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.

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.

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.

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.

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.

You hear people talking about ND filters, graduated filters, polarising filters… and before long, it feels like you need a whole bag of them just to take a decent photo.

I went through that phase myself.

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Why I Don’t Use Graduated ND Filters Anymore

Back when I was working as a professional landscape photographer, I carried a full Lee Filters system — graduated ND filters (both soft and hard edge), ND filters of different strengths, and a polariser that rarely left my lens.

But things have changed.

Dynamic range has improved, and bracketing is now faster and far easier to use in the field. The way I shoot has become much simpler as a result. Most cameras that I now use – from my Nikon Z6III to the Fuji X-T5 have pretty well-implemented bracketing options.

These days, there’s only one filter I consider essential — and even that depends on the situation. There’s another I still use occasionally. Everything else? Either replaceable, or unnecessary.

When I was shooting with the Canon 5D Mark II, bracketing was far more limited than it is today — just three exposures. If I wanted more flexibility, I had to do it manually, which slowed everything down.

Because of that, I relied heavily on my Lee Filters system.

That meant attaching the filter holder, choosing the right strength, and deciding between hard or soft graduated ND filters depending on the scene — hard edge for flat horizons, soft edge for a more gradual transition. More often than not, it involved trial and error. I’d take a shot, adjust, swap filters, and try again.

It worked, but it wasn’t quick.

At the time, the limited dynamic range of cameras and the more awkward HDR workflows pushed me toward using physical filters in the field. It was the most reliable way to get a balanced exposure.

Now, that’s changed.

Bracketing on modern cameras — whether it’s the Nikon Z system or Fuji X-series — is faster, more flexible, and something I actually use without thinking. Combined with how much quicker and cleaner editing has become, the whole process is far simpler than it used to be.

The One Essential Filter for Photography

There’s only one filter I consider essential today — and even then, it’s not something I use on every shot. The reason it stands apart is simple: its effect can’t be properly replicated in post. That filter is a circular polariser.

Why a Circular Polariser?

It does two things exceptionally well.

First, when the sun is off to your side, it boosts saturation and gives your images more punch — deeper blue skies, richer greens, and better overall contrast in your landscape shots.

But the more important reason is this: it cuts reflections.

When you shoot water without a polariser, reflections dominate. You lose detail and colour beneath the surface, and highlights can become harsh and distracting. Add a polariser, and you can rotate it to control those reflections — reducing glare, revealing what’s underneath, and bringing back colour and detail in submerged rocks and textures.

Below are two examples taken moments apart — one with a polariser, one without. Both were processed in exactly the same way.

The difference between them says far more than I can.

And that’s the key point: you can’t recover that information later. If it’s hidden by reflections at the time of shooting, it’s gone.

This isn’t just about water.

A polariser cuts reflections anywhere — windows, shiny surfaces, wet objects — and that makes it useful in far more situations than most people realise.

I use it a lot when photographing plants and flowers after heavy rainfall. That’s when they look their best, but it’s also when reflections can wash out colour and detail. A polariser lets you control that, bringing back richer tones and reducing glare on the surface.

Extra Benefit: Slower Shutter Speeds

Polarising filters typically reduce light by around a stop compared to shooting without one. That might not sound like much, but it can be useful when you want to slow your shutter speed slightly — for example, softening moving water without needing a full ND filter.

In some situations, that small reduction is enough to get the look you want without adding extra filters.

A Small Drawback to Be Aware Of

One thing to watch out for is using a polariser with ultra-wide lenses, like the Nikon Z 14–30mm f/4 S.

Because of the wide field of view, the polarising effect isn’t even across the frame. You can end up with one part of the sky looking much darker than the rest, which can feel unnatural if you’re not careful.

It’s not a deal-breaker — just something to be aware of when composing your shot.

Choosing the Right Polariser

This is one area where quality matters.

