The Z6 is the lower-resolution model of Nikon’s two ‘full-frame’ mirrorless cameras announced on 23 August. Twenty-four megapixels is more than enough to produce excellent colour and detail-rich pictures that can be printed to A2 size. It will also provide plenty of cropping potential for shots that will be displayed on computer screens and UHD TVs.
Given the existing lenses – and those being released during the year – the Z6 would be a good choice for travellers, wedding photo/videographers and those interested in everyday and/or street photography.
The Z6 is the lower-resolution model of Nikon’s two ‘full-frame’ mirrorless cameras announced on 23 August. Its 35.9 x 23.9 mm backside illumination CMOS sensor delivers an effective resolution of 24.5 megapixels, just over half that of the 45.7-megapixel Z7. Because the resulting files are smaller, the Z6 can support burst rates up to 12 fps (although only 9 fps for 14-bit NEF/RAW files) when focus and exposure are locked on the first frame. The lower-resolution sensor also has fewer AF points and supports a different ISO range.
Front view of the Z6 with the Nikkor Z 24-70 f/4 S lens that will be offered with the camera body. (Source: Nikon.)
The Z6 provides the same video recording capabilities as the Z7, offering maxima of 4K video at 25 fps (PAL format) or Full HD at 100 fps. It also supports the same video codecs and profiles, including the new N-LOG Picture Control. Users can also transfer 10-bit 4:2:2 HDMI output directly from the camera to an external recorder.
Build and Ergonomics
Physically, the Z6 is identical to the Z7 with the only external difference being the model name on the front panel. It also includes the same cladding and weatherproof sealing as well as the same control layout, as shown in the illustrations below.
Front view of the Z6 with no lens fitted. (Source: Nikon.)
The top panel of the Z6 with no lens fitted. (Source: Nikon.)
The rear panel of the Z6 with the monitor flat on the camera back. (Source: Nikon.)
The camera is supplied with the BF-N1 body cap, DK-29 rubber eyecup (attached), EN-EL15b rechargeable Li-ion battery with terminal cover, MH-25a battery charger plus mains power cable, AN-DC19 strap, HDMI/USB cable clip, UC-E24 USB cable and BS-1 accessory shoe cover.
Who’s it for?
While the Z6 is quite a bit cheaper than the Z7, it’s still an expensive camera and priced at a similar level to the competing Canon EOS R and Sony α7M3 (see table below). It’s tempting to say the Z6 is for those photographers who can’t afford the higher-resolution Z7 – but that would be an over-simplification.
While the two cameras are physically identical and use the same battery (which supports USB charging) and XQD memory card (single slot), they differ in a few important characteristics. Differences in resolution mean a different image sensor and this largely accounts for the price differences between the two models, as well as affecting factors like the number of focus points and the native ISO ranges.
While the Z6 uses the same phase/contrast detection autofocusing system as the Z7, the number of focus points is reduced from 493 in the Z7 to 273 in the Z6. The lowest value in the native ISO range is higher in the Z6 (ISO 100 vs ISO 64) but the Z6 tops out at ISO 51200, whereas the Z7 ends at ISO 25600. Both cameras offer expansion settings covering one stop down from minimum and two stops up from maximum in increments of 03.EV.
