Nikon Z System News and Commentary
Z5IIC Versus ZR for Still Photography
First things first. The Nikon ZR is US$2200, the Z5IIC is US$1400. Of course there are going to be differences. The real question is whether or not those differences are worth the price differential. Everyone will have their own opinion on that, but here’s my analysis:
In the ZR’s favor:
- An exceptional Rear LCD. Bright, big, larger Color Space, well designed for touch, and unmatched by anything else on the market.
- A simpler approach. The control simplification almost works perfectly (the missing element is focus control, e.g. what do you do about AF-ON?).
- A very useful (programmable) lever around the shutter release. This didn’t fully catch my attention until I started really using a ZR full out.
- No mechanical shutter. Some might not agree with this assertion, but I prefer less mechanics in a camera. It makes it more reliable in the tough conditions I often photograph in.
- More U# modes. Four. Two better than the Z5IIC.
- Less rolling shutter. You probably won’t see this unless you use Pre-release capture. But it’s there, and better.
- Dual card slots. No, they’re not optimal (CFexpress plus microSD), but for those nervous about losing images, you have some backup.
- Far better video and audio. Most of you probably would dismiss this bit, but it’s there if you need it.
- No clicky strap attachments. The strap attach points are carved out of the body and don’t have dangly things that make annoying sounds at times you probably don’t want to attract attention.
In the Z5IIC’s favor:
- Price. Yes, I have to put that first, because US$800 means you pay about 30% less. If the other factors that favor the ZR don’t win you over, this factor for the Z5IIC will.
- A real hand grip. You can one-hand a Z5IIC where that’s not possible without an added grip on the ZR (at least not reliably). Functionally, you’ll likely have more support stability with a Z5IIC, all else equal.
- More (customizable) controls. Dual function buttons on the front, an AE-L/AF-L button on the back really open up direct control in a way that’s a little more problematic on the ZR. You also get dedicated Picture Control, Frame Rate, Delete, ISO, and DISP buttons the ZR doesn’t have. More direct control, better customization.
- Things are where you expect them. This is related to the controls: they also don’t really move from where you learned they would be from other Nikon cameras.
- A mechanical shutter. Yes, I know the lack of one was a ZR trait, but if you start moving into action photos, the Z5IIC can avoid the rolling shutter impacts with fast motion. Of course, it’s not silent and will eventually wear out.
I happen to like the ZR for photography-by-Rear-LCD photography. A lot. However, the one thing that I struggle with is Back Button Focus, as there is no back button to program, and the button I’d most want to use in its place (REC on the front of the camera) can’t be programmed to AF-ON. I’ve been lobbying Nikon to bring that customization to the ZR, which would remove my primary complaint.
I also happen to like the size and ability of the Z5IIC. I mean, the Z5II is a really solid camera. Does removing the EVF really make it less so? My primary complaint here is that I would have appreciated a better Rear LCD, since I’m so reliant upon it with the Z5IIC. A little brighter, and either more resolution or somewhat larger size would fix this. But these are physical things, so I can’t really lobby Nikon to correct them.
Full Z5II Versus Z5IIC Differences
I’ve taken a bit more time to look deeply into the Z5IIC. The following is the full set of differences between it and the original Z5II:
- Viewfinder: the Z5II has an EVF, the Z5IIC doesn’t.
- Rear LCD: the Z5II has a 2.1m dot LCD, the Z5IIC has a 1.04m dot one (other specs are essentially the same).
- Storage: the Z5II has two SD card slots, the Z5IIC has only one.
- Mode dial: the Z5IIC replaces U3 with SCN (scene modes, of which there are 15).
- Other body changes: the Z5IIC loses 0.8” (20mm) in height, 2.8 ounces (80g) in weight, loses the thumb stick control, renames the AF-ON button to AE-L/AF-L, and has panda (silver over black) color option. Also, the microphone and speaker positions change.