I’ve used cheap filters in the past, and they tend to introduce colour casts, uneven results, and — most frustratingly — they’re incredibly difficult to clean properly once they get dirty.

For years, I’ve used Hoya HD filters, after much trial and error with other brands and even different models from Hoya. They strike a good balance between quality and price — no colour issues, easy to clean, and solid build quality thanks to hardened glass. I specifically avoided their Pro1 range, as I found them harder to keep clean in real-world use.

They’re also slim enough to avoid vignetting, where the filter frame starts to creep into the edges of the image.

My Setup (Keep It Simple)

I used to carry multiple filters in different sizes. Now, I keep it simple:

• 82mm for my wide-angle setup
• 77mm for everything else

If I need to use them on smaller lenses, I just use a set of step-down rings. It’s a cheap, simple solution and avoids buying the same filter multiple times.

ND Filters — Useful, But Not Essential

So what about ND filters?

I’ll be straight — for video, they’re essential. For photography, it depends on how you shoot.

If you enjoy long exposures — waterfalls, rivers, the sea — then ND filters make life easier. They let you achieve that smooth, silky look regardless of how bright it is. For that reason alone, I’d say they’re worth having if those kinds of subjects appeal to you.

But I don’t consider them essential.

In my experience, these scenes often look best on overcast days anyway. Light levels are lower, reflections are reduced, and conditions are naturally better suited to longer exposures. In those situations, simply stopping your lens down to something like f/11–f/16 (or further if needed) is often enough to get a slower shutter speed and introduce motion into the water — no ND filter required.

Would the result be cleaner with an ND filter? Probably.
But it’s entirely possible to achieve the look without one.

Modern stabilisation has also changed things. With effective IBIS in today’s cameras, handheld shots at 1/4 to 1 second are realistic, which means you don’t always need a tripod either.

When ND Filters Become Necessary

Where ND filters do become essential is at the extreme end.

If you regularly shoot long exposures — several seconds or even minutes — then you’ll need something like the Lee Big Stopper or an equivalent 6–10 stop filter.

That kind of effect simply isn’t possible without one.

My Experience Using ND Filters

ND filters come in a variety of styles from fixed filtration rectangular filters that need adapters to circular screw on variable strength designs.

I do own a Big Stopper, but I rarely use it.

Partly because of the extra setup — filter holders, adapters, and the whole system — but also because I’ve often found stronger ND filters introduce colour casts that aren’t always easy to correct in post.

These days, if I use ND filters, I tend to stick with lighter-strength, variable ND filters and adjust my shutter speed and aperture to get the result I want. You have to choose your variable ND filter wisely as some designs introduce an un-sightly X shaped pattern in to your images as you increase the strength of the filtration. I now use Freewell variable ND filters which don’t have this issue and are reasonably priced.

It’s a simpler way of working — and for me, it fits better with how I shoot now. However with cameras such as the OM System OM-3, they now have built in computational modes that replicate the effect of an ND filter and even graduated ND filters.

Black Mist Filters — Fun, Not Essential

More recently, I’ve been experimenting with black mist filters on my Fujifilm X100VI.

These have become incredibly popular with photographers chasing a less clinical, more “film-like” look. What they do is fairly simple — they diffuse light slightly, lower contrast, and add a subtle glow (or halation) around bright light sources.

It’s a very distinctive look, and right now, it’s everywhere.

And to be fair — it can be fun.

On a camera like the X100VI with its small 49mm filter size, they’re relatively inexpensive, so it’s easy to pick one up and experiment. I’ve used both 1/4 and 1/8 strength filters, depending on how subtle I want the effect to be.

But I’m going to be straight here.

If you’re new to photography and wondering whether a black mist filter is going to take your images from good to great — it won’t.

This is a creative tool for achieving a specific look, not something that improves your photography in a fundamental way.

The effect itself is also quite subtle. You’ll notice it most in scenes with strong light sources — street lights, headlights, or backlit subjects — and occasionally in how it softens skin tones. In many situations, you may barely notice it at all.

