Instead, I’ve found myself using it not for traditional wide vistas and expansive views of the Highlands, but on local walks through ancient woodland and farmland. Rather than using it to capture grand landscapes, I’ve been using it to explore a different way of seeing and composing photographs.

As a result, this lens has spent far more time on my camera than I ever expected.

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More Than Just a Landscape Lens

Initially, I took the Nikon Z 20mm f/1.8 S out on my Z6 III during a particularly stressful period.

I wanted to walk my local woodland, clear my head and spend some time outdoors. To simplify things, I deliberately chose a prime lens. Removing the option to zoom meant one less decision to make, while the bright f/1.8 aperture would help keep ISO levels under control on the dull, rainy days that are so common in Scottish woodland.

To be honest, I wasn’t expecting to come home with any great photographs. The goal was simply to get out of the house and decompress.

What I found while exploring local farm tracks and ancient woodland was unexpected.

The 20mm focal length encouraged me to really look and see in a way that zoom lenses often don’t. Its wide perspective forced me to pay close attention to every element in the frame, move closer to subjects, and think carefully about the relationship between foreground and background.

At the same time, the lens offered an unusual combination: I could get physically close to a subject while still including a strong sense of place and context. A patch of grass, a weathered fence post or a small group of trees could become the focal point of an image without losing the surrounding environment that gave it meaning.

As a result, composing photographs became a far more immersive experience. Sometimes it was challenging. Often it required more thought than simply zooming in on a subject. But when everything came together, it was also incredibly rewarding.

That experience is a large part of why the Nikon Z 20mm f/1.8 S has spent far more time on my camera than I originally expected. It encouraged me to shoot it more on my Nikon Z8 too.

Build Quality

Like the rest of Nikon’s S-Line prime lenses, the Nikon Z 20mm f/1.8 S feels exceptionally well made.

Constructed from a combination of high-quality plastics and metal, the lens strikes an excellent balance between durability and weight. At 505g, it isn’t the smallest wide-angle prime available for the Nikon Z system, but it is light enough that I’ve happily carried it for several hours while exploring local woodland and farm tracks.

It takes 77mm filters which is a standard filter size and happens to be one of the two sizes of filters that I managed to salvage from the Philippines when I moved to Scotland this year. That allows me to share filters between it and some of my other lenses such as the Nikon Z 24-120mm f/4.

Mounted on both the Nikon Z6 III and Nikon Z8, the lens feels well balanced. It’s substantial enough to inspire confidence without ever becoming burdensome, which is particularly important for a lens that often encourages longer walks and slower, more deliberate photography. The design is similar to the Nikon Z 85mm 1.8S lens in that Nikon have opted for a more narrow and long design rather than fat and short. I prefer fat and short but that’s very subjective.

The weather sealing is also reassuring. Much of my early use of the lens took place during typical Scottish weather, where damp conditions, drizzle and muddy paths are often part of the experience. I never felt the need to baby the 20mm f/1.8 S when shooting outdoors.

Image Quality

The Nikon Z 20mm f/1.8 S delivers excellent image quality and is one of those lenses that quickly disappears as a limitation when you’re shooting.

Wide open at f/1.8, the lens is impressively sharp in the centre of the frame whether mounted on the Nikon Z6 III or the higher-resolution Nikon Z8. Corner sharpness does soften slightly at wider apertures, but in practice I rarely found this to be an issue. If I’m shooting at f/1.8, my attention is usually on ensuring the subject is sharp rather than critically assessing corner performance.

Stop the lens down and the performance becomes even more impressive. Between f/5.6 and f/11, the Nikon Z 20mm f/1.8 S produces excellent detail across the frame, including the corners. On the 45.7MP Nikon Z8, images remain highly detailed even when viewed at 100%.

One aspect of the lens that particularly impressed me during woodland photography was its control of chromatic aberration. Backlit trees against bright skies are one of the harshest tests for any lens, yet the 20mm f/1.8 S handled these situations exceptionally well. Even in scenes with extreme contrast, I saw virtually no distracting colour fringing.

Flare resistance is similarly impressive. Nikon’s coatings do an excellent job of maintaining contrast when shooting into challenging light, while the supplied lens hood provides additional protection from stray light. Although no lens is completely immune to flare, the 20mm f/1.8 S performed very well in the situations I encountered.

As with any ultra-wide-angle lens, distortion is something you need to be aware of. Keeping the camera level is important if you want to avoid converging verticals and exaggerated perspective effects. Fortunately, Nikon Z camera’s built-in level makes this easy, and any remaining distortion is quickly corrected in Lightroom using the lens profile. In real-world use, I found the optical distortion to be relatively well controlled.

What stands out most about the Nikon Z 20mm f/1.8 S, however, isn’t its sharpness, lack of chromatic aberration, or flare resistance—impressive though those qualities are.

What makes this lens special is the way it encourages you to see. Its wide field of view pushes you to think more carefully about composition, relationships between subjects, and the use of foreground elements. It demands more attention than many lenses, but it also rewards that effort. The excellent optical performance simply ensures that when you do find a compelling composition, the resulting image lives up to the vision you saw in the field.

Autofocus Performance

Autofocus performance is exactly what I’ve come to expect from Nikon’s S-Line prime lenses. Focusing is fast, accurate and essentially silent.

In my use, which has mainly consisted of woodland photography, countryside walks and general outdoor shooting, the lens has never given me reason to think about autofocus at all. Focus acquisition is quick, subject detection works as expected, and accuracy has been consistently excellent on both the Nikon Z6 III and Nikon Z8.

Ultimately, autofocus is one of those areas where the Nikon Z 20mm f/1.8 S simply gets out of the way and lets you concentrate on making photographs.

Final Thoughts

I bought the Nikon Z 20mm f/1.8 S as a relatively lightweight wide-angle lens for those occasions when my Nikon Z 24-120mm f/4 S wasn’t quite wide enough.

What I didn’t expect was how much I would enjoy using it.

While the optical performance is excellent, with impressive sharpness, excellent control of chromatic aberration and strong flare resistance, those aren’t the reasons this lens has spent so much time on my camera.

The real appeal of the Nikon Z 20mm f/1.8 S is the way it encourages you to photograph differently. It rewards photographers who are willing to slow down, pay attention to the relationships between elements within a scene and think carefully about composition. In return, it offers a perspective that is difficult to replicate with other lenses.

It won’t be the right lens for everyone. Many photographers will be better served by the flexibility of the Nikon Z 14-30mm f/4 S or 14-24mm f/2.8 S, while others may find a 35mm or 50mm prime more useful for everyday photography.

However, if you enjoy working with a fixed focal length, appreciate the immersive perspective of a wide-angle lens and want something capable of far more than simply capturing expansive landscapes, the Nikon Z 20mm f/1.8 S is an easy lens to recommend.

For me, it has become one of the most enjoyable lenses in my Nikon kit.

Woodland is notoriously hard to photograph. Clutter everywhere, difficult light, endless distractions. You would naturally think using a longer focal length would help isolate subjects and simplify compositions, yet I’ve found myself opting for the Nikon Z 20mm f/1.8 S lens for my woodland walks lately. For more details see my full Nikon Z 20mm 1.8S review.

Today, I wanted to get a walk in my local woodland. It was the hottest day of the year so far, blue skies and harsh midday sun by the time I was free to get out. Not exactly the conditions we dream about as photographers, but that’s the time I had and, unlike in my younger years when I was free to pick and choose the best light, I’ll take whatever time I get these days and try to make the most of it.

So I headed out with the Nikon Z 20mm f/1.8 S attached to my Z8, a bottle of water and nothing else. I considered other lenses but decided I really do enjoy the focus and challenge of one lens, one point of view and the simplicity that offers. With everything else going on in life, a prime lens removes at least one more choice from my brain.

Photographing Woodland in Harsh Midday Light

Today was hot, the sunshine was beautiful, but the light was harsh and contrasty, creating huge differences in dynamic range between the pockets of light and the dark forest floor. The kind of light where you have to pay attention to your histogram and, more often than not, make choices about where you want your exposure to sit.

As I walked into the woods, huge Scots Pines towered over me, offering welcome shade and relief from the sun. I could hear a chorus of birdsong all around me. A few minutes in, I stumbled upon a Roe Deer feeding at the side of the path, no more than 10 metres away. I half rued my choice to shoot woodland instead of wildlife as the deer froze and stared straight at me. I watched her for a moment before deciding to keep walking slowly away, allowing her to relax and continue feeding.

The Scots Pine trees in particular evoke a sense of awe in me as they tower straight up into the sky, their trunks covered in incredible bark so textured I could spend the whole day simply admiring them.

This kind of harsh light, with trees and the forest canopy strongly backlit by the midday sun, lends itself to strong compositions, but more than that, it makes me look for light breaking through the canopy and illuminating small areas of interest. That was my focus today, not picture-postcard woodland images, but light and how it felt on and reacted with the environment.

Why I Chose One Lens and Nothing Else

Yesterday I had laid out several lenses and even cameras to take out with me for a walk. I actually swapped lens choice a couple of times. Maybe I’ll take two cameras for coverage. At one point I had the 50mm f/1.8 S on the Z6III and the 20mm f/1.8 S on the Z8. I looked at my 400mm f/4.5 and wondered if I should take that as well to capture any chance wildlife encounters. Maybe I’ll just go light and take the OM-3.

All of this was adding to my mental load when really all I wanted was a walk in nature for some peace, relaxation and to take some photos should I see anything interesting.

I laid the Z6III down and said to myself, no, just take one camera with a fixed lens. Then I know what I have and what type of shots to look for.

And this is the real strength of prime lenses for me. Instead of trying to cover every possible scenario, they limit you in a way that a zoom doesn’t, but that limitation actually helps focus your mind. It removes indecision, not only about what lens to use, but also about the types of images you are able to make. That leads to clarity, calms your brain and, in my case, actually allows me to think about the photos I am going to make rather than being overwhelmed by choice.

In my experience, that clarity and focus allows you to concentrate on creative thinking, composition and light. More often than not, I end up with a coherent set of photos which are usually better than if I’d taken a zoom or multiple lenses.

And in the past year or so, when I’m out taking photos for myself, when it’s my time, I value that clarity more than being able to cover every possible scenario with zooms or multiple lenses.

Maybe that’s just me and a reflection of how busy my headspace has been lately, but it’s something worth thinking about. Rather than trying to cover every possible shooting scenario, make a decision, introduce a creative constraint and see if it helps improve not only the photos you make, but also your enjoyment while making them.

Why the Nikon Z 20mm f/1.8 S Works So Well in Woodland

The Nikon Z 20mm f/1.8 S is perhaps not the most natural choice for woodland photography, and neither is it a particularly small lens, but it pairs well with cameras like the Z6III and Z8.

What it does well is encourage you to look for compositions you may not otherwise consider, to push in closer, get lower and really pay attention to your framing. In woodland especially, where clutter is everywhere, you start looking for angles that create separation and order within the frame intentionally. Moving in and out with your feet to remove distractions and arrange elements becomes part of the process because you cannot simply zoom in to eliminate them.

As with some of my shots of the horses, the Nikon Z 20mm f/1.8 S also allows you to get creative with depth of field, opting for a shallower depth of field which is quite unusual in wide-angle photography. That creates a very different look to standard landscape-style images shot at f/11 and beyond. Instead of trying to maximise depth and sharpness throughout the frame, I found myself trying to create atmosphere and, in yesterday’s harsh light, almost an ethereal quality.

I’ll go into the specifics of the Nikon Z 20mm f/1.8 S in much more detail in my full review, but for now I can say that the optical performance is exactly what I’ve come to expect from Nikon’s Z S-line lenses.

The 20mm perspective, when used in this way, can give the feeling of being immersed in the landscape, almost as if you are part of it, rather than feeling like an outside observer, which shots taken with 35–100mm lenses often create. It feels intimate when you push in close to your subject, yet expansive at the same time.