- Menu differences: the Z5IIC adds Fish as a subject detection type, plus Film grain effect. ISO tops out at 25600, though via Hi options you can still get 1.7EV higher than that. (Note: Nikon’s Web site would predict 2.7EV higher; I think this is wrong, but see caveat at the end of this list).
I’ll add one caveat: this is all based upon a pre-production camera. When the final units appear in a few weeks, there may be small menu changes still.
Update: after discussing this with NikonUSA, they checked and found that the specs they had published were wrong. The Z5IIC mechanical shutter goes to 1/8000. I’ve also updated the Specifications page.
Composing
You’ve stopped to photograph something that attracted you. You bring the camera up, and…
Let’s leave all the camera setting aspects aside for a moment. You know how to set exposure and it's second nature now. You know all about maintaining image quality and the settings that involves. You’ve customized your controls and know how to use them. No, what I want to discuss today is how you compose your photo, and that involves what you’re looking at.
One thing I’ve noticed in the long transition from film SLR to DSLR to mirrorless, with some other things thrown into the mix, is that what I’m looking at impacts how I compose. I bring this up now because we’ve just had two Nikon Z System cameras, the ZR and Z5IIC, where what you look at while you compose is the Rear LCD.
First we have two key changes to discuss: (1) liveness; and (2) dimensionality.
Liveness refers to whether what you’re seeing is not delayed in any way shape or form. The optical viewfinders of the film SLRs and DSLRs imposed no delay on what you were seeing (though they imposed a slight fuzziness and dimness due to the way light passed to your eye at the viewfinder). However, while the viewfinder was “live while composing,” the actual image to be produced was not. The photo tagged along only after mechanical mechanisms managed to clear the light path to the focal plane, and then the great live view laid dead for awhile. With top-end cameras, the amount of viewfinder blackout time before you could compose again was small, but on lower end cameras it was significantly larger. However, today I’m talking about composing, and so what’s significant is that you were seeing real time with lapses between composing due to the mirror mechanism being flipped.
Meanwhile, mirrorless started out as having significant lag between what was happening in front of the camera and what appeared in the viewfinder or on the Rear LCD. Initially that lag was high enough that it was very difficult to photograph action of any kind, as by the time you reacted and composed, that moment was long gone. Fortunately, even entry mirrorless has today gotten down to what I call one cycle lag, basically a worst case of about 1/60 second behind reality (the display is running at 60Hz, or 60 frames a second). Some do better. And more good news, the higher end mirrorless cameras now basically have no blackout at all, so you’re basically 1/60 or perhaps 1/120 second behind reality, and that’s close enough to still capture moments spontaneously, and you never lose your compositional view.
Dimensionality is more subtle. Optical viewfinders, despite the fact you’re only using one eye, give a bit more sense of depth to the scene being viewed in a way that seems natural to the eye. If you move your eye from side-to-side, you still get the usual parallax effect to the view, so it feels visually very natural.
Mirrorless cameras have you looking at a flat screen. The depth cues, if any, come from the aperture used, and there’s no feeling of shift as you move your eye at the viewfinder. Moreover, you have a choice: near (basically a small EVF display that looks big because it’s so close to your eye and magnified) or far (the Rear LCD is an arm’s length away from your eye, so you’re more in a view-from-afar situation).
We have another aspect to consider as well: settingness.
Settingness refers to the fact that you’re looking an exposed, colored, tonalized, saturated (or not) finished product on mirrorless cameras. Film SLRs and DSLRs don’t have any real settingness (other than the dimmer and duller bit I described above, mostly due to the fact you’re not seeing all the light and it is being observed through frosted glass). In real life, because our eyes looking directly at a scene are doing saccading, pupil adjustments, focusing, and more, or brain has developed into building that into some virtual visual interpretation. All kinds of things come into play, including color blindness, and what you think you see isn’t exactly reality, but how your brain interprets it.