Would I recommend buying one?

Generally, no.

But if you shoot a lot at night, particularly in cities, or you’re drawn to that retro, cinematic look, then at the price, it can be worth trying.

Just don’t feel like you need one.

I’ve seen trends come and go over the years, and while black mist filters are very popular right now, I’d expect that to shift over time.

Do You Need UV or Protection Filters?

I used to buy UV or protection filters for every lens I owned.

These days, I don’t.

I came to the conclusion that putting a £100–£200 piece of glass in front of lenses worth thousands probably isn’t doing image quality any favours. Instead, I leave the lens hood attached and take care of my gear.

That’s been more than enough.

As for UV filters specifically, they’re really a holdover from the film days. Back then, they served a purpose — cutting ultraviolet light hitting the film stock.

With digital cameras, that simply isn’t needed.

The only time I would actively advise putting protection filters on your lenses is in particularly harsh environments — for example, if you’re shooting seascapes and want to protect your lens from salt spray. A good protection filter is also easier to clean than a front element, and far less worrying to scratch.

Conclusion

If I was starting again today, I’d buy one filter — a circular polariser — and spend the rest of my time learning how light behaves.

If I was regularly shooting seascapes or long exposures, I’d add a variable ND filter for that extra control over shutter speed. Beyond that, I wouldn’t feel like I was missing anything.

That’s really the takeaway.

You don’t need a bag full of filters to take great photos — just a couple of high-quality options for specific situations. Beyond that, learning to see and work with light will do the rest.

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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.

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.

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When people claim this lens is like carrying a bag full of primes, they’re not just talking about focal lengths.

Any zoom in this range covers 16mm, 23mm, 33mm and into the 50mm range — that’s nothing new.

What they’re really getting at is the optical performance. The idea that the Fujifilm 16–55mm f/2.8 II doesn’t just cover those focal lengths, but actually delivers something close to what Fuji’s best primes can produce.

Since moving to Scotland, I’ve started to once again appreciate good zooms more than I have in recent years. The flexibility matters here. The weather changes quickly, and swapping lenses out in the field isn’t always practical.

But I also own most of the premium primes that sit within this range — and they’re exceptional.

So for this lens to live up to that “bag of primes” claim, it doesn’t just need to be good.

It needs to keep up with some of the best lenses Fujifilm makes.

Before I bought the 16–55mm f/2.8 II, I was using the 18–55mm kit lens whenever I needed the flexibility of a zoom here in Scotland.

That lens is widely regarded as one of the better “kit” lenses, but the 16–55mm f/2.8 II sits in a completely different category. It’s Fujifilm’s professional standard zoom, so it should feel like a step up.

When it arrived, I was particularly interested to see whether the claimed reduction in size and weight over the original version was actually noticeable in real use.

It is.

While it’s clearly larger than the 18–55mm, it still feels relatively compact and well balanced in the hand. In fact, it’s noticeably smaller than something like the Nikon Z 24-120mm f/4 S that I use on my Nikon Z bodies.

I’ve been guilty in the past of dismissing f/2.8 zooms on Fuji. They’ve often felt too large to justify on an APS-C system — lenses like the 50–140mm f/2.8 and the original 16–55mm being good examples.

But the mark II version changes that in a meaningful way. Mounted on my Fujifilm X-T5 (with the L-grip attached), it feels well balanced and doesn’t come across as heavy in any meaningful way — certainly no more so than the premium f/1.2–f/1.4 primes I’m used to shooting.

It still fits comfortably in my Peak Design Everyday Sling 10L, with plenty of space left for other lenses and accessories, which says a lot about how usable it is as part of a real-world kit.

Build Quality

In terms of build quality, the 16–55mm f/2.8 II feels solid, despite the reduction in weight compared to the original version.

