Nikon has been making cameras and lenses for over a century, and its gear has found a place in the bags of beginners, enthusiasts and professional photographers alike.

Now, B&H Photo is offering savings of up to 37% on some of the brand's most popular kit, from capable DSLRs and versatile Z-series mirrorless cameras to a range of wide-angle, standard and telephoto lenses.

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Browse the best Nikon cameras, the best Nikon wide-angle zoom lenses, and the best Nikon telephoto lenses.

Wildlife photography has exploded since Instagram took off, and you see so many amazing animal frames these days that sometimes they all blur into one. However, this Grand Prix-winning image at the 74th Nikkor Photo Contest truly stands out.

The frame depicts a northern gannet in action in the moment of capturing its fish prey. Entitled “The Struggle for Survival Beneath the Surface,” it was taken by Mayumi Takeuchi, who reportedly clicked the shutter while treading water and using a large housing fitted with a strobe. She told the competition judges that it was “truly miraculous” to have captured that moment.

Takeuchi’s image was selected from over 23,000 entries to this year’s edition of the photography competition, which first ran in 1953 and promotes photographers from Japan across print and, since last year, the web too. As the overall winner, she took home a Nikon Z8 camera body and ¥500,000 (approximately $3,100 / £2,300).

Mayumi Takeuchi's gear and settings

• Camera: Nikon D5
• Lens: 8.0-15.0 mm f/3.5-4.5
• Focal Length: 15.00 mm (in 35mm: 15 mm)
• Exposure: 1/250 sec | f/22 | ISO 400

There was a particularly interesting winning image (Gold Award) in the “Web Freedom” category, too. Toru Shinohara’s “Inside the Soda Water” captured a surfer riding a barreling wave, although the interplay of light and the translucent wave created the illusion of the surfer being inside the wave rather than on its surface.

Over on the print side of the competition, the Gold Award went to Sanae Ono’s “Secret Base,” which depicted four cousins who gathered at their family home over Golden Week (a major Japanese holiday period). The photographer told Nikon that the cousins had turned the living room into a “secret base” for conjuring up plans – memories I’m sure we all have.

In fact, I think all of these winning images have something unique to them. Be it lighting, a quirky composition, or a scene rarely captured, they are standouts for sure. To see all the commended images at this year’s Nikkor Photo Contest, head to the official competition webpage.

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15 camera lenses from Pentax, Olympus, Fujifilm and Nikon are disappearing from the market, with some officially ending their production cycle while others are listed as discontinued by major Japanese retailers, including Yodobashi and Map Camera.

The list includes everything from fast professional zooms and telephoto lenses to compact primes. While retailer listings alone don't confirm a global discontinuation, such changes at Japanese retailers can be an early indication that availability in other markets may soon follow.

Some lenses remain available in the US and UK, although stock is becoming limited and harder to find, while others have successors or alternative options. Here's a breakdown of all 15 lenses, what's known about their status, and where photographers can still buy them.

Discontinued lenses

Pentax

• HD Pentax-DA* 16-50mm f/2.8 ED PLM AW
• HD Pentax-DA 21mm f/3.2 AL Limited
• HD Pentax-D FA* 50mm f/1.4 SDM AW
• HD Pentax-D FA* 70-200mm f/2.8 ED DC AW
• HD Pentax-D FA 28-105mm f/3.5-5.6 ED DC WR
• HD Pentax-D FA* 85mm f/1.4 ED SDM AW
• HD Pentax-D FA 24-70mm f/2.8 ED SDM WR
• HD Pentax-DA 16-85 mm f/3.5-5.6 ED DC WR
• SMC Pentax-DA 18-135 mm f/3.5-5.6 ED AL [IF] DC WR
• HD Pentax-DA 35 mm f/2.8 Macro Limited
• SMC Pentax-DA* 300 mm f/4 ED [IF] SDM
• HD Pentax-D FA 150-450 mm f/4.5-5.6 ED DC AW

Ricoh officially confirmed that the 12 lenses are discontinued, following on from the announcement that production is stopping on all current DSLR cameras.

Olympus

• Olympus M.Zuiko Digital 45mm f/1.8

The Olympus silver version is now listed as discontinued at major Japanese retailer Yodobashi. There are OM System branded version of this lenses still available in black, however.

Fujifilm

• Fujifilm XF 50-140mm f/2.8 R LM OIS WR

The Fujifilm XF 50-140mm f/2.8 R LM OIS WR is now listed as discontinued at major Japanese retailers, including Map Camera – hopefully a Mark II version will be announced soon.

Nikon

The Nikon AF-S 105mm f/1.4E ED is listed as discontinued at US retailer B&H.

Nikon never released a direct mirrorless successor to the telephoto prime. Alternatives are the Z MC 105mm f/2.8 VR S or the Z 135mm f/1.8 S Plena.

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Nikon has officially announced the Nikkor Z 120-300mm f/2.8 TC VR S – a fast telephoto zoom with a built-in teleconverter – which will go on sale from the middle of November. The lens which will be become a must-have for professional sports photographers was teased as a development announcement by Nikon back in May.

The lens is the modern successor to the 300mm f/2.8, which was the standard lens of action photographers in years gone by, and is a full-frame Z-mount replacement for Nikon's own 120-300mm f/2.8E AF-S FL ED SR VR for its autofocus DSLRs.

The lens not only provides a constant aperture zoom range, but offers a 1.4x teleconverter that can be engaged with a flick of a switch - stretching the maximum focal length to 420mm (with the maximum aperture dropping to f/4).

Weighing in at 2735g, or just over 6 lbs, it is around 1.5 lb (705 g) ligher than its F-mount predecessor, despite the addition of the teleconverter.

It becomes the third pro telephoto lens in the Nikon Z lens range to come with this built-in teleconverter facility, joining the existing the Z 600mm f/4 TC VR S and the Z 400mm f/2.8 TC VR S.

Specifications

Mount: Nikon Z
Full frame: Yes
Autofocus: Yes
Stabilization: Yes (up to 6.5 stops)
Lens construction: 30 elements in 24 groups
Angle of view: 20° 20′ to 8° 10′ (14° 40′ to 5° 15′ with teleconverter)
Diaphragm blades: 9
Minimum aperture: f/32 / 45
Minimum focusing distance: 2m at 300mm, 0.98m at 120mm
Maximum magnification ratio: 0.14x / 0.2x
Filter size: 112mm (plus 46mm rear drop-in)
Dimensions: 5.1 x 14 in / 128 x 1,353.5mm
Weight: 96.5oz / 2,735 g)

The lens uses a Silky Swift VCM (SSVCM) autofocus motor which Nikon claims is its most advanced AF motor, driving focus elements with extraordinary speed, accuracy and quietness.

An anti-reflective Arneo coating developed by Nikon has been used in conjunction with Nano Crystal Coat, to further reduce ghost and flare effects caused by incident light entering the lens vertically. This this is allow for the outstandingly clear capture of images even when a light source is located within the frame. Diagonal incident light, meanwhile, is dealt with using a Meso Amorphous coating on the lens.

Pricing

Nikon Z 120-300mm f/2.8 TC VR S is available to pre-order from to day for $13,999 / £13,999 / AU$21,999 and is expected to start shipping from mid November.

🇺🇸 Pre-order at BH Photo for $13,999

🇬🇧 Pre-order at London Camera Exchange for £13,999

🇦🇺 Pre-order at Teds Cameras for AU$21,999

The compact cinema camera market has become increasingly competitive in recent years, with manufacturers finding new ways to squeeze professional filmmaking features into smaller, lighter, and more affordable bodies. However, one camera that continues to catch my attention is the Nikon ZR.

Priced at $2,199.95 in the US at Adorama, or B&H, and currently available for just £1,999 in the UK from Wex, or Park Cameras, down from £2,199, Nikon's first cinema camera developed with RED represents a particularly interesting proposition.

We're talking about a full-frame cinema camera with some genuinely impressive filmmaking credentials, yet it costs considerably less than many of the established professional alternatives. For independent filmmakers, content creators, and even photographers looking to explore filmmaking, I think that's a pretty compelling starting point.

But what exactly are you getting for your money? Well, underneath that rather understated exterior sits a 24.5MP partially stacked full-frame sensor capable of recording 6K video at up to 60fps, including internal 12-bit RAW recording using Nikon's R3D NE format, developed with RED.

That's a pretty serious specification for a camera at this price point, especially when you consider the RED color science, dual-base ISO settings of 800 and 6400, and Nikon's claimed dynamic range of more than 15 stops. There's also support for N-RAW and ProRes RAW, giving filmmakers considerable flexibility when it comes to editing and color grading. To me, this is arguably the ZR's biggest selling point. You're getting access to a genuinely sophisticated RAW video workflow without having to invest in a much larger, more expensive cinema system.

However, it's not just the image quality that makes the Nikon ZR interesting. Nikon has clearly understood that modern filmmakers want equipment that works just as well when shooting independently as it does on a professional production. The ZR features a large 4-inch vari-angle touchscreen, in-body image stabilization, intelligent subject-detection autofocus, and perhaps one of its most impressive features, internal 32-bit float audio recording.

Being able to capture high-quality audio directly into the camera, with greater flexibility to adjust levels in post-production, is a huge advantage for anyone recording interviews, documentaries, or spontaneous content. Better still, the entire body weighs approximately 540g, making it incredibly portable and ideal for handheld shooting or mounting on a compact gimbal. For someone who appreciates smaller cameras that don't compromise on their creative potential, there's a lot here to get excited about.

Of course, Nikon isn't operating in an empty market. Cameras such as the Sony FX3, Sony FX30, Canon EOS C50, and Blackmagic Cinema Camera 6K have already demonstrated just how much demand there is for compact filmmaking systems. Yet I think Nikon has approached things slightly differently with the ZR, combining the familiarity and versatility of its Z-mount mirrorless ecosystem with the filmmaking heritage of RED. It isn't perfect, of course.

There's no built-in electronic viewfinder, no internal ND filters, and the inclusion of micro HDMI rather than a full-size connection might frustrate filmmakers who rely on external monitoring equipment. You also only get one CFexpress Type B slot alongside a slower microSD slot, which limits your options for redundant high-bitrate recording. Nevertheless, these are compromises I can understand when you consider the camera's size, price, and overall capabilities.

So, is the Nikon ZR worth its asking price? Personally, I think it's one of the more interesting compact cinema cameras currently available, particularly when you consider what Nikon has managed to offer for around $2,200 or less than £2,000. Naturally, you'll still need to factor in lenses, memory cards, and potentially some additional accessories, but the foundations of a remarkably capable filmmaking setup are already there.

What excites me most, however, is what the ZR represents for the wider camera industry. Professional filmmaking technology is becoming increasingly accessible, and cameras like this are challenging the idea that you need to spend thousands more to produce genuinely cinematic results. The market might be crowded, but if Nikon can continue delivering this level of performance at such competitive prices, I have a feeling the ZR could be just the beginning of something much bigger.

The Nikon Z5IIC launched following rumors of a Nikon camera without a viewfinder. While there were whispers of a fixed-lens full-frame compact camera and a stills-focused Nikon ZR, nobody could have predicted a ‘viewfinderless’ clone of the Nikon Z5 II.

Viewfinderless cameras have always been divisive. Photography purists cite the stability and sun-glare-free nature of shooting through the viewfinder as too crucial to pass up. But plenty of modern photographers ignore their EVF in favor of their mirrorless cameras’ rear LCD and a more dynamic method of shooting.

What works for you, works. But the big question I’ll be trying to answer is what benefits the Nikon Z5IIC’s viewfinderless design brings to the table. One such benefit is price. With reports of the Nikon Z5 reaching the end of its lifecycle, the Nikon Z5IIC could soon become the most affordable entry point into Nikon’s full-frame mirrorless lineup at $1,399.95 / £1,349 / AU$2,399 (body only).

And that entry point is exactly what Nikon is targeting. The ‘C’ in the camera’s name is supposed to represent ‘Casual’, which is why the Nikon Z5IIC is also the very first full-frame Z-series camera to feature Scene Modes.

I took the Nikon Z5IIC for a spin around the beautiful city of Bath to find out how its viewfinderless design fared in a street photography setting. Read on for a deep dive into the camera’s specs and to find out how it performed in real-world scenarios.

Nikon Z5IIC vs Z5II: Specifications

Nikon Z5IIC: Price

The Nikon Z5IIC is priced at $1,399.95 / £1,349 / AU$2,399 (body only). Compare that to the Nikon Z5 II, which is typically listed around $1,599 / £1,499 / AU$2,699, and that’s a decent saving of around $200 / £150 / AU$300. But one thing I’ve had in mind is where the Z5IIC will end up. As time goes on, we could see that body-only price creep towards the $1,000 mark.