However, with a mirrorless camera, whether you use a viewfinder or Rear LCD, you’re seeing the camera brain’s interpretation using the current camera settings. I caught myself on this difference in settingness accidentally while I was using the Z5IIC in NYC recently: my eyes were adjusting and building a virtual scene where I was seeing into the shadows and holding back the highlights. But the camera? Not so much. It blocked the shadows and was pushed to the very limits by the highlights. Here’s a somewhat adjusted version of the image so you can see what I’m talking about:
Because I was trusting my eyes more than the back of the camera at that moment, I thought I was fine. But had I been truly composing via the Rear LCD, I should have noticed how hot the highlights were and how dark the deep shadows had gone.
Which brings me to the first of three points I want to make about composing with a Rear LCD camera (Z30, Z5IIC, ZR): make sure you really look at the screen and evaluate it. Indeed, the Rear LCD helps you a bit in that it blocks up a little faster in the shadows and blows out the highlights faster, too: the dynamic range of the displays being used typically is lower than the dynamic range the camera can capture. That’s the thing that saved me on the above image. I can still pull the shadows up more, and I have just enough information in the highlights to pull that detail in, too. However, for illustration purposes, I’ve left it near what the camera’s JPEG actually showed (I pulled the shadows up a bit because I don’t know how bad a monitor you’re looking at them with).
I can’t emphasize this first point enough. It’s very easy to get myopic. That’s true for any viewfinder. Indeed, it’s really easy to do with a viewfinder at your eye, because you can get into the “tunnel effect,” where you peer just through the center. If you wear eyeglasses, too much relief can make that doubly problematic, as you might not even be able to see the edges of the frame without moving your eye in relation to the viewfinder.
Holding a camera in front of you you’re more likely to see the entire display at once, glasses or not. However, that doesn’t mean you can’t get deep ended in just one thing on the screen. That one thing, by the way, tends to be tracking what the focus system is doing, because that’s the thing most people need the most help with. Thus, they’re watching where the focus box goes and whether it turns green. Meanwhile, they miss the fact that the aperture or shutter speed is blinking, or other important clues they should catch.
So there’s a second related point to the first: make sure you’re really looking at the scene, as composed. The first point was more about all the information the screen is sharing with you. This second is about how the screen is displaying your composition. Horizon? Negative space? Leading space/lines? Relationships? Depth? I could probably list several dozen things that are compositional in nature that you should be paying attention to. But the key is really just the generalization itself: did you really pay full attention to your composition?
We’re now at the third aspect I wanted to address in this article: evaluate the resulting photo. It took me a bit of time in the digital world to realize that this was what I was doing and that I couldn’t really do this with a DSLR (at least without chimping, and then possibly losing the moment). It took me a bit longer to realize that I was doing that better on the Rear LCD than in an EVF (that doesn’t keep me from using EVFs, far from it, but the realization made me aware that there was something I needed to pay more attention to in the viewfinder).
The crux of the third part is simple: you’re looking at a three dimensional world (XYZ depth), but you’ll capture it in two (XY flat). The thing we were never doing with DSLRs—short of a lot of chimping—was evaluating the flatland that we were about to create. My mentor Galen Rowell spend years drilling how to get depth into photos, and that became almost second nature, but sometimes you need to evaluate that as you work. I’ll state flat out that I can do that better at arm’s length on a good LCD than I can with my eye poked up against something and looking at that miniature screen. Looking at an image on the Rear LCD is the closest we get to the way a photo is going to be viewed on a wall, or even on a mobile device held at arm’s length. If it doesn’t have depth, snap, story as you’re composing on the Rear LCD, it certainly isn’t going to have that when you get back to your computer to tweak it.
Sure Photoshop Geniuses can add back some depth and snap, just as we did in the darkroom years ago, but that’s not very immediate. As you’ll soon see, I need to deliver images quickly, and I want them to be everything I can make them in the camera. To do that, I need to evaluate what the photo actually looks like in the 2D world.