At just 410g, and paired with my Fujifilm X-T5, the whole setup comes in at under 1kg — which is impressive for a pro-level f/2.8 standard zoom.

In use, it doesn’t feel a million miles away from shooting with my primes like the Fujifilm XF 23mm f/1.4 R LM WR and Fujifilm XF 33mm f/1.4 R LM WR. That’s not something I’d have said about the previous generation.

The lens now features a de-clickable aperture ring, which will appeal to video shooters. However, for stills, I find the clicks a little too subtle. I’d prefer a slightly more defined step between apertures so you can feel the change without needing to double-check.

It’s not a major issue, but it’s worth noting.

The lens is fully weather sealed, with a gasket at the mount, and it also features a fluorine coating on the front element to help repel water. Given what I’ve already put my non-weather-sealed 18–55mm through, I’d have no hesitation using this out in the Scottish Highlands in poor conditions.

Overall, the build quality feels reassuringly solid — and slightly surprising given how light it is. It balances really well on the Fujifilm X-T5, and crucially, it never feels like you’re carrying a typical f/2.8 pro zoom — especially when you compare it to full-frame equivalents.

Autofocus

The 16–55mm f/2.8 II features Fujifilm’s latest linear motor, and in use it’s fast and accurate.

It tracks people, pets and faster-moving subjects without issue, and there’s no hesitancy or focus hunting — something that was more common with some of Fuji’s older lens designs.

Compared to the 18–55mm, the focus performance feels much more assured, particularly when shooting people.

This is going to be a short section, simply because I haven’t had a single issue with autofocus using this lens on my Fujifilm X-T5.

It’s accurate, snappy, and confidence-inspiring to the point that I’ve honestly not thought about it while shooting — which is exactly what you want.

Image Quality

This is where the Fuji 16–55mm f/2.8 II either earns its keep or it doesn’t. As the pro zoom in Fuji’s range, and with claims of it equalling a bag of primes, I rightfully expected excellent image quality.

The 16–55mm f/2.8 II doesn’t disappoint, as it’s sharp throughout the zoom range and across the frame from wide open until diffraction kicks in beyond f/8. I’ve shot into the sun and the lens resists flare well, and the bokeh it produces at f/2.8 is also very pleasing and smooth.

The lens in my opinion performs best at the wider end of the focal range. While it is sharp throughout the zoom range, it excels between 16–35mm the most.

Arguably, at longer focal lengths, corner sharpness isn’t quite as strong, although quite often the subjects I shoot at those focal lengths are people, and corner sharpness isn’t as important there.

I’ve noticed an example or two of chromatic aberration showing up when shooting in woodland with backlit trees and bright sky behind. One such photo was unfixable in post, with quite unsightly aberrations in multiple tree branches. I’ll be honest, I was quite surprised by this, but it hasn’t shown up in many shots and so it isn’t a major concern.

But is it a bag full of primes? I guess that depends on the primes.

16–55mm f/2.8 II vs 23mm f/1.4 WR (Real-World Comparison)

16–55mm f/2.8 II
23mm • f/2.8

23mm f/1.4 WR
f/1.4

Both images were shot at 23mm, but with a two-stop difference in aperture. While sharpness is very similar, the 23mm f/1.4 WR shows noticeably stronger subject separation and a more pronounced sense of depth, which is where the primes still have the edge.

For the range it covers, and the fact that it really is light and compact, I would take it any day of the week over a bag full of Fuji’s f/2 primes if I felt I was going to end up using multiple focal lengths throughout a day’s shooting. The simple convenience of having this focal range with this level of performance, and not having to swap lenses, is very attractive.

However, as good as the 16–55mm f/2.8 II is, it still doesn’t replace Fuji’s premier primes like the 1.4 and 1.2 versions of the 18mm, 23mm, 33mm and 56mm lenses. Yes, it’s getting pretty close in terms of sharpness, but the rendering and ability to isolate subjects even more with those larger aperture lenses gives images a look and 3 dimensionality that the 16–55mm f/2.8 II still can’t quite match.

