This is 200mm on a full-frame camera (equiv. to 125mm on a small-frame)

When selecting a telephoto zoom lens, you'll have to consider a few things (in addition to budget). First, the higher the focal length number, the more "zoomed in" the lens can go. Meaning, a 70-200mm lens won't reach as far as a 100-400mm lens. So if you need to reach as far as possible, go for the higher focal length number.

You'll also want to look at the lens' maximum aperture. The maximum aperture is the widest the aperture can open on the lens. A wider maximum aperture will let in more light and, thus, allow the camera to use faster shutter speeds. So if you think you'll need fast shutter speeds when using the lens, you might want to consider getting the lens with a wider maximum aperture. The lens' widest maximum aperture is always indicated in the title. For instance, the Canon 70-200mm f/2.8L IS II lens can open all the way to a maximum aperture of f/2.8. Whereas the Canon 70-200mm f/4L IS can only open to an aperture of f/4. To learn more about how to understand lens nomenclature, check out this post.

Here are the telephoto zoom lenses I recommend:

CANON

Entry-Level
Canon EF-S 55-250mm f/4-5.6 IS (buy - $255)

A great starter lens for those looking to get a little more reach out of their Canon DSLR. It's a mere $255, which shouldn't break the bank for most people, and it zooms pretty far out to 250mm. Although this isn't as far as the next lens, which reaches to 300mm, 250mm ain't half bad for a lens under $260. At this low of a price, though, the autofocus motor isn't as fast or as quiet as the more expensive lenses. But at least it has image stabilizer, which is a very nice perk on long lenses like these.

Mid-Level
Canon EF 70-300mm f/4-5.6 IS USM (buy - $549)

This lens has a few benefits over the 55-250mm discussed above. First, it reaches 20% further out to 300mm. When photographing wildlife or sports, that extra 50mm turns out to be quite a bit. The build quality of this lens is a little bit better over the 55-250, too. Sure, it's no magnesium-alloy tank like the professional series lenses, but it will feel a little more robust than the 55-250mm. Most importantly, this lens features Canon's Ultrasonic Motor (USM) auto focus system. That means this thing will focus much, much faster and much more quietly than the 55-250.

High-End Option 1
Canon EF 70-200mm f/4L IS (buy - $1,349)
Canon EF 70-200mm f/2.8L IS II (buy - $2,499) 

For your first high-end option, I'd recommend the Canon 70-200mm. At 200mm this lens really doesn't reach that far. Truthfully, it just isn't enough zoom for most wildlife photography. But for sports and portraits...it's phenomenal. That being said, Canon offers both a 70-200mm with a maximum aperture of f/4 and one with a maximum aperture of f/2.8. Both varieties come with or without image stabilizer, too (get it with stabilizer included - no doubt about it). As part of Canon's L-series professional line of lenses, both feature Canon's top-of-the-line optics, construction, weather-sealing and ultra-fast USM auto focus motors.

But now the real question: do I get the f/4 or f/2.8 version? Here's my short, no-nonsense recommendation: If you want to shoot portraits or sports and you won't have to hike long distances with this lens, get the f/2.8. The 2.8 max aperture will let in 1 stop more light than the f/4, which may be the difference between a shutter speed that's just fast enough or one that's just a little bit too slow for sports. And as for portraits, the ultra-blurry background at f/2.8 will make you drool. But if you're planning to use this more for photographing detail shots in landscapes or if weight will be an issue for you, go with the f/4. It's over a pound-and-a-half lighter than the 2.8 and it's only 1 stop loss of light, which is usually no big deal when shooting still subjects. Oh, and it's over $1,000 cheaper.

High-End Option 2
Canon EF 100-400mm f/4.5-5.6L IS (buy - $1,699)

If wildlife is your thing, then I'd recommend the Canon 100-400mm f/4.5-5.6L. It reaches over twice as far as the 70-200mm and features the same pro-level build, optics, weather-sealing and image stabilization. At 3.04 lbs, it's no lightweight, so be prepared. But hey, the 70-200mm f/2.8 discussed above still has a quarter of a pound over this baby. The extra reach here will be worth the loss of light (which is actually quite a bit). And with today's modern cameras going up to 6-digits on the ISO in some cases, the lack of light won't be much of an issue.