I was photographing the horses yesterday from no more than around 1.5 metres away. The ability of the 20mm lens to get that close while still giving context to the environment is unique to these wider-angle lenses. It’s a viewpoint that challenges you creatively but is ultimately very rewarding when you get things right, very similar in fact to the way I felt using the Fujifilm 18mm f/1.4 WR lens. I recently shot the same woodland with the Fuji X100VI which gave a very different look to the images.

Why I Processed the Photos This Way

I don’t usually enjoy sepia toning. It’s not something I use often as I tend to prefer darker, moodier edits with more contrast and weight to them. Yet when I was editing the photos from my walk yesterday, I found myself wanting to remove the saturated greens and focus instead on the pockets of light breaking through the trees.

Black and white immediately felt like the right direction. As I edited the first image, initially without any intention of processing the whole set in the same way, my usual black and white style simply didn’t reflect how the woodland had felt to me yesterday. The darker, moodier processing I normally gravitate towards felt too heavy for the atmosphere I had experienced walking through the woods.

As I’d wandered beneath the trees, the overwhelming feeling I got was that this was a little slice of heaven. The heat, the birdsong, the shafts of light breaking through the canopy and the huge Scots Pines towering above me all combined to create a feeling that was peaceful, ancient and almost dreamlike. Naturally, that pushed me towards warming the images in editing, controlling the highlights while still allowing the overall brightness to come through.

In the end, I replicated that processing style throughout the set and I think the images work well together as a group, all shot with a single lens to represent how that walk and that place felt to me in that moment.

And I’ve realised this more and more over the years: photography for me is less about trying to create images that will be popular, follow the trend of the day or even accurately show how a place looked. What matters to me now is trying to convey how a place felt.

Apologies for the lack of posts lately. I’m dealing with a few things behind the scenes at the moment and don’t really feel capable of writing anything meaningful right now.

Sometimes just getting outside with a camera is enough.

I took the Nikon Z 20mm 1.8S lens out on my Z8 recently too and have now written a review of the Nikon Z 20mm 1.8S lens.

Here was a camera that finally seemed like the leap forward from my old Z7II — a camera that offered the kind of autofocus performance, handling, and ergonomics I’d been missing ever since my DSLR days shooting with the Nikon D850.

But despite how tempting it was, I never quite found myself in a position where I could justify buying one.

At the time, I was living in the Philippines, shooting mainly travel photography alongside everyday life there. The Z9 felt too big, too expensive, and ultimately too much camera for the kind of photography I was doing at that stage.

Then Nikon removed two of my biggest objections almost overnight by releasing the Nikon Z8.

It was smaller, cheaper, and seemed to offer almost everything the Z9 did in terms of performance. I cracked and bought one — and I’ve been shooting with it ever since.

Since then, the Z8 has travelled with me from the Philippines to Scotland. I’ve used it for travel photography, family photography, landscapes, wildlife work, and general day-to-day shooting here in the Scottish Highlands.

I’ve deliberately held off writing this review for quite a while because the Z8 is such a capable camera across so many different genres that I always felt I needed more time with it before trying to properly review it.

Now, after owning it for around a year and shooting a huge variety of subjects with it, I finally feel ready to give a proper long-term verdict.

And to put it simply: the Nikon Z8 is the best camera for photography that I’ve ever used.

That doesn’t mean it’s perfect, and it certainly doesn’t mean everyone needs one, but after months of real-world use, it has become my primary camera — and I expect it will stay that way for a long time to come.

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Why I Bought the Nikon Z8

For years, I’d dreamed of properly getting into wildlife photography, but circumstances never quite lined up.

I’d bought into wildlife-capable systems before, but if I’m honest, I usually ended up compromising somewhere along the way — downsizing my ambitions and convincing myself I didn’t really need a serious wildlife setup. Deep down, I think I was trying to justify the expense of buying into a system for a type of photography I wasn’t sure I’d ever truly have time to pursue.

Everything changed once we knew we were almost certainly moving back to Scotland from the Philippines.

At that point, I realised that if I was ever going to properly pursue wildlife photography, this was the moment to do it.

But there was another side to it as well.

I didn’t just want a wildlife camera. I also wanted a camera that was just as capable for landscape photography because, in many ways, moving back to Scotland also meant returning to my landscape photography roots — roots that were originally formed nearly two decades ago while shooting in the Outer Hebrides.

Now, back in Scotland again, surrounded by mountains, forests, rivers, and constantly changing weather, I wanted to immerse myself in what I think of as real landscape photography once more.

I already knew from my years using the Nikon Z system that the lens lineup suited my style of photography almost perfectly.

The smaller 1.8 S primes like the 35mm 1.8S had been ideal for my travel photography and everyday shooting while living in the Philippines, while Nikon’s high quality zooms felt perfectly suited to landscape work here in Scotland. And when it came to wildlife photography, I genuinely believe Nikon now offers one of the strongest lens lineups available — especially for Z8 users.

Before the Z8, I already owned cameras that excelled in specific areas. The Fuji GFX100S gave me incredible image quality, while the OM System OM-1 was, on paper, an extremely capable wildlife camera.

But what I didn’t have was a single camera that combined both worlds as convincingly as the Z8 seemed to.

I wanted one professional-level workhorse camera that could handle landscapes, wildlife, travel, and general photography without feeling like I was making major compromises in any particular area.

That’s exactly what drew me to the Nikon Z8.

And as you’ll see throughout this review — and across much of my website — the Z8 has since become my default camera for landscapes and wildlife photography here in the Scottish Highlands.

It’s a camera that gives me confidence to head out and shoot regardless of the weather, the subject, or the conditions.

Design, Handling & Build Quality

I’m just going to come right out and say it: the Nikon Z8 is the Nikon Z mirrorless camera that Nikon D850 DSLR owners have been waiting for.

The feel, weight, size, and overall ergonomics make it feel like Nikon finally created the true mirrorless successor to cameras like the D850.

Compared to my old Z7II, which often felt like Nikon trying to downsize their cameras simply because mirrorless cameras were supposed to be smaller, the Z8 feels like Nikon decided to prioritise handling and usability first. It feels like a camera designed around the things Nikon DSLRs became famous for — confidence, ergonomics, reliability, and speed of operation.

At 144 x 119 x 83mm and around 910g, it’s certainly not a small camera, but for my medium-sized hands, it feels just about perfect in use.

I’ve previously praised the ergonomics of the Z6III — and rightly so — but going back to the Z6III after using the Z8, the difference is immediately noticeable, particularly in the grip.

The Z8 has a deeper grip that comfortably accommodates all of my fingers. It feels secure and confidence inspiring, especially when shooting in colder conditions where your fingers aren’t always as dexterous as they could be. Even while wearing gloves, the camera still feels extremely secure in the hand.

Where some cameras — particularly the Sony A7IV — can start to feel as if they’re twisting or digging into your hand during long shooting sessions, the Z8 never gives me that sensation. The lower corner of the grip sits comfortably against my hand, making the camera feel stable and well balanced over extended periods of use.

If weight and size are genuinely major concerns for you, then there’s no getting around the fact that compared to cameras like the OM System OM-1 Mark II or APS-C bodies from Fujifilm, the Z8 is substantially larger.

But ergonomically, it’s one of the best cameras I’ve ever used.

Balance With Lenses

One of the things Nikon has got absolutely right with the Z8 is how well balanced it feels across a huge range of lenses.

I’ve used it with everything from Nikon’s smaller 1.8 S prime lenses and the excellent 24-120mm f/4 through to lenses like the Nikon Z 800mm f/6.3, and the body has always felt appropriately matched.

The camera feels substantial enough to comfortably handle large telephoto lenses for wildlife photography, while still feeling perfectly reasonable with something like the Nikon Z 50mm f/1.8 S mounted for casual everyday shooting.

That balance is something Nikon has traditionally done very well, and the Z8 continues that tradition.

Build Quality & Weather Sealing

Nikon claims that the Z8 is weather sealed to the same standard as the flagship Z9, and I have absolutely no reason to doubt that.

I’ve taken the camera out during a typhoon in the Philippines and photographed the aftermath the following day. Since moving back to Scotland, the Z8 has been out with me in wind-driven rain, sleet, freezing temperatures, and generally miserable Highland weather conditions.

It has never so much as batted an eyelid.

The camera feels solid, dependable, and reliable regardless of the weather. It genuinely feels like a professional tool designed to be used properly outdoors rather than babied.

Controls & Button Layout

The body itself features just about every ergonomic nicety you could reasonably want from a professional camera body.

There’s a relatively large top LCD screen which can be illuminated by flicking the power switch to its furthest position. Direct buttons for exposure compensation, ISO, and video recording sit conveniently behind the shutter button, while the photo/video selector dial is placed logically and easy to operate.

The AF-ON button sits exactly where my thumb naturally rests, and the AF joystick is responsive and well positioned. Both the front and rear command dials offer the right amount of damping and protrude enough from the body to remain easy to operate while wearing gloves.

The overall control layout simply works.

Everything feels designed around allowing photographers to work quickly and efficiently with minimal fuss or adjustment period.

Nikon also continues to use my preferred power switch design, wrapping the on/off switch around the shutter button. This allows you to turn the camera on one-handed while raising it to your eye.

On the rear of the camera, Nikon includes a quick-access button for the “i” menu, a four-way controller surrounding the OK button, playback controls, zoom buttons, and a dedicated menu button.

Nikon has also retained the familiar hard-formatting shortcut from cameras like the D850 by pressing the delete and video record buttons simultaneously.

On the front of the camera, to the right of the lens mount, there are two additional function buttons alongside a dedicated AF button positioned on the lower left corner of the body. This allows you to quickly change focus modes and AF-area settings without diving into menus — something notably missing from the Z6III.

The control layout is rounded out by Nikon’s traditional professional controls on the top left of the camera, including dedicated buttons for:

• Bracketing
• White Balance
• Shooting Mode
• Drive Mode

I’m not personally a huge fan of Nikon’s left-side control binnacle design, but that’s entirely subjective and it works exactly as Nikon users would expect.

Rear Screen & EVF

The rear LCD uses a hinged three-way tilt design, which remains my preferred screen implementation for photography.

It allows the screen to tilt up and down in landscape orientation while also being usable when shooting vertically. It’s a far more photography-focused solution than a fully articulating selfie-style screen.

The screen itself is bright, sharp, and perfectly usable outdoors, but as someone who primarily shoots through the EVF, I’m much more interested in how the electronic viewfinder performs.

On paper, the Z8’s 3.69-million-dot EVF perhaps looks a little underwhelming compared to some newer Sony bodies and other recent competitors.

In real-world use though — particularly for wildlife photography — it’s excellent.

The blackout-free shooting experience makes tracking moving subjects feel natural and uninterrupted, and I’ve never felt limited by the EVF while photographing wildlife or birds in flight.

Card Slots, Ports & Battery

The Z8 uses dual card slots:

• one CFexpress Type B slot
• one UHS-II SD card slot

The CFexpress slot enables the camera’s higher burst rates and more demanding video codecs, though CFexpress cards are still notably more expensive than SD cards.

In terms of connectivity, the Z8 includes:

• a full-sized HDMI port
• dual USB-C ports
• microphone input
• headphone output

which is exactly what you’d expect from such a capable hybrid camera.

Pleasingly, Nikon also uses the same EN-EL15C batteries found in my other Nikon Z cameras, meaning I can share batteries between multiple bodies without needing to invest in an entirely separate battery ecosystem.

Real-World Handling

Once you move beyond the specifications and actually start using the Z8 in the field, everything about the camera simply feels refined and well thought through.

The buttons are nicely damped, protrude enough to be easy to use while wearing gloves, and provide satisfying tactile feedback that allows you to operate the camera quickly without constantly checking settings visually.

The top LCD is large enough to clearly display important shooting information at a glance, and illuminating it quickly one-handed via the power switch is genuinely useful in darker conditions.

The way I’ve configured my own Z8 — particularly for wildlife photography — means I rarely need to enter the menu system at all because I’ve mapped virtually all of the key functions I regularly use to physical buttons. If you want to set up your Z8 exactly the same as mine then I’ve written a full artilce detailing the best settings for the Nikon Z8 for wildlife photography.