You can also opt to choose from various kits or bundles, such as the Nikon Z5IIC + Nikon Z 24-50mm f/4-6.3 ($1,699.95 / £1,609 / AU$2,949). This prime-sized zoom is a great choice for the camera’s viewfinderless design. While the Nikon Z5IIC + Nikon Z 24-200mm f/4-6.3 VR ($TBC / £2,049 / AU$3,699) might seem like a great all-in-one option, I’d be wary of any lens bigger than the Nikon Z 24-120mm f/4 S, which I used during my review.

When you stack the Nikon Z5IIC against the Panasonic Lumix S9 and Sony A7C II, it’s priced between them. Overall, I think it’s competitively priced given its specs and the economic challenges the consumer tech industry is currently facing.

Nikon Z5IIC: Design & Handling

The Nikon Z5IIC largely follows the same formula as every other mainline Z-series camera: it’s solid, bulky, has a deep grip, and plenty of physical controls. The big difference is that it doesn’t have a faux pentaprism bump in which to house an electronic viewfinder.

It’s less bulky and inherently more ‘riggable’ than any other full-frame Z-series camera (Nikon ZR aside). This allows it to occupy marginally less space in a backpack, weigh marginally less in the hand, look marginally less professional and intimidating, and cost marginally less than its blueprint, the Nikon Z5 II. The big question I had when using this camera was: Is ‘marginal’ enough to warrant the downgrade in functionality?

I get it. Not every photographer wants to use a viewfinder, and there’s nothing wrong with that at all. If you’re prepared for bright, sunny conditions reflecting off the rear LCD and that doesn’t faze you, who am I to tell you otherwise? But the difference here is that the Nikon Z5IIC is a beefy, full-frame camera and that does change things.

Take the Panasonic Lumix S9 for example; a viewfinderless full-frame camera that’s roughly 135g lighter than the Nikon Z5IIC. That does make a difference. I’ve handed the Z5IIC off to various colleagues, and they’ve all been surprised by the same thing: its weight. The camera’s body weighs 538 g, which is a not-insignificant 82 g lighter than the Nikon Z5 II.

And yet, the way you handle a viewfinderless camera is just different. Peer through a viewfinder and you’ll instinctively cradle a larger camera with both hands, but viewfinderless cameras need to be held farther from the body. The Z5IIC might be lighter than the Nikon Z5 II, but I noticed its weight more.

That’s not to say the weight is a constant pain point, but it is a consideration. I used the camera with the Nikon Z 40mm f/2 and Nikon Z 24-120mm f/4 S. The latter is as heavy and bulky as I’d want to go for regular, handheld shooting. And even then, this is a relatively hefty setup for an everyday carry.

Use the Nikon Z5IIC for video, though, and the form factor isn’t an issue. Again, you tend to hold a camera differently when shooting video. Your forefinger doesn’t have to rest on the shutter button, meaning you can hold it in any way that feels comfortable to you. And of course, if you mainly shoot stills from a tripod, the form factor won’t be an issue at all, and most tripod users compose via the rear screen anyway.

Ultimately, the lack of a viewfinder won’t be a turnoff for everyone, but the size and weight of the camera could be. I recommend trying it on for size in your local camera shop before buying, and considering very carefully what lenses you want to use with it. A telephoto-friendly camera this is not.

A disappointing oversight from Nikon on paper is the Z5IIC’s rear screen. It’s actually lower resolution than the Nikon Z5II’s 2100k-dot screen (it’s 1040k dots). This really is a curious decision from Nikon and one that I can only assume was a budgetary measure. Still, you’d think the rear screen on a viewfinderless camera would be a core spec. And yet, despite my displeasure, if I’m going to be truly honest, I didn’t find this to be an issue out in the field. An oversight, yes, but not one that will impact the camera’s day-to-day usability.

Now that I’ve addressed the elephant in the room, let’s move on to some of the positives, of which there are plenty. As you’d expect from a mainline Z-series camera, the entire body feels solid. It’s built from magnesium alloy and durable-feeling plastics, while the grip is deep and covered in Nikon’s grippy leatherette.

It’s also weather sealed, and while I’m not going to leave a $1399.95 / £1,349 camera out in a downpour, the UK’s dreadful weather meant I spent a lot of time using the Z5IIC in light showers. I never advise letting any camera get saturated, but I felt entirely confident using the Z5IIC in wet conditions.

As per usual, Nikon has churned out a utilitarian device that’s built like a tank. But what’s unheard of from a mainline Z-series camera is that the Z5IIC comes in two colors. That’s right, it’s not just all-black with the classic red stripe; you can also opt for a silver variant. This paint job is only applied to the top plate, giving the camera a definite Sony A7C II vibe. Some of my colleagues think the silver looks plasticky, but as somebody who often moans about silver cameras looking cheap, I’d opt for the silver variant. Consider me a fan.

On the aforementioned top plate, you’ll find a fairly minimalist setup that’s functionally almost identical to the Nikon Z5 II. You’ve got a chunky mode dial that’s satisfyingly stiff, albeit slightly different to the Nikon Z5II’s in that it has only two U options instead of three. This is to facilitate the new Scene Mode icon (more on that later).

Like the Z5 II, there’s also a very handy Picture Control button. Simply tap it and use the rear command dial to scroll through 31 ‘looks’ which are applied to images in real time. The left side of the top plate is typically bare, but without the viewfinder bump, it might have been nice to have included an ISO or exposure comp dial.

Moving on to the rear, it’s standard fare except for the lack of a joystick. This is a real backwards step as far as I’m concerned. I can’t imagine it would have been an expensive addition. It simply means you’re forced to use the d-pad, which isn’t always as comfortable for your thumb, when holding the camera to accommodate its viewfinderless design. Thankfully, though, the buttons are solid and pleasantly spongy.

The Nikon Z5IIC has a single SD-card slot, which is a downgrade from the Z5 II. However, this isn’t a pro-grade camera, and if you’re a stickler for pro features, you’re going to want a viewfinder anyway. As such, I think this is a sensible cost-saving measure that won’t bother most, especially with the ever-increasing price of memory cards these days.

On the front of the camera, you’ve got two Fn buttons, which can be reached by extending your middle and forefinger from the grip, so they can be activated one-handed. And, like other Z-series cameras, the Z5IIC’s controls are highly customizable, so you can make the setup work for you.

The camera uses Nikon’s standard EN-EL15c rechargeable Li-ion battery. According to the CIPA Shot Rating, it’s rated for 350 shots, which isn’t much different from the Nikon Z5II’s 330-380. During use, I can confirm that the battery held up as well as could be expected. Any concerns you might have about the rear LCD always being on can be easily dispelled. Firstly, by getting into the habit of switching your camera off when not in use. And secondly, by the fact that a standard mirrorless is constantly switching between an EVF and a rear LCD, the power usage isn’t going to be much different.

Nikon Z5IIC: Performance

Nikon’s second-generation Z-series lineup consists of the Nikon Z9 at the very top of the pyramid, with varying degrees of tech trickling down to other cameras in the range. As such, all of Nikon’s cameras boast very solid core performances and the Nikon Z5IIC is no different.

In a world of high-megapixel sensors, you could look down upon the Z5IIC’s 24.5-MP sensor, but like all of Nikon’s full-frame image files, the stills you get from the Z5IIC really are top tier. RAW files stand up to generous cropping and are extremely pliable in post; they’re just an all-around treat to work with.

And if editing RAW files isn’t your thing, the Nikon Z5IIC is loaded with Nikon’s Picture Controls. Think Fujifilm Film Simulations, but not as good fresh from the box. Thankfully, Picture Controls can be edited so you can come up with your own ‘recipes’, and you can even download examples from other creators.

A fairly recent update that debuted on the Nikon Zf is Film Grain. This complements Picture Controls by adding retro film grain to images. Not only does it look the part, but the grain isn’t uniform, so each application is different. I tested this myself and can confirm that it does indeed hold up to scrutiny. You can customize the grain by choosing from three different sizes and seven different intensities. I wouldn’t recommend using everything maxed out, but the default settings do look very convincing.

Another feature that really lives up to the Nikon Z5IIC’s ‘Casual’ moniker is the presence of Scene Modes. The Z5IIC is the first full-frame Nikon camera to feature Scene Modes, and while that might not seem like a big deal, I think it’s a great addition. These modes are a great way for novice photographers to exercise a little creative agency beyond the one-size-fits-all Auto Mode.

There are 15 Scene Modes in total, allowing you to adapt quickly to a variety of shooting situations. For example, I photographed my dog using the Pet Portraits Scene Mode. The camera instantly opened up the aperture and switched to Animal-Detection AF, so all I had to do was compose my image and fire the shutter.

Similarly, I tried out Night Landscape and Autumn Colors; the camera instantly adapted to both scenarios, raising the ISO and opening the aperture in low light, and warming the image and boosting the saturation when capturing autumnal foliage. Picture Controls and Scene modes aren’t for everyone, but I think they fit the Z5IIC’s intended demographic and are definite selling points for the right photographer.

When it comes to autofocus, the Nikon Z5IIC performs very well. Sure, it can get a little stuck or confused at times, like any AF system, but provided you take the time to learn Nikon’s various modes, you’ll be well rewarded. I enjoy using 3D tracking, Wide-Area AF, and Single-Point AF, swapping between modes depending on the subject or scene at hand.

I own a Nikon Z8, and while the Z8 will certainly perform better in a side-by-side comparison, I didn’t find myself bemoaning the Z5IIC’s performance, which is high praise indeed. And of course, the Nikon Z5IIC has an autofocus mod con that currently no other Nikon camera has – not even the flagship Nikon Z9 – and that’s fish subject-detection.

Now, I initially found this quite the novelty, but in a world of ever-expanding AF algorithms, why not? I actually used to know a professional photographer who photographed fish for fish-keeping publications, and I’m sure he’d be very happy indeed with this development. It’s exciting news for underwater photographers, too, because put a camera with fish AF in an underwater housing and you’re golden.

Speaking of gold, I did my due diligence and found myself a fitting subject to test out this new autofocus mode. Thomas is a rescued fairground goldfish who resides in a local art studio owned by incredibly talented wildlife artist Jacqueline Byrne (@jacquelinebyrne.art). Jackie kindly allowed me to use Thomas as a model and I was pleased to find that the camera not only detected the goldfish’s body, but also locked onto his eyes.

It did struggle at times, but the conditions were challenging. Reflections and scratches on the tank glass, not to mention underwater foliage, and my need to shoot wide open in low light, all contributed. But fish AF works and isn’t quite the joke addition it may at first seem.

The Nikon Z5IIC’s form factor certainly lends itself to videography, and just like the Nikon Z5 II it boasts some decent specs. Arguably the biggest selling point is internal 4K 30p full-width RAW video. And while it’s nice to have, I always thought it was a little out of place on the Nikon Z5II, and I still think it’s a little out of place on the Nikon Z5IIC.

A lot of pro videographers don’t shoot RAW video. After all, it fills up storage as a pastime, creates increased internal heat, and is power-hungry in the edit. That said, it’s nice to have as an option. Although, a word of warning: make sure you’re using a capable SD card. The Nikon Z5IIC will only record RAW video on a memory card that’s over 32GB. And if your memory card isn’t fast enough, it’ll stop recording before time.

When it comes to overheating, ambient temperature and camera usage will always affect the outcome, but I shot 13 minutes of uninterrupted RAW footage in real-world testing without issue. The Nikon ZR is proof that Nikon knows how to build a camera that’s very hard to overheat, and while I cannot comment on long-term video usage due to my very short time with the camera, I don’t have any immediate concerns. I also shot some 4K video. As you’d expect, the autofocus performed well; just be aware that 4K 60p enforces a 1.5x (DX) crop.

Another video boon is in-body image stabilization. It’s not surprising given that the Nikon Z5II also has it, but it was a crucial inclusion because the Z5IIC’s direct competitors also have IBIS. What they don’t have is 7.5 stops of stabilization, with the camera beating the Panasonic Lumix S9’s 6.5 stops and the Sony A7C II’s seven stops. This is a great feature for photographers, too. I’d argue it’s essential for the Z5IIC given its viewfinderless design, because you’re not holding the camera up to your eye, which is the most stable shooting position.

While the lower-resolution LCD screen didn’t really bother me when shooting stills, I do think it matters more for video. Metering is such an important part of videography, and while you’ve got aids such as zebras and histograms, every little helps if you’re not resorting to an external monitor.