NIKON

Entry-Level
Nikon AF-S NIKKOR 55-300mm f/4.5-5.6G ED VR (buy - $397)

Much like the Canon 55-250mm discussed at the top of this post, this Nikon 55-300mm is a great starter lens if you're looking to zoom in a little further for sports, wildlife, portraits or kids. It has Vibration Reduction (which is Nikon's brand of image stabilizer) and has a decent auto focus motor. Truth be told, though, this thing feels pretty chintzy in your hand. The focus rings always feel loose to me. I really think this lens should run more around $275 than $397, but again, good for starting out. It'll last you a couple years or less, then you can graduate up to a more rugged lens.

Mid-Level
Nikon AF-S VR Zoom-NIKKOR 70-300mm f/4.5-5.6G IF-ED (buy - $587)

This is a great mid-level telephoto that works perfect for those photographers looking to shoot the occasional kid's baseball game or the local air show. Like all lenses in this mid-level price range, it won't let in a ton of light, which may become an issue when photographing in dim environments, but the price and weight are just right for the casual shooter. The build quality is slightly better than the 55-300 above, but the zoom and focus rings still feel loose to me. It also has Vibration Reduction to help combat camera shake.

High-End Option 1
Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II (buy - $2,397)

For close-range sports, portraits and scenic details, the Nikon 70-200mm is a superb choice. Its max aperture of f/2.8 will let in a boatload of light, allowing you to use faster shutter speeds and/or lower ISOs - perfect for capturing action. The build quality is leaps and bounds above the mid-level lens discussed previously. Rugged construction and weather sealing ensure this lens will go to hell and back with you, and never miss a shot. The optics, of course, are top-notch and the Vibration Reduction will be a godsend when handholding this puppy. It's pricey, but you won't need to replace it for years and years.

High-End Option 2
Nikon AF VR Zoom-NIKKOR 80-400mm f/4.5-5.6D ED (buy - $1,679)

If you need more reach than the 70-200mm can give you, the Nikon 80-400mm may be your best bet. It's rugged, tough and sharp - all good things when it comes to photographing wildlife. And with double the reach over the 200mm, you won't find yourself wishing for "more lens" as often. Don't get me wrong, though, you'll still want "more lens." Wildlife always leaves you wishing you could reach further. The loss of light with the smaller max aperture may be an issue when photographing in dim environments, but with ISO performance the way it is on newer cameras, it won't be a problem most of the time. Be prepared to carry the weight of this beast, though.

Image Title: Tide Pool and Clearing Storm
Image Size: 10"x15"
Total Size: 17"x22"
Edition: 5 of 100
Price: $350 SOLD
Framing: This unique piece is framed with a dark brown burl frame hand-made by Nick Carver himself using top-quality moulding. The image is further accented with a seamless black linen liner with a 30-degree bevel that helps to showcase the rich colors in the image.

This framed piece was made-to-order according the requests of the client. I worked with her via email to figure out a piece that would fit her budget, style and home decor. The image itself was taken in Laguna Beach during a stormy sunset and features a warm color palette of rich golds and browns. The frame moulding was selected based on its color and texture to help accent the textures of the rock formation in the foreground of the image. The deep walnut hue of the frame was chosen so as to compliment the warm tones of the image without being distracting or too "matchy."

As with all limited edition fine art prints, this piece is printed with LightJet technology on Kodak Professional Endura Metallic Paper, making them the finest quality prints available. Click here for more info on fine art prints.

If you'd like more information about purchasing a limited edition fine art print like this or any other image in the catalog, email Nick at info [at] nickcarverphotography.com.

