In summary
The Nikon Z6III introduces significant updates including Z9-developed technology and pre-release capture to increase responsiveness for stills and video capture.
It’s designed for serious photo enthusiasts, photojournalists, street photographers and wedding photo/videographers.
An excellent choice for photographers who need high performance and value for money.
Full review
Announced on 17 June, 2024, the Nikon Z6III is the third-generation model in Nikon’s mid-priced enthusiast full-frame camera line, which began in 2018 with the Z6. The new camera represents a significant update, effectively addressing most of the deficiencies of the previous model and bringing its technology up-to-date – without compromising the overall control layout. While the sensor resolution is unchanged, the new camera sports a new ‘partially stacked’ sensor design, which delivers faster scans and readouts than its predecessor, while also as reducing rolling shutter effects. Complementing the sensor is the top-of-the line EXPEED 7, which is also used in the Z8 and Z9 cameras. Other upgrades are listed below
Angled view of the Nikon Z6 III with 24-70mm f/4 S lens. (Source: Nikon.)
Like its predecessor, the Z6III will be offered as a kit option at an RRP of AU$5499 with the Nikkor Z 24-70mm f/4 S lens which is shown in the illustration above. We reviewed that lens in October 2018. The Nikon Z6III was supplied with the new Nikkor Z 35mm f/1.2S lens, which is reviewed separately.
Who’s it For?
Like its predecessors, the Nikon Z6III has been designed for serious photo enthusiasts as well as photojournalists, street photographers and wedding photo/videographers. This means it will probably find a place in many professional users’ kits.
It will be an excellent choice for photographers who need high performance plus value for money. However, its RRP is AU$2000 higher than the Z6II and – at almost AU$4500 for the body alone, it is keenly priced to enter a very competitive market when compared with similar offerings from Panasonic and Sony, which are similar in size and capabilities but boast higher sensor resolution.
| Nikon Z6III | Panasonic DC-S1RII | Sony A1 Mark II | |
| Sensor | 35.9 x 23.9 mm partially-stacked BSI-CMOS, 24.5 megapixels | 35.6 x 23.9 mm BSI-CMOS, 44.3 megapixels | 35.9 x 24.0 mm stacked CMOS, 50.1 megapixels |
| AA filter | Yes | Not specified | Yes |
| IBIS | Yes, up to 8 stops | Yes, up to 8 stops | Yes, 8.5 stops with IS lens |
| Processor | EXPEED 7 | Venus Engine | Dual BIONZ XR |
| File formats | JPEG, HEIF, NEF.RAW (14-bit); MOV, MP4 H.264/MPEG4, HLG H.265 10-bit | JPEG, HEIF, RW2.RAW (14-bit); H.264/H.265 MOV & ProRes/ ProRes RAW, for movies | JPEG, HEIF, ARW.RAW; XAVC S, MP0EG-4 & MPEG H for movies |
| Max. image size | 6048 x 4032 pixels, 14-bit raw files, (up to 12,096 x 8064 pixels in pixel-shift mode) | 8144 x 5424 pixels, 14-bit raw files, (16,288 x 10,848 pixels in pixel-shift mode) | 8640 x 5760 pixels, 14-bit raw files, (up to 17,280 x 11,520 pixels in pixel-shift mode) |
| Max. frame rate | 14 fps with mechanical shutter (120 fps with electronic shutter) | 10 fps with mechanical shutter (60 fps with electronic shutter) | 10 fps with mechanical shutter (30 fps with electronic shutter) |
| Buffer capacity | 200 frames, JPEG or 126 raw | >80 JPEG, >70 raw | 190 JPEG, 240 compressed raw |
| Pre-release capture | Yes, up to 60 fps in FX format; 120 fps in DX format | Yes, max. 40 fps | Yes, max 30 frames |
| Shutter speeds | 30-1/8000 sec with electronic shutter; up to 1/16,000 second with electronic shutter; extension to 900 sec. in M mode | 60-1/8000 sec with electronic shutter; up to 1/16,000 second with electronic shutter | 30-1/8000 sec with mechanical shutter; up to 1/32,000 second with electronic shutter |
| Shutter durability | Not specified | 400,000 cycles | Not specified |
| AF points | 273 | 779 | 759 |
| Native ISO range | ISO 100-64000 | ISO 80-51200 | ISO 100-32000 |
| ISO extensions | n.a. | ISO 40 and ISO 102400 | ISO 50 and ISO 102400 |
| Max. internal video | 5.4K: 50/25/24p, 144 Mbps | 8.1K 8128 x 4288 (4:2:2 10-bit) | 8K 7680 x 4320 at 25p (4:2:0/4:2:2, 10bit) |
| External video | 4K, FHD and HD output via HDMI at up to 50p | All formats, including ProRes 422 and ProRes RAW | Direct UVC/UAC USB streaming at up to 4K 30p/25p |