One thing I would suggest that any Nikon Z5IIC owner does is head into Menu>Setup>Monitor Brightness and set the latter to its maximum setting. This will reduce battery efficiency, but you’ll get a brighter and more visible screen. As a photographer, I lament the flip-out screen craze, much preferring a tilting screen, but the Nikon Z5IIC is a camera built to adapt to both worlds, and a flip-out screen is definitely preferable for video.

Nikon Z5IIC: Sample images

Nikon Z5IIC: Lab Tests

Nikon Z5IIC lab test data

For this test, we have compared the Nikon Z5IIC with its closest competitors, the Nikon Z5 II, Sony A7C II, and Panasonic Lumix S9

Resolution

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Resolution Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	28	28	30	26
2	28	28	30	26
3	28	28	30	26
4	28	28	30	26
5	28	28	30	26
6	28	26	30	26
7	28	26	30	26
8	26	26	28	26
9	24	24	26	24

Dynamic Range

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Dynamic Range Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	12.51	12.52	12.21	12.19
2	12.5	12.52	12.62	12.02
3	12.51	12.27	12.51	11.95
4	12.5	12.37	12.52	11.99
5	12.12	11.99	12.45	11.71
6	11.79	11.59	11.88	11.32
7	10.9	10.26	10.9	10.99
8	9.82	9.35	10.02	10.03
9	8.81	8.59	9.26	9.16

Signal to Noise Ratio

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Signal to Noise Ratio Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	46.32	46.16	41.44	44.88
2	43.03	43.42	39.27	42.35
3	40.68	40.51	36.44	40.49
4	37.75	37.31	34.04	37.64
5	34.82	33.99	32.35	34.41
6	31.38	30.65	29.31	31.51
7	28.45	27.23	25.95	29.06
8	25.5	24.44	23.14	26.37
9	22.68	21.78	20.46	23.24

Resolution: It’s not surprising that the Sony A7C II comfortably beats the other full-frame cameras thanks to its 33-MP sensor, with the Panasonic Lumix S9 bringing up the rear with its 24.2-MP sensor. The bigger surprise is the Nikon Z5IIC’s performance in relation to the Nikon Z5 II, exhibiting sharper images between ISO3200 and ISO12,800. However, this could simply be a variation in optics, and in a real-world scenario, the difference is going to be negligible.

Dynamic Range: Each camera boasts impressive dynamic range and despite differences in resolution, there really isn’t much to separate them. The Sony A7C II just about wins, as to be expected, but the Nikon Z5IIC more than holds its own, performing better than both the Nikon Z5 II and Panasonic Lumix S9. Again, the race is so tight, you’re unlikely to notice much difference in a real-world scenario.

Signal to noise ratio: The lower-resolution sensors come out on top here, with the Sony A7C II’s higher resolution proving its undoing, although it doesn’t lag far behind. When it comes to the two Nikons and the Panasonic Lumix S9, you’d have to defer to a photo finish to work out who’s pipped who to the post, but it does look like the Nikon Z5IIC has outperformed the Nikon Z5 II once again.

Nikon Z5IIC: Verdict

The Nikon Z5IIC is a tale of two halves. On the one hand, it has a slightly awkward design. On the other, its performance punches above its weight. I’m no stickler for always looking through the viewfinder, but the biggest benefit of viewfinderless cameras is their increased portability.

And yet, losing the viewfinder doesn’t impact the size and weight of the Z5IIC enough; it’s still a big lump. The upside of this is that it’s built like a tank and feels like a premium, weather-sealed product. I’m not saying the heft is a dealbreaker; just make sure you try it on for size before you buy.

Under the hood is where the camera really gains some ground. It’s a fantastic all-around performer, with great autofocus, gorgeous stills, solid video specs, and impressive in-body image stabilization. Plus, you get the rather unusual (if superfluous) bonus of RAW video.

Scene Modes is an unlikely standout for me. It really lives up to the Z5IIC’s ‘casual’ moniker and allows anybody to get creative with the camera from the offset. Picture Modes and Film Grain serve as the next step in creative agency, allowing you to apply ready-made or custom presets to your images in real time.

Finally, the Nikon Z5IIC is competitively priced. At $1399.95 / £1,349, it sits between the Sony A7C II and Panasonic Lumix S9. It’s not a cheap camera by any means, and I do wonder how appealing that price point is to its ‘casual’ target audience. But it’s got the specs of a more expensive camera.

Overall, I was ready to hate on the Nikon Z5IIC when it was announced, but I’ve been pleasantly surprised by how much I’ve enjoyed my limited time with the camera. That said, I wonder if its size and weight could be its undoing.

It’s too big to be an everyday carry, and I fear it may be too intimidating for its ‘casual’ target audience. I hope I’m proved wrong, because this is a well-built, exceedingly capable full-frame camera. Just like its blueprint, the Nikon Z5 II.

Nikon Z5IIC: Alternatives

Check out our guide to the best mirrorless cameras, and our rundown of the best Nikon Z lenses

The last DSLR lens Nikon announced, back in 2019, was the Nikon AF-S 120-300mm f/2.8E FL ED SR VR. Its spiritual successor leaked online before Nikon revealed official images or specifications, fuelling speculation about the much-anticipated lens. Now, major US retailer B&H has listed the Nikon Z 120-300mm f/2.8 TC VR S as "coming soon".

What's also "coming soon" is the price of Nikon's latest professional-grade S-line telephoto zoom. Its DSLR predecessor launched at around $9,500 / £9,500 six years ago, but photographers online speculated that the new Z-mount version would cost significantly more.

Rumored to be the most expensive lens in Nikon's Z lineup, the optic has attracted price speculation as high as $16,000 / £12,000. Now, Nikon Rumors report that "the US price of the upcoming Nikon Nikkor Z 120-300mm f/2.8 TC VR S lens will be $13,999" – around $2,000 less than some photographers had expected.

However, even at this rumored price, Nikon's new lens remains out of reach for many photographers, especially those who don't work full-time professionally and there's another catch…

Nikon's most expensive S-line telephoto lens?

To date, Nikon's most expensive S-line lenses are the Z 600mm f/4 TC VR S, priced at $16,196.95 / £14,999, and the Z 400mm f/2.8 TC VR S, available for $14,696.95 / £13,499. Both optics are currently discounted at B&H in the US, with savings of up to $2,000.

The Z 120-300mm f/2.8 TC VR S is rumored to be announced on October 28 or 29, so we could soon find out the retail price of Nikon's highly anticipated telephoto zoom.

The Z 120-300mm f/2.8 TC VR S will feature an integrated 1.4x teleconverter, extending its maximum focal length to 420mm while reducing the maximum aperture to f/4.

Nikon has already incorporated the same teleconverter technology into its Z 600mm f/4 and Z 400mm f/2.8 fast telephoto prime lenses.

The Z 120-300mm f/2.8 TC VR S is expected to be produced in very limited quantities, and Nikon Rumors reports that long waiting times are expected.

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If you've been looking for a stunner of a lens, for both general shooting and extreme close-ups, the Nikon Z MC 105mm f/2.8 VR S is now available for just $896.95 at B&H – and you get a free filter kit on top.

With this new low price, you save $250 on its previous price of $1,146.95 – and top-tier primes are not coming cheap, so this deal offers a great discount on what we've called in our review "one of the finest Nikon Z lenses that we've seen."

Short: The Nikon Z MC 105mm f/2.8 VR S is a top-tier lens for performance and versatility. It's one of the finest Nikon Z lenses that we've seen to date, and that’s really saying something.

The Z MC 105mm is great for capturing wildlife photography, through portraiture and landscape, to extreme close-ups, where its 1.0x magnification factor reveals near-microscopic levels with clarity and depth.

And it's not only about sharpness (though it's razor-sharp from center to the edge), it's also about how effortlessly it lets you create.

With lightning-fast pinpoint autofocus and 4.5-stop optical VR, it partners beautifully with Nikon's Z-series cameras for incredibly stable, high-impact images – handheld or on the go.

From the customizable control ring to the multifunction OLED display and weather-sealed construction, this lens has it all. And yes, it costs more than the Z MC 50mm – about 50% more – but the performance leap is undeniable.

As mentioned, top-tier primes are not coming cheap, making this deal even more interesting. By investing in the Nikkor Z MC 105mm, you get a pro-grade build and image quality that borders on flawless.

Browse the best Nikon cameras and the best macro lenses.

Think "spider" and most people don't think "adorable"; quite the opposite in fact. But the image from German photographer John-Oliver Dum might make you reconsider that prejudice.

With two huge, black eyes and a face fringed with fluffy white scales, this cute critter looks like something Pixar or Disney would draw for their next kids' film. No wonder the picture has taken second place in this year's Nikon Small World 2026 Photomicrography Competition.

So what exactly are we looking at? Meet Salticus scenicus: a jumping spider common across Europe that typically measures 5mm to 9mm long: that's smaller than the nail on your little finger.

In Dum's prize-winning photograph, it's been magnified 20 times, which turns grains of pollen – which are too small to see with the naked eye – into what look a little like jewels. Perhaps I'm being fanciful, but to me the grains clustered on top look like a crown, while another sits perfectly between the two main eyes, like a pendant. Overall, it's a surprisingly regal effect.

How it was shot

At this level of magnification, depth of field is highly limited, so only a sliver of your subject will be sharp. To solve this puzzle, Dum used focus stacking, a technique he specialises in.

This means that what looks like a single image is actually built from dozens (or sometimes more than 100) individual frames, shot at slightly different focus distances, then merged so everything is pin-sharp.

Based in Bendorf, Germany, Dum typically works at magnifications from 1x to 100x. His kit includes a Sony Alpha 1, an MJKZZ macro rail for making precise, tiny focus steps, and microscope optics from Mitutoyo, Nikon, Olympus and Carl Zeiss Jena. His work has been shown at venues including the Tokyo Photographic Art Museum and ARTIS-Micropia in Amsterdam.

For me, it's the level of detail in this picture that's the most impressive. Despite the spider being smaller than a fingernail, you can see the individual scales on its face, the fine hairs on its legs and the texture of every pollen grain clearly.

Photography often shows us the world we're used to seeing from a different perspective. This photograph, though, shows us an entirely different world, that we can't see with the naked eye at all, which in my book makes it special indeed.

Nikon Small World showcases the beauty and complexity of life as seen through the light microscope via photography and video, and is open to anyone with an interest in microscopy.

This year’s overall winner was Ole Bielfeldt’s never-before-seen view of an inkjet printer at work. You can view all the winning images on the Nikon Small World website.

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Almost film’s last hurrah, the “Advanced Photo System”, was developed jointly by Kodak, Canon, Nikon, Fujifilm, and Minolta after nearly a decade of research. The consortium reportedly invested well over US$1 billion in the system.

They say timing is everything, and unfortunately, the APS arrived at exactly the wrong time. Within five years of its 1996 launch, digital cameras advanced so rapidly that APS never really got off the ground. It never had the opportunity to mature into the successful format its backers envisioned.

APS wasn't simply a new film size, or another of Kodak’s seeming endless efforts to promote smaller film sizes, It was an entirely new system designed to make photography easier and smarter. Its major innovations included a simple cartridge for drop-in film loading that eliminated the need to thread a leader onto the pickup spool. All APS cameras had motorized film advance and rewind. And a magnetic strip along the film’s edge, to record the exposure data, print instructions (cropping, etc) etc. This IX (Information Exchange) data was essentially to an APS negative, what the EXIF data is to a digital photograph today.

APS allowed for three selectable print formats without changing lenses: H (High Definition) gave a 16:9 aspect ratio to match modern digital TVs. C (Classic) matched the 3:2 aspect ratio of standard 35mm film, while P (Panorama gave a 3:1 aspect ratio.

But there is one clever bit in this that is often misunderstood. Regardless of which format the photographer selected, the camera always exposed the entire frame. The chosen format was merely recorded magnetically for the photo lab’s automatic cropping. This also allowed for different print cropping to be made on later prints from the same negative.

The auto rewind and advance feature meant that cameras could rewind and reload film rolls, making it possible to switch rolls, mid-stream, without wasting a single shot Although commercially unsuccessful, APS introduced concepts that became standard in digital photography.

Among them were the concept of metadata stored with each image, automated film (and later, memory card) handling, and the viability of smaller image formats. Today, the term APS-C, denotes a smaller sensor using the APS "Classic" frame size of 25.1 × 16.7 mm.

Most APS cameras were compact point-and-shoot models. Only three interchangeable-lens SLR systems were produced: Canon’s EOS IX, Minolta’s Vectus and Nikon’s Pronea. Of these, Nikon's Pronea S was arguably the most technically interesting.

Introduced in September 1998, the Pronea S was advertised as the world's smallest and lightest autofocus SLR, from any maker. Nikon targeted travellers and women photographers who wanted SLR capability without the bulk of a traditional 35mm camera. (Indeed, one of Digital Camera World’s editors bought one for his wife, which would still be in use today if you could still buy the film.)