|Nikon Z 6||Canon EOS R||Sony α7M3|
|Body dimensions||134 x 100.5 x 67.5 mm||135.8 x 98.3 x 84.4 mm||126.9 x 95.6 x 73.7 mm|
|Body weight with battery and card(s)||675 grams||660 grams||650 grams|
|Card slots||1x XQD||1 x SD/SDHC/SDXC (UHS-II compatible)||2x SD, slot 1 UHS-II compatible, Slot 2 UHS-I only|
|Stabilisation||5-axis, 5 stops||Lens-based only||5-axis, 5 stops|
|Viewfinder||0.5-inch OLED EVF with 3,690,000 dots, 100% FOV coverage, 0.8x magnification, 21 mm eyepoint, -4 to +2 dpt adjustment||0.5 inch OLED EVF with 3,690,000 dots, approx. 100% FOV coverage, 0.76x magnification, 23mm eye point, -4.0 to +2.0 dpt adjustment||0.5-type OLED with 2,359,296 dots, 100% FOV coverage, 0.78x magnification, 23mm eye point, -4 to +3 dpt adjustment|
Tilting 3.2-inch TFT touch-sensitive LCD with 2,100,000 dots
|Tilting 3-inch TFT LCD touch screen with 921,000 dots|
|Effective resolution||24.5 megapixels||30.3 megapixels||24 megapixels|
|Raw format options||Lossless compressed, compressed or uncompressed (12 or 14 bit)||14-bit, Dual Pixel RAW capture and C-RAW available||Compressed or uncompressed (14-bit)|
|AF points||273||Maximum 5655||693 PD, 425 CD|
|Max. frame rate||12 frames/sec. (14-bit NEF/RAW: 9 fps)||8 frames/sec. (5 fps with Servo AF)||10 fps|
|Buffer capacity||100 JPEGs, 47 RAW||163 JPEG, 40 uncompressed raw|
|Time lapse||Yes, for 8K movies||Yes, for 4K movies||No|
|4K Video (PAL format)||3840 x 2160p at 25p, 144 Mbps||3840 x 2160p at 25p, 60 Mbps||3840 x 2160p at 25p, 100 Mbps or 60 Mbps|
|Video profiles||10-bit 4:2:2 N-Log||Canon Log; 4K HDMI 4:2:2 10-bit||S-Log2, S-Log 3, S-Gamut 3 and Hybrid Log Gamma|
|Slow/Quick motion modes||100 fps||100 fps (HD only)||100 fps, 50 fps, 25 fps, 12 fps, 6 fps, 3 fps, 2 fps, 1 fps|
|Native ISO range||ISO 64-25600||ISO 100-12800||ISO 100-51200|
|ISO expansion||ISO 32, ISO 102400||ISO 50, ISO 51200, ISO 102,400||ISO 50, ISO 204800|
|Battery/capacity||EN-EL15b / 330 shots/charge||LP-E6N / 370 shots/charge (450 shots/charge in Eco mode)||NP-FZ100 / 610 shots/charge with EVF, 710 shots/charge with monitor|
|Charger included||Yes (MH-25a)||Yes (LC-E6E)||No (USB charging)|
|Bundled software||Capture NX-D||Digital Photo Professional||CaptureOne (Sony limited version)|
|Available lenses||3 Z-mount (F-mount lenses can be used with FTZ Adapter)||5 R System lenses (EF-mount lenses can be used with adapter)||25+|
|RRP (body only)||~AU$3200||AU$3349||AU$3099|
Price-wise, the Z6 is more affordable for photo enthusiasts, particularly if they don’t require really high resolution and they can take advantage of its increased sensitivity range. Given the existing lenses – and those being released during the year – it would be a good choice for travellers, wedding photo/videographers and those interested in everyday and/or street photography.
Sensor and Image Processing
Like the Z7, the Z6 boasts a 35.9 x 23.9 mm FX-format backside-illumination CMOS sensor but it has a lower effective resolution of 24.5 megapixels. No anti-aliasing filter is used, enabling maximum resolution from the sensor array.
The sensor chip has an array of 231 AF points that cover most of its surface and the hybrid AF system has been optimised to provide fast focusing, thanks to a new AF algorithm. Like the Z7, the Z6 can record NEF.RAW files with 12 or 14 bit depth, uncompressed or with lossless compression. TIFF files are also supported and RAW+JPEG pairs can be recorded with fine, normal or basic compression.
Because its files are smaller, the Z6 can support continuous shooting at up to 12 frames/second when focus and exposure are locked on the first frame or nine fps with AF/AE adjustments. The buffer memory in the Z6 can also hold more images, as shown in the table below.
|Image quality setting||Image size||File size||No. of images on a 64GB XQD card||Buffer capacity|
|NEF.RAW, lossless compressed, 12-bit||Large||22.5MB||1300||35|
|NEF.RAW, lossless compressed, 14-bit||Large||28.2MB||1100||43|
|NEF.RAW, compressed, 12-bit||20.4MB||1800||37|
|NEF.RAW, compressed, 14-bit||24.8MB||1500||43|
|NEF.RAW, uncompressed, 12-bit||38.5MB||1300||33|
|NEF.RAW, uncompressed, 14-bit||44.1MB||1100||34|
The EXPEED 6 image processing engine enables the camera to support a native sensitivity range extending from ISO 100 to ISO 51200. Lo and Hi extensions expand the range to ISO 50 and ISO 102400 as well as ISO 204800. Adjustments throughout the entire range can be made in 0.3EV steps.
