclopedia when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related.
In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.