| Log video support | Yes | Yes | Yes |
| EVF | OLED with 5,760,000 dots with 0.8x magnification, 21mm eyepoint, -4 to +2 dpt | OLED with 5,760,000 dots with 120fps/60fps refresh rate, 0.78x magnification, 21 mm eyepoint | OLED EVF with 9,437,184 dots, 25mm eyepoint, 0.9x magnification, -4 to +3 dpt |
| Monitor | Articulating 3.2-inch, 2,100,000-dot touch screen | Articulating 3.2-inch, 1,840,000-dot touch screen | Articulating 3.2-inch, 2,095,104-dot touch screen |
| Media slot(s) | One CFexpress Type B + one SD (UHS-II compatible) | One CFexpress Type B + one SD (UHS-II compatible) | One CFexpress 2.0 Type A + one SD (UHS-II compatible) |
| Battery / CIPA rating | EN-EL15c / 390 shots/charge | DMW-BLK2 / 340-350 shots/charge | NP-FZ100 / 520 shots/charge |
| Dimensions | 138.5 x 101.5 x 74.0 mm | 134.3 x 102.3 x 91.8 mm | 136.1 x 96.9 x 82.9 mm |
| Weight (incl. battery & card) | 760 grams | 795 grams | 743 grams |
| RRP (AU$) body only | $4499 | $5499 | $10,989 |
What’s New?
Nikon has introduced a multitude of worthwhile improvements to key internal elements and user-adjustable controls, starting with the updated sensor and image processor. The sensor in the new camera is a BSI-CMOS chip with an effective resolution of 24.5 megapixels, which is the same as for the Z6II.
The critical difference comes from the fact that it is ‘partially-stacked’, which means instead of attaching a fast data processing chip to the image sensor, Nikon has introduced two fast parallel data transfer mechanisms just above the horizontal (top and bottom) edges of the chip, as shown in the diagram below.
This diagram shows the difference between a stacked sensor (top, sourced from Wikipedia) and a partially-stacked sensor (below).
Nikon ‘guru’ Thom Hogan says this design is unique to Nikon and the associated Analog-to-Digital (ADC) circuitry on the chip is faster, which means a little more noise in the lowest part of sensor’s dynamic range, which shows up as random photon noise. He also says the sensor scanning speed it 3.5x faster in the new camera than in the Z6II but doesn’t match the Z8 and Z9, which are faster again by 3.8 times.
On the AF front, the Z6 III provides a choice of seven focus area settings that include two user-configurable wide-area modes and three Dynamic-Area AF modes. Subject detection AF in the Z6III utilises algorithms inherited from the Z9, which help it to detect and track different subject types, specifically people, animals, vehicles or aircraft. Unfortunately, the separate bird detection found in the Z8 and Z9 and a setting covering bicycles and motorbikes are not included.
3D Tracking AF uses subject detection system to lock onto fast, erratically moving subjects that move parallel and perpendicular to the camera – although the new camera lacks the Erratic/Steady mode in the Focus tracking with lock-on Custom Setting sub-menu. In the auto mode, the camera will automatically select the closest type of subject. The accuracy of Eye-Detection AF has been further refined to enable the camera to lock onto eyes detected in a scene, including in the Wide-Area AF mode, which can be customised for different subject shapes and sizes.
The electronic shutters in the Z8 and Z9 could use faster shutter speeds to freeze action without introducing visible rolling shutter distortion. However, the slower scanning speed of the Z6III means it becomes susceptible to rolling shutter distortion at the highest speeds of its electronic shutter so the mechanical shutter is required to avoid that.
Pre-release capture is another new feature, along with multi-shot high-resolution modes. Users can set the length of the burst recorded while the shutter button is half-pressed to a maximum of 90 seconds as well as the maximum time the camera will continue to record frames while the shutter button is held down. Bursts can be limited to one, two or three seconds or until the buffer memory is full.
Multiple-exposure modes can be used for HDR recording, focus shift for stacking and pixel-shift recording, the latter achieving resolutions of up to 96 megapixels by combining up to 16 frames while shifting the sensor in half-pixel increments. In each case, subsequent processing is required in NX studio to generate the end results and the pixel-shift mode requires the camera to be tripod mounted.