Like the Z7, the Z6 can record 4K video at 25 fps (PAL format) or Full HD at 100 fps and can deliver 10-bit 4:2:2 HDMI output. Active D-Lighting is available for movie recording but electronic stabilisation is only available with 4K resolution, where it slightly increases the apparent focal length of the lens.
While the vast quantity of video data from the Z7 is normally subjected to pixel-skipping and down-sampling prior to demosaicing, the Z6 can use signals from every pixel in the 16:9 image area. Pixel binning is used to combine data from blocks of pixels to increase the signal-to-noise ratio.
Because demosaicing is handled by the image processor, the image can be sampled at the Nyquist Frequency, thereby reducing both read noise levels and the incidence of moiré patterning. Banding and pixellation are also minimised and the resulting video quality is higher. Sony’s α7M3 uses similar processes.
Slow-motion movies can be recorded with 1920 x 1080-pixel resolution and the camera supports recording at up to 4x the normal speed. A 10-second movie clips recorded at the maximum speed plays back over 40 seconds. (Flicker reduction, electronic stabilisation and time code output can’t be used for slow-motion recordings.)
You can also crop the frame and record a ‘DX-based movie’ from a 23.4 x 13.2 mm area of the sensor at 4K resolution or 23.4 x 13.1 mm at 1080p. This gives you a cropping magnification of 1.5x for the focal length setting of the lens.
Playback and Software
The Z6 offers the same basic playback settings as other Nikon cameras with similar touchscreen capabilities and in-camera retouching options to the D850 (https://www.photoreview.com.au/reviews/dslr-cameras/pro/nikon-d850/). No software was supplied with the review camera but the printed user’s manual provides URLs for linking to Nikon’s download centre, where you can also find ViewNX-i and Capture NX-D, the recommended programs. Also available are Nikon’s Camera Control Pro and Picture Control Utility programs.
ViewNX-I is a browser/file management application for still images and videos. It provides a launch pad for Capture NX-D which is supplied for processing raw files from Nikon cameras. NEF.RAW files from the Z6 are supported by Adobe Camera Raw (v11.1 on), Lightroom Classic CC 8.1, Affinity Photo 1.6.7, Capture One 12, DxO Photolab 2.1 and OnOne RAW 2019.1 conversion software when this review was published.
A Network Guide is also available to help users with the camera’s Wi-Fi and Bluetooth functions and provide advice on using the optional WT-7 wireless transmitter. There’s also a downloadable guide to N-Log video recording.
Because we received the same lens with the Z6 as we used for the Z7, we found the test shots we took with the Z6 were similar in character to images from the Z7, even though their resolution was lower. Interestingly, when the differences in resolution were accounted for, the results of our Imatest tests were also very similar.
JPEG files were able to match expectations for the sensor’s resolution near the centre of the frame and fell only a little short towards the edges. NEF.RAW frames were converted into 16-bit TIFF format with Adobe Camera Raw (our preferred raw file converter) and produced slightly higher resolution (although not quite high enough to merit the very high rating we gave the Z7.
Resolution for both file types peaked at the ‘native’ ISO 100 setting and remained high through to ISO 6400 (one stop higher than in the Z7) before declining gradually thereafter, as shown in the graph of our Imatest results above. As in the Z7, two highest settings delivered higher resolution than expected but were significantly lower than the maximum value.
Imatest showed colour accuracy to be marginally better in the Z7 but the differences between the two cameras were small. Both cameras’ saturation levels were almost identical and close to the ideal value. Colour shifts were marginally greater in JPEGs from the Z6 but, again, the differences were minimal.
Long exposures at night contained impressive amounts of detail. Images captured in the native ISO 100 to ISO 51200 range were generally sharp with natural colour levels, although noise had become evident by ISO 25600 By ISO 51200, noise was obvious and shadowed areas began to block up. The two highest ISO settings showed increasing noise levels coupled with a reduction in dynamic range and deteriorating colour fidelity.
Without a flash, we could only test the review camera with tungsten, fluorescent and warm-toned LED lights.
