These are the best telephoto lenses for architectural photography when you want compressed perspectives, clean edges, and micro-contrast for façades, skyline layers, bridges, ornament, and detail studies—without warped lines—and here’s what to look for as you buy: prioritize low distortion, high corner sharpness, excellent flare control, smooth manual focus for precise infinity placement, and (ideally) perspective control via tilt/shift; strong stabilization helps handheld scouting, but a tripod and good technique beat IS for final frames; pick focal length by distance—85–135mm for street-level façades, 70–200mm for mid-range compression, 300–400mm for high-rise details—and consider internal zooms for balance on wind-blown rooftops. Full-frame standouts: tilt-shift specialists Canon TS-E 90mm ƒ2.8L Macro and TS-E 135mm ƒ4L Macro (plane and perspective control), Nikon PC-E 85mm ƒ2.8D Micro, and Laowa 100mm/85mm/90mm tilt/shift options; classic compression primes with low distortion: Sony FE 135mm ƒ1.8 GM, Canon RF 135mm ƒ1.8L IS, Nikon Z 135mm ƒ1.8 S Plena, and EF/F 200mm ƒ2.8L/ƒ2.8 ED for crisp detail; zoom workhorses for flexible framing: Sony FE 70–200mm ƒ2.8 GM II or ƒ4 G II (great close-focus, controlled distortion), Canon RF 70–200mm ƒ2.8L/ƒ4L IS (tiny, sharp), Nikon Z 70–200mm ƒ2.8 S (stellar corners), plus long-reach detail hunters like Sony FE 100–400mm GM, Canon RF 100–500mm L, Nikon Z 100–400mm S, Panasonic S 70–300mm OIS, and Sigma 100–400mm DG DN OS (light and precise). APS-C and Micro Four Thirds standouts: Fujifilm XF 50–140mm ƒ2.8 OIS (pro build, low distortion), XF 70–300mm ƒ4–5.6 OIS (TC-friendly reach), and XF 90mm ƒ2 (razor prime); Sony E 70–350mm ƒ4.5–6.3 G OSS (clean long-end compression), Nikon Z DX 50–250mm VR (surprisingly sharp), Canon RF-S 55–210mm IS STM (compact detail grabber); Micro Four Thirds: OM SYSTEM 40–150mm ƒ2.8 PRO and ƒ4 PRO (weather-sealed, crisp geometry), Panasonic 35–100mm ƒ2.8 II OIS and Leica 50–200mm ƒ2.8–4 OIS (balanced, excellent for structural details), plus OM SYSTEM 300mm ƒ4 IS PRO when you need distant ornament without scaffolding. Practical buyer tips: choose a tilt-shift tele (85–135mm) when you must keep verticals parallel from street level or when stitching shifted frames for high-res façades; a 70–200mm with low distortion covers most compression needs and close-focuses for signage/ornament, while a 100–400/500 shines for skyline layers from across a river; standardize filter threads for a slim CPL (used sparingly to avoid blotchy skies) and a solid ND for motion-blurred traffic; internal-zoom designs handle wind and gimbals better on rooftops; used EF/F-mount 70–200 ƒ4 IS, 100–400 II, and 135/2 primes remain cost-effective, geometry-honest options via adapters. Telephoto architecture shooting tips: keep the sensor plane parallel to the building to avoid keystone (or use shift), work at mid apertures (≈ƒ5.6–ƒ8 FF; ≈ƒ4–ƒ5.6 APS-C/MFT) for peak acuity without diffraction, use a sturdy tripod and 2–5s timer or remote, focus slightly beyond mid-depth when subjects sit near infinity, bracket exposures for window highlight control and blend later, watch for heat shimmer on long shots (shorter focal lengths + closer vantage beat cranking zoom), mind reflections—flag stray light with a small hood/card, align with repeating patterns to reduce moiré, and stitch vertical or horizontal panos for ultra-high-res details; whether you’re compressing skyline tiers at dusk, isolating Gothic tracery from a plaza, or rendering bridge rivets from the waterfront, the best telephoto lenses for architectural photography combine low distortion, disciplined edges, and confident handling—so lines stay straight, textures read crisp, and your structures feel intentional and grand.