The Pronea S looks unlike almost any Nikon before or since. Its designers concentrated on making the body as thin as possible. The result resembled an early digital camera more than a film SLR. NIkon’s engineers endowed it with all the bells and whistles; including a Nikon F-derived lens mount, phase-detection autofocus, Multi-segment Matrix Metering, built-in flash and a 1.5 fps shooting speed. And unlike most APS cameras, the Pronea S provided nearly all the exposure controls found on Nikon's contemporary 35mm SLRs.

The IX Nikkor lenses made for the Pronea models covered only the smaller APS format and so were unusable on NIkon’s 35mm cameras. But the modified F-mount meant the camera could use most contemporary Nikon autofocus lenses, including Nikon’s AF, AF-D and many of the AF-S series of lenses could be used with a 1.6 crop factor, foreshadowing Nikon’s later use of DX lenses and APS-C sized sensors for digital SLRs.

Reviewers at the time said it handled remarkably well, and praised its fast autofocus, excellent metering, bright finder, and good ergonomics. But APS negatives have only about 56% of the image area of a 35 mm negative. Although APS films employed finer-grain emulsions, enlargements beyond about 8 × 10 inches generally showed more grain than comparable 35 mm photographs. Add in the fact that APS film and processing cost more than ordinary 35 mm and that many labs declined to make the investment in APS processing machinery when they could see the digital revolution coming, and it’s easy to see why the Advanced Photo System failed.

Between 1998 and 2002, digital cameras improved dramatically rapidly increasing in resolution while prices fell. Consumers increasingly preferred instant image review and no film processing costs. By 2002, major manufacturers had largely switched to digital cameras and Kodak ceased APS film production in 2011. In the end, it seems that APS had a bigger influence on digital photography than it did on film.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Glance at this image without context, and you might imagine a forest of trees on an alien planet. In fact, you’re looking at the neurons inside a mouse’s brain.

This stunning image, by Kaelin Wulf and Rachel Flannery of the Allen Institute in Seattle, took third place in the Nikon Small World 2026 Photomicrography Competition. And the way they captured it is utterly remarkable.

Neurons, aka nerve cells, are the fundamental working units of the brain and nervous system. They use chemical and electrical signals to receive, process and transmit information around our minds and bodies.

Neurons in an expanded mouse brain

As you can imagine, neurons are very tiny indeed, and the branches connecting them are tinier still. So small they’re hard to separate even with a conventional light microscope.

To photograph them, then, the team at the Allen Institute – a non-profit that carries out large-scale research into the brain, cells and the immune system – couldn't just rely on magnification alone.

Instead, they used a technique called expansion microscopy. Quite simply, this means physically enlarging the tissue by embedding a sample of the brain in a special gel that makes it swell like a balloon.

Wulf and Flannery also used two other techniques.

The first was fluorescence, which makes the labelled neurons glow, so they stand out vividly against the dark. The second was light sheet imaging, which involves scanning the sample with a thin plane of light, and building up a sharp, 3D picture slice by slice.

By combining all these techniques, the image could then be photographed using a modest 5X objective lens. The resulting image? Both scientifically useful and stunningly beautiful.

Nikon Small World showcases the beauty and complexity of life as seen through the light microscope via photography and video, and is open to anyone with an interest in microscopy.

This year’s overall winner was Ole Bielfeldt’s never-before-seen view of an inkjet printer at work. You can view all the winning images on the Nikon Small World website.

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Nikon has released a flurry of firmware updates for two of its camera bodies and two of its lenses. According to the company, the updates solve a camera body-lens compatibility issue as well as bolstering aperture and zoom performance in the lenses.

Nikon says that firmware versions 5.33 for the Nikon Z9 and 3.12 for the Nikon Z8 fix a bug that “would cause the camera to stop responding with some lenses.”

Not so helpfully, the company hasn’t provided any more detail, so it’s unclear which lenses were affected and which previously affected lenses now function correctly when attached to these camera bodies.

Nikon Firmware Downloads

Firmware version 3.12 (Nikon Z8 camera body)

Firmware version 5.33 (Nikon Z9 camera body)

Firmware version 1.10 (Nikkor Z 14-24mm f/2.8 S lens)

Firmware version 1.10 (Nikkor Z 24-70mm f/2.8 S II lens)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter and for Nikon to address them. Keep an eye on Digital Camera World, and we'll let you know about any problems.

Firmware version 1.10 for the Nikkor Z 14-24mm f/2.8 S lens brings a minor but important change.

According to Nikon, when a setting other than “Non-linear” is selected for “Focus ring rotation range,” the lens now changes the focus distance according to the amount of focus ring rotation during manual focus, regardless of the speed at which it is rotated.

Before this latest update, turning the focus ring quickly would make the focus jump a long distance. Whereas, if the ring was turned slowly, the focus would move a small amount, even if turned the exact same distance.

Nikon says that the final firmware release, also called version 1.10, albeit for the Nikkor Z 24-70mm f/2.8 S II lens, has “improved aperture operation reliability” and “reduced aperture operation noise,” with no further details shared.

So, aside from the outlined focusing update to the Nikkor Z 14-24mm f/2.8 S lens, it’s pretty vague stuff from Nikon. As always, I recommend waiting a few weeks before going ahead with any firmware update to give any issues a chance to arise and be solved by Nikon.

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A never-before-seen microscopic view of an inkjet printer printing words on paper has won the prestigious Nikon Small World 2026 Photomicrography Competition.

Young German photographer Ole Bielfeldt captured the image using a microscope objective in an unconventional way. Getting the shot right took some experimentation, as the printer's quick movements and tiny ink droplets were challenging to photograph sharply.

His award-winning image began with a simple question: how does a printer place ink onto paper with such precision? "I think it was super interesting because I didn’t know how it really worked," Bielfeldt said. "It’s like it was magic, and I didn’t understand it, but now I do."

How he captured the award-winning image

Capturing the ink droplets in motion was difficult. Bielfeldt's first attempts ran into two problems: the printhead moved too quickly to keep a small area in focus, while the droplets themselves were travelling too fast to be frozen by the camera's shutter speed.

"I thought I would need some expensive equipment. But it turned out I already had everything I needed," he said.

Bielfeldt modified the printer's setup so that the paper moved beneath a stationary printhead, making it easier to keep the area he wanted to photograph in focus.

He used a self-built imaging rig fitted with a microscope objective, and worked in a dark room, using a flash to freeze the ink droplets mid-air.

Why the image stood out

"Ole Bielfeldt’s winning image embodies what makes Nikon Small World so powerful: the intersection of microscope imaging, ingenuity, and artistry," said Eric Flem, senior manager, communications and CRM at Nikon Instruments.

"By using a microscope objective in a different way, he transformed a familiar object into something altogether new and previously unseen.

"It is a reminder that the microscope is not only a scientific tool but also a creative one, capable of expanding how we see and imagine the world around us."

The full list of winners can be found on the official competition website.

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The Nikon Z9 may be the most expensive body from the popular brand, but the camera that I recommend for pros is actually the less expensive Nikon Z8. That full-frame mirrorless has just dropped to its lowest-ever price – but it’s not the only Nikon sitting at a record low price right now, including the Z6 III, the Z5 II, and Nikon’s latest workhorse zooms.

Most tend to assume that the most expensive body is the best pro camera, but the Nikon Z8 packs most of what the Z9 offers into a smaller, more affordable body. The Z8 really feels like the mirrorless twin of my favorite DSLR, the Nikon D850, with its 45.7MP full-frame sensor, but with mirrorless speed, stabilization, and glass.

Right now, the body-only Nikon Z8 has dropped to its lowest price on record, according to Amazon price trackers, hitting $3,296, a 23 percent discount from the list price. That $1,000 price drop is available through several Nikon-authorized sellers, including Amazon, Adorama, and B&H.

Nikon Z6 III

While the Z8 is the best Nikon for serious professionals, a handful of full-frame Nikon gear has now dropped to its lowest price. The Z8’s lower-resolution sibling, the Nikon Z6 III, also sits at its lowest price on record, returning to its previous all-time low of $1,996.95, which is $700 off the list price.

The Z6 III brings a partially stacked 24.5MP sensor that delivers full-resolution bursts at an impressive 60 fps with the electronic sensor, and a still impressive 14 fps RAW burst with the mechanical shutter.

That balance of performance and quality earned the Z6 III the title of the best Nikon for most people in Digital Camera World’s rankings. “It’s a stunning camera for shooting stills, and the new vari-angle screen with its front-facing facility makes the Z6 III equally adept for vlogging and other videography,” Matthew Richards wrote in the review. “The speed, accuracy, and consistency of the autofocus system, with its subject recognition and tracking abilities, is superb, even in near-darkness, and the bottom line is that image quality simply stellar.”

Nikon Z5 II

Even Nikon’s entry-level full-frame Z5 II has returned to its lowest-ever price in the US, returning to $1,596 body only. The Z5 II isn’t as fast as the Z6 III or as high-resolution as the Z8, but it packs an excellent low-light autofocus system into a relatively compact full-frame camera.

That autofocus already had the Z5 II feeling far from basic, but the Z5 II still houses in-body stabilization ranked for 7.5 stops. That, mixed with its -10EV autofocus performance, makes it an incredible performer in limited light.

Top deals on Nikon Z lenses

A number of Nikon lenses have also dropped in price, including both of Nikon’s second-generation, five-star-rated 24-70mm and 70-200mm f/2.8 zooms. Both the Nikon Z 24-70mm f/2.8 S II and the Z 70-200mm f/2.8 S II lenses, announced last year, are each $200 off. That’s a record low for both optics, according to Amazon price trackers.

Additional notable lens discounts from among the ranks of DCW's best Nikon Z lens list include the Z 17-28mm f/2.8, the Z MC 105mm f/2.8 VR S Macro, and the nifty fifty favorite, the Z 50mm f/1.4.

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Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $500 at Adorama.

The Panasonic Lumix S5 IIX is now just $1797.99 – this new low price lets you save $400 from its original $2,197.99 price tag.

The Sony A7 IV Bundle is now just $1,998 – you save $500 off the bundle's RRP of $2,498. (The body alone is also $1,998...)

The Nikon Z5 Bundle is now just $996.95 – you save $450 off its previous $1,446.95 price. (The body alone is also $996.95...)

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX as for the Sony and Nikon lineups, but there are plenty of third-party options from the likes of Sigma (a founding member of the L-Mount).

And if you want to keep using your older glass, adapters (such as Canon EF to L-mount) are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR and, thanks to the FTZ adapter, you can continue using your trusted Nikon F-mount lenses seamlessly.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Adorama – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Looking for that classic DSLR mirror flip? With these two top full-frame DSLR deals, you save up to $699.01 and get free accessories!

The Nikon D850 Bundle is now just $1,996.95 at Adorama – you save $600 off its original $2,596.95 price. On top, you get eight free items.

The Nikon D850 camera body by itself is priced the same as the full bundle...

The Canon EOS 5D Mark IV is now just $1,999 at Adorama – you save $500 off its original $2,499. price.

Nikon D850

Best for megapixels

The Nikon D850 was a flagship DSLR for a reason. In 2025, it still impresses with its incredible 45.7MP resolution, weather-sealed durability, and class-leading image quality.

While its live view autofocus is outpaced by newer mirrorless rivals, for traditional stills shooting, it remains one of the finest tools around. Its uncropped 4K video and robust build make it a reliable all-rounder for pros.

Now available at a significantly lower price than at launch (approx. $3,296.95), the D850 offers elite-level performance without a premium price tag.

Canon EOS 5D Mark IV

Best all-rounder

With a 30.4MP full-frame CMOS sensor, 61-point AF system, and Dual Pixel CMOS AF for precise live view and video focusing, the Canon EOS 5D Mark IV remains a versatile tool for professionals.

Its 7fps burst rate, ISO 100-32,000 range (expandable to 102,400), and weather-sealed magnesium alloy body make it well-suited for demanding shoots.

While the 1.64x 4K crop and UHS-I SD slot feel a bit outdated, the 5D Mark IV delivers excellent dynamic range, color depth, and reliability – especially for stills-focused workflows.

Once a DSLR costing around $3,499, the EOS 5D Mark IV is now a far more affordable way to access full-frame photography.

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Trends have revived the point-and-shoot from the dead – and compact mirrorless designs seem to be riding the same wave. But amid the rise of the compact camera and the launch of a one-inch sensor mirrorless camera from GoPro, I can’t help but remember another compact mirrorless from another decade: The Nikon 1 series.