Landscape Photography
This class is 1 evening per week for 4 weeks. It covers everything from how to shoot in manual, to using filters, to composition, to final output and much, much more. And this class is my one and only class to include a field shoot! This class fills up to max capacity weeks before the start date almost every summer, so sign up soon! - More Info
Date: July 19-Aug 9 on Thursdays from 6:30pm-9:00pm
Max Size: 20 seats
Fee: $99

How to Shoot in Manual Mode
Learn the correct way to shoot in manual mode in this very affordable single-evening seminar. You'll never have to guess at settings again! This class saw sign-ups at almost double max capacity that last time it was offered! Sign up soon! - More Info
Date: Tues, July 10 from 6:30pm-9:00pm
Max Size: 25 seats
Fee: $39

Composition for Dramatic Landscapes
Composition is what will make or break your landscape photographs. Don't get so caught up in the technical stuff that you forget to give due attention to the artistic side of landscape photography. And this class is brand new to Irvine! - More Info
Date: Tues, Sep 11 from 6:30pm-9:00pm
Max Size: 25 seats
Fee: $39

My summer classes almost always fill up to max capacity, so don't wait!
More information and enrollment details
can be found here.

For one of the private lessons last week, I took a student (Sheldon of www.aroundthebendphotos.com) down to Crystal Cove State Park to photograph the sunset. This was after a couple previous lessons in which we covered how to shoot in manual mode, how to use filters for landscape photography and more.

Thankfully, nature was kind enough to serve up a fantastic sky with just the right cloud cover to create some color in our sunset. It turned out to be a beautiful evening.

For more information on my private photography lessons in Orange County, click here. Or if you're outside Orange County, check out my online photography courses here.

My idea is to start offering private destination workshops.

What's that mean? Well...you, me, a beautiful destination of your choice and 3-5 days of shooting, learning and exploring. Think of a traditional photography workshop except you set the date, you choose the location, and it's just you and me (or better yet, bring some of your friends). This blog post is from such a trip with one of my long-time private students.

Possible areas to visit would be Death Valley National Park, Joshua Tree, Mojave National Preserve, Yosemite, Lee Vining/Mono Lake area with a trip to Bodie Ghost Town, Bishop/Lone Pine area, Sedona, San Francisco or even the Grand Canyon - areas I know well and in which I can show you the best spots.

As for a rough idea of price, you're looking at $750-$900 a day (depending on distance to location). That means a 3-day, 2-night trip to Yosemite would be $2,400. Split that among 2 of your friends and you're looking at $800 per person. Rate covers my teaching fee and all my expenses, but not your own expenses.

So be honest...yay or nay?

View "Private Workshop in Death Valley: Part 1"

For sunrise of the second day of our trip, my student and I visited the Mesquite Flat Sand Dunes. These dunes are gorgeous and easily accessible (relatively speaking), which, unfortunately, means they are quite popular. And popular sand dunes mean foot-printed sand dunes.

I've said it before and I'll say it again: Sand dunes are one of the toughest locations to shoot. Climbing up them is like going up the wrong way of an escalator, and before long, 35 lbs of camera gear starts to feel like 50. But that's not the worst part - that's just physical exertion. The real tough part is the footprints. They are damn near impossible to avoid, your own footprints included.

But we went off to a lesser-visited section of the dunes to capture some pristine spots. Of course, the next guy will have to frame out the holes from our tripod legs...

This was my first time photographing dunes at sunrise. I normally catch them at sunset, but the morning light here was gorgeous. I loved the dark, curvy shadows the dunes casted on themselves. And the ripples in the sand...it doesn't get much better than that. The moon even came out to pose for me.

After a much-needed nap for me, we ventured out into Panamint Valley to photograph the Panamint Mountains at sunset. We camped out near the dry lake bed there to catch the cracked dirt, sand, bushes and all the other weird formations there.

Before heading home on the last day of our stay, we hit Devil's Cornfield at sunrise. Devil's Cornfield is an interesting area where tons of arrowweed bushes dot the landscape - some over 7 feet tall - like stalks of corn (I suppose). They remind me less of corn stalks and more like strange bushes that have been pulled up out of the ground and then set back on the sandy floor of the desert.

And to seal off the trip, I did a quick self-portrait with my student, Kim Murphy. Check out that "stalk of corn". I'm 6'2" and that bush is taller than me!

I had tons of fun taking Kim out on this private workshop. Her work is phenomenal and she's an incredibly talented photographer. Be sure to follow her blog and visit her website here. She also posted a blog entry about the trip, so check that out to see her beautiful photos from Death Valley.