The new camera also gains the HEIF file format as an alternative to JPEG, which offers a higher bit depth that captures a wider colour and tonal gamut. The raw file recording options have been expanded to include two High efficiency settings, although the user manual doesn’t provide an adequate explanation of the real differences between the High efficiency and High efficiency* options beyond an implication that the asterisk implies higher performance.
New features like Skin softening and Portrait impression balance have been added to make life easier for portrait photographers, along with a Rich Tone Portrait mode, which applies a slight boost to saturation without losing highlight details. In addition, users can now download and install third-party Flexible Picture Controls directly to the camera from Nikon Image Cloud – or create your own ‘recipes’ through NX Studio.
Video
On the video front, the Z6II supports up to 6K/50p raw video as well as 4K at up to 100p at full frame width and gives users a choice between H.265, ProRes 422HQ, plus ProRes RAW HQ at up to 6K and 30/25pp and N-RAW 12-bit at up to 6K at 60/50pp. In each of the three RAW modes, the camera automatically records an H.264 8-bit MP4 proxy video in FHD resolution for playback on the camera’s monitor screen (or any other screen when the files have been downloaded).
For PAL system users, RAW video can be recorded at full frame size in 6048 x 3402 and 4032 x 2268 resolutions at 50p, 25p and 24p when N-RAW 12-bit is selected but only at 25p and 24p in ProRes RAW HQ 12-bit mode. A DX frame crop resolution of 3984 x 2240 is supported at 100p with N-RAW 12-bit recording, while users can choose between N-RAW 12-bit and ProRes RAW HQ 12-bit modes for the slower frame rates of 50p, 25p and 24p with both settings.
The H.265 10-bit and 8-bit recording modes are supported with all other recording settings except for the fastest and slowest FDH modes, where recording defaults to H.264 8-bit. The highest resolution and frame rate is available for 5.4K 5376 x 3024 50p, 25p and 24p frame rates, with full frame 4K and FHD supported at 100p, 50p and 25p. Full HD recording at 200p is also available for very slow-motion playback, using sub-sampling.
Internal ProRes and H.265 recording is also possible with 10-bit colour and 4:2:2 sampling using the ProRes 422 HQ codec and 4:2:0 sampling for the H.265 codec at 5.4K 30p/25p and 5.4K 60p/50p, respectively. The main advantage of Raw recording is that it captures a wider tonal and colour latitude and dynamic range, which is useful for colour grading and post-production flexibility.
Other video related features added to the new camera include a waveform display and tally light have also been added. Readers should note that the N-Log setting requires very careful exposure setting because the reduced dynamic range can lead to shadow noise when the clips are subsequently edited.
Build and Ergonomics
Changes have been made to the camera body, starting with the replacement of the Z6II’s all-metal chassis with a body where the front frame – including lens mount, VR sled and image sensor – is made from magnesium alloy, while the remainder of the chassis is built from a carbon-fibre infused plastic polymer. The Nikon Z8 (which we haven’t reviewed) uses the same construction.
Front view of the Z6III with no lens fitted. (Source: Nikon.)
The top panel of the Z6III with no lens fitted. (Source: Nikon.)
The dual card slots in the Z6III accept a CFexpress Type B in slot 1 and a UHS-II SD card in slot 2. The CFx B slot is also compatible with XQD memory cards.
The dual card slots on the Z6III camera body. (Source: Nikon.)
The Z6III claims to have the same weather-resistant sealing as the Z8 protecting all joints and surrounding of controls. The diagram below shows where the main seals are positioned.
This diagram shows the weather-resistant sealing in the Nikon Z6III body. (Source: Nikon.)
The VR system has been updated to support Synchro VR with a CIPA-rated performance of up to eight stops of camera shake correction with compatible Z lenses, compared with the previous model’s five stops. Nikon has also replaced the tilting monitor with a fully articulating rear LCD and boosted the resolution of the EVF from 3.69 million dots to a class-leading level of 5.76 million dots with its brightness level increased to 4000 nits and the ability to support a full HDR colour space.
This diagram shows the fully-articulated monitor screen on the Z6III. (Source: Nikon.)
Finally, the Z6III boasts an extensive array of interface ports including USB 3 Type C (SuperSpeed, or 5gps) with support for USB charging; Type A HDMI, 3.5 mm mini-pin jacks for microphone and headphones, built-in accessory terminal for remote controls.
This illustration shows the interface ports on the Z6III body. (Source: Nikon.)