So...
Screen, scene, photo.
What the camera is doing (screen info), what you’re doing (scene composition), and what the result is like (photo impact). You should be using that 1-2-3 with your Z System camera, no matter what model, but the Rear LCD models—again Z30, Z5IIC, and ZR—are ones where it should be easy to do that, because you’re always staring at that 2D flatness. If it’s not properly exposed (Screen test), off kilter or including things it shouldn’t (scene test), and it doesn’t have the look and feel you were reaching for (photo test), you’re not done composing.
And with those Rear LCD only cameras, it’s easy for your eyes to also take in the scene in front of the camera, then look down at that little framed 2D window and see if you’ve actually captured it the way you want the world to see it. Screen, scene, photo. Start your chanting today...
Nikon Goes Casual
The C in the just announced Nikon Z5IIC apparently stands for casual, but it could also stand for creators or compact, if you’d like. Nikon also specifically calls out “user-friendly features for first-time mirrorless camera users.” In my talks with Nikon prior to the announcement, they emphasized that this new model is mostly targeting the new-to-Nikon full frame user, particularly younger users looking for a low-cost full frame camera they can grow into.
We now see the reason why Nikon never promoted the ZR as a still camera, though the ZR is a highly capable one: it would have made the Z5IIC launch marketing more difficult, despite the price differential. Nikon does want you to use the Z5IIC as a still camera, but fundamentally, it’s difficult to distinguish it from the ZR in that respect as both don’t have a viewfinder and rely upon the Rear LCD when taking still images. Which is why Nikon is putting the emphasis on the approachable design aspect of the new camera. Things Nikon cites for that include the inclusion of Scene Modes, the direct access to Imaging Recipes (Picture Controls), and all the automated features. I’ll point out, though, in my pre-release use of the Z5IIC I couldn’t find any of the more advanced features from the Z5II were left out, though. The Z5IIC is absolutely an entry-level camera that a user can grow into.
The odd autofocus addition in the Z5IIC that every photo site in the world will likely mention is Nikon's new form of subject detection. For Fish. Yes, those things that are underwater. Personally, I would have preferred Elephant. Or Cow. Or, given the number of them that seem to now occupy my backyard: Rabbit. Another curiosity is this: “fish can be detected only when Fish is selected for subject detection.” Okay then, you really have to be into fish to like this feature. Much more useful is that the Z5IIC didn’t leave out AF-ON+AF-area mode or Product review mode or Link VR to focus point, all very advanced focus options that have continually migrated down in the lineup.
Yes, I asked Nikon if they were going to mention the Nikonos connection with the new fish detection. Apparently not. But you can see very easily how a small Ikelite-type underwater housing surrounding this new camera would be an immediate must-have among the diving crowd. And speaking of water, the Z5IIC is indeed dust- and weather-resistant in build. Overlap, sealing, gaskets, check.
One final thing: the Z5IIC is so like a Z5II that it has the Type D HDMI connector and both a mic and headphone jack. It supports the MC-DC3 wired remote release or the ML-L7 bluetooth remote one. Basically, if the Z5II supports it, the Z5IIC supports it, as well. Well, maybe not the rubber eyecup...
The Z5IIC lists for US$1399 body only, or US$1699 with the 24-50mm f/4-6.3 kit lens. You can get all black, or a panda style (top silver, main body black, shown at the top of this article). My preference was the panda version, which replaces the “block of black” effect with a more legacy type look. The two body options are exactly the same other than the silver versus black top plate and top controls, plus silver Front Command dial. The crazy thing is that I tested the Z5IIC with a 26mm f/2.8 prior to release in Grand Central Station in New York City and no one noticed; even the others with mirrorless cameras wandering around taking photographs paid no attention to me or caught that I was using something not yet announced. Put another way, the Z5IIC looks like a camera you expect to see. People probably thought I was using a Fujifilm or something similar.