There’s a lot of detail here because the Z8 deserves detail, but ultimately the important thing is this:

If you’re used to using Nikon’s professional DSLR cameras, the Z8 will feel immediately familiar.

It feels like a camera designed to work in the fastest, simplest, and most efficient way possible.

It’s a camera built to get the job done.

And if I’m honest, I take a certain kind of pleasure from using a tool that simply lets you concentrate on photography rather than fighting the camera itself.

Autofocus Performance

I’ve shot with DSLR cameras and a huge range of mirrorless systems dating all the way back to cameras like the Panasonic G3 and the original OM-D E-M5, through to more recent bodies such as the Canon R5, Sony A7IV, Nikon Z7II, and Nikon Z6III.

When I first used the Nikon Z8, the autofocus performance immediately felt very similar to the Z6III — which is already an excellent thing — but with one important difference.

It felt stickier.

Once the camera locked onto a subject, it simply seemed more determined to stay locked on.

Compared to my old Z7II, everything has effectively been turned up a level or two.

Face and eye detection works at greater distances, picks up subjects faster, and remains locked onto faces even when they become smaller in the frame, move erratically, or turn at more awkward angles.

3D Tracking

One of the biggest additions on the Z8 compared to cameras like the Z7II is Nikon’s 3D Tracking system.

This makes focusing incredibly easy for general photography.

You simply place the focus point over your subject, half-press the shutter button, and then freely recompose while the camera continues tracking the subject around the frame.

For general photography and people photography, it’s incredibly effective and intuitive. It also works alongside face and eye detection, making it an excellent default focusing mode for travel and everyday shooting.

When I was still living in the Philippines and primarily photographing travel scenes and people, 3D Tracking became my default autofocus mode because it was so reliable and simple to use.

Wildlife Autofocus

As I’ve spent more time back in Scotland photographing wildlife though, I’ve found that taking the time to properly configure the autofocus system is absolutely worth it.

For wildlife photography, I now primarily use Wide-Area AF (L) combined with one of Nikon’s subject detection modes — usually Bird or Animal detection in my case, though Nikon also includes Auto, Vehicle, and Aircraft subject detection modes.

Using Wide-Area AF gives the camera the best chance of initially acquiring the intended subject before subject detection takes over.

I then use custom buttons to quickly switch to larger focus areas once the camera has locked onto the subject, which I’ve found gives the best overall balance of acquisition speed and tracking reliability for wildlife work.

Using this setup, the Z8 is close to flawless with animals when the background is relatively clean.

With birds in flight against clearer skies, the Z8 delivers the highest hit rate I’ve personally ever experienced from a camera system. Assuming I do my part correctly, the number of critically sharp keepers is incredibly high. I’ve written a full article showing exactly how to set up the Nikon Z8 for wildlife photography.

Where the Z8 Autofocus Struggles

The areas where I’ve noticed the autofocus system become less reliable are situations involving:

• heavily cluttered woodland backgrounds
• very small subjects in the frame
• birds flying rapidly towards or away from the camera
• erratic movement combined with initial focus point being far from subject

For example, small birds weaving quickly through branches in woodland remain challenging — but honestly, that’s true of virtually every autofocus system I’ve ever used.

The great thing about the Z8 though is just how configurable the autofocus system is.

You can:

• use the focus limiter to improve acquisition speed
• adjust blocked shot response behaviour
• tune settings for erratic or steady subject movement
• customise focus-area switching behaviour
• create custom autofocus setups for different subjects

There’s an enormous amount of flexibility available once you spend time learning the system properly.

Lately, I’ve been practising extensively with swallows in flight, photographing them weaving rapidly around bushes and trees sometimes only a metre or two away from me.

The Z8 has handled these situations remarkably well.

Reliability & Keeper Rate

The important thing about the Z8 autofocus system isn’t just that it’s fast.

It’s that it’s reliable.

Once I’d spent enough time tailoring it to my own shooting style, the autofocus system rarely felt like a limiting factor anymore.

If you do your part as a photographer, the Z8 autofocus system is among the best currently available.

More importantly, it’s good enough that it’s highly unlikely you’ll miss a once-in-a-lifetime shot because the autofocus system simply wasn’t capable enough.

Burst Shooting & Buffer Performance

The autofocus system is also backed up by extremely impressive shooting speeds.

The Z8 can shoot:

• up to 20fps in RAW
• up to 30fps in JPEG

Personally, I only shoot RAW on the Z8, but even at 20fps, the camera feels incredibly fast and responsive.

Combined with a deep buffer and fast CFexpress Type B cards, the camera clears the buffer quickly enough that it always feels ready for the next burst of action.

That’s especially important for wildlife photography where opportunities often happen in short bursts and unpredictably.

Pre-Release Capture

The Z8 also includes Nikon’s pre-release capture mode.

This constantly records frames into a temporary loop while you half-press the shutter button, before permanently saving frames once you fully press the shutter.

In practice, this allows you to capture up to one second of action before you fully press the shutter button.

It’s an incredibly useful feature for wildlife photography and fast action.

However, unlike the OM System implementation of this feature on cameras like the OM-1 Mark II, Nikon currently limits pre-release capture to JPEG shooting only.

Having previously used this feature extensively on the OM-1, I know just how useful it can be in real-world situations, so I’d love to eventually see Nikon enable RAW support for pre-release capture via firmware update or on the Z8II.

Electronic Shutter & Sensor Protection

All of this speed is possible thanks to the Z8’s stacked 45.7MP sensor and one particularly important design choice:

The Z8 has no mechanical shutter at all.

Everything is handled electronically.

Normally, professional cameras are given expected shutter lifespans based on how many physical actuations the shutter mechanism is expected to survive.

With the Z8, that concern effectively disappears.

The lack of a mechanical shutter also contributes to the camera’s speed and blackout-free shooting experience.

One of the biggest concerns many photographers have when they hear that the Nikon Z8 only uses an electronic shutter is whether images and video show any warping or rolling shutter effect. In practice though, thanks to the extremely fast readout speed (1/270) of the stacked sensor, it’s something I’ve never encountered in real-world use.

Even photographing fast moving wildlife, birds in flight, or quickly panning while tracking subjects, I’ve yet to notice any rolling shutter issues in my own shooting. Compared to older electronic shutter implementations, the Z8 feels incredibly natural and responsive to shoot with, to the point where after a while you simply stop thinking about the fact that it doesn’t have a mechanical shutter at all, well, except the rather meek fake shutter sounds that you can choose are not really befitting of a camera of this level.

One smaller feature that I’ve particularly appreciated is Nikon’s built-in sensor shield.

When the camera powers off, a protective shield can automatically cover the sensor, helping protect it from dust and debris during lens changes — particularly useful when working outdoors in difficult conditions.

Oddly, Nikon ships this feature disabled by default, so it’s worth enabling it when you first set up the camera.

Image Quality

If you look at an image from the Nikon Z8 at full-screen view next to one from the Z6III — or indeed most other modern full-frame cameras — the results initially look fairly similar.

In other words, they look like what we’ve come to expect from high-end modern full-frame cameras:

• clean
• detailed
• high dynamic range
• natural looking
• realistic

The files have a very true-to-life look to them.

Where you really begin to appreciate the image quality from the Z8’s 45.7MP full-frame sensor is when you start pushing the files harder or shooting in ways that take advantage of what the camera is capable of.

ISO 64 & Tonality

One of the things that immediately sets the Z8 apart from most other full-frame cameras is Nikon’s use of a native ISO 64 base ISO.

To my knowledge, there are very few full-frame cameras that offer this, and it does make a difference.

At ISO 64, the files coming out of the Z8 are incredibly clean and rich in tonality. It also allows you to use slightly slower shutter speeds in brighter conditions for things like moving water without always needing to immediately reach for ND filters.

More importantly though, ISO 64 helps bring the Z8’s image quality closer to my Fuji GFX100S than any other full-frame camera I’ve used.

Resolution & DX Crop Flexibility

The other thing that makes the Z8 stand out is the way it combines this level of image quality and tonality with such a high-resolution sensor.

For wildlife photography in particular, the 45MP sensor makes Nikon’s DX crop mode genuinely useful because it still leaves you with approximately 20MP files.

In practical terms, this effectively gives you two usable focal lengths from every lens you own.

That flexibility becomes incredibly valuable for wildlife photography here in Scotland where subjects are often distant, unpredictable, or difficult to approach.

Dynamic Range

The dynamic range from the Z8 is excellent, particularly at ISO 64.

The files offer plenty of flexibility when recovering shadows while still retaining highlight detail, which is particularly useful for landscape photography in difficult Scottish lighting conditions where bright skies and dark foregrounds are often unavoidable.

I’ve heard people say that the Z7II sensor performs slightly better in this area on paper, but having owned and shot extensively with both cameras, any difference in real-world shooting is so small that I personally don’t notice it outside of controlled comparisons.

For practical landscape photography, the Z8 is more than capable of producing professional-quality files suitable for large prints.

High ISO Performance

The only area where I consistently notice a meaningful image quality difference between the Z8 and my Z6III is at higher ISO levels.

At ISO 6400 and above, the native files from the Z6III generally look a little cleaner thanks to its lower-resolution 24MP sensor.

However, there’s an important caveat to that.

Once you downsample the Z8 files to match the Z6III’s resolution, the difference becomes surprisingly small.

I’ve shot wildlife at:

• ISO 6400
• ISO 10,000
• ISO 12,800

when necessary to maintain fast shutter speeds, and the Z8 handles those situations remarkably well.

Once you also factor in modern noise reduction software, the results can be genuinely impressive.

Colour & Rendering

The colours coming from the Nikon Z8 strike a really nice balance between:

• realistic
• natural
• slightly punchy

They don’t quite have the nostalgic character that Fujifilm cameras can sometimes produce, but they still look excellent.

In particular, I find Nikon colours exceptionally good for landscape photography.

Greens in particular tend to look natural and believable without becoming overly saturated, while tonal transitions in landscapes appear smooth and realistic.

Skin tones also look more natural to my eye compared to many APS-C systems I’ve used.

In post processing, the files are extremely easy to work with.

They feel:

• malleable
• robust
• flexible

which makes it easy to push the files towards the exact look you want without them falling apart.

Compared to APS-C & Wildlife Detail

I’ve shot with some exceptional Fujifilm APS-C cameras and lenses over the years, but when viewed side by side, the difference in detail and realism from the Z8 is noticeable.

Skin tones look more lifelike, tonal transitions feel smoother, and higher ISO files hold together better during editing.

For wildlife photography in particular, the Z8 produces the kind of feather detail that I used to dream about capturing years ago when I imagined getting properly into wildlife photography.

Even paired with lenses like the excellent value Nikon Z 180-600mm, feather detail remains well defined, while noise at higher ISO levels doesn’t immediately turn fine detail into mush.

Once you pair the Z8 with Nikon’s telephoto prime lenses, the level of detail becomes genuinely impressive.

Z8 vs GFX100S

Is the image quality from the Nikon Z8 as good as my Fuji GFX100S?

No.

Medium format still retains advantages in:

• tonal depth
• rendering
• overall file richness

particularly when viewed critically side by side.

But is the Z8 close enough that its other advantages — such as autofocus speed, ergonomics, versatility, lens selection, and price — can outweigh the differences?

Absolutely.

And for many photographers, that balance may make far more sense overall.

Over the coming months, I’ll also be directly comparing the Nikon Z8 against the Fuji GFX100S to explore exactly where those image quality differences still remain.

Overall Image Quality Verdict

Overall, the Nikon Z8 offers one of the best combinations of image quality, resolution, speed, and flexibility that I’ve ever used in a camera system.

It delivers enough image quality for serious professional landscape work while simultaneously offering the speed and responsiveness needed for wildlife photography — and very few cameras manage to balance both worlds this successfully.

Video Performance

I’m by no means a professional videographer beyond occasionally shooting and editing YouTube videos, but even so, the video specifications and capabilities of the Nikon Z8 are seriously impressive.

I have shot some wildlife footage on the Z8 and, despite previously going fairly deep into codecs, bit depth, and colour grading on other systems, I’ve deliberately kept things fairly simple so far with the Z8.