The new camera also supports the same NETWORK menu that was introduced in the Z9 and includes camera-to-Cloud (Nikon branded), camera-to-smart device, camera-to -computer, camera-to-FTP server and camera-to-other cameras connectivity. It also includes AdHoc and Infrastructure support for Wi-Fi and the same USB-dongle Ethernet connections as the Z8 offers. Remote control of the camera is possible via both the MC-DC2 cable and the ML-L7 Bluetooth remote.
Accessories
In addition to the current complement of more than 50 Z-mount Nikkor lenses and SB Speedlights, the Z6III can utilise the MB-N14 Power Battery Pack, which can hold two EN-EL15c rechargeable batteries. Professional shooters and videographers may require the MB-N14 to compensate for the average capacity of the camera’s single battery.
The EH‑8P AC Adapter can be used to charge batteries inserted in the camera when connected to mains power via a USB cable, although the camera also supports direct USB charging. Alternatively, the EH‑5d Connector and AC adapters can be used to power the camera for extended periods.
The built-in accessory terminal can be used with the MC-DC2 Remote Release Cord, while the camera is compatible with a range of WR-1 wireless remote controllers. Accessory microphones can be attached to the hot shoe on top of the EVF housing and the camera is also compatible with the ME-W1 wireless microphone.
The MC-N10 Remote Grip attaches to the camera to enable the camera to be attached to third-party camera equipment for tasks such as video recording, photography, and adjusting camera settings. It comes with an ARRI-compatible rosette adapter that enables the user to adjust settings such as exposure and white balance without touching the camera.
Playback and Software
Little has changed here. The Z6III offers the same basic playback settings as its predecessor and has similar touchscreen capabilities and in-camera retouching options. Links to the Nikon Imaging Cloud service and SnapBridge app for connecting the camera to other devices are provided in the downloadable manual.
No software is 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 the recommended programs, NX Tether and NX Studio, the latter containing Nikon Transfer 2 for transferring files to a connected computer. Also available are the Wireless Transmitter Utility for connecting the camera to a network and the Webcam Utility that allows the camera to be used as a webcam when it’s connected to a computer via USB.
Performance
We have deleted the normal autofocus rating from our usual scoring because it’s heavily influenced by the lens in use and we were only supplied with the Nikkor Z 35mm f/1.2S lens for our tests. Unlike other Nikkor lenses we’ve reviewed, the AF performance of that lens is variable and can be erratic in low light and/or low contrast situations, as described in that review. This could affect any possible performance assessments we made for the camera. Other reviewers using different lenses have delivered mixed assessments.
Thom Hogan of Z System User, Ubor Vaicenbacher of Photography Life, Richard Butler at DPReview and Andy Westlake of Amateur Photographer have each rated the Z6III’s AF performance as better than the Z6II but not quite up to the standard of the Z8 and Z9. Ken Rockwell, who also reviews a lot of Nikon equipment, noted the autofocus is still ‘poor compared to competing models from Canon and Sony’. Hogan also noted a slight lag in focus confirmation in the AF-C mode.
On the imaging front, our regular Imatest tests of JPEGs recorded with the highest quality settings showed resolution exceeded expectations for the sensor’s 24.4-megapixel resolution near the centre of the frame and came close across most of the remainder. There was a slight decline towards the edges of the frame, which was expected from the lens used for the tests.
When we measured the results of NEF.RAW files recorded simultaneously with our preferred raw file converter, Adobe Camera Raw, they were disappointing – so we re-converted the NEF.RAW files with the bundled converter in Nikon’s NX Studio software. This produced more believable results so these are used in our analysis. As expected, the raw files showed higher resolution than the JPEGs, which is shown in the graph of our measurements below.
We recorded our video tests with the Program Auto shooting mode and sensitivity on the auto setting, aiming to cover a representative selection of the available options. 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, if anything, noticeably better than recordings from the Z6II and, with the right lens and appropriate selection of shooting modes, we believe it would be up to professional standards. Autofocusing appeared to work better in movie mode than we found with stills. The camera was able to pick up on subjects reasonably quickly as they moved into the frame and would generally shift focus to the person nearest to the camera.
Exposures were also nicely balanced when the overall lighting in the frame changed. We didn’t detect any focus breathing when the focus shifted between close and distant subjects, although that would have been very difficult with a 35mm prime lens. However, we didn’t notice any unwanted camera noises during focusing. Audio recordings made through the camera’s microphones were of decent quality and similar to those we obtained from the Z6II.