Like the Z7, the auto setting in the Z6 has three sub-sets: the default A1, which retains the ‘overall atmosphere’ plus two additional settings. One retains warm tones, while the other is supposed to bias colours in favour of white. We couldn’t see much difference between them. As expected, the A1 auto setting was able to deliver neutral colour rendition under fluorescent lighting and came very close with warm-toned LED lighting. But it couldn’t eliminate the warm cast of incandescent lighting.
There’s no white balance pre-set for LED lighting and the presets for tungsten and fluorescent lighting tended to over-correct. Like most modern cameras, the Z7 provides plenty of in-camera adjustments for tweaking colours on-the-fly and they are straightforward to use.
Autofocusing was generally quick and accurate in normal light levels and lighting conditions – including indoors under artificial lighting. It was also quite fast for our night shots, including 30-second exposures. However, we detected traces of hunting when the lens was near its close-focusing limit, even in bright outdoor lighting. It was generally brief and most likely to occur at the widest lens apertures.
We recorded our movie tests with the auto shooting mode and sensitivity on the auto setting. Most clips were recorded with the high-quality setting, although we also shot a couple of comparison clips at the normal quality. Aside from resolution and frame rates, the rest of the settings were the same as we used for shooting stills. A couple of clips were recorded with the slow-motion settings, which record silently.
Video quality was somewhat better than we obtained from the Z7, particularly with the high-quality setting, probably because the Z6 doesn’t crop the frame and doesn’t use pixel skipping. Both 4K and 1080p recordings appeared more like recordings from the Sony α7MIII, which gained a rating of 9.0 indicating superior quality.
Where soundtracks were recorded their quality was generally very good and, despite the small microphone orifices on the camera, both high- and low-frequency sounds were captured clearly and realistically, thanks to the wide frequency setting. Without the attenuator and wind noise filter, recordings were susceptible to wind noise, although to a lesser degree than we expected.
For our timing tests we used the same lens and Sony G Series XQD memory card as we’d used for the Z7 and found the Z6 had similar response times to the Z7 in most situations. It took roughly 1.5 seconds for the camera to power-up ready for shooting and between 0.5 and 1.0 seconds more to record the first shot.
Capture lag averaged 0.2 seconds, the same as for the Z7. It was reduced to an average of 0.65 seconds when shots were pre-focused as well as in manual focus mode. On average it took 0.4 seconds to process each JPEG and a fraction mores for a 14-bit NEF.RAW file.
Shot-to-shot times in the single-shot mode averaged 0.4 seconds, which is the same as the Z7. We found no instances of the camera pausing while shots were processed.
The Z6 provides three continuous shooting settings. The top setting is a Continuous High (Extended) mode that can record JPEGs and 12-bit NEF-RAW frames at up to 12 frames/second with autofocusing supported but exposure locked on the first frame. Also available are a normal Continuous H setting that supports 5.5 frames/second and a Continuous L setting at 5 fps.
In the Continuous High (Extended) mode, recording was paused after 47 frames and indicated the buffer was full, after which image capture slowed to record at an average of 1.5 frames/second. The buffer memory cleared within 3.5 seconds. If you swap to 14-bit raw recording, the frame rate drops to nine fps, the buffer capacity decreases to approximately 35 frames and it takes slightly longer for the buffer to clear.
The buffer capacity was reduced to around 30 frames wit RAW+JPEG capture and the 12 fps frame rate was maintained with 12-bit raw files. However, the capture rate for the full buffer memory slowed to 6.5 seconds as frames were processed. It took approximately 5.4 seconds on average to clear the buffer memory from the 30-frame point.
Swapping to recording losslessly-compressed 14-bit NEF.RAW files with JPEGs, reduced the buffer capacity was reduced to 28 frames without changing processing times. It took 3.9 seconds to clear the buffer memory. The above times are averages of five runs of shots at each setting.
We found some variations in capture rates after the buffer was full, especially with 14-bit raw files, although we’re not sure they would be statistically significant. We didn’t run timing tests in the Continuous H or Continuous L modes or when the image size was reduced to DX format, although the slower frame rates and smaller frames should increase the buffer depths and capacities a little.