Most of my footage has been shot in:

• 10-bit 4K 30p
• 4K 60p

and the quality has genuinely impressed me. There is some footage straight out of the Nikon Z8 in the video below. Again, it was shot in 4k 10bit using the standard color profile, so this is the minimum quality you can expect.

Before getting into my own experience though, let’s get the headline specifications out of the way because for dedicated video shooters, the Z8 is an extremely capable camera.

The Nikon Z8 offers:

• up to 4K 120p recording
• up to 8K 60p recording
• internal RAW video options
• a wide range of professional codecs

which firmly places it amongst the most capable hybrid cameras currently available.

IBIS & Handheld Video

One thing that particularly impressed me was the stabilisation performance while shooting handheld wildlife footage.

I shot video of deer handheld using the Nikon Z 180-600mm lens fully zoomed to 600mm, and the Z8’s IBIS handled it remarkably well considering the focal length involved.

That level of stabilisation performance from a high-resolution full-frame camera is genuinely impressive.

Video Quality

Rather than complicating things by immediately jumping into N-Log or RAW workflows, I actually shot most of my footage using Nikon’s standard in-camera colour profile.

Honestly, the footage looked superb.

Colours were vivid without looking over-processed, detail levels were excellent, and the footage retained a very natural look overall.

Even at standard 4K resolutions, the footage looks extremely detailed.

I haven’t yet personally tested 8K recording properly though, largely because my fastest CFexpress Type B card currently isn’t fast enough to reliably sustain it. As soon as I attempt recording 8K footage, the camera throws up an error message.

Realistically though, for my own workflow and storage setup, 8K simply isn’t something I currently need.

I can absolutely imagine the level of detail and cropping flexibility it offers, but between the storage demands and the cost of the CFexpress cards required to comfortably shoot large amounts of 8K footage, I don’t see myself heavily using it any time soon.

Video Autofocus

Autofocus performance during video recording was also excellent in my experience.

The camera acquired focus confidently and tracked subjects smoothly without obvious pulsing or distracting focus jumps that can easily ruin footage.

Again, I’m not approaching this review from the perspective of a dedicated filmmaker, but from the standpoint of someone who occasionally shoots serious video alongside photography, the Z8 feels exceptionally capable.

Overall Video Verdict

The Nikon Z8 is clearly one of the best hybrid cameras currently available.

Even though I personally use it primarily as a stills camera, it’s obvious that Nikon has created a camera capable of handling extremely demanding professional video workflows while still remaining an outstanding photography tool at the same time.

Who Should Buy the Nikon Z8?

As I said in the title of this review, the Nikon Z8 is the best camera I’ve ever used and, as you’ve probably gathered throughout this article, I’m incredibly impressed with it.

In fact, I genuinely believe it’s one of the best cameras for photography currently available.

Does that mean everyone should rush out and buy one?

Not necessarily.

Although if you do, I genuinely struggle to imagine you being disappointed with it.

Outdoors Photographers

There’s another type of photographer that I think the Nikon Z8 suits perfectly — and it’s the category I’d personally place myself in.

Outdoors photographers.

By that, I mean photographers who don’t exclusively shoot one subject.

We might photograph:

• landscapes
• wildlife
• family adventures
• travel
• documentary-style moments outdoors

sometimes all within the same week, or even the same day.

For me personally, the Z8 absolutely excels here.

I want to shoot landscapes to a very high level, but I also want to photograph wildlife to an equally high standard. Then I want to go for walks with my daughters in nature and still have a camera capable of capturing and preserving those moments properly.

I may not always carry a tripod anymore.

I may not spend every evening waiting for perfect golden-hour light like I once did during my landscape photography years.

But when I do press the shutter button, I still want to create photographs that stand up to my own personal standards and scrutiny.

That’s where the Nikon Z8 really shines.

It gives you:

• outstanding image quality
• professional-level autofocus
• superb ergonomics
• speed
• reliability
• flexibility

all in one body.

In many ways, the Z8 feels like a camera for photographers who want their cake and to eat it too.

And remarkably, Nikon has somehow managed to make that work without the camera feeling heavily compromised in any one area.

Landscape Photographers

I think the Z8 makes enormous sense for landscape photographers who want:

• full-frame image quality
• a high-resolution sensor
• excellent ergonomics
• professional reliability

The combination of the 45MP sensor, ISO 64, excellent dynamic range, weather sealing, and Nikon’s superb Z lens lineup makes it an incredibly capable landscape photography tool.

What really elevates the Z8 though is that it combines all of that image quality with speed and versatility.

Unlike many traditional high-resolution landscape cameras, the Z8 never feels limited to just one genre of photography.

Will it produce better landscape images than the Nikon Z7II?

Honestly, no — not purely in terms of landscape image quality.

But the overall shooting experience is on a completely different level.

The Z8:

• feels better built
• handles better outdoors
• inspires more confidence in difficult weather
• operates faster
• focuses more confidently

It’s slightly heavier than the Z7II, but in real-world use, I think the trade-off is absolutely worth it.

Wildlife Photographers

Wildlife photographers — particularly those coming from Nikon DSLR cameras such as the D850 or D500 — will almost certainly love the Z8.

The body retains enough familiarity with Nikon’s DSLR ergonomics that it immediately feels comfortable to use, while the autofocus performance, speed, subject detection, and overall feature set are now operating at a completely different level compared to those older DSLR systems.

The Nikon Z lens ecosystem is also now mature enough that there’s almost certainly an excellent lens option available regardless of what wildlife you photograph.

Combined with:

• the usable DX crop mode
• excellent autofocus
• strong burst performance
• reliable weather sealing

the Z8 feels purpose-built for serious wildlife photography.

Documentary & Professional Use

For documentary photographers or professionals who need a fast, rugged, highly reactive camera body capable of covering almost any subject, the Z8 makes a huge amount of sense.

Its greatest strength is versatility.

This is a camera that feels capable of handling:

• landscapes
• wildlife
• documentary work
• travel photography
• portraiture
• video

without feeling like it’s significantly compromised in any one area.

It’s the kind of camera that gives you confidence that you’ll get the shot regardless of the environment or subject.

Who Should Avoid the Nikon Z8?

In my opinion, the Z8 is one of those rare cameras that very few people would genuinely regret buying.

That said, there are definitely photographers who would be better served elsewhere.

For photographers who:

• want full-frame image quality
• love Nikon ergonomics
• want access to the Nikon Z lens system
• but don’t need a 45MP sensor

the Nikon Z6III makes a huge amount of sense.

The Z6III captures a lot of what makes the Z8 so good:

• excellent autofocus
• fantastic ergonomics
• strong video capabilities
• excellent handling

while being:

• smaller
• lighter
• cheaper

And importantly, if you’ve never used the Z8, the Z6III still feels like an outstanding camera in its own right. I compared the Z8 vs Z6III in this article, if you want to see more details.

However, as someone who owns and regularly uses both cameras, if I personally had to choose only one body for my photography here in Scotland, I would choose the Z8 every single time.

Especially now that, in 2026, I genuinely think the Z8 represents incredible value for what it offers.

Z8 vs GFX

For photographers considering whether to stay with full frame or move into Fujifilm’s GFX medium format system, I’ll be producing much more in-depth comparisons between the Nikon Z8 and the Fuji GFX100S in future articles.

But honestly, neither system is likely to leave you disappointed.

They simply prioritise different strengths.

Verdict

Over the last few years, I’ve generally gravitated towards cameras that made me feel something when I used them.

Whether that was:

• retro-inspired designs
• film-like rendering
• smaller bodies
• or cameras that suited my prime-lens-focused way of shooting travel photography and everyday life

I’d slowly moved away from the larger, more utilitarian “just get the job done” cameras that traditionally dominated the higher-end professional market.

I’d also increasingly come to believe that once a camera reaches a certain level, it’s already good enough and that almost any modern camera can produce excellent images in the right hands.

Then I bought the Nikon Z8.

And honestly, it changed my perspective a little.

The Z8 reminded me that the result is just as important as the shooting experience, and that there’s a certain appeal in using a tool that simply gets out of your way and works.

There’s a confidence that comes from knowing that with this camera in your hands, you can photograph virtually anything you encounter.

You can spend the morning photographing wildlife, shoot landscapes in beautiful evening light later that day, and then come home and photograph your family — and throughout all of it, the Z8 simply delivers.

If you do your part as the photographer, the camera is almost never the limiting factor.

There’s a real appeal in not having to compromise.

In knowing that regardless of the conditions, subject, or environment, you brought the right camera with you.

That’s exactly how I remember cameras like the Nikon D850 feeling during the DSLR era.

They simply got the job done:

• no fuss
• no nonsense
• everything exactly where it should be

The Nikon Z8 recaptures that feeling better than any mirrorless camera I’ve personally used.

And ultimately, that’s why the Nikon Z8 is the best camera I’ve ever used.

If someone told me tomorrow that the Nikon Z8 was the only camera I could use for the rest of my life, I’d be a happy photographer. Any improvements from here on out are just the cherry on top of an already delicious cake.

That’s how good it is.

It’s not a small lens, but it balances well on bodies like the Z8 and Z6III. The optics, while not quite at the level of the 24–70mm f/2.8, are still excellent across the range — and that 24–120mm focal length is incredibly flexible when you’re out walking in places like the Scottish Highlands- Which is why it’s one of the best lenses for the Nikon Z system.

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Image Quality

Every time I use the 24–120mm f/4, I’m pleasantly surprised by just how good it is. Whether I’m shooting landscapes, general scenes, or capturing people and animals at the long end, it consistently delivers sharp, detailed images.

What stands out just as much is how clean the images look. Out-of-focus areas are smooth and well-behaved, while chromatic aberrations, flare, and distortion are all well controlled.

It’s also more than capable of resolving the 45MP sensor in my Z8, which means you can crop into images without them falling apart — something that adds even more flexibility to an already very versatile focal range. See my full Nikon Z8 review for more details.

If I’m heading out into the Scottish Highlands or the woodlands near where I live and I’m not sure what I’ll encounter, the 24–120mm f/4 has become my default choice.

A 24–70mm can feel a little limiting on the long end, while a pro-level f/2.8 zoom often feels heavier than I need for the kind of photography I actually do. On the other hand, the 24–200mm, while more flexible, feels a bit too compromised optically to pair with a camera like the Z8.

The 24–120mm f/4 sits right in the middle of those options, and for me, it strikes the balance almost perfectly. It gives you the flexibility to shoot everything from wide landscapes to tighter detail shots — even close-up work thanks to its short minimum focus distance — without the usual trade-offs in image quality you might expect from a lens with this kind of range.

At f/4 on a full-frame sensor, it also hits a sweet spot in terms of usability. It’s bright enough to handle moving subjects like people, while still giving you enough subject separation when you need it — but without the size and weight that comes with faster lenses.

And for landscapes, where you’re often stopping down anyway, f/4 isn’t a limitation at all.

What you’re left with is a lens that’s sharp across the range, versatile enough for a wide range of subjects, and easy to carry — which, in real-world use, matters just as much as anything else.

Autofocus & Handling

Autofocus is fast and reliable, whether you’re focusing on a specific point for landscapes or using subject detection on cameras like the Z8 or Z6III. It locks on quickly and has no trouble keeping up with moving subjects. I’ve used it on my Nikon Z6III photographing Sofia at the local park, and it kept up perfectly as she flew down the zip line. It also works perfectly well on my Nikon Zf but the balance feels a little off as I noted in my Nikon Zf review

What I enjoy just as much is how the lens feels in use — particularly on the Z8. The balance is spot on. It’s not a small lens, but the size and weight feel well judged, giving you something solid to hold without ever feeling bulky or front-heavy. It feels perfectly suited to Nikon’s DSLR-style Z bodies.

If you’re building out a Z8 kit and want something that covers almost everything, this lens is an easy recommendation — and it’s one of the first lenses I suggest in my best lenses for the Nikon Z8 guide.

The construction is mostly plastic, but it still feels solid in the hand — and as a bonus, it doesn’t freeze your hands in winter the way some metal lenses can. Compared to the older F-mount 24–120mm f/4 I used on the D850, this version feels noticeably more refined and better balanced, despite only being around 80g lighter on paper.