Essentially, Nikon has created a Panasonic S9 competitor. Given that the S9 sells for US$1499 (currently being discounted to US$1299), Nikon is starting out quite competitive here. I’m told that they originally were going to list it for a bit more, but once again decided to make their camera look discounted against direct competition. That’s been true from the original Z6/Z7 through to the Z9, and now again with the Z5IIC. Nikon’s cameras are price competitive no matter what class they’re in.
The big issue for Nikon, particularly their marketing team, is that when a bit of information about the camera first leaked, there was a loud contingent immediately complaining that there was nothing new, interesting, or innovative about the Z5IIC (they were guessing, but close to correct). The Z5IIC fills a slot at the bottom of the full frame lineup where there isn’t a lot of action going on, even with competitors; it doesn’t match up to the also compact A7CII, which has a rangefinder EVF (though it lists for US$2499, a much higher price point, higher even than the Nikon ZR).
One typical premature response I’ve seen in fora and comments is “I didn’t ask for this camera.” Well, no, if you’re reading this site, you probably didn’t. (You might still want it; read on.) However, you also haven’t bought most of the other 10 cameras Nikon has on offer right now, either. I dismiss this type of crude dismissal—because that’s the intent behind such statements—because Nikon, like all companies, has more than one customer they need to satisfy. My only guestion is whether Nikon marketing can get the message about the Z5IIC to the customer that would most respond to it. My gut feeling is no. Nikon isn’t great at marketing in the first place, and the most likely customer isn’t one that Nikon interacts with much, at all. While we have the Big Yellow Land Cruiser hitting five US locales at the moment trying to find said customer, that’s not going to scare up enough new users, methinks.
Now, as to why you might want a Z5IIC: stick a 26mm f/2.8 lens on the front and it’s a compact, full frame camera that fits very nicely into my vest pocket. That’s exactly how I was using it in New York City: stuffing it into my pocket while walking about, pulling it out to take pictures. The reason why you use the 26mm with the Z5IIC is that the lens doesn’t stick out past the hand grip (yes, the camera has a real hand grip) so the whole package becomes pretty much a small rectangular block with nothing sticking out, and slides in and out of a large pocket very nicely. I’m likely to have much more to say about this in my upcoming review.
All that said, it seems to me that Nikon designers might have missed a turn (or are behind by a beat). The real pent-up still camera demand that Nikon is not filling at the moment is for a Z9-generation 45mp entry camera, not another Z9-generation 24mp one. Consider for a moment if Nikon had simply stuck the 45mp image sensor from the Z7II into the Z5IIC instead: suddenly, you’d have a high pixel-count camera that no other high pixel count camera comes close to in price. The current Z7/Z7II crowd is less interested in viewfinder upgrades than they are in getting the Z9-generation goodies, particularly autofocus. I suspect that for what most of the Z7/Z7II use their cameras for, a US$1999 Z7IIIC would have been a better seller than Nikon is going to get from the Z5IIC. I’m happy with the 24mp we got, but do think the 45mp sensor would have made me happier (without changing any other aspect of the camera).
While the Z5II has sold quite well, it’s not a primary mover in Nikon’s lineup. Most stores report to me that their top four Nikon sellers are Z50II, Z6III, ZR, and Z8. Thus, sticking a Z5IIC in with the Z5II isn’t likely to move a lot of extra boxes unless Nikon can drum up those new, young customers looking for their first full frame camera. On the other hand, launching an entry level full frame camera into the holiday season should manage to sell a fair number of product early on, as the price is quite giftable (both to others or oneself). Note what I wrote: with the 26mm f/2.8, the Z5IIC is Nikon’s new compact, full frame camera. No, it won’t fit in a shirt pocket, but the size works for vest and jacket pockets, or pretty much any small pouch or sling you would want to carry.