For our timing tests we used a 128GB Lexar Professional Gold Series CFexpress Type B memory card, the fastest card in our collection, which boasts a 1750MB/s read time and a 1500MB/s write time. All recordings were made to this card.
All timings were made with the lens pre-focused in order to ensure meaningful results. The review camera powered up in just under one second and average capture lag was less than 0.1 seconds, vanishing when shots were pre-focused. On average it took 0.3 seconds to process each JPEG and a fraction more for a 14-bit NEF.RAW file.
Shot-to-shot times in the single-shot mode averaged 0.3 seconds, which is about as fast as we could keep pressing the shutter button. No delays were caused while files were processed.
In the Continuous High (Extended) mode, the review camera recorded 136 JPEG frames in 9.6 seconds before pausing. This equates to a little under 15 frames/second. The buffer memory cleared within 16 seconds of the last frame captured.
With 14-bit lossless compressed NEF.RAW recording, the camera recorded 76 frames in 5.5 seconds before pausing. It took 19.6 seconds for the buffer to clear. When we swapped to RAW+JPEG Fine* (the asterisk indicates the highest quality setting) capture, the camera recorded 83 frames in 5.3 seconds before hesitating, a frame rate of 15.6 fps. Processing was completed within 11.6 seconds.
Conclusion
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SPECS
Image sensor: 35.9 x 23.9 mm partially-stacked BSI-CMOS sensor with 26.79 million photosites (24.5 megapixels effective), anti-aliasing low pass filter
Image processor: EXPEED 7
Lens mount: Nikon Z
Image formats: Stills: JPEG (DCF 2.0, Exif Ver. 2.32), HEIF, NEF.RAW (14-bit Lossless or High Efficiency compression), RAW+JPEG; Movies: NEV, MOV and MP4 formats supported: N-RAW (12-bit NEV), ProRes RAW HQ (12-bit MOV), ProRes 422 HQ (10-bit MOV), H.265 (10-bit & 8-bit MOV), H.264 /(8-bit MP4)
Audio: NEV & MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (; MP4: AAC (2ch 48kHz/16-bit)
Image Sizes: Stills, FX 3:2: 6048 x 4032, 4528 x 3024, 3024 x 2016: Movies (PAL system): full frame oversampled at 6K 6048 x 3402, 4032 x 2268, 3984 x 2240 5.4K 5376 x 3024 50p/25p/24p (for RAW video), 4K 3840 x 2160 100p/50p/25p/24p; Full HD at 200p/100p/50p/25p/24p; FHD slow motion (for standard video)
Aspect ratios: 4:3, 3:2, 16:9, 1:1
Image Stabilisation: 5-axis sensor-shift VR with focus-point centered correction, CIPA rated for 8 stops; electronic VR available for movies
Shutter (speed range): electronically-controlled, vertical travel focal plane shutter with electronic front curtain option; Mechanical shutter (900 to 1/8000 second); Electronic shutter: (900 to 1/16000 second); bulb, time
Exposure Compensation: +/-5 EV in 1/3EV and 1/2EV steps
Exposure bracketing: images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
Other bracketing options: Aperture, Flash, White Balance, ADL
Self-timer: 2, 5, 10 or 20 seconds delay plus 1-9 images at intervals of ½, 1, 2 or 3 seconds
Interval recording: Yes, for time-lapse
Focus system: Hybrid Phase Detection AF/Contrast AF system with AF assist, range -10 to +19EV, 273 points user selectable, 299 points auto selection
AF selection: Pinpoint, single point, dynamic area, wide-area, auto area, 3D-tracking; Automatic detection modes for People / Animal / Vehicle with sub-categories for birds, cars, planes, motorcycles, etc.