The lens doesn’t include optical stabilisation, so if you’re using a Z body without in-body stabilisation, that’s something to keep in mind. On cameras like the Z8 and Z6III though, it’s not an issue — getting sharp handheld shots at slower shutter speeds is straightforward. For more details see my Nikon Z6III review.

It uses a telescoping zoom design, extending as you move through the focal range. Personally, I prefer internal zooms, but that would make a lens like this significantly larger. In this case, it’s a compromise that makes sense given the size and range.

The lens is weather sealed, with a gasket at the mount, and I’ve used it in some pretty rough Scottish conditions without any issues. That said, with a telescoping design, I do try to wipe down the barrel before retracting it in heavy rain, just to be on the safe side.

In terms of controls, you get the usual L-Fn button, along with separate zoom, focus, and control rings. I do wish Nikon would standardise their layouts a bit more across lenses, as switching between them can take a moment to adjust. That aside, the overall handling experience is excellent — it’s a lens I’m always happy to have on the camera, whatever the conditions.

So what’s not to like?

For some photographers, the biggest limitation will be the f/4 aperture. In lower light, or when you want stronger subject separation, it can start to feel restrictive. Cameras like the Z6III handle high ISO well, but lenses like the 24–70mm f/2.8 S or Nikon’s f/1.8 primes are still better choices if low light is a priority.

It’s also not a lens that gives your images a particularly distinctive look. If you’re chasing that last bit of sharpness, rendering, or subject isolation, you’ll get more from faster zooms or primes. That’s why I still shoot a lot with primes like the Nikon Z 20mm 1.8S when I want to create rather than cover subjects.

But for anyone who just wants a highly flexible, consistently good-performing lens that works across a wide range of situations, those trade-offs make sense.

Who is the 24-120mm f/4 S lens for?

For me, the 24–120mm f/4 makes the most sense for photographers who shoot landscapes, want a high-quality walkaround lens, or need something versatile for travel.

It’s particularly well suited to people who don’t want to carry multiple lenses or deal with the weight of faster f/2.8 zooms, but still want excellent image quality across a wide range of situations.

If you’re the kind of photographer who heads out without a fixed plan — shooting landscapes one moment, details or people the next — this lens fits that way of working perfectly.

It strikes an excellent balance between performance, size, weight, and price, which is exactly why it’s become such an easy default choice in my own kit.

Who Should Avoid It

This isn’t the lens for photographers who regularly shoot in low light or need a faster aperture. If you rely on subject separation or shoot events, portraits, or indoor work, you’ll be better served by f/2.8 zooms or prime lenses.

It’s also not ideal if you’re chasing the absolute best image quality or a more distinctive rendering style. In those cases, Nikon’s S-line primes or pro zooms will give you that extra level of performance.

This lens is about balance and versatility — if that’s not your priority, there are better options.

Verdict

The Nikon Z 24–120mm f/4 S might not be the kind of lens you dream about adding to your kit, but in my experience, it’s one of the most useful lenses in the entire Z system.

I’ll admit, I’ve often been drawn to more exotic lenses, but here in Scotland — where reliability, performance, and practicality matter — this is the lens I keep coming back to.

If I could only take one lens out with my Z8, this would be it.

If you want to consider other lens options then see my best lenses for the Nikon Z system guide which talks about the absolute best and best value lenses available for Nikon Z cameras.

This article contains affiliate links. If you buy through these links, I may earn a small commission at no extra cost to you. This helps support the site and allows me to keep producing independent, real-world photography content.

I bought the Z8 when I was still living in the Philippines, mainly shooting travel photography along with some street and candid work. I used it mostly with the 1.8 S series of primes, and at that point, the true benefits of the Z8 were somewhat wasted on me as I wasn’t really testing it to its limits. For more details see my full Nikon Z8 review.

Since moving to the Scottish Highlands in January, that’s changed completely.

The Z8 has taken over as my primary camera for a lot of my shooting, particularly landscapes and wildlife. It’s incredibly versatile and capable — offering great image quality for landscapes, autofocus that handles everything including wildlife, my favourite ergonomics of any camera when I want to get the shot with as little friction as possible, and build quality that inspires confidence in Scottish weather. With a few key accessories it’s just an incredible tool. Also see my guide to which filters you actually need for photography.

After taking it out into Scottish glens in the middle of winter and scouting wildlife locations locally, it dawned on me that this is the right camera for the job when things are demanding. When I have the Z8 with me, I’m not left wishing for another option.

Some people who own the Z8 will simply want — and be able to afford — the most expensive and absolute best lens for every situation, and there’s nothing wrong with that. The Z8 is a serious tool for serious photographers, and it can justify top-end glass.

But there’s also a point where a lens is more than good enough to produce professional-level results while saving a bit of money.

That’s the route I’ve personally taken with my Nikon Z8 lenses. Having moved countries and with a focus on settling my two children, I can’t always justify the most expensive glass. Childcare and other commitments come first, so I’ve spent a lot of time working out where I can get excellent performance while saving some money.

Where a subject is one of my core shooting scenarios, I’ll invest in the best I can afford. In other areas, I look for the best balance — lenses that do the job extremely well without paying for diminishing returns at the very top end.

These days in Scotland, I’m shooting far more landscapes and wildlife and much less travel. For those subjects, given the choice, I’d pick the Z8 nearly every time. I don’t use it as much for family or casual photography — for that, the size, weight, and feel of the Nikon Zf or my Fuji cameras make more sense.

By the end of this guide, I’ll show you the absolute best lenses for each type of shooting, but also where I’ve chosen to save money — and why — on lenses that still perform extremely well for the price.

Wide Angle Lenses for the Nikon Z8

I used to shoot wide angle lenses almost exclusively when I was working as a professional landscape photographer in the Outer Hebrides. I then moved away from them for a number of years, but since returning to Scotland, I’ve found myself using them more and more again.

The Scottish Highlands just suit wide angle photography. The ability to capture grand vistas with depth and drama is hard to ignore.

These days, my approach is a bit different. I’m more of a wander-and-discover photographer than someone who locks everything down on a tripod and waits for the light. But once I’ve found a location worth returning to, I’ll absolutely go back with a tripod, filters, and a more deliberate approach.

Best Wide-Angle Lens: NIKKOR Z 14-24mm f/2.8 S

If you want the absolute best wide angle lens for the Nikon Z system, this is it.

I used this lens extensively on the Z7 II, and the results were outstanding. It’s optically superb, very well corrected, and produces stunning files on high-resolution Z bodies — especially at ISO 64. Sharpness across the frame is excellent, and the overall rendering is about as good as it gets for a zoom of this type.

It’s also surprisingly light for an f/2.8 ultra-wide, and the build quality is exactly what you’d expect at this level — solid and confidence-inspiring.

If your priority is maximum image quality with no compromises, this is the lens to get.

That said, there are trade-offs.

It isn’t cheap, and for the way I shoot now, it’s a more specialist lens than it used to be for me. Even though it’s relatively light for what it is, it’s still noticeably larger than the alternative, which means it takes up more space in the bag for something I won’t use all the time.

For landscape work, f/2.8 also isn’t a major advantage in most situations, as I’m stopped down 99% of the time anyway (outside of astro work).

Then there’s the filter setup. You’re looking at 112mm filters or a dedicated system, which adds both cost and complexity. I’ve used the NiSi system before, and while it works well, it’s not something I particularly wanted to go back to.

Best Value Wide-Angle Lens: NIKKOR Z 14-30mm f/4 S

After considering the options, I ended up buying the Nikon Z 14–30mm f/4.

It’s still a very sharp lens, especially when stopped down for landscapes. The corners aren’t quite as good as the 14–24mm f/2.8, but across most of the frame it delivers excellent, professional-level results.

It also costs significantly less and is noticeably more compact and lighter, which makes a real difference. It takes up less room in my bag, and that means I’m far more likely to actually bring it with me.

For landscape work, f/4 is more than enough. I’m stopped down most of the time anyway, and importantly, this lens is still properly built for real-world use. It’s weather sealed, has a gasket at the mount, and includes a fluorine coating that helps shed water — all things that matter when you’re shooting in Scottish conditions.

One of the biggest advantages for me is filters. It takes standard 82mm filters, which are far more affordable and practical. I already owned a full set and was able to keep using them, rather than investing in a larger, more specialised system.

In real use, this lens is more than capable of producing beautiful landscape images at a professional level — and it does so while saving a significant amount in cost, weight, and size.

It’s not the absolute pinnacle of performance, but it doesn’t need to be. There are no major weaknesses here, and that’s what makes it such a strong choice.

The only real downside — and it’s minor — is the retractable design. When the lens is collapsed, you have to twist it into position before shooting. Nikon did this to keep the size down, and it works, but I do find it slightly irritating to have to “unlock” the lens each time.

That said, given the overall performance and value, it’s an easy compromise to live with.

Standard Zoom Lenses for the Nikon Z8

In Scotland, a standard zoom is my most used lens for general photography and landscapes. For most people, this is likely to be the lens that lives on their camera the majority of the time.

It needs to be optically excellent, cover a useful focal range, and ideally be weather sealed if you’re shooting outdoors. You’re also going to be carrying it a lot, so size and weight matter more than you might expect.

Best Overall Standard Zoom: NIKKOR Z 24-70mm f/2.8 S (and Mark II)

The best standard zoom for the Nikon Z system — and one used by a lot of professionals — is the 24–70mm f/2.8.

I owned the original version with my Z7 II, and it’s one of the best professional standard zooms I’ve ever used. It’s extremely sharp across the frame from 24–70mm, optically close to flawless, and delivers consistently excellent results.

The f/2.8 aperture makes it very flexible. You can shoot landscapes stopped down, then switch to portraits at the long end with strong subject separation. It also performs much better in low light than an f/4 zoom, which means you’re less likely to need to swap to a prime mid-shoot.

The focal range is practical, covering wide-angle shots at 24mm through to a useful short telephoto at 70mm. Build quality is excellent — solid, well balanced, and fully weather sealed — yet still relatively light compared to older DSLR equivalents.

The Mark II version improves things further with a new optical design, internal zoom (which helps with balance and weather resistance), and faster autofocus. I haven’t personally used the Mark II yet, but based on how good the original is, it’s safe to assume it’s an outstanding lens.

These aren’t cheap lenses, but if you want the best possible standard zoom for the Z8, this is it.

For photographers who rely on their gear professionally — wedding shooters, event photographers, or anyone needing reliability and performance in all conditions — this lens makes a lot of sense.

But for more general use, there’s a more balanced option.

Best Value Standard Zoom: NIKKOR Z 24-120mm f/4 S

My requirements for a general zoom here in the Scottish Highlands are fairly simple: it needs to be optically excellent, weather sealed, not too large or heavy, and justifiable in terms of price given my current situation.

That’s why I chose the 24–120mm f/4. For more details see my full Nikon Z 24-120mm f/4 S review.

In terms of size and weight, it’s about a perfect fit for the Nikon Z8. It feels substantial enough to match the ergonomics of the camera, but not so heavy that it becomes a burden. It balances extremely well when I’m out walking and exploring, and when mounted on my Peak Design Capture Clip, it still feels within what’s reasonable to carry without putting undue stress on the mount.

It’s a very well-balanced combination that just feels right in real use.

Optically, it’s very good. You get sharp images throughout most of the range, with the usual minor trade-offs you’d expect from a zoom that covers 24–120mm. It’s slightly softer at the long end, but still performs more than well enough in practice.

What makes it so useful is the range. It works as a genuine one-lens solution — from 24mm for wide landscapes through to 80–120mm where you can start isolating details. That flexibility matters when you’re out exploring and don’t want to keep changing lenses.

One thing that often gets overlooked is the minimum focusing distance of just 35cm. It’s genuinely useful for picking out details — flowers, textures, small elements in the landscape — and for general close-up work, it almost removes the need for a dedicated macro lens unless you’re specialising in it.