My early verdict: the Z5IIC is going to be a sleeper hit. Sleeper because Nikon’s marketing won’t get the right messages to the right folk efficiently and customers will have to self discover it. Hit because this is a really good price for what is a darned good camera. What would I miss from using a Z6III or Z8? Weight. Viewfinder. Uh…Bueller?
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Some Q&A
Have you tried it? Yes, I had an afternoon excursion with the Z5IIC in New York City. As I noted above, the panda version is quite attractive looking. A hint of legacy in a modern body.
Is the Z5IIC a Sony A7CII competitor? Not in my estimation. There are both price and performance differences that put the Sony camera into a higher class. The camera the Z5IIC most seems in competition to is the Panasonic S9.
Why wouldn’t I buy the ZR instead? You might. The ZR is at a much higher price point with more features and performance, particularly on the video side. I happen to like the ZR, as do a few others, even as a still camera. That big bright screen on the back makes it one of the most usable held-in-front-of-you cameras I’ve seen. On the other hand, the ZR is not easily grippable. The Z5IIC? Not quite as compelling on the Rear LCD front, but it’s also far lower cost and handles just like a Z5II, which is as much camera as most people need.
Is the Z5IIC’s Rear LCD too dim? Nikon wouldn’t disclose the nit value of the screen, but it seems to be about where the rest of the line other than the ZR fall. I just stepped the Monitor brightness up a step or two and was perfectly comfortable in bright daylight. Indoors that wasn’t necessary.
Z5IIC on the left, and Z5II on the right. The odd surface? It’s a table somewhere in NYC.
What did Nikon leave off? Since this is a Z5II just with a C at the end and nothing up center top, some think that Nikon might have skimped on other features to get to the lower price point. They did, but not nearly as much as you’d think. The two basic differences other than no viewfinder are that the Z5II has two SD (UHS-II) card slots and the Z5IIC one; the Z5II has a 2m dot Rear LCD while the Z5IIC uses a 1m dot one; the Z5II has a thumb stick, the Z5IIC doesn’t; the back button is labeled AF-ON on the Z5II, but AE-L/AF-L on the Z5IIC. That’s about it for simplifications. Meanwhile, Nikon added Scene modes to the Z5IIC, which are always popular with new camera users, while keeping a ton of sophisticated things such as raw video, pixel-shift photography, pre-release capture, and virtually all of the other Z9-generation goodness. You’ll find the recently-added Film grain function and Product review focus modes, too.
Which image sensor does the Z5IIC use? The Z5II one as far as I can tell. I don’t see any spec change or Nikon marketing point that would suggest otherwise. The images I took look pretty much the same as I’d expect with the Z5II (see below). Using the same sensor means 30 fps raw video is best case (and line skipped, I believe), though most will want to use FullHD (120 fps) or 4K (60 fps) in 10-bit H.265, as those are quite good on a Z5II. N-Log and HLG are both still there in the Z5IIC.
So just how much smaller is it than the original Z5II? Specifically, 0.8” (20mm) less tall, otherwise dimensionally the same. However it also moves in and out of cases more easily without the hump. In terms of weight, the C version loses 2.8 ounces (80g). The Z30 remains the smallest and lightest no viewfinder camera in the lineup, but it also uses a smaller battery and doesn’t have a sensor VR mechanism.
What happened to the Z30II? I’m not completely sure, but I think it has to do with where Nikon wants to get new, young creators entering into the lineup (e.g. FX, not DX, and at a higher price point). Personally, I think a Z30II with the Z9-generation goodies would make for one heck of bottom feeder camera. With the 12-28mm PZ and 16-50mm kit lens, it would make for a svelte little kit that has quite a bit of image/video cred. I suspect, however, that Nikon’s caught up in a parts crunch. Where it puts EXPEED7 chips and how many 20mp DX image sensors it has available as they get close to a sensor upgrade probably has the bean counters pushing beans into what they think are the best piles at the moment. The Z50II would be the best place to put whatever 20mp sensors they can get (or still have).