Compared to the 18–55mm kit lens I’ve had for years, it’s a step up in terms of handling, AF performance and particularly rendering and sharpness. If you want to use the longer end of the zoom range for portraits and isolating subjects, the 16–55mm f/2.8 II is in a different league.

Compared to the 16–80mm f/4, it is sharper and, of course, brighter, but if you’re shooting landscapes and stopping down, the difference — while noticeable on the 40MP sensor found in the Fujifilm X-T5 — may not be worth the additional price to everyone.

Verdict

So, is it a bag of primes… or just hype?

Normally, I’d say that f/2.8 standard zooms are mainly for professionals — usually wedding and portrait photographers who will not only take advantage of the optical performance, but also the better low light performance and subject isolating qualities of a larger aperture zoom. This normally comes with the compromise of size, weight and price.

However, the Fuji 16–55mm f/2.8 II removes the size and weight compromise to such a degree that it becomes a serious option for a much wider range of photographers than “holy trinity” zooms usually are and makes it one of the best lenses for Fujifilm cameras.

This lens is a really great choice for travel photographers, landscape shooters, and anyone who wants one high quality lens to do everything from sharp landscapes to people shots with excellent bokeh and subject isolation — as well as the usual professionals wanting a flexible option for weddings.

What’s most impressive about this lens? The fact that Fuji has managed to cram this level of performance into such a small and light lens.

If zooms are your thing, then this is the standard Fuji zoom to get — if you’re willing to pay the price of admission.

Me, I can see myself continuing to shoot the 16–55mm f/2.8 II a lot here in Scotland because it gives me the kind of performance and convenience that suits the environment here, at a size and weight I’m very comfortable carrying.

It won’t replace my top-tier primes because they still create a different look, but I can see myself using them a little less thanks to the zoom.

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.

During my time in the Philippines, my focus was mainly on family, travel and documentary photography. Since moving to the Scottish Highlands, that’s shifted heavily towards wildlife and landscape photography, and that change has pushed me to refine how I set up both cameras.

The Z8 is still my primary body for wildlife, but I use the Z6III alongside it as a second camera. After a lot of time shooting and tweaking, I’ve now got the Z6III set up in a way that closely mirrors how my Z8 behaves. In practice, it feels like a smaller, lighter extension of the same system, which makes switching between the two completely seamless.

The settings in this guide are based on that approach. They’re designed specifically for wildlife photography and differ quite a bit from the more general-purpose setup I covered in my previous Z6III article.

My priority now is fast focus acquisition on birds and animals, along with giving the camera the best possible chance of maintaining focus once it has locked onto a subject. I’ve focused on making the wildlife setup as intuitive and responsive as possible.

I’ve set up the Z6III in the same way as I have my Nikon Z8 configured. That familiarity makes switching between them much easier when photographing wildlife.

If you’re setting up your Z6III for wildlife photography, the settings below should give you a strong starting point, especially if you’re using it alongside a Z8 or Z9.

In this guide I’ll walk through the autofocus behaviour settings, the custom control setup that makes the camera intuitive in the field, and the core shooting settings I use when photographing wildlife with the Nikon Z6III.

The settings below explain not only what I use, but why I use them when photographing wildlife in challenging environments like woodland.

This article is based on the Nikon Z6III running firmware version 2.0.

Best Autofocus Settings for Wildlife on the Nikon Z6III

These autofocus settings also work well for bird photography with the Nikon Z6III, particularly when photographing small birds in woodland or birds in flight.

The autofocus system on the Nikon Z6III is one of the main reasons it works so well for wildlife photography. Nikon’s subject detection and tracking algorithms are extremely capable, but like most modern cameras the Z6III also offers a huge number of autofocus configuration options.