The f/4 aperture is also more usable than people sometimes assume. On a full-frame camera like the Z8, you still get a reasonable amount of subject separation at the longer focal lengths for portraits or family shots.

Build quality is solid, and like the rest of Nikon’s S-line lenses, it’s properly weather sealed. I’ve used it in wind-driven rain on the Z8 without concern.

This is the lens I use when I just want to head out, explore, and come back with strong images — and it hasn’t disappointed me.

If I could only keep one lens for the Z8, this would probably be it.

No, it’s not quite as sharp wide open as the 24–70mm f/2.8, but for the way I shoot — especially landscapes — I’m usually at f/5.6 or beyond anyway, where performance is genuinely excellent. It’s sharp where it matters, including in the corners at typical landscape apertures, and it easily resolves the full 45MP sensor.

And this is something I don’t often say about gear — but paired with the Z8, I realised on a walk last week that I simply love this combination.

It might not be the absolute best on paper, but it’s my favourite for its balance of image quality, focal range, size, weight, and build quality.

Best Telephoto Lens for Wildlife: NIKKOR Z 180-600mm f/5.6-6.3 VR

I’ve wanted to get into wildlife photography for a long time, but time and location have never quite lined up until this year.

Part of the reason I bought the Nikon Z8 was because I knew it was capable of supporting that shift — but pairing it with the right lens wasn’t a straightforward decision.

In an ideal world, I’d own every top-tier wildlife lens. But in reality, the decision came down to what I could afford that would still do the job properly.

Would the 100–400mm give me enough reach?
Is the 180–600mm actually good enough?
Would one of the PF primes be worth the extra cost?

Like a lot of people, I kept coming back to the 180–600mm as the lens that could potentially do everything — if it performed well enough.

Having now used it extensively on both the Z8 and Z6 III here in Scotland, I can say it absolutely does and it’s a core part of my wildlife photography kit.

Optically, it’s excellent throughout most of the range, with a slight drop-off beyond 550mm — but even there, it still performs well in real-world use. What stands out is that I never feel like I’m compromising on image quality by using it, which is exactly what you want from a lens in this category.

The focal range is what really makes it. Going all the way to 600mm puts you firmly into proper wildlife territory, and combined with the Z8’s DX crop mode, you can effectively reach a 900mm field of view while still getting usable 20MP files.

That kind of reach changes what’s possible.

Compared to my NIKKOR Z 400mm f/4.5 VR S, the prime is a little sharper and significantly lighter — but for a zoom covering this range, the 180–600mm is still very manageable. I can carry it comfortably on a strap or by the tripod collar, and it fits easily into my Think Tank MindShift BackLight 36L alongside a second body and additional lenses.

In terms of handling, it’s a very well thought-out lens. The build quality feels solid and premium, even without the S-Line badge. You get all the controls you need — custom buttons, focus limiter, AF/MF switch — and crucially, it’s an internal zoom design, so the lens doesn’t extend or shift balance when zooming.

Autofocus is also strong. Paired with the Z8, it’s fast enough to track demanding subjects, including birds in flight.

And importantly, it’s one of the most accessible serious wildlife lenses available. It’s cheaper than the 100–400mm and significantly more affordable than the prime options, while still delivering the kind of performance most people actually need.

There are some downsides.

At f/6.3, it’s not a low-light lens, but the Z8’s sensor handles higher ISO well enough that it’s still usable at dawn and dusk. It’s also not an ideal match for the 1.4x teleconverter, where you start to see a noticeable drop in image quality, along with the expected loss of light.

But taken as a whole, for the price, performance, and flexibility it offers, I think the 180–600mm is hard to beat.

If you own a Z8 and want to get into wildlife photography, this is the first lens I’d seriously consider — and ultimately, the one I’d recommend buying.

Building a Wildlife Kit for the Nikon Z8

One of the strengths of the Nikon Z system is that it offers some of the best wildlife lens options available right now.

The NIKKOR Z 180-600mm f/5.6-6.3 VR is a great-performing zoom and the lens I would recommend either as a one-lens solution or as the starting point for a wildlife kit. It gives you enough reach to take wildlife photography seriously without locking you into a fixed focal length.

From there, you can build a system around it.

A natural pairing is the NIKKOR Z 400mm f/4.5 VR S. This gives you better low-light performance, improved subject separation, and a much lighter option when you don’t need the full reach of the zoom.

Then, if you eventually want more reach — or plan to focus more heavily on bird photography — the NIKKOR Z 800mm f/6.3 VR S is the obvious addition, and one I’m personally planning to add in the future when funds allow.

There is another way to build a wildlife setup.

You could start with the NIKKOR Z 100-400mm f/4.5-5.6 VR S as a more general-purpose telephoto, then add a longer prime like the NIKKOR Z 600mm f/6.3 VR S or 800mm f/6.3 for extra reach.

That approach makes sense if you prioritise a lighter, more versatile starting point.

The reason I went with the first option is that it gives me a better balance for how I actually shoot.

• The 400mm f/4.5 gives me a lightweight, high-quality option with better low-light performance
• The 180–600mm gives me flexibility and enough reach for serious wildlife work
• And I still have a clear upgrade path to something like the 800mm f/6.3 later on

Importantly, I’m not left feeling short of reach while I work towards that next step.

Of course, the right setup depends on what you’re shooting.

But one thing is clear — with the Nikon Z8 and the Nikon Z system in general, you’re almost spoiled for choice when it comes to wildlife lenses.

And that’s before you even consider the more exotic options like the NIKKOR Z 400mm f/2.8 TC VR S or NIKKOR Z 600mm f/4 TC VR S, which represent the absolute pinnacle if money is no object.

Portrait / Prime Lenses for the Nikon Z8

If you make your living from shooting portraits, then you probably already know which lenses you want — and you may be considering the higher-end options like the NIKKOR Z 50mm f/1.2 S or NIKKOR Z 85mm f/1.2 S.

But for most people using the Z8 — shooting family, friends, or general portraits — those lenses are hard to justify for the advantages they bring if you’re not making money from them.

Best Portrait Lens: NIKKOR Z 85mm f/1.8 S

The best portrait lens for the Nikon Z8 is the 85mm f/1.8 S. For more details see my full Nikon Z 85mm 1.8S review.

It’s not cheap, but if you want to create portraits with strong subject separation that your standard zoom simply can’t match, it’s absolutely worth it.

The lens is incredibly sharp, focuses quickly and accurately, and at f/1.8 on a full-frame sensor, gives you a really nice level of background blur. The bokeh is smooth, the rendering is pleasing, and overall it produces images that look more “professional” straight out of the camera.

It’s not the smallest prime — it’s a little long and narrow in design — but on the Z8 it balances well and feels comfortable to use.

For most people, this is the portrait lens to buy if you want to take your photos of people to the next level.

Best All-Round Prime: NIKKOR Z 50mm f/1.8 S

A more flexible and slightly cheaper alternative is the 50mm f/1.8 S. For more details see my full Nikon Z 50mm 1.8S review.

This is actually my favourite prime in the Nikon Z system. The focal length is more versatile than 85mm, the image quality is excellent, autofocus is quick and reliable, and it’s also smaller and lighter.

If you prefer your portraits to include a bit more context — showing more of the environment around your subject — then 50mm can be a better choice.

However, for tighter portraits, headshots, and anything where you want the most flattering look, it doesn’t quite match what the 85mm delivers. The 85mm just has that slightly more compressed, flattering perspective that tends to make people look their best.

Final Thoughts

The Nikon Z8 is one of the best cameras currently available, and it deserves great lenses. It also deserves to be set up properly which is why I have written an article on the best wildlife settings for the Nikon Z8.

But it’s very easy to fall into the trap of buying the most expensive option in every category and spending an absolute fortune.

I’ve taken a different approach.

I’m happy to spend more on the lenses I use the most — where the benefits are clear and actually make a difference to my photography. But if there’s a lens that gives me everything I need while saving a bit of money, I’ll choose that instead, even if it’s not the absolute best on paper.

And I think that’s the balance that makes the most sense for most people.

Allocate your budget based on how you actually shoot.

If you’re constantly shooting wide-angle landscapes, then by all means go for the NIKKOR Z 14-24mm f/2.8 S. If you want to take better portraits but only do it occasionally, then it probably doesn’t make sense to spend on something like the NIKKOR Z 85mm f/1.2 S when the NIKKOR Z 85mm f/1.8 S will give you most of the performance for much less money.

Like a lot of photographers, I’m not in a position to own every lens in the system — even if I’d like to.

So for me, building a Nikon Z kit is about choosing lenses that deliver the performance I need, at a price I can realistically justify.

And if you take the same approach, you’ll end up with a kit that not only performs well — but actually makes sense for the way you shoot.

I’ve seen them plenty of times along this route. They’re usually out on the open, ploughed fields to the left of the path, but those areas rarely make for great photos — rough soil, messy backgrounds, and if they’re up on the brow of the hill, you’re often dealing with houses in the distance. So we tend to keep walking until the scenery improves, where the fields open out and the background becomes a bit cleaner.

On this particular evening, we passed our usual Llama spot, where Sofia again stopped to feed them. As we continued on we stopped at a gate we’ve used before — a good spot to scan the fields and, if we’re feeling patient, climb over and slowly work our way towards a wallow where the hares often gather. Sofia enjoys that part. I usually turn it into a bit of a game — who can walk the quietest, or we pretend we’re on some kind of mission.

But this time, before we even got that far, something else caught my attention.

There were dozens of swallows feeding all around us — darting back and forth across the path, skimming the fields, weaving through the hedgerows. I found myself just watching them for a moment. The speed wasn’t the surprising part — it was how abruptly they could change direction. One second they were there, the next they were gone.

Naturally, I couldn’t leave it alone.

I was out with my usual wildlife photography kit, with the Nikon Z8 and Nikon Z 180-600mm f/5.6-6.3 VR already in hand, I decided to see if I could capture them in flight — knowing full well this wasn’t going to be easy but the 180-600mm lens has proven to be one of the best lenses for the Nikon Z8 so I was hopeful.

Why Swallows Are So Difficult to Photograph

I’ve photographed birds in flight plenty of times before, but swallows are on a completely different level.

It’s not just their speed — although they are fast — it’s their agility. They’re constantly chasing insects, which means they’re changing direction unpredictably. One second they’re flying straight, the next they’ve turned sharply and disappeared out of frame.

What made it even harder was how close they were getting. You’d think that would make things easier, but it actually does the opposite. At longer distances, their movement is easier to follow. Once they get within 20–30 metres, everything happens so quickly that simply keeping them in the frame becomes a challenge. This applies to most small, fast-moving birds.

More than anything, it felt chaotic.

I’d get one in the viewfinder, try to follow it, and within a split second it was gone again. Not because the camera lost it — but because I did.

Trying to Track Them (And What Actually Worked)

At first, I found myself just reacting — swinging the lens around trying to keep up with whatever swallow happened to fly closest.

That didn’t last long.

Instead, I started watching their behaviour more carefully. Rather than chasing individual birds, I tried to anticipate where they might pass through and be ready for it. I also zoomed out slightly, working around the 400mm mark, which made it easier to pick them up in the frame before attempting to zoom in.

This is where using a zoom like the Nikon Z 180-600mm f/5.6-6.3 VR really helps. You’re not locked into one focal length — you can give yourself a bit of margin to acquire the subject before tightening the composition.

Even then, it wasn’t easy.

Keeping a swallow in the viewfinder as it darts around is one thing — keeping it there long enough to actually take a usable shot is something else entirely.

How the Nikon Z8 Handled It

A Real Tracking Sequence

Here the Z8 had no problem tracking the swallows at around 500mm with a little more distance to work with.

Once I actually managed to get a swallow in frame, this is where the Nikon Z8 started to show what it can do.

Using my usual custom setup (Which I break down in detail here), I’d acquire focus using Wide Area AF-L and then switch across to a larger focus area using my function buttons, allowing the camera’s bird detection to take over across more of the frame.

When everything lined up — when I managed to track the bird properly — the hit rate was surprisingly high. I’ve got sequences where the camera was nailing focus on the 90% of frames, which honestly impressed me given how erratic the movement was.