Will there be a 26mm bundle option? In the US, Nikon announced that there will be a “soft bundle” option available through various retailers. Ditto for the 40mm f/2. What I believe they mean by that is that if you purchase the Z5IIC with one of those two lenses simultaneously, there will be a small discount from what the price of the two items would be if bought separately.
Can the Z5IIC be used for streaming? Absolutely. UAC/UVC support is built in, as has been the case with the full Z9-generation. Again, I couldn’t find any feature that Nikon was leaving off the Z5II other than the extra card slot and EVF.
How’s the image sensor? Again, it’s the Z5II image sensor, well proven in the field and capable of holding a pretty wide dynamic range (I can bring out more in the deep shadows and even a bit more in the highlights in this image taken down in the train tunnels, but I kind of like it like this, as it captures the feel better):
Will you write a book for the Z5IIC? Almost certainly, as it will be easy enough to use the Z5II Complete Guide as the base, adding in a couple of new features while removing or changing a few others.
Why isn’t the Z5IIC in the cameras shown in the yellow bar at the top of the site? The ZR isn’t, either. We’re starting to get camera overload, so I’m contemplating how to suggest the entire lineup without making a bunch of tiny little cameras, particularly on mobile devices looking at the site. I think things work fine as it is right now for the time being.
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Update: I’ve made a few word changes and one typo correction since the midnight post at Nikon’s official release time. However in just the few hours that have transpired since, I’ve gotten a lot of feedback and seen a lot of fora activity on the new camera, and frankly, I’m a bit shocked at how much and how many people who the camera probably wasn’t intended for seem to want to condemn it out of hand. Had the exact same camera with exactly the same specifications and performance been introduced four years ago, I’d bet that the commentary would have been exactly the opposite from the peanut gallery.
Let me tackle a few of the most common complaints I’m seeing:
- Weight (it’s too heavy). Too many people get this wrong. If you want lighter and even smaller, get a Z30. But having wandered around with both cameras and an appropriate lens in my (big) pocket, I’m not fatigued by one and not the other, and my arms don’t ache by holding the heavier one. I have a couple of friends who have wrist issues and can’t hold a lot of weight for long, and both are using heavier cameras than the Z5IIC. Also, some heft actually helps with the hold-camera-in-front-of-you style of photography. I find that I’m having to set higher shutter speeds on my very light Ricoh GRIV than I do on my much heavier ZR, for instance. That’s not due to VR, it’s due to positional stability. Further, the Z5IIC has the full hand grip, which a lot of the lighter cameras have to give up to save weight. My sense is the Z5IIC is an appropriate weight. Not particularly light, but not too heavy to use for casual photography, as Nikon suggests it was designed for. And for the record, the Fujifilm X100VI, the so-called viral compact camera, is only 100g lighter, not as flexible, more money, out of stock, and doesn’t focus as well.
- It’s not really a good camera for beginners. This argument seems to center around some notion that it doesn’t have a viewfinder, and that dedicated cameras, even entry ones, have viewfinders. I’ll have more to say about composing images shortly, but I’ve worked with beginners and new-to-dedicated-camera users a fair amount. Having a viewfinder actually adds a complication for them, as once the camera is up to the eye, they can’t see the controls they have available. It’s actually only once you’ve mastered a UI that putting your eye to a viewfinder and concentrating (almost) solely on composition becomes useful.
- The display isn’t bright enough. That was my biggest concern when I first was given information about the Z5IIC before it was announced, and the reason why I asked to spend an afternoon with it before the launch. I needed to confirm that you could indeed reliably compose with the camera, even in bright light. Sure, in the brightest daylight I had to bump the brightness up a notch from the default, but the Z5IIC has the bigger EN-EL15C battery in it, so I’m not overly concerned about that. Indoors and in shade it was fine at normal brightness. s
What I see is a lot of people trying to defend biased positions (either brand-centric, or spec-snobby). There doesn’t seem to be a lot of rationality or pragmatism in their posts. Coupled with the fact that there haven’t been very many new cameras to discuss this year, pretty much every launch recently has generated a lot of not for me-ism.