The Nikon 1 series was a line of tiny mirrorless bodies built around a one-inch sensor. The series launched in 2011 with the Nikon 1 J1 and the more advanced V1. At the time, Nikon said the 1 J1 was the world’s smallest and lightest mirrorless camera. The smallest models looked almost like point-and-shoots – though adding a lens made the camera far less pocketable.

Just a year after the series launched, higher-resolution options arrived with the Nikon 1 J2 and 1 V2.

Nikon discontinued the 1 series in 2018 as part of the shift towards the Z system – and that was absolutely the right move for creating more pro mirrorless cameras. But fast forward to 2026, and compact cameras have gotten so trendy that the most popular models are hard to find in stock.

That point-and-shoot trend has bled into mirrorless, as many mirrorless alternatives to popular compact cameras have also made regular appearances on best-seller lists, from the full-frame Sony A7C II to the new Micro Four Thirds OM System PEN. Nikon’s latest launch, the Nikon Z5IIC, takes on this trend and outfits the Z5 II’s sensor into a smaller body without a viewfinder.

It’s not just the point-and-shoot trend that has me fondly remembering the Nikon 1 series, however. GoPro has revived the one-inch sensor mirrorless with the launch of the Mission 1 Pro ILS – though it’s a camera built more for filmmakers than still photographers.

While the Nikon 1 series isn't around anymore, the one-inch sensor launched with the original models is still very much around. That one-inch format is highly popular among point-and-shoot cameras, and now the Mission 1 ILS has brought the format back to mirrorless.

Some of the Nikon 1 features that were unusual at the time, like a 60 fps burst mode using an electronic shutter, are now easy to find among modern, larger sensor mirrorless cameras. But some of the series most unique features are still in the past.

The Nikon 1 AW1 was the first waterproof mirrorless camera. There are plenty of modern splashproof cameras, but the AW1 remains unique in its ability to go underwater without extra housing. Even GoPro's first mirrorless camera is only splashproof if it's paired with a sealed lens, not submersible.

With the viral success of point-and-shoot cameras, I have to wonder – would the Nikon 1 series have been more successful if it launched in 2026 instead of 2011? The series was more popular among casual users than serious photographers who still preferred the larger sensors found in Nikon’s DSLRs.

But the revival of the point-and-shoot trend is driven in part by that same group. A growing number of casual users want to separate taking photos from their smartphones. A number of the most popular point-and-shoot models are options with zoom, which the 1 series lenses offered with swappable (though not usually pocketable) optics.

The rising popularity of compact camera designs is being accompanied by a growing trend of picking up early digicams – and there’s a decent selection of Nikon 1 cameras and lenses available from used camera retailers, sometimes for less than a new point-and-shoot.

That’s the real reason that I can’t envision a modern Nikon 1 series camera – because those old models hit on both the compact and retro trends in one.

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Looking for a modern but tiny Nikon mirrorless? Read about the Nikon Z5IIC, or the crop-sensor Nikon Z30.

Nikon has begun to discontinue the Nikon Z5. That’s according to Japanese news outlet Asobinet, which has reported that camera retailers have listed the full-frame mirrorless camera as discontinued. As it stands, US, UK and Australian markets have not been affected, with the camera still available for purchase and in stock across corresponding Nikon stores.

What would appear to be the beginning of the end for the Nikon Z5 comes just a year and a half after the announcement of the technically superior Nikon Z5II. The Nikon Z5 launched back in July 2020, and although this first-generation Z-Series camera lacks the processing power, whip-fast AF system, and video capabilities of later offerings, its often heavily discounted pricing has made it far and away the cheapest entry point in Nikon’s full-frame mirrorless system.

It’s perhaps no coincidence, then, that Nikon waited until the release of the Nikon Z5IIC, announced just last month, to begin winding down the Nikon Z5. The Nikon Z5IIC retails for just $1399.95 / £1,349 / AU$2,399. Once the Nikon Z5 is gone for good, the Z5IIC will be Nikon’s cheapest full-frame mirrorless offering.

Is the Nikon Z5 still worth it?

If you’re minded to clean up any remaining stock or perhaps even take advantage of a very good used deal, the Nikon Z5 is still a camera that I highly recommend for the right person. If you’re a stills-first photographer who doesn’t need blistering burst speeds, whip-fast AI, and a high-resolution sensor, but wants to get your foot in the full-frame door, it’s still a great camera.

All of Nikon’s Z-Series cameras produce top-quality JPEG and RAW files, and the Nikon Z5 is no different. It also gives you access to the coveted Z system via Nikon’s huge collection of Z series lenses. With all that said, I wouldn’t personally buy the Nikon Z5 at full price. I’d be minded to look for a good deal or used model.

At full price, it’s not all that far off the Nikon Z5IIC. And while the lack of an EVF will be a dealbreaker for some, this latest addition to Nikon’s lineup boasts far better specs. Another alternative, if you’re not married to full-frame, would be the Nikon Z50 II. It has a smaller APS-C sensor, but with a far superior spec sheet.

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Two consumer cameras sit among Japan’s Good Design Award top rankings, as the Nikon ZR and Kodak Charmera earn a spot in the competition’s top 100 designs. But for the eighth year in a row, the brand with the most accolades from the international product design competition is a camera company: Fujifilm.

The Good Design Award gives out a badge to every entry that passes a quality and value screening, which means the list of 2026 winners has more than 1,400 entries, giving about 29 percent of the entries honors. A dizzying number of those awards have gone to cameras, from the unusual gimbal design of the DJI Pocket 4 series to the tiny Instax Pal 2.

While the program gives badges to every entry that meets its design standards, the program also gives out top-tier awards and a Top 100 designation. Two consumer cameras sit in the Top 100 for 2026, the mirrorless Nikon ZR and the viral keychain camera, the Kodak Charmera.

The Nikon ZR takes the Z6 III and crams it into a smaller body built for filmmakers – but also adds RED color science. The result is a camera that has now earned several accolades – including a TIME Best Invention as well as awards from EISA, TIPPA, Red Dot and iF. Digital Camera World gave the camera a 4.5-star rating, calling it “a true videographer's dream.”

The Kodak Charmera also sits among the top 100. The Charmera’s initial launch was so popular it sold out in 24 hours. The camera’s popularity is not due to what’s inside – it’s just 1.6MP – but rather stems from a tiny, retro blind box design at $35 / £35.

The brand that appears the most on the Good Design Awards list for 2026 is Fujifilm, which has 35 products earning honors, making it the eighth year in a row that Fujifilm has been the most-awarded company for the Good Design Awards.

Awarded Fujifilm cameras include the entry-level mirrorless X-T30 III and medium-format GFX100RF Fragment Edition. Instax swept even more awards with the Instax Pal 2, Instax Mini Evo Cinema, Instax Mini 13, Instax Mini 99 in silver, Instax Wide 400, Instax Link Wide 2, and Instax Mini Link+.

Fujifilm’s first disposable camera preloaded with black-and-white film, the Quicksnap Black and White, also earned an award along with the XC13-33mm f/3.5-6.3 OIS lens and several broadcast and cinema lenses.

Additional notable award winners among the entries include the Panasonic Lumix L10, the Canon EOS C50, and the DJI Pocket 4 series. The MyFirst Instant Print camera made for kids also won an award. (A Panasonic HyperSpectral Camera also sits in the top 100, but it’s an industry camera, not a consumer camera.)

Several lenses also won honors, including the Canon RF 7-14mm f/2.8-3.5 L Fisheye STM. Canon’s entire f/1.4 L VCM series and Nikon’s entire second-generation Z f/2.8 zoom lens series also earned recognition.

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All listed lens models in the latest Top 10 chart published by major Japanese retailer Yodobashi are zoom lenses. This might not be a big surprise, as zoom optics are a popular choice among photographers of all levels and all genres. While one manufacturer dominates the ranking, a third-party model, described as a "high-flying all-in-one superzoom," is the real showstopper.

Yodobashi shares that in the second half of September, the No.1 spot goes to the Sony FE 24-70mm f/2.8 GM II, followed by the Sony FE 70-200mm f/2.8 GM OSS II and Sony FE 100-400mm f/5.6-8 OSS. The manufacturer dominates the chart with a total of four models, including the Sony FE 16-35mm f/2.8 GM II at No.10.

However, the third-party lens that stands out – which is the only third-party zoom in the chart – is the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 for Sony E-mount in fifth place. Here's why the optic is a great all-in-one travel solution and its catch.

Yodobashi's 10 best-selling lenses (2nd half Sep 2026)

1. Sony FE 24-70mm f/2.8 GM II
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Sony FE 100-400mm f/5.6-8 OSS
4. Canon RF 70-200mm f/2.8 L IS USM Z | White | Black
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Nikon Z 70-200mm f/2.8 VR S II
8. Nikon Z 24-120mm f/4 S
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 16-35mm f/2.8 GM II

The "high-flying all-in-one superzoom"

Available for $899 / £729 for Sony E-mount, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a lens that can "genuinely replace a pair of standard and telephoto zooms," as DCW reviewer Matthew Richards states. And with the V3 firmware, you can also shoot macro subjects.

The only catch with this super-all-in-one solution is that it's only available for Sony cameras. Photographers working with other systems are missing out.

For Nikon shooters, the own-brand Nikon Z 24-200mm f/4-6.3 VR would be a great choice. While this lens is not listed in the Top 10, it adds optical stabilization and has marginally more wide-angle coverage, available for $846.95 / £879.

The Canon RF 24-240mm f/4-6.3 IS USM is an option for RF-mount, available for $949 / £959. While it features a slower aperture, it provides a wider focal length at the short end and a longer focal length at the telephoto end.

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Award-winning wildlife photographer Tom Way captured a heartwarming moment between a newborn giraffe calf and its mother. The beautiful black-and-white image shows the tiny calf standing beneath its mother's legs – a fleeting moment that may soon become a thing of the past.

Way explains, "This young giraffe was no more than a few hours old when we first found both the mother and infant in a small thicket close to the open plains of Kenya's famous Mara North Conservancy."

The touching scene was captured with a professional full-frame DSLR camera and a fast telephoto lens. Nikon has now announced the image as the winner of the prestigious Remembering Wildlife Photographer of the Year award.

'Under Mother's Guidance'

Tech info
Camera: Canon EOS 1D X
Lens: Canon EF 400mm f/2.8L IS II USM
Accessories: Canon Extender EF 1.4x III
Exposure: 1/640sec, f/4, ISO 640

The story behind the still
Way says, "We watched at a distance as the young giraffe suckled, still wobbly on its legs before coming forwards towards us perfectly framed between the mother's legs."

He continues, "Although newly born, an average infant giraffe still measures 6ft in height, taller than the average human and, by growing around an inch a day, it will not be too long before this young giraffe would not be able to fit under its mother at all.

"At this age, newborns are extremely vulnerable and it requires a vigilant mother to raise their infant to adulthood."

Remembering Wildlife
Among more than 70 images, Way's photo is featured in the 11th book in the Remembering Wildlife series titled Remembering Giraffes.

All book profits are donated to conservation projects, with this year's proceeds supporting essential giraffe conservation. To date, the series has raised more than £1.28 million for conservation, supporting 86 projects across 36 countries.

As a proud sponsor, Nikon gifts Way a Nikon Z8 and a Nikon Z 180-600mmm f/5.6-6.3 VR. Discover all winning images; visit the Remembering Wildlife website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from September 2026 to February 2027.

The Nikon ZR has been named by Time Magazine as one of the best inventions of 2026, praising the mirrorless camera for attempting to bridge the gap between social-media video creators and high-end video production.

It noted the camera’s integrated RED color science and arguably the Nikon ZR’s most high-profile creator, Jason Momoa. Just last week, the Aquaman actor was given a pair of custom all-brass Nikon ZR cameras for use in his On the Roam documentary series.

A growing list of accolades

Recognition from Time Magazine is the latest in a growing list of industry awards for the Nikon ZR, which took gold at the EISA Awards in the Photo/Video Camera category, while it also triumphed in the TIPA World Awards in the Best Advanced Compact Cinema Camera category, as well as earning product design accolades at the Red Dot Awards and iF Design Awards.

One-of-a-kind cinema camera

It’s not surprising that the Nikon ZR has proven a critical darling. Digital Camera World labelled the camera “a brilliant ‘baby’ RED cinema camera at a barely believable price.” Beyond the camera’s celebrated Z-mount lineage, it stands out among many of its peers for its fanless design, in-camera 32-bit float audio, 7.5 stops of in-body image stabilization, and gorgeous 4-inch rear LCD screen.

The shallow grip and rectangular, viewfinderless form factor is highly riggable, and despite lacking a chunky onboard fan, its passive cooling system manages to keep internals cool by allowing heat to pass through the camera’s magnesium-alloy body. As for core video specs, the headline is that coveted internal R3D NE recording, with video footage maxing out at 6K / 60p and 4K / 120p (cropped).