But there’s a limit.

As soon as the swallows came too close, everything started to fall apart. Not because the autofocus wasn’t capable, but because I simply couldn’t keep the subject in frame long enough for it to do its job. At that point, it’s not really a camera limitation — it’s a human one.

There’s also the physical side of it. The lens has to move a fair amount of glass to adjust focus, and when you’re swinging a 180–600mm around trying to keep up with something that unpredictable, things get messy quickly.

At one point I did wonder what I must have looked like from a distance — wildly swinging the lens around as these birds zipped past. I half expected the local farmer to call the men in white coats to come and take me away.

The Reality of Shooting Something Like This

What this really highlighted is that even with a camera like the Nikon Z8, there’s no shortcut with subjects like this.

The autofocus is excellent — there’s no question about that — but it still relies on you doing your part. If you can’t keep the subject in frame, or give the system enough time to recognise and track it, there’s only so much it can do.

When everything comes together, it works incredibly well.

But getting to that point, especially with something as erratic as a swallow, takes time, patience, and a ton of practise. It’s frustrating at times — but when it comes together, it’s incredibly rewarding

I slung the camera over my shoulder on a Peak Design Slide Lite and headed up into the hills. It’s been a while since I’ve properly used a wide-angle lens. They used to live on my camera when I was working in the Outer Hebrides, but over the last decade I’ve reached for them far less.

This time, I wanted to see how the 14–30mm f/4 actually handles the Z8’s 45MP sensor, and whether the image quality holds up to what I expect from a setup like this. More than anything though, I just needed a few hours in the hills to clear my head.

The Setup

This wasn’t about chasing the absolute best conditions or coming back with a portfolio shot. I shot everything handheld and kept things as light as possible so I could enjoy the walk as much as the photography.

That’s where the 14–30mm f/4 makes a lot of sense. and why I rate it amongst the best lenses for the Nikon Z8. It’s a genuinely compact lens for full-frame, largely because of its retractable design. Its one of the best Nikon Z lenses available when you factor in size and weight. When packed down it stays small, and you have to twist the zoom ring to extend it into its working range. I’m not a huge fan of that in use as it slows things down slightly, but if that’s the trade-off for the size and weight, it’s one I can live with.

In terms of focal length, this isn’t something I naturally gravitate towards. I tend to prefer a bit more compression (which I got when I took the 24-120mm f4 on my Z8 , full Nikon Z 24-120mm review here) rather than the exaggerated perspective you get at 14–20mm, and I’m not particularly drawn to the kind of compositions that rely on hunting for foreground interest just to fill the frame. That can get repetitive fairly quickly. For a different look to wide-angle shots I’ve been using the Nikon Z 20mm 1.8S lens lately for woodland photography.

That said, lenses like this do give you the ability to capture the scale of a place properly. Out in the glen, with the weather moving through and light breaking in patches, it felt like the right tool for trying to show the wider scene rather than picking out details.

This wasn’t a golden hour shoot either. Most of the time those windows just aren’t realistic for me anymore, so this was more representative of how I actually get out and shoot these days.

Shooting Experience

The Z8 and 14–30mm f/4 felt very well balanced in use. The ergonomics of the Z8 combined with the relatively lightweight lens meant it never felt like a burden to carry. For most of the walk it was just slung over my shoulder and out of the way, and when I did pick it up to shoot, everything felt natural and easy. I go in to more detail about how the camera performs in my full Nikon Z8 review.

I ended up using a range of focal lengths. Although I generally prefer less extreme wide-angle images these days, a couple of my favourite shots from the day were actually at the wider end. In situations where I couldn’t physically move — shooting over railings at the dam, for example — the extra width made the shot possible. With a standard zoom, those images simply wouldn’t exist.

Focusing was quick and accurate throughout, and the zoom ring is smooth enough to adjust quickly without thinking about it. The weather turned a few times during the walk, with heavy rain coming through in bursts, but both the Z8 and the 14–30mm handled it without any issues.

The only real annoyance was the retractable design. I’m still not fully used to it, and there were a couple of moments where I raised the camera only to realise the lens was still in its closed position. The camera does warn you, but it’s not something I naturally notice when shooting.

Image Quality on the 45MP Sensor

I’m not a pixel peeper these days. I care far more about light and composition, but I still expect my lenses to perform well enough that they don’t get in the way of a good image.

Looking through the files from this shoot, I was pleased with what the 14–30mm f/4 delivered across the focal range. At 14mm in particular, the corners hold up better than I expected. Viewing the images full screen on my iPad Pro, there’s nothing that stands out as a problem. They look clean and sharp where it matters.

If you zoom right into the extreme corners, there is some softness, but it’s minor and well within what I’d consider acceptable for a lens like this. It’s not quite on the level of something like the 14–24mm f/2.8, but for my use, it doesn’t matter. The images still hold together well, and the overall impression is strong.

Centre sharpness is excellent, and at 100% it’s clear the lens is resolving the Z8’s 45MP sensor without issue. Micro contrast looks good, and once stopped down to around f/5.6–f/11 — which is where I shot throughout — the overall image quality is very solid.

What Stood Out

I really enjoyed using the 14–30mm f/4 on the Z8 for this kind of shoot. When the goal isn’t technical perfection or coming back with portfolio images, but simply getting out into the hills, clearing your head, and taking a camera along as an excuse to slow down and actually look, this combination makes a lot of sense.

It’s light enough that it never becomes a burden, but capable enough that when you do see something worth photographing, you know it’s going to deliver. The weather turned a few times while I was out, with heavy rain coming through, but the setup handled it without any issues.

A couple of the images I came away with reminded me why wide-angle lenses are so popular. It still feels slightly unnatural to me now, shooting that wide, but the results made me rethink how often I should be using it. It’s not on the same level as my GFX kit in terms of outright image quality, but for most people — and most situations — it’s more than good enough.

The main limitation I noticed was the 30mm at the long end. There were moments where I wanted to compress the scene slightly, particularly when distant mountains were catching pockets of light, and that just isn’t possible at those focal lengths. But that’s the trade-off — in return, you get the ability to capture compositions that simply wouldn’t work with a standard zoom.

Verdict

After using the Nikon Z8 with the 14–30mm f/4 in a real landscape setting, I came away with a clear answer: it’s more than capable.

It’s not a perfect lens, and it’s not trying to be. But in terms of usability, image quality, and overall balance, it holds up well on the Z8’s 45MP sensor. For the kind of photography I was doing here, it never got in the way and often enabled shots I wouldn’t have been able to take otherwise.

If you prefer longer focal lengths or rely on compression in your images, it will feel limiting at times. But if you want a lightweight ultra-wide zoom that you can carry all day and trust to deliver, it’s a very solid option.

I’ve used everything from the smallest primes to heavier zooms on the Zf, and if you want to preserve what makes this camera so enjoyable to use, you can’t just put any lens on it.

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Nikon Z 40mm f/2 SE – Best Overall

I’m usually drawn to optically excellent lenses, but in this case my top pick is the 40mm f/2 SE — not because of its performance, but because of how well it matches the Nikon Zf.

It’s small, light, and almost perfectly balanced on the camera. More than anything else I’ve used, it feels like a natural partner to the Zf’s design and handling.

It allows the camera to become what it’s meant to be — a high-quality shooting experience, not just a tool for capturing images.

The 40mm f/2 SE isn’t the strongest lens in the lineup technically, but it’s sharp enough, bright enough, and fast enough to focus that those compromises are worth it. What matters is that with this lens, the Zf simply feels right to use — and that’s what makes it my top choice. If you’re looking for a more in depth analysis of the lens’ performance then see my full Nikon Z 40mm f/2 SE review.

Nikon Z 50mm 1.8S – Best for Image Quality

If image quality is your priority, the Nikon Z 50mm f/1.8 S is the best lens to pair with the Nikon Zf.

It’s noticeably sharper than the 40mm f/2 SE, performs better in low light, and focuses faster, making it the more capable lens in almost every technical sense.

It is larger and heavier, but it still handles well on the Zf. That said, it sits right at the upper limit of what I’d consider a good match for this camera in terms of size and balance. It costs a little more than the 40mm f/2 but you definitely get what you pay for in terms of optical and AF performance with sharper images, faster and more sure-footed AF and the ability to isolate subjects with shallower depth of field thanks to the f/1.8 aperture and longer focal length.

It doesn’t offer quite the same feel as the smaller 40mm lens, but if you’re looking to get the most out of the Zf in terms of image quality, this is the lens I’d choose.

I’ve covered this lens in more detail in my full Nikon Z 50mm f/1.8 S review.

Nikon Z 35mm 1.8S – Best Wider Option

If you prefer a slightly wider field of view, the Nikon Z 35mm f/1.8 S is the lens I’d choose.

It offers very similar performance to the 50mm f/1.8 S, with excellent sharpness, fast autofocus, and the flexibility of an f/1.8 aperture when you want to isolate your subject.

It is a larger lens, and like the 50mm, it sits right at the upper limit of what I’d consider a good match for the Nikon Zf in terms of size and balance.

I’d take it over the 28mm f/2.8 SE without hesitation, because at 28mm and f/2.8 the compromises start to become a little too much. It’s harder to isolate subjects, and low light performance is noticeably more limited.

For more details, see my full Nikon Z 35mm 1.8 S review which was shot in the Philippines.

Lenses to Avoid on the Nikon Zf

The Nikon Zf isn’t a camera that pairs well with every lens in the Nikon Z lineup.

The biggest issue is size and balance. Once you start pairing it with larger zoom lenses or heavier primes, the whole feel of the camera changes. It becomes front-heavy, less comfortable to use, and you lose what makes the Zf enjoyable in the first place.

You can of course use zoom lenses with the Zf, but I don’t really see the point. If that’s how you want to shoot, a camera like the Nikon Z6 III makes more sense.

I’ve used the Zf with the 24–120mm f/4, which isn’t even a particularly large zoom, and while the results were good, the experience wasn’t. The camera felt front-heavy, and even with an L-grip it wasn’t especially comfortable to use. It was manageable, but it never felt like a natural fit.

That doesn’t mean these lenses are bad — they’re not — but they’re better suited to bodies designed around them. With the Zf, smaller and lighter lenses simply make more sense.

Final Thoughts

The Nikon Zf can be an incredibly fun and enjoyable camera to use, but if I’m being honest, that experience really depends on pairing it with the right lenses.

They might not always be the highest-performing lenses on paper, but when you match the right lens to the Zf, it becomes about more than just technical performance. It’s about simplicity and the experience of shooting.

With the right setup, the Zf becomes a camera you actually want to take everywhere and use, rather than something that just delivers great results.

For me, that’s where smaller prime lenses make the most sense.

Most of my time has been spent walking — exploring woodland, open areas, and edges where you might come across something rather than plan for it. Light is often overcast, and wildlife is mainly seen during dawn and dusk, so the conditions aren’t always ideal.

Nikon Z8 (Primary Camera Body)

I chose the Nikon Z8 as my primary wildlife photography camera for several reasons.

The first was the lens ecosystem. I looked at various lens ecosystems from all the brands, and Nikon Z offers what I consider to be the best options for wildlife — from the Nikon NIKKOR Z 180-600mm f/5.6-6.3 VR through to relatively affordable and lightweight primes including the Nikon NIKKOR Z 400mm f/4.5 VR S, along with the 600mm f/6.3 and 800mm f/6.3 lenses. When I compared this to other manufacturers, it felt like the most well-rounded wildlife lens lineup across the full-frame options.

Initially, I considered whether to make OM System or Nikon my primary wildlife setup. After shooting both options here in Scotland — where light is often overcast and a lot of wildlife activity happens at dawn and dusk — the advantage of the Z8’s full-frame sensor became apparent, particularly when pushing into higher ISO.

The camera itself was the final part of that decision. The Z8 is a rugged, weather-sealed body with strong ergonomics, high-level autofocus and subject detection, fast burst shooting rates, and very capable video performance in terms of resolution and codecs. It’s a camera that feels like it’s built to handle real-world use rather than ideal conditions.