Finally, I should point this out: AI is pattern matching. When new things come out and the majority of posts about it are forum discussions and comments on articles, AI will scrape those discussions and repeat it when you ask things such as “is the Nikon Z5IIC a good camera?” I typed that exact question into my chatbot this morning and then watched its thinking:
…Research camera guidance for a Nikon Z5IIC question …Searched the web …Fetched: Nikon Z5IIC announced: $1399, no viewfinder [from redsharknews.com]! …Planning a brief overview …weighting the new viewfinder-free Nikon against its trade-offs
The result was as you might expect: good for casual photos and travel but with caveats. The AI engine specifically said to consider the Z5II instead, which indicates that it had already managed to detect that the patterns it saw were stacking up on the “it doesn’t have a viewfinder” posts.
The Yellow Land Cruiser is Now on Fall Tour
The Nikon Tour, which centers around a yellow Toyota Land Cruiser and trail filled with gear, Nikon Ambassadors, Creators, and local members of each creative community now has a Fall Schedule:
- Dallas — September 25-27
- Nashville — October 2-4
- Baltimore/Washington DC — October 23-25
- Philadelphia — October 30-November 1
- Boston — November 6-8
The Nikon Tour has had two previous five city schedules. Each stop features three days: “Intro to Photography”, “NIKKOR Z Lens Day”, and “ZR Day.” Probably the day of most interest to this site’s readers would be the lens day, as it allows you explore working with a number of NIKKORs (current list is 20 lenses; sorry no exotics). The ZR Day is about video, not stills, extending Nikon’s continued neglect on the still side. Each session is 90 minutes to two hours in length, and has to be reserved in advance.
One thing to note is that Nikon will provide Z50II or Z5II cameras and doesn’t allow you to bring backpacks of your own gear to these sessions. Given the content, loaner cameras and lenses, these stops are more about trying to bring people new to Nikon into the fold, but again, the lens or ZR day may be of interest to some site readers.
RED Rover, RED Rover, Let Nikon Come Over
Nikon made two Development Announcements today, just prior to the kickoff of IBC (International Broadcasting Convention) in Amsterdam. Both have a RED tint to them.
The first deals with Nikon’s upcoming Z CINEMA lenses (back with the all caps that NIKKOR also uses; apparently the Caps Lock key is stuck in the lens marketing room). The news here is fivefold:
- The first lens will be the NIKKOR Z CINEMA 50mm T1.9 VV.
- There will be nine lenses in the set.
- All nine will be T1.9.
- The VV stands for a larger image circle in order to cover the RED V-RAPTOR [X] VV image sensor, which is larger than the FX (full frame) size in Nikon’s still cameras (41x22mm as apposed to 36x24mm).
- These new lenses will feature a “highly precise” autofocus system.
The image accompanying the press release shows the 50mm version in enough detail to show that it has an aperture ring that’s lockable (though labeled IRIS), geared focus and aperture rings, plus an A/M switch.
It’s likely that the 50mm t/1.9 lens will be shown in Amsterdam this week, and perhaps others might be behind glass, too.
In Nikon’s second press release, Nikon officially announced plans for the 2.0 firmware expected for the ZR, to be offered sometime before the end of the year. Nikon specifically called out three features:
- Log3G10 and REDWideGamutRGB tone modes will be added to the H.265 compression options.
- A new High ISO NR option, also when using H.265, provides more control over noise reduction.
- Focus peaking will now be available when recording R3D NE raw video.
A future ZR update in 2027 will add open gate recording and anamorphic desqueeze display.
Meanwhile, RED CONTROL and RED CONTROL PRO, which were designed for the original RED cameras, will now be able to remotely control a ZR, as well.