If you’re a run-and-gun videographer looking for an affordable and portable cinema camera that breaks the mould slightly, then the Nikon ZR comes highly recommended.

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Nikon has launched not one but two firmware updates, version 2.01 for the Nikon Z6 III and version 2.6.1 for Nikon NX Tether. The former brings Pre-Release Capture to compatible Bluetooth remote controllers among several quality-of-life upgrades and fixes, while the latter adds support for the Nikon Z5IIC alongside various quality-of-life upgrades.

If you’re updating your Nikon Z6 III, make sure you know how to update your Nikon camera’s firmware and be sure to follow Nikon’s own documentation on the download page, which warns to not perform an update with third-party lenses or adapters attached. Only Z-mount Nikkor lenses or the FTZ/FTZ II mount adapters are compatible.

Nikon Z6 III version 2.01

- Pre-Release Capture available from compatible Bluetooth remote controllers

- Focus limiter settings support for…

• Nikon Z DX 16-50mm f/3.5-6.3 VR
• Nikon Z DX 18-140mm f/3.5-6.3 VR
• Nikon Z DX 50-250mm f/4.5-6.3 VR
• Nikon Z 24-200mm f/4-6.3 VR
• Nikon Z 24-50mm f/4-6.3
• Nikon Z 14-24mm f/2.8 S
• Nikon Z 24-70mm f/4 S
• Nikon Z 14-30mm f/4 S

- Picture Controls item name changes…

• ‘Cloud Picture Control’ is now ‘Imaging Recipe’
• ‘Add Cloud Picture Control files’ is now ‘Download Imaging Recipes’

- The following fixes have been made…

• Some Custom Settings menu item numbers fixed
• In rare cases, photos could be overexposed during burst photography in Manual mode
• F-mount lens fixes…
• Rare, unstable exposure during burst shooting with type E lenses
• The camera would sometimes stop responding during burst shooting
• AF wouldn’t always function while using FV lock with flash unit attached
• A non-CPU lens could cause the camera not to capture the required number of shots in Pixel Shift
• When using a manual lens and subject detection, the camera would sometimes stop responding when zooming in or out of the live view display

Nikon NX Tether 2.6.1

• Nikon Z5IIC support
• Imaging Recipe selection now available for Picture Control item in shooting settings pane when connecting to camera with Imaging Recipes registered (Available with ZR, Z5IIC, and Zf)*
• “R3D NE 12-bit (R3D)” video file now also available in auto mode. (Available with ZR)*
• In-focus focus point color displayed in NX Tether when using AF now matches that used in the camera. (Available with Z5II and Z50II)*
• More cameras now support live view. (Now available with Z50II and Z30)*

*Update camera to latest version

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The Wildlife Photographer of the Year, developed and produced by the Natural History Museum, London, has just announced its winners. The prestigious Wildlife Photographer of the Year title goes to Italian photographer Federico Veronesi, who captured a female elephant carrying a deceased calf in Huab River Valley, Damaraland, Namibia.

The heartbreaking image, The Aftermath, is a powerful black-and-white photograph that, as researchers suggest, could show us how elephants understand death. This behaviour has been observed in Asia and Africa; researchers also say it could be interpreted as a sign of grief.

"This photograph works on so many levels. Emotionally it's a gut punch, heartbreakingly poignant. Intellectually it's proof that animals have cognition. This photograph says it all!" says Kathy Moran, Chair of the Wildlife Photographer of the Year Jury.

Tech details
Gear: Nikon Z8 + Nikon Z 400mm f/2.8 TC VR S
Exposure: 1/1000sec, f/2.8, ISO 72

The story behind the still
When Veronesi was photographing elephants in Namibia, an unusual trail of drag marks across the dry riverbed caught his attention. Soon he followed up with the family group. Then he witnessed the female emerge with the calf, its leg wedged between her tusk and trunk.

See the winning images
The sixty-second Wildlife Photographer of the Year exhibition will be on display from October 16, 2026 until July 11, 2027 at the Natural History Museum in London.

Tickets are available here. Discover more winning images on the Natural History Museum website.

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The top three mirrorless cameras at major Japanese retailer Yodobashi all come from the same brand. Topping the chart is a full-frame camera that made headlines before its launch in December 2025 and has since won multiple industry awards.

The No.1 mirrorless camera in Yodobashi's ranking for the second half of September is the Sony A7 V, followed by the ever-popular Sony A7C II with a zoom lens kit. In third place is the same full-frame camera in its body-only version.

Sony dominated previous Yodobashi rankings, with its camera accounting for 50% of the Top 10. Now, the manufacturer remains in the lead, but its presence has fallen to four models. Canon follows with three cameras: the EOS R50 (No.4), EOS R6 Mark III (No.8) and EOS R10 (No.9).

Yodobashi's Top 10 mirrorless cameras, 2nds Half Sep 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Sony A7C II | Silver | Black
4. Canon EOS R50 Double Zoom Kit | Black | White
5. Fujifilm X-T30 III XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
8. Canon EOS R6 Mark III
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Nikon Z50 II Double Zoom Kit

Japan's No.1: the "Camera of the Year"

The Sony A7 V is a camera many photographers have been waiting for.

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

It also highlighted the partially stacked Exmor RS CMOS sensor, which offers a dynamic range of up to approx. 16 stops and blackout-free continuous shooting at up to 30 frames per second (fps) in 14-bit RAW.

Designed as a true hybrid all-rounder, the Sony A7 V combines high-speed performance and advanced autofocus (AF) in a more affordable body.

Since launch, the A7 V has regularly topped sales charts across major retailers in Japan. It features a couple of headline-grabbing improvements we haven't yet seen debuted in other Sony cameras, as DCW's Reviews Editor Gareth Bevan highlights. He calls the full-frame a "more affordable jack-of-all-trades body."

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Images of the yet-to-be-released Nikon Z 120-300mm f/2.8 TC VR S have surfaced online, giving a tantalizing glimpse of the much-anticipated optic in action. The imagery, shared by Nikon Rumors, was captured at the weekend’s F1 Singapore Grand Prix and appears to show the super-telephoto zoom lens being used by two different photographers. In both cases, the optic is attached to the flagship Nikon Z9.

According to the rumor website, we could see an official release at the end of the month. As to where we stand right now, Nikon acknowledged its existence back in May, via a development announcement, and has set up a product page. But official details are thin on the ground.

What we do know is that the professional-grade S-line optic will have a built-in 1.4x teleconverter, pushing the telephoto end to 420mm f/4. On paper, this should be a fine lens for wildlife and sports photographers who want to keep their shutter speed high and their ISO low, thanks to that fast aperture. Nikon already offers built-in 1.4x teleconverters on its Z 400mm f/2.8 and Z 600mm f/4 prime lenses.

The lens will be the spiritual successor to the Nikon AF-S 120-300mm f/2.8E FL ED SR VR, which was the very last DSLR lens Nikon announced, back in 2019 alongside the Nikon D6. That lens has since been discontinued, but it was priced at around $9,500 / £9,500 at launch, so I’d expect a similarly range-topping price point for the new Z lens.

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Nikon has announced that the winner of its 2026 Small World in Motion Video Competition — a long-running and prestigious scientific imaging contest — has been disqualified.

According to the company, the winning video, created by Dr. Ning Xu of China’s Tsinghua University, “did not comply with the competition rules regarding generative AI,” although Nikon did not state exactly how the rules were broken.

The company did, however, subsequently name Nguyen Nam Nhat, of Vietnam, the new winner for a video depicting a tiny roundworm and a single-celled Dileptus “exploring their microscopic world.”

In late September, Dr. Xu, a biomedical imaging specialist, took first place at the 16th edition of the Nikon contest. His microscopic video captured the abnormal beating of a cellular structure in a patient with a rare genetic respiratory disorder called primary ciliary dyskinesia (PCD).

According to the BBC, after the entry appeared on a now-deleted post on the competition's official LinkedIn page, scientists began pointing out to Nikon that Dr. Xu’s video appeared to be computer-generated.

Among them was Dr. Robert Hirst, principal scientist at the University of Leicester’s Division of Respiratory Sciences, who told the BBC he “knew immediately that the video was fabricated.”

“I have been diagnosing PCD for 20 years by examining their cilia waveform, length, cell size and shape,” he said, adding that the cells and cilia in the video looked “nothing like” those of PCD patients.

Dr. Xu defended his use of AI in the post comments before it was deleted. According to CNN, he stated that he wanted the video to be “visually engaging as well as scientifically interesting."

The disqualified winner explained that AI assistance was used in the post-processing of grayscale images to “distinguish and visualize" features in the region below the cilia, not to “anatomically reconstruct the underlying cells or organelles."

Dr. Xu concluded that "a more detailed description” of his optical system and quantitative analysis of the ciliary motion are currently being prepared for publication.

Following the outcry, Nikon removed Dr. Xu’s entry from the winners’ webpage, stating that it had “thoroughly” reevaluated the video and supporting materials, while also consulting members of the judging panel.

Nikon said that the disqualification was “based solely” on the submitted video’s eligibility under the competition rules and should not be interpreted as a “judgment of the entrant’s professional reputation, scientific contributions, or intent.”

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These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $501.70 at B&H. Two bundles include accessories at no extra cost, since the price matches the camera body alone, making the extras essentially free.

The Canon EOS R8 is now available for just $1,399 at B&H – a $250 discount from its original $1,649 price tag.

The Nikon Z6 II is now available in a basic bundle for just $1,296.95 at B&H – a $450 discount from the original $1,746.95 price tag, including a shoulder bag and 128GB memory card.

The Sony A7 III is now available in a basic bundle for just $1,498 at B&H– a $501.70 discount from the original price of $1,999.70. This deal includes a shoulder bag and 128GB memory card.

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

The Canon EOS R8 offers an affordable entry into full-frame territory. It keeps the familiar Canon interface, supports your DSLR lenses via an adapter, and packs modern features into a lightweight, compact body.

The only notable limitation is the lack of IBIS, which might be a deal-breaker if you do a lot of handheld shooting with long lenses or video. In that case, the EOS R6 II is worth considering, though it comes with a much higher price tag.

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

If you're moving from a Nikon DSLR like the D750 or D780, the Nikon Z6 II is hands-down a smooth upgrade. It features a similar body design, intuitive Nikon menus, and excellent ergonomics.

While Nikon's Z-mount lens selection isn't as extensive as Sony's or Canon's, you can make use of your existing DSLR lenses via an adapter.

Sony A7 III

Ideal for system switchers and DSLR upgraders

The Sony A7 III remains one of the most versatile full-frame cameras in its price range and packs pro-level features.

It gives you maximum mirrorless flexibility as the Sony E-mount ecosystem is the most mature on the market, boasting a huge range of native lenses and third-party support from brands like Tamron and Sigma.

Comparison

If I were to pick a mirrorless full-frame camera today, I'd lean toward the Sony A7 III.

Its unmatched lens options and flexibility make it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

With the launch of the Nikon Z5IIC I thought it was time to address the raging debate as to whether or not you should ever rely on the rear LCD as a serious photographer. In reality, I think the answer is quite simple. Nobody has ever looked at a photograph and gone: “I can see it a mile off; you didn’t look through the viewfinder!”

Viewfinders rule!

So why do many photographers constantly look down on composing via the rear LCD? Well, the pitfalls do outweigh the advantages. Looking through the viewfinder allows you to stabilize the camera more, helping to reduce camera shake. And unlike the rear LCD, bright conditions won’t impede your view when looking through the viewfinder. And finally, the viewfinder blocks your peripheral vision, allowing you to focus entirely on your composition.

That seals the deal then – no point ever using the rear LCD again. Not so fast. For sports and wildlife, I always look through the viewfinder because the setup is too heavy to hold away from my face. However, I actually prefer composing images using the rear LCD screen – when the conditions are right.

Hidden benefits of the rear LCD

This is entirely personal preference, but I don’t particularly enjoy my eye being so close to an EVF (optical viewfinders for the win), and I also find it hard to take in my entire composition when my eye is so close to the frame. That’s why, should the situation allow for it, I will occasionally pull back from the EVF and look at the rear LCD.

And despite what some photographers will tell you, this is a very common thing to do. Just ask a landscape photographer. When a camera is locked off on a tripod, it’s often much more awkward to refine your composition as you’re hunched over the viewfinder. Looking through the rear LCD in landscape photography is commonplace.

The rear LCD can also benefit portrait photographers. Seasoned models won’t care, but if you’re photographing, say, corporate headshots or family portraits, looking through the viewfinder can sometimes create a little tension. Pulling back to view the rear LCD so they can see a big smile on your face and you can readily look up to encourage them can often settle any nerves.