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Image sensor: 35.9 x 23.9 mm backside illumination CMOS sensor with 25.28 million photosites (24.5 megapixel effective resolution); low-pass filter
Image processor: EXPEED 6
A/D processing: 12 or 14 bit (lossless compressed, compressed, or uncompressed)
Lens mount: Nikon Z mount (accepts F mount Nikkor lenses with mount adapter; restrictions may apply)
Focal length crop factor: 1x (1.5x in DX mode)
Image formats: Stills: JPEG (DCF 2.0, Exif 2.31), NEF.RAW, RAW+JPEG, TIFF; Movies: MOV, MP4 (H.264/MPEG-4 Advanced Video Coding, Linear PCM, AAC audio)
Image Sizes: Stills – FX image area: 6048 x 4024, 4528 x 3016, 3024 x 2016 ; DX image area: 3936 x 2624, 2944 x 1968, 1968 x 1312; 1:1 aspect: 4016 x 4016, 3008 x 3008, 2000 x 2000; 16:9 aspect: 6048 x 3400, 4528 x 2544, 3024 x 1696; Photographs taken during 4K movie recording: 3840 x 2160; Photographs taken at other frame sizes: 1920 x 1080; Movies: 3840 x 2160 (4K UHD) at 30p/ 25p/24p; 1920 x 1080 at 120p/100p/60p/50p/30p/ 25p/24p; 1920×1080 (slow-mo) at 30p x4, 25p x4, 24p x5
Image Stabilisation: 5-axis image sensor shift (integrates with lens shift in VR lenses)
Dust removal: Image Dust Off reference data (requires Capture NX-D); image sensor cleaning
Shutter (speed range): Electronically-controlled vertical-travel focal-plane mechanical shutter; electronic front-curtain shutter; electronic shutter; (1/8000 to 30 sec. in steps of 1/3 or 1/2 EV, Bulb, Time, X-synch at 1/200 sec.)
Exposure Compensation: +/- 5EV in 1/3EV or 1/2EV steps in P, S, A, and M modes
Exposure bracketing: 3, 5, 7 or 9 shots at increments of 0.3EV. 0.7EV, 1EV, 2EV or 3EV
Other bracketing options: Exposure, Flash, White balance, ADL
Self-timer: 2, 5, 10 or 20 seconds delay; 1 to 9 exposures at intervals of 0.5, 1, 2, or 3 s
Intervalometer: Yes, for time-lapse movies
Focus system: Hybrid phase-detection/contrast AF with AF assist; 273 points in single-point AF mode; detection range: -2 to +19 EV (-4 to +19 EV with low-light AF)
Focus modes: Single-servo AF (AF-S), Continuous-servo AF (AF-C), full-time AF (AF-F; available only in movie mode) ; predictive focus tracking Manual focus (M): Electronic rangefinder can be used
AF-area modes: Pinpoint, single-point, and dynamic-area AF (pinpoint and dynamic-area AF available in photo mode only); wide-area AF (S); wide-area AF (L); auto-area AF
Exposure metering: TTL metering using camera image sensor with Matrix, Centre-weighted (75% weighting on 12 mm circle in centre of frame) and Spot (4mm circle on selected focus point) and Highlight-weighted metering patterns
Shooting modes: Auto; programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); user settings (U1, U2, U3)
Picture Control modes: Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat Creative Picture Controls (Dream, Morning, Pop, Sunday, Sombre, Dramatic, Silence, Bleached, Melancholic, Pure, Denim, Toy, Sepia, Blue, Red, Pink, Charcoal, Graphite, Binary, Carbon); selected Picture Control can be modified; storage for custom Picture Controls
Special shooting modes: Active D-Lighting can be selected from Auto, Extra high, High, Normal, Low, or Off; multiple exposures; HDR (high dynamic range), photo mode flicker reduction; electronic vibration reduction, time codes, movie log output (N-Log) available for video recording
Colour space options: Adobe RGB, sRGB
ISO range: Auto, ISO 100 to 51200 in steps of 1/3 or 1/2 EV; Expansion to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100 or approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 204800 equivalent) above ISO 51200 available
White balance: Auto (3 types), natural light auto, direct sunlight, cloudy, shade, incandescent, fluorescent (7 types), flash, choose colour temperature (2500 K to 10,000 K), preset manual (up to 6 values can be stored), all except choose colour temperature permit fine-tuning