The 45MP full-frame sensor also gives me flexibility. Being able to crop into an APS-C frame (DX crop) while still retaining around a 20MP file means lenses like the 180–600mm effectively gain more reach, giving around a 900mm equivalent field of view while still keeping usable resolution.

So far, most of my wildlife shooting with the Z8 has been fairly casual — walking, researching potential areas, and taking shots where I can while getting my setup dialled in. That’s included refining my own technique and customising the camera so it operates in the most efficient way possible through button configuration.

I have to say, so far I don’t really have any complaints about the Z8. The way I have it set up makes it feel intuitive to shoot with. It allows the subject detection and AF algorithms to work to their maximum, while still giving me the ability to quickly override the camera if needed. I’ve gone into more detail on how I’ve set the camera up in my Nikon Z8 settings for wildlife photography article.

The subject detection has been excellent overall, but not infallible — particularly in woodland where there are busy backgrounds and foreground elements.

Nikon Z6 III (Second Body)

If I’m just heading out for a recce or a more casual session, I’ll usually just take a single body — and that’s usually the Z8.

But when I go out with more intention, which is happening more often now, I’ll always have the Z6III in the bag as a second body.

The way I use it is fairly straightforward.

I’ll typically have the Z8 with my chosen lens mounted on the tripod, and the Z6III will have an alternative lens attached. That gives me flexibility to shoot slightly different images without needing to swap lenses, or to grab something quickly handheld if the moment calls for it.

In practice, the Z6III complements the Z8 really well.

The autofocus performance is similar, and thanks to the custom setup I’ve put in place — particularly with button configuration and general handling — it’s pretty seamless to switch between the two. There’s no real adjustment period, which is important when things are happening quickly. I’ve gone into more detail on how I’ve set it up for wildlife in my Z6III settings article.

Where it is a bit more limited is flexibility.

With the lower resolution sensor, DX mode isn’t usable in the same way as it is on the Z8, so you don’t get that extra reach without sacrificing more image quality.

But as a second body, and at the price point, that’s a compromise I’m comfortable with at this stage.

Right now, it fits exactly where I need it to — a capable backup that adds flexibility without getting in the way.

Lenses

Nikon NIKKOR Z 180-600mm f/5.6-6.3 VR

I tend to pick the 180–600mm as my general wildlife lens when I’m heading out to explore areas where I think there’s potential. I documented one of those outings here.

Recently I’ve been carrying it on walks along the River Earn and up in the hills locally, and so far it’s proven to be a really flexible lens — especially given the price.

The zoom range is what makes it. I can shoot larger mammals like deer when I can get relatively close, then quickly zoom in — or switch into DX crop — and get up to a 900mm equivalent field of view for smaller or more distant birds. In real-world use, that flexibility matters far more than anything else.

The build quality feels excellent. I carry it in my hand via the tripod collar most of the time, and aside from occasionally switching hands, I’ve found the weight and size very manageable for handheld use.

The internal zoom is a big plus. It keeps the balance consistent when shooting handheld and avoids the issues you get with extending designs —it’s much better than the old push/pull zoom on the Canon 100–400mm I used to own, which always felt like it was pulling dust into the lens. The zoom ring turns smoothly and quickly and having the control ring set to focus (default option) works pretty well for me when I want to manually focus.

Autofocus is quick — not quite as fast as the 400mm — but still more than capable. It’s been able to keep up with red squirrels darting through trees and small birds moving unpredictably.

Image quality is very good for what it is. It’s sharp through to around 550mm, then softens slightly out to 600mm. It’s not a dramatic drop, but it’s there if you’re looking for it.

It does accept the 1.4x teleconverter, but I’m not convinced by that combination yet. I’ll keep testing it, but so far it feels like more of a compromise than a clear gain.

Where it does struggle a bit is low light.

At f/6.3 on the long end, it’s not a low-light lens. I was walking along the River Earn the other evening, about an hour or two before sunset, and found myself shooting at ISO 12,800 while juggling shutter speed to try and keep things usable.

But that’s part of the trade-off. For the reach, flexibility, and price, it’s doing exactly what I expected — and so far, I’m very happy with it.

Nikon NIKKOR Z 400mm f/4.5 VR S

I bought the 400mm f/4.5 to handle the situations where the zoom struggles — mainly woodland and lower light. I wrote about scouting a new location along the River Earn using this lens.

The first thing that stands out is the weight. It’s surprisingly light for a wildlife prime, and in real use, that makes a big difference. It’s light enough that I can comfortably carry it on a strap (I use the Peak Design Slide Lite) rather than holding it by the tripod collar if I want.

It’s quicker to bring up, easier to carry for longer periods, and just feels less demanding overall.

Image quality is excellent. It’s noticeably sharper than the 180–600mm more of the time, and autofocus is a bit quicker and more assured.

Even though it doesn’t offer the same reach or flexibility on paper, I haven’t found it restrictive on the Z8. Being able to quickly switch into DX crop and effectively cover the 400–600mm range changes how usable a lens like this is.

Yes, you give up some resolution, but getting a 20MP file at that equivalent focal length is often more than enough.

This is one of the reasons I chose the Z8 — it makes primes like the 400mm f/4.5 far more flexible in real use.

It also seems to work better with the 1.4x teleconverter than the 180–600mm, at least from my early impressions.

The wider aperture helps as well. It gives a bit more subject separation when backgrounds are busy, which is useful in woodland where things can get messy quickly.

It’s not a miracle worker, and it doesn’t have the rendering of something like a 600mm f/4 — but it’s also a fraction of the price and size.

Supporting Gear

Nikon Z 1.4x Teleconverter

I’ve used the 1.4x teleconverter on a few occasions so far, mainly when I needed a bit more reach than the lens alone could give me.

One of those was shooting hares on local farmland with the 180–600mm. The results were mixed. There was definitely some degradation in image quality, but that test wasn’t entirely fair — the hares were at distance, and there was noticeable atmospheric disturbance as well.

I’ve also tried it on the 400mm f/4.5, and the results there looked much cleaner.

At the moment, it sits in an interesting place in my kit. It’s useful, and I’ll keep testing it, but I’m not yet convinced it’s going to become something I rely on regularly. In a lot of situations, switching into DX mode feels like the quicker and simpler option.

That may change over time, but right now it still feels like something I’m evaluating rather than depending on.

ThinkTank MindShift BackLight 36L

The ThinkTank MindShift BackLight 36L has quickly become my main camera bag now that I’m back in Scotland.

The biggest thing for me is how it carries weight. The waist harness makes a real difference when you’re walking for longer periods, and the overall design means I can carry a full setup without it becoming uncomfortable.

It’s also the only bag I own that can comfortably carry:

• Z8 with the 180–600mm attached
• 400mm f/4.5
• Z6III body
• 1.4x teleconverter and accessories

On top of that, there’s still room for things like a waterproof jacket and a drinks bottle, along with smaller items in the external pockets.

The tripod carry system is another big plus. It’s centrally located, so the weight stays balanced rather than pulling to one side like it does on a lot of bags. That makes a noticeable difference when you’re walking any distance.

Build quality is solid, with plenty of configurable dividers, and overall it just feels like a well thought-out bag.

What’s surprised me most is how often I take it, even on more casual walks. I’ll often carry just the Z8 or Z6III with a single lens, but still use the bag because it’s comfortable and gives me somewhere safe to store the gear if the weather turns.

Given how quickly conditions can change here, that alone makes it worth carrying.

Leofoto Summit LM-364C Tripod

I chose the Leofoto tripod because I needed something stable enough to comfortably support my heaviest setup.

It’s carbon fibre, which helps keep the weight down, but more importantly, it doesn’t feel freezing to handle in cold weather — something you notice quickly in Scotland.

The legs are thick and solid, and the twist locks feel very secure. I’ve used cheaper twist lock systems before and didn’t trust them, but these inspire a lot more confidence.

It extends to a good working height for me at around 145cm (I’m 6ft tall), and it can also go right down to very low angles at around 9cm, which gives a lot of flexibility depending on the situation. Add on to that the height of whichever tripod head I’m using and it’s a really flexible setup.

It folds down to 53cm, so it’s still manageable to carry, and at around 1920g it’s not overly heavy for what it is.

A few smaller details also make a difference:

• Rubber ball feet for stability
• A high-visibility spirit level
• Offset leg joints
• A changing platform system

That last one is particularly useful. I can switch between a flat platform for a ball head and a video bowl for the Sachtler Ace fluid head, which fits with how I want to shoot both stills and video.

With a max payload of 30kg, it’s more than capable of handling anything I’m likely to put on it.

Just as importantly, it offers strong value compared to similar options — it feels like a solid, reliable piece of kit without going into the price range of some of the bigger brands.

Tripod Head

Sachtler Ace XL II Fluid Head

My wildlife shooting at the moment is split between more casual outings where I’m shooting handheld, and more intentional sessions where I’ll use a tripod with the Sachtler Ace fluid head attached.

Using the tripod changes things straight away.

It allows me to stay in position for longer without fatigue, and when I do take shots, I’m more likely to get a higher keeper rate simply because the camera and lens are sitting on a stable base.

I know a lot of people use dedicated gimbal heads for wildlife photography, like those from Wimberley, but I chose the Sachtler for a different reason.

It gives me flexibility.

I can reduce the resistance on the head so it moves freely enough to track subjects for stills, and then increase that resistance when I’m shooting video to get smoother, more controlled motion. That dual use was important to me, as I want the ability to shoot video alongside stills.

In use, it feels very solid. It comfortably balances my heaviest setup and remains stable when mounted on the Leofoto tripod.

How I Actually Shoot Wildlife

At the moment, I’m still very much in the stage of discovering the local area and the opportunities that exist.

That means I’m doing a lot of local walks and leaning more towards casual shooting. I’m not heading out with a fixed plan every time — it’s more about exploring, seeing what’s there, and starting to understand how the land and wildlife behave.

Once I’ve identified more promising locations, that’s when I’ll shift towards more intentional shooting with the full setup.

But even at this stage, there’s still a purpose to what I’m doing.

I’m effectively shaking down the kit — making sure everything works as it should, refining how I use it, and getting comfortable with the setup so that when the time comes for more deliberate sessions, I’m not thinking about gear at all.

A good example of that was a location I found locally with strong potential for photographing hares.

I initially came across it on a casual walk with the Z8 and 180–600mm. A couple of days later, I went back with the full setup — bag, tripod, everything — to try and get something more intentional.

As is often the case with wildlife photography, it didn’t quite come together.

I couldn’t get close enough, even with the 1.4x teleconverter attached.

But that’s part of it.

I’ll go back again, and again, until it lines up.

That’s really what wildlife photography comes down to — light, distance, and subject all need to come together at the same time. There’s no real shortcut for that. You just have to keep returning to the same places and put the time in.

In terms of how I shoot, I’ve mostly been committing to one setup at a time in these early stages.

Rather than constantly switching between bodies and lenses, I’m focusing on learning the locations and understanding behaviour first. The gear supports that, but it’s not the focus.

Autofocus has been a big part of that process.

My custom AF settings are working very well now, and my keeper rate has improved noticeably since tuning them. Subject detection works well when animals are out in the open, but once you move into woodland with busy backgrounds and foreground elements, it becomes less reliable.

That’s where having a quick override to Single Point AF has been essential.

It gives me control when I need it, without having to fight the camera.

In terms of lenses, I’ve found myself preferring the 400mm f/4.5 in a lot of situations.

The autofocus feels a bit more assured, and the rendering is cleaner more of the time. But I still end up using the 180–600mm more often, simply because of the reach and flexibility it offers.

That trade-off comes up again and again.

Closing Thoughts

This setup will evolve over time. I can already see that eventually I will want a bit more reach and better low light performance at the long end but both of those come at significant cost.

Right now, it feels balanced. It gives me enough reach to work with, enough flexibility to adapt, and enough confidence that when something does happen, I’m not fighting the camera.

Most of what I’m doing at the moment is still about learning — the land, the light, and the behaviour of the wildlife here.

The gear plays its part, but it’s not the limiting factor.

Getting out consistently, returning to the same locations, and putting the time in — that’s what will make the difference.