Only results matter

I’ve spent years educating photographers on how to take photos, and while I’m all too happy to impart my knowledge when it comes to technique, I try to avoid telling photographers exactly how they should operate their camera. Don’t get me wrong, if somebody came to me with a series of blurry images, I might suggest they raise their shutter speed and look through the viewfinder to help minimize camera shake, but if a photographer is comfortable looking through the rear LCD and their images look great, what’s the harm?

I said it at the beginning of this article, and I’ll say it again. Your audience only cares about the end product. You could have captured the photo looking through the rear LCD while holding your camera with one hand and munching on an apple in the other, all while riding a unicycle for all anyone cares. If it’s a good photo, it’s a good photo no matter how you take it.

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Want more of my ramblings? My old DSLR made me realize how much I miss optical viewfinders – and how much I dislike EVFs. What on Earth is this “boring” seven-year-old last-gen APS-C mirrorless camera doing in Japan’s top-10 camera sales? Plus, here's the latest camera news.

It’s all too easy to get caught up in negativity online, particularly when it centres around Nikon’s first camera in nearly a year. And especially when said camera arrives and appears to be, mostly, a downgraded version of what was already available.

So, when specifications for the Nikon Z5IIC were published, my initial reaction was a shrug of indifference, followed by outright irritation. Nikon has removed the eye-level viewfinder… what the hell, Nikon?!

While my response was a personal one, I was acutely aware that my opinion didn’t really matter this time around, because the camera isn’t made for me.

Its target audience is closer to that of my teenage niece studying photography, someone who has grown up with parents and siblings shooting exclusively on a smartphone. She doesn’t care about an eye-level viewfinder to shut out distractions as a frame is composed. She’s never used one.

Of course, with familiarity, a viewfinder, may well in time become an appreciated creative asset. Taking and reviewing pictures in strong sunlight using only a screen can be tricky, but yes, we do manage to do just that with our phones.

As for me, well, if truly I like the cut of this camera’s gib, I can opt for the earlier Nikon Z5II from a year-and-a-half ago. That did include an eyelevel viewfinder. And two SD card slots, whereas this newer model makes do with one. So, there are options. There are always options.

While I can understand that, after a year-long release drought, Nikon announcing a ‘new’ camera that appears to simply be a lower spec version of what’s already available has left it open to accusations of sheer laziness, to the uninitiated it’s still the most budget-friendly full frame Nikon mirrorless out there.

We’ll leave aside the fact that it seems odd to expand your full frame range, when that specific market segment, along with Nikon itself, is experiencing a dip in sales.

So it remains to be seen whether the Nikon Z5IIc will play its part in turning things around for the wider photo industry and Nikon itself. But more options is always a good thing, right? And if something isn’t for us, then no worries, the next thing to come along might well be – and blow our minds.

Nikkei Shimbun has interviewed big wigs from Canon, Sony, Fujifilm and Nikon, providing some very interesting insights into the industry’s collective views on AI. But as Digital Camera World’s resident Nikon nerd, it’s the Japanese business publication’s interview with the ‘Big N’ that really caught my attention. The conversation was summarized by Nikon Rumors, and although it sounds a little complicated, I think Nikon will essentially be doubling down on its current strategy.

The summary talks of a modular design where technology is essentially bolted onto the image processor, with Nikon Rumors stating: “This approach might allow them [Nikon] to manufacture a wider variety of digital cameras more efficiently and in a shorter timeframe.”

But this seems rather familiar to me. The second generation of Nikon’s mirrorless cameras started with the Nikon Z9 and, bar the odd innovation here and there, every camera since has essentially received hand-me-down Z9 tech. A trickle-down model, if you will.

It’s why I’ve not been overly surprised that Nikon hasn’t been prolific with its camera releases of late. If rumors of a Nikon Z9II delay are true, it makes sense to me that any plans for a third-gen lineup would grind to a halt, because the flagship needs to come first to set the technological precedent.

It’s why I’ve been a little surprised that we haven’t received a Nikon Zfc II yet, because if it were to follow in the Nikon Zfc’s footsteps, it would be a reskinned Nikon Z50 II. By applying that line of thinking, the Nikon Z5IIC suddenly makes a lot of sense.

I can only assume that, since it’s essentially a Nikon Z5II without a viewfinder, it required comparatively little development. It also brings very little new to the table, so it doesn’t rely on next-generation tech. It’s a safe camera release that doesn’t rock the technological boat, so to speak.

Another quote from Nikon Rumors states: “Nikon believes that state-of-the-art technology needs to be embedded in products because that is what customers expect.” I can certainly understand this; we’re seeing some very advanced tech such as open-gate video, subject-detection, fast burst speeds and more at the lower end of the market with cameras such as the Fujifilm X-M5, Panasonic Lumix L10 and OM System PEN.

My only concern is what I’ve talked about time and again, and that’s Nikon’s reluctance to release an entry-level camera. I still stand by my assessment that photographers are extremely brand loyal and that all brands need a viable entry point into their ecosystem to ensure that they attract future generations of customers.

With that in mind, I’m not sure if this modular, trickle-down model that’s being talked about is a help or a hindrance. Sticking an Expeed 7 or maybe a potential future Expeed 8 in an entry-level camera would definitely be overkill, and perhaps not even cost-effective, but I still think that a true entry-level camera in the form of a Nikon D3500 would fill a giant hole in Nikon’s lineup. And even if it's a loss leader, I still think it would be a huge boon for the imaging division's future.

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Are you a fan of Nikon? Check out the best Nikon camera and the best Nikon Z lenses. Plus, here's the latest camera news.

I’ve just been looking back at BCN+R’s top 10 mirrorless cameras chart for the first half of 2026, and I spotted something I’d missed. Usually, I’m hyper-focused on the top end of the ranking, but right at the bottom, slipping into the #10 spot is the Nikon Z50. That’s right, a seven-year-old last-generation APS-C mirrorless camera that’s long been succeeded by the far superior Nikon Z50II. So, what gives?

Well, first off, the Nikon Z50II ranks higher in the list at #6. And secondly, the Japanese domestic market isn’t necessarily ruled by what’s new and what has the latest specs. Frequently, BCN+R provides evidence that consumers are not opposed to buying up smaller or older cameras, and while the Nikon Z50 has been discontinued, new stock is still relatively easy to get hold of and for some very good prices, too.

BCN's Top 10 best-selling mirrorless cameras (first half of 2026)

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-T30 III
8. Sony A7 V
9. Olympus PEN E-P7
10. Nikon Z50

Now, it’s easy to dismiss the Nikon Z50. It’s got last-gen AF that wasn’t exactly ground-breaking at the time, can only hit 11-fps bursts, and maxes out at 4K / 30p. But not everyone wants to photograph challenging subjects, and not everyone wants to shoot high-quality video.

In fact, the Nikon Zfc shares almost the exact same specs as the Nikon Z50 and is still in Nikon’s current lineup. At the end of the day, all of Nikon’s mirrorless cameras share the same two advantages: access to an incredible range of Z-mount lenses and supreme image quality.

If all you want is an everyday carry to take on holidays, day trips and family events, this is still a fine little mirrorless camera. And the fact it’s still selling well is proof that Nikon absolutely needs to make a true entry-level camera.

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For more of my Nikon ramblings: 27 miles, two days, and one Nikon Zfc. Is the retro Nikon Z fc still a relevant mirrorless camera in 2025? Plus, here's the latest camera news.

The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary is finally coming to Nikon Z mount. Digital Camera World reviewer Matthew Richards said this APS-C all-in-one zoom lens ticked all the right boxes for a ‘superzoom’ when he reviewed the Canon RF version back in 2025. But, as is often the case, a Z-mount variant has taken a while to come into fruition.

That all changes today. APS-C Nikon photographers can take advantage of the world’s first mirrorless lens with an approximate zoom ratio of 18.8x, delivering a 35mm equivalent zoom range of 24-450mm. From wide-angle to super-telephoto, this ‘one-and-done’ lens will cover everything from landscapes to wildlife.

It also boasts a maximum magnification ratio of 1:2 at 70mm for frame-filling close-ups, while Sigma’s High-Response Linear Actuator motor is designed to produce “exceptionally fast, smooth and accurate autofocus”. A boon for a super-telephoto lens like this is optical image stabilization, providing up to 6 stops of stabilization at the wide end and 4.5 stops at the telephoto end.

There’s also a rubber gasket around the mount to provide some weather sealing, which Sigma rates as dust- and splash-resistant with a water-repellent coating. According to Sigma, communication speed optimization and the lens’s AF drive have been specifically designed for the Z mount.

The lens is also designed to minimize flare and ghosting, as well as focus breathing. It comprises 20 elements in 14 groups, including 1x 'F' Low Dispersion, 4x Special Low Dispersion, and 4x aspherical elements. The aperture is controlled via a 9-bladed diaphragm, with a max aperture of f/22-45, while the filter sports a 67mm thread.

This lens brings the total of Sigma lenses available for Nikon Z mount to four, with the Sigma 16mm f/1.4 DC DN | C, Sigma 30mm f/1.4 DC DN | C and Sigma 56mm f/1.4 DC DN | C also available. The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary will have an RRP of $769 / £599 and is set to launch on November 5.

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The Tamron 20-40mm f/2.8 Di III VXD is a fantastic compact zoom lens – but the unusual lens was only available for the Sony E-Mount when it launched in the fall of 2022. That’s changing as Tamron brings the lightweight lens to the Nikon Z mount for the first time this month.

The Tamron 20-40mm f/2.8 Di III VXD lens earned a 4.5-star rating in tests for the Sony E-Mount variation, but the lightweight full-frame lens will be available for the Nikon Z mount beginning on October 22.

The 20-40mm lens has a narrower reach than the more standard 24-70mm, but the trade-off is a much lighter, more compact design. The Nikon Z version will come in at 380g / 13.4 oz, taking up an 88.7 mm / 3.5-inch slot inside a camera bag.

The unusual 20-40mm focal length makes the lens a bit harder to directly compare with Nikon’z existing lenses. But the Tamron 20-40mm f/2.8 does come in at a lighter weight than the Nikon Z 14-30mm f/4 S. It weighs nearly twice as much as Nikon’s tiny 24-50mm f/4-6.3, but comes in only slightly longer – and with a constant f/2.8 aperture.

At 20mm, the lens is wide enough for some landscape shots as well as vlogging and selfies, while the long end adds versatility for portraits and snapshots.

Like the earlier E-Mount version, the lens packs in a Voice-coil eXtreme-torque Drive or VXD autofocus motor that’s built for speed and precision. The lens can focus as close as 6.7 inches / 0.17m from the front of the lens for close-ups.

The lens is built with weather seals, protecting the 12 optical elements on the inside from dust and moisture. A USB-C port supports the Tamron Link accessory for controlling the lens using a mobile app.

The Z Mount variation of the Tamron 20-40mm f/2.8 Di III VXD will arrive on October 22, retailing for $729 / CA$999, which is about £551 / AU$1,046.

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The growth of AI has been met with trepidation among the creative community – but Japan’s biggest camera makers agree that AI-generated content is sparking an entirely different trend: the growth of the dedicated camera and a shift towards prioritizing the experience of photography over technical specifications.

Japanese business publication Nikkei Shimbun recently interviewed executives from Canon, Sony, Nikon and Fujifilm. Despite discussing camera trends with four competing brands, there’s an overarching trend that Japan’s biggest camera makers seem to agree on.

Camera makers believe that the rise of AI-generated content, along with trends towards a more retro film-like look, is actually driving more people to pick up a dedicated camera over simply shooting with a smartphone. The camera market saw healthy growth last year, but the biggest growth was in the fixed-lens compact category, which rose nearly 30 percent.

But with AI slop driving more people to pick up dedicated cameras, the reason behind choosing a certain camera is also shifting. The experience that a camera offers is becoming increasingly important in the era of AI and smartphones.

Camera makers are seeing an increased priority on the physical controls and the style of the camera. Casual photographers shifting from a smartphone are often looking for a camera that’s more fun to shoot with – and the design and physical controls are a big part of that. The rise of screen-free cameras is a key example of this trend, along with the continued rise in retro cameras.

Generated content is known for being overly perfect and inauthentic, and that’s creating a push towards a more traditional camera experience, both in the camera’s design and the look and feel of the images. More and more camera makers seem to be pushing the in-camera colors through film simulations, photo styles, and in-camera LUTs.

Camera makers have long been engaged in the megapixel race and the push to beat out competitors' specifications. Manufacturers aren’t dropping out of this race anytime soon, not for pro models geared towards serious photographers.