Because of that, it’s easy to get lost trying to optimise every possible setting. My goal has been to keep the autofocus setup as simple and intuitive as possible while prioritising three things that matter most for wildlife photography: Mirroring my Nikon Z8, fast subject acquisition and reliable focus tracking once the camera locks onto a bird or animal.

Before going into the specific autofocus settings, it’s worth briefly addressing something that often comes up in wildlife photography discussions: back button focus.

Many wildlife photographers prefer using back button focus because it separates autofocus from the shutter button. While I understand the reasoning behind that approach, I don’t use it myself. My muscle memory from years of shooting is too ingrained to change comfortably. I’ve experimented with back button focus in the past, but it never felt natural to me and ultimately slowed me down rather than helping.

By keeping autofocus assigned to the shutter button, the camera behaves in a way that feels instinctive when something suddenly appears in front of me. An added advantage is that it frees up the AF-ON button to perform a different task, which I use for switching autofocus behaviour quickly when photographing wildlife.

With that in mind, these are the autofocus settings I currently use on the Nikon Z6III.

Autofocus Configuration (Custom Settings Menu → Focus)

Most of the important autofocus behaviour on the Nikon Z6III is controlled in the Custom Settings Menu under the Focus section. These settings determine how the camera prioritises focus, how it reacts to moving subjects, and how it behaves when something briefly passes between the camera and the subject.

These are the basic settings that determine autofocus behaviour. However, the most important part of getting the Z6III to function at its best is how the custom controls are configured later in the setup. I’ve mapped these to closely resemble how I have my Nikon Z8 configured. That section is where the camera really starts to become intuitive to use in the field, so be sure to read through both sections.

AF-C Priority Selection – Release

For wildlife photography I set AF-C priority selection to Release.

This allows the camera to fire immediately when the shutter button is pressed, rather than delaying the shot while it confirms focus. In practice this means I’m much less likely to miss a fleeting moment while the camera hesitates.

When photographing wildlife, especially birds, the moment often disappears before the camera has time to perfectly confirm focus. I’d rather capture the frame and let the Z6III’s autofocus system do its best than risk missing the shot entirely.

AF-S Priority Selection – Focus

For AF-S priority selection, I leave this set to Focus.

I rarely use AF-S for wildlife photography, but when I do it’s usually for slower subjects or more static scenes where I want the camera to confirm focus before releasing the shutter.

Focus Tracking With Lock-On (A3)

I currently leave Blocked Shot Response set to 3, which is the default value.

So far I haven’t found a need to change this, as it provides a good balance between allowing the camera to stay locked onto the subject while still reacting when something briefly passes in front of it.

For birds in flight, the best setting can depend heavily on the background and environment. Busy backgrounds with branches or water can sometimes benefit from different tracking behaviour, so this is one of the settings I occasionally experiment with in the field.

AF Activation (A6)

I set AF Activation to Shutter/AF-ON.

As mentioned earlier, I don’t use back button focus. My muscle memory is built around focusing with the shutter button, so keeping autofocus tied to the shutter makes the camera feel much more natural to use.

At the same time, this allows me to use the AF-ON button for another useful function, which I’ll explain later in this guide.

Focus Point Persistence (A7)

I leave Focus Point Persistence set to Auto.

This allows the focus point position to remain where it was previously when switching between different autofocus modes.

In practice this means that if the camera has already acquired a subject in one AF mode, switching to another mode keeps the focus point in the same area rather than resetting it. That makes transitions between autofocus modes much faster and more intuitive.

Limit AF-Area Mode Selection (A8)

The Z6III offers many different autofocus area modes, but I prefer to limit the list to the ones I actually use.

In Limit AF-Area Mode Selection, I enable:

• Single-Point AF
• Wide-Area AF (S)
• Wide-Area AF (L)
• Wide-Area AF (C1)
• Wide-Area AF (C2)
• 3D Tracking

Although 3D Tracking is enabled here, I rarely use it now. I’ve found that Wide-Area AF modes combined with subject detection tend to work better for most wildlife situations.