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: TTL metering using the camera image sensor with Matrix, Centre-weighted average, Spot and Highlight Weighted metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure plus Creative Video (P/A/S/M) / Slow&Quick / Custom 1, 2, 3 / Intelligent Auto
Picture Control modes: Dream, Morning, Pop, Sunday, Sombre, Dramatic, Silence, Bleached, Melancholic, Pure, Denim, Toy, Sepia, Blue, Red, Pink, Charcoal, Binary, Carbon plus Custom and downloadable Flexible Picture Controls
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100-64000 with extensions to ISO 50 and ISO 204800
White balance: AWB, AWBc, AWBw, natural light auto, direct sunlight, cloudy, shade, incandescent, fluorescent (3 types), flash, pre-set manual (x 6), Colour temperature (2500-10,000K)
Active D-Lighting: Auto, Extra High, High, Normal, Low, Off
Multiple exposures: Add, average, lighten, darken
Flash: External flashguns only
Flash modes: iTTL flash control; supports Advanced Wireless Lighting
Flash exposure adjustment: -3 to +1EV in 1/3 or 1/2EV steps
Sequence shooting: Max. 14 frames/sec. with mechanical shutter, up to 120 fps with electronic shutter
Pre-release capture: Up to 1 second of JPEGs at 30 or 60 fop with full resolution or 120 fps at 11 megapixels
Buffer capacity: Max. >1000 Large/Fine JPEGs, 1000 RAW files with CFexpress card
Storage Media: Dual slots for CFexpress Type B (XQD compatible) and SD cards (UHS-II compatible)
Viewfinder: 0.5-inch OLED EVF with 5,760,000 dots, DCI-P3 colour space, 4000 cd/m2 brightness, 0.8x magnification, 21mm eye point, -4 to +2m dpt adjustment, eye sensor
LCD monitor: Fully articulated 3.2-inch LCD touch screen with 2,100,000 dots, 170-degree viewing angle, 100% coverage, colour balance and 15-level brightness adjustments
Weather sealing: Yes, dust and moisture resistant
Interface terminals: USB 3 Type C (SuperSpeed, or 5gps) with support for USB charging; Type A HDMI, 3.5 mm mini-pin jacks for microphone and headphones, built-in accessory terminal for remote controls
Wi-Fi function: Built-in Wi-Fi 802.11ac (SnapBridge or Nikon Wireless Transmitter Utility); Bluetooth 5.0 (SnapBridge)
Power supply: EN-EL15c rechargeable Li-ion battery; CIPA rated for approx. 380 shots/charge with EVF
Dimensions (wxhxd): Approx. 138.5 x 101.5 x 74 mm (excluding protrusions)
Weight: Approx. 760 grams with battery and card
Distributor: Nikon Australia
TESTS
Based on JPEG images captured with the Nikkor Z 35mm f/1.2 S lens.
Based on NEF.RAW images recorded simultaneously with the JPEGs above and converted into 16-bit TIFF format with NX Studio.
SAMPLES
30 second exposure at ISO 50, f/2.
25 second exposure at ISO 100, f/2.8.
10 second exposure at ISO 1600, f/8.
5 second exposure at ISO 6400, f/9.
3 second exposure at ISO 12800, f/10.
2 second exposure at ISO 25600, f/11.
1 second exposure at ISO 51200, f/11.
1 second exposure at ISO 102400, f/16.
1/2 second exposure at ISO 204800, f/14.
1/1000 second at f/9, ISO 400.
1/500 second at f/8, ISO 200.
JPEG Dynamic range: 1/500 second at f/11, ISO 100.
1/50 second at f/11, ISO 200.
1/250 second at f/8, ISO 200.
1/125 second at f/5.6, ISO 200.
1/5000 second at f/2.5, ISO 200.
1/50 second at f/4.5, ISO 400.
1/500 second at f/11, ISO 200.
From JPEG file; 1/30 second at f/8, ISO 100.
From NEF.RAW file converted into TIFF format with Adobe Camera Raw;
The video clips below were all shot from the same position, making it possible to compare the frame coverage to see which settings crop the image frame.
Still frame from 6060 x 3410 (6K) video clip recorded at 25p, 234Mbps
Still frame from 6060 x 3410 (6K) video clip recorded at 25p, 273Mbps
Still frame from 4040 x 2276 video clip recorded at 50p 219Mbps
Still frame from 4040 x 2276 video clip recorded at 25p, 109Mbps
Still frame from 5376 x 3024 video clip recorded at 25p, 320Mbps
Still frame from 5376 x 3024 video clip recorded at 25p, 329Mbps
Still frame from 3840 x 2160 video clip recorded at 100p, 400Mbps
Still frame from 3840 x 2160 video clip recorded at 50p, 332Mbps
Still frame from 3840 x 2160 video clip recorded at 25p, 184Mbps
Still frame from 1920 x 1080 video clip recorded at 200p, 336Mbps
Still frame from 1920 x 1080 video clip recorded at 100p, 190Mbps
Still frame from 1920 x 1080 video clip recorded at 50p, 97Mbps
Still frame from 1920 x 1080 video clip recorded at 25p, 50Mbps
Additional image samples can be found with our review of the Nikkor Z 35mm f/1.2 S lens.
Rating
RRP: AU$4,499 (body only)
- Build: 9.0
- Features: 9.0
- Ease of use: 8.9
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0
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