But the camera industry is once again welcoming the average consumer who just wants to snap some photos of daily life, and this sort of photographer may care more about the experience than the megapixel count.

Photographers have already seen evidence of this push with experimental cameras like the Fujifilm X Half and the viral success of low-resolution cameras like the Kodak Charmera.

The rise of the smartphone decimated the market for casual shooters looking to take snapshots of daily life. Thanks to wariness over AI-generated content and a rising trend for a more screen-free lifestyle, this camera category is returning with a vengeance.

Canon is looking to build a more diversified camera line, including retro styling

In the interview, Canon said that younger consumers are discovering the joy of shooting with a dedicated camera. Canon hinted that it’s been exploring more stylish compact cameras and cameras that create a more film-like look as a result.

But Canon executives also recognize that the people who are picking up cameras are becoming increasingly diverse. The camera industry isn’t solely focused on professionals and hobbyists but is shifting to welcome the customer who just wants to take photos of daily life.

Canon says it's looking to create a more diverse line of cameras in order to reach the wider range of consumers picking up a dedicated camera.

Canon also says it recognizes the growth of video and hybrid shooting, saying that it plans to expand V-series lenses.

Nikon is increasingly looking beyond just stills

Video remains a particular focus for growth for Nikon, the interview hints, particularly after the acquisition of RED. Nikon executives hinted that Nikon’s optics and imaging have opportunities to grow by looking at multiple forms of content.

On the topic of AI, Nikon says that it's exploring the possibility of using AI beyond autofocus applications, such as choosing the best images and the newly implemented AI-built tools for auto white balance.

Sony’s entertainment division could help inspire cameras

The interview suggests that Sony may be looking to take advantage of its diverse range of businesses across movies, music, and gaming and use that expertise towards future camera launches. Cameras can also be a form of entertainment – and Sony also mentioned exploring spatial experiences, such as VR spaces.

Sony also says that AI can be a creative tool to aid in tech like autofocus subject detection and pose estimation. But Sony is also pushing for a “digital birth certificate” for recognition of in-camera authenticity.

Fujifilm’s push for film simulations and retro designs is working

Fujifilm’s sales have been steadily rising, and part of that is the brand’s focus on retro camera designs and film simulations. Both features work well with the growing trend of people shifting from smartphones to cameras that are fun to shoot and carry more authenticity than AI-generated content.

As far as using AI in cameras, Fujifilm executives said that AI should be treated more like an assistant aiding in things like autofocus, and not creating images.

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A professional photographer who goes by the name u/wildyouth116 on Reddit has posted their setup, with many surprised to find that they regularly use a whopping 10 bodies. But what’s even more curious is the cameras in question.

Despite having a cutting-edge Nikon Z8, the photographer also uses five DSLR cameras: two Nikon D850s, two Nikon D780s and a Nikon D200. As well as four film cameras: Nikon FM2, Nikon F100, Nikon F6, and what appears to be a blacked-out Nikon N80.

One commenter suggested that a second Nikon Z8 would replace the four DSLRs, but the professional photographer explains that they use two bodies at a time for events and commercial shoots, so they like to have backups if the worst should happen.

Interestingly, the pro mentions that they “prefer DSLRs for lowlight events, and most every day work [sic].” Presumably the Nikon D780 wins out here, but only because of its lower-resolution sensor. The Nikon Z8 is still a monster camera in low-light situations.

One commenter mentions gear acquisition syndrome (GAS), but the pro explains that they have completed 700 jobs in three years. That certainly takes its toll on kit, and indeed, the original poster says that during a seven-year career, they “have burned through at least 5 camera bodies,” continuing, “It's more of an expensive insurance policy in case one breaks, I have to send it in for maintenance, etc”.

Having at least one backup body is essential for professional photographers, and many do have more. If you’re shooting a wedding and your primary camera breaks, you’re expected to have a backup. And while 10 cameras might seem like overkill, four are film cameras. The meat of the setup is a pair of D850s and D780s and a Nikon Z8. A sensible collection of cameras, if you ask me.

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Retro camera fans have long been waiting for a refresh of the PEN series – and the latest trends from Japan suggest just how excited photographers are about the new OM System PEN.

Japanese photo retailer Camera Kitamura has shared the best-selling mirrorless cameras for September, a list that’s led by the Sony A7C II, the new OM System PEN, and the Sony A6700.

Both the Sony A7C II and the A6700 have been around for a few years and are regular attendees on Japan’s best-seller lists. But the camera in second place is a fresh launch.

The OM System PEN was only announced on September 09, with pre-orders initially not scheduled to begin shipping until late October. But only two days after the announcement, OM System Japan said that there had been so many orders that some may not get their camera until November.

The new 2026 PEN’s early success isn’t unwarranted. I’ve been shooting with an early review sample for a few weeks now. The compact retro design makes it the camera that I instinctively want to grab.

While the design may have been what first drew me to the new PEN, OM System’s new Micro Four Thirds shooter is also one of the most affordable mirrorless bodies with both in-body stabilization and weather sealing. It retails for $999 / £849 / AU$1,499 body-only, or $1,099 / £949 / AU$1,799 with a kit lens (which is what’s made the Kitamura best-seller list).

But perhaps the more interesting aspect of the latest list of best-sellers from Japan is that it’s the smallest sensor camera of the three major bodies announced in September that’s in the top three. The PEN was one of three major camera launches in September. Canon also introduced the EOS R8 Mark II, and Nikon also unveiled the Z5IIC. The R8 Mark II sits in fourth place on Kitamura’s list, while the Z5IIC didn’t make the top ten.

Looking at a single retailer in Japan isn’t going to be indicative of the camera market as a whole, but it’s interesting that of the three major launches last month, it’s the Micro Four Thirds shooter that’s dominating Kitamura’s sales. The trends list will be interesting to watch as those cameras begin shipping in October and November.

The OM System PEN, however, fell just behind the first-place Sony A7C II. Sony’s more compact full-frame mirrorless has been regularly dominating best-seller lists since its launch three years ago. Its compact design that still crams in a full-frame sensor has been well-loved, despite the camera’s age.

Compact designs seem to dominate much of Kitamura’s list. The Sony A6700 comes in third place, an APS-C shooter that’s small but fast.

The R8 Mark II sits in fourth place, with a new, more angular design inspired by the film Canon T80. The R8 Mark II still follows the trend of a more compact body design as a more entry-level full-frame, but unlike the original, the Mark II includes stabilization.

Another longstanding Sony favorite, the Sony A7 IV, sits in fifth place. That camera’s successor, the Sony A7 V, which has been dominating a number of best-seller lists since its launch, doesn’t show up until 8th place.

The only Fujifilm camera on Kitamura’s best-selling mirrorless list is the compact, budget-friendly Fujifilm X-M5. The X-M5 is both one of Fujifilm’s most affordable bodies and the smallest, though it lacks a viewfinder, and many features are geared towards hybrid shooting.

Two more Sony APS-C cameras sit on the list, the ZV-E10 II in seventh place and the Sony A6400 in ninth place. Both of those cameras are on the list for two-lens kits rather than the single kit lens options.

Canon rounds out the list with the EOS R6 Mark II in 10th place. While the camera has now been replaced with the Mark III, the R6 Mark II remains available at a lower price point than the newer model.

Kitamura Camera’s best-selling mirrorless cameras for September 2026

1. Sony A7C II
2. OM System PEN with 14-42mm f/3.5-5.6 III kit lens
3. Sony A6700 with zoom lens kit
4. Canon EOS R8 Mark II
5. Sony A7 IV zoom lens kit
6. Fujifilm X-M5 with XC 15-45mm kit lens
7. Sony ZV-E10 II double zoom lens kit
8. Sony A7 V
9. Sony A6400 double zoom lens kit
10. Canon EOS R6 Mark II

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If you needed any convincing that the Nikon ZR is as cool as it gets, this video of Aquaman himself getting a pair of all-brass Nikon ZR bodies from Nikon USA should do it. But far from a freebie, Jason Momoa will be earning his keep, using the ultra-portable cinema cameras on the road when filming the next season of his HBO Max Original documentary series On the Roam.

In a video posted on Momoa’s Instagram (@prideofgypsies), the actor and filmmaker can be seen opening a hard case to reveal the pair of custom-made bodies, and he can hardly contain his excitement, dropping a couple of expletives along the way: “These are amazing. Holy s**t,” he says, before adding “that is f*****g epic.”

A close-up of the cameras reveals that beyond the solid brass bodies, the rear of each camera’s LCD screen is etched with the same design as the compass tattoo on Momoa’s forearm. The Game of Thrones actor also comments on the cameras’ weight, owing to the solid-brass design.

But that’s not all; Momoa is also presented with a solid-brass cage from Tilta. This makes for a striking combination and will, of course, serve a very practical purpose when the cameras are rigged up for filming.

The standard Nikon ZR you or I can buy is already a notable camera. It puts RED's 12-bit cinema tech, like the Log3G10 curve and REDWideGamut, and Nikon's AF tech in the same body. The output is up to 6K footage at 60fps, whether the body is brass or not.

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The Nikon Z6 II has just received another price cut, dropping to $1,296.95 in the Amazon Prime sale and saving you $453. At that price, it represents excellent value for a full-frame mirrorless camera that still delivers a strong combination of image quality, speed, handling, and versatility.

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If you have been thinking about upgrading to one of the best mirrorless cameras but do not need the huge file sizes that come with a 40MP-plus sensor, the Z6 II remains a very compelling option. Its 24.5MP full-frame sensor strikes a great balance between detail, low-light performance, and manageable file sizes, making it equally well suited to stills and video.

I may be slightly biased as a former Nikon shooter, but the Z6 II is still a camera I would happily recommend. It is well built, comfortable to use, and capable enough for everything from travel and portraits to events, wildlife, and everyday photography. At this reduced price, it becomes an even stronger choice for anyone wanting a dependable full-frame system without spending flagship money.

The Nikon Z6 II builds on everything that made the original Z6 such a strong all-rounder, adding dual processors, a second card slot, and faster burst shooting. It delivers excellent full-frame performance without pushing you into the higher megapixel count or price of the Z7 II, while remaining a very capable alternative to the newer Nikon Z6 III.

Image quality is exactly what I would expect from Nikon, with rich color, plenty of detail, and files that are equally enjoyable to edit or share straight from the camera. The addition of a second card slot also gives the Z6 II a more professional edge, while its autofocus system does a very good job of tracking people and animals.

The 4K 60p video mode does come with a crop, but if, like me, you tend to shoot most footage at 24p or 30p, that is unlikely to be a major concern. At this new lower price, the Z6 II remains one of the most affordable and appealing ways to step into Nikon’s full-frame mirrorless system.

See our guide to the Best lenses for the Nikon Z6 II

Nikon Direct has launched another tantalizing range of lifestyle products, including a rather fetching t-shirt and jacket, that Western Nikon fans can’t get their hands on. But in my continued quest to prove to Nikon that we overseas want merch, too, I thought I’d share the latest releases to hit the Japanese domestic market by way of Digital Camera Watch and the brand’s official online store.

Nikon clothing

First up, the aforementioned Nikon T-Shirt and Nylon Jacket. These classy clothing items both feature a tasteful, minimalist black design with an offset white Nikon logo on the chest and the classic Nikon red stripe on one arm.

I don’t know about anyone else, but I think adding Giorgetto Giugiaro’s timeless design cue is genius. Subtle enough, but if you know, you know. Both items of clothing are available in three sizes (M, L, XL). The t-shirt is priced at JP¥4,000 and the jacket JP¥9,600 (approx $25/£19/AU$36 and $61/£46/AU$87 respectively).

Nikon lifestyle accessories

You can also now pick up the Nikon Folding Umbrella and Nikon Folding Chair to go with your Nikon wardrobe. The folding umbrella is small and boasts a classic black design with a tiny Nikon label on the canopy. Underneath, it has a rather fetching white reverse, displaying a variety of Nikon cameras and lenses such as the Nikon Zf, Nikon Z8, and Nikon ZR.

It can be used to repel rain or as a parasol with light-blocking and UV-cutting ratings of 95% or more. It folds down into a small package that’s not much longer than a standard bottle of water. It’s priced at JP¥5,600 (approx $35/£27/AU$51).

The folding chair features a similar black design with a white Nikon logo and red stripe. It’s rated up to 100kg and packs down into a tiny 290x90mm bag and weighs just 520g. Ideal for long hikes or patiently waiting for that bird or mammal to appear. It’s priced at JP¥5,900 (approx $37/£28/AU$54).

All of this comes shortly after Nikon Direct launched a pair of Noct-themed accessories in the form of a neck warmer and pack of paper cups. Whatever will the folks at the ‘Big N’ think of next?

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