Limiting the available modes makes it much quicker to cycle through them in the field.

I set my Wide-Area AF (C1) to a wide central strip which I find particularly useful in helping the Z6III to pick up subjects such as hares at distance where a larger box will tend to want to focus on the foreground. I set Wide-Area AF (C2) to a large rectangular box just slightly smaller than the Auto -AF area which then gives the Z6III the freedom to track animals across a larger portion of the frame.

Focus Point Selection Speed (A15)

I set Focus Point Selection Speed to Normal.

The High setting moves the focus point very quickly, but I find it a little too sensitive and harder to control precisely. The Normal setting feels more predictable and easier to manage, especially when adjusting the focus point while tracking wildlife.

Manual Focus Ring in AF Mode (A17)

I enable Manual Focus Ring in AF Mode.

This allows the focus ring on the lens to override autofocus if needed. It can be useful when shooting through branches or other obstacles where the autofocus system might struggle to lock onto the correct subject.

Summary

These focus settings provide a reliable foundation for photographing both birds and mammals with the Nikon Z6III.

Custom Controls (Shooting)

The reasoning behind setting up the custom controls in the way that I have below is to give me the best chance of acquiring focus quickly and accurately, while making it fast and easy to switch into different focus modes on the fly. These custom settings replicate the way that I have the Nikon Z8 set up for wildlife photograpy as closely as possible in order to minimise mental fatigue when switching between the camera bodies.

I find myself shooting a lot in cluttered woodland here in Scotland, which is one of the toughest environments for autofocus. Even though the Nikon Z6III has excellent subject tracking, it can still be fooled by twigs, branches and other obstructions. Trying to get the bird as large as possible in the frame helps, but sometimes that simply isn’t possible.

My standard focus area is Wide-Area AF (L). This allows me to help the Z6III acquire focus quickly by limiting where the camera is trying to find focus to a defined part of the frame rather than the entire autofocus area.

I leave Subject Recognition set to Birds, as these are the subjects I usually need to react to the fastest. If needed I can quickly swap this to Animals.

Importantly, I add AF/MF Subject Detection Options as the top item in My Menu so that it is quick to access via the function button mapped below.

Fn1 – AF-area mode + AF-ON (Auto-area AF)

I set Fn1 to AF-area mode + AF-ON with Auto-area AF.

The reasoning behind this is that once the Z6III has acquired the subject using Wide-Area AF (L), I can quickly hand off the autofocus work to the camera and allow it to use the entire autofocus area to maintain focus on the subject.

This is much easier than trying to keep a moving bird inside the Wide-Area AF (L) box while tracking it myself.

Fn2 – Cycle AF-area Mode

I set Fn2 to Cycle AF-area Mode.

This allows me to quickly cycle through the autofocus modes I enabled earlier in Menu A8 (Limit AF-area Mode Selection) without diving into the menu system.

In practice this makes it much quicker to adapt to different shooting situations.

Release Mode/Protect button – Access Top Item in My Menu

Release Mode/Protect button is set to Access Top Item in My Menu.

As mentioned earlier, I place AF/MF Subject Detection Options as the top item in My Menu. This allows me to change the subject detection mode with the fewest possible button presses — usually just two when switching between birds and animals. If I’m shooting wildlife, then I am almost always in Continuous burst H so I don’t tend to change this too much. Hower I do add Release Mode as the second item in my quick menu to enable quick access. The reason that I prioritise Access to the top item in My Menu is that I’m much more likely to change subject detection than the burst speed of the Z6III and this setup also replicates my Z8 setup so doesn’t require any mental adjustment when using the two cameras together.

AF-ON Button – Single-Point AF Override

I set the AF-ON button to AF-area mode + AF-ON with Single-Point AF.

When photographing wildlife in cluttered woodland environments, I’ve found it incredibly important to be able to override