Flash: External flash only; i-TTL flash control
Flash modes: Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash exposure adjustment: -3 to +1 EV in steps of 1/3 or 1/2 EV available in modes P, S, A, and M
Sequence shooting: Max. 12 frames/sec. (14-bit NEF/RAW: 9 fps) with focus and exposure locked on the first frame
Buffer capacity: Approx. 44 Large/Fine JPEGs or 34 uncompressed 14-bit NEF.RAW files (43 compressed raw files)
Storage Media: XQD cards
Viewfinder: 0.5-inch OLED EVF with approx. 3,690,000 dots (Quad VGA), 21 mm eyepoint, 100% frame coverage, 0.8x magnification, -4 to +2 dpt adjustment, colour balance and auto and 11-level manual brightness controls and eye sensor
LCD monitor: Tilting 3.2-inch TFT touch-sensitive LCD with 2,100,000 dots, 170° viewing angle, approximately 100% frame coverage, and colour balance and 11-level manual brightness controls
Playback functions: Full-frame and thumbnail (4, 9, or 72 images) playback with playback zoom, playback zoom cropping, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, location data display, picture rating, and auto image rotation
Interface terminals: USB Type C, HDMI Type C, 3.5 mm mini-pin jacks for microphone and headphones, accessory terminal for MC-DC2 and other optional accessories
Wi-Fi function: IEEE 802.11b/g/n 2412 to 2462 MHz (channel 11) 2.4 GHz band: 7.0 dBm Open system, WPA2-PSK; Bluetooth 4.2
Power supply: EN-EL15b rechargeable Li-ion Battery Pack; CIPA rated for approx. 310 shots/charge
Dimensions (wxhxd): Approx. 134 x 100.5 x 67.5 mm
Weight: Approx. 675 grams with battery and card
Distributor: Nikon Australia,1300 366 499; www.nikon.com.au.
Based upon JPEG files.
Based upon NEF.RAW files (14-bit, uncompressed) converted into 16-bit TIFF format with Adobe Camera Raw.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
30 second exposure at ISO Lo 1 (ISO 50), 52mm focal length, f/4.
25 second exposure at ISO 100, 52mm focal length, f/4.
10 second exposure at ISO 800, 52mm focal length, f/8.
4 second exposure at ISO 6400; 52mm focal length, f/8.
2 second exposure at ISO 12800; 52mm focal length, f/8.
2 second exposure at ISO 25600; 52mm focal length, f/11.
2 second exposure at ISO 51200; 52mm focal length, f/16.
1 second exposure at ISO Hi 1 (ISO102400); 52mm focal length, f/16.
1/2 second exposure at ISO Hi 2 (ISO 204800); 52mm focal length, f/16.
Close-up at 24mm focal length; ISO 100, 1/1000 second at f/4.
Close-up at 35mm focal length; ISO 100, 1/1250 second at f/4.
Close-up at 70mm focal length; ISO 100, 1/2000 second at f/4.
Indoor close-up; 24mm focal length, ISO 100, 1/4 second at f/6.3.
Indoor close-up: 52mm focal length, ISO 200, 1/10 second at f/4.
41mm focal length, ISO 100, 1/400 second at f/9.
Crop from the edge of the above image at 100% magnification.
70mm focal length, ISO 100, 1/320 second at f/5.
24mm focal length, ISO 4500, 1/100 second at f/8.
33mm focal length, ISO 200, 1/2 second at f/6.3.
33mm focal length, ISO 640, 1/8 second at f/6.3.
33mm focal length, ISO 51200, 1/640 second at f/6.3.
30mm focal length, ISO 1400, 1/60 second at f/8.
57mm focal length, ISO 200, 1/400 second at f/9.
Wide brightness range subject; 24mm focal length, ISO 200, 1/1000 second at f/8.
The following video clips were all shot from the same position.
Still frame from 3840 x 2160 (4K UHD) video clip recorded at 30p.
Still frame from 3840 x 2160 (4K UHD) video clip recorded at 25p.
Still frame from 1920 x 1080 video clip recorded at 100p.
Still frame from 1920 x 1080 video clip recorded at 50p.
Still frame from 1920 x 1080 video clip recorded at 25p.
Still frame from 1920 x 1080 video clip recorded in slow-motion mode at 25p x4.
Still frame from 1920 x 1080 video clip recorded in slow-motion mode at 24p x5.
RRP: Approx AU$3400; US$2149.90 (body plus adaptor)
- Build: 9.1
- Ease of use: 9.0
- Autofocusing: 8.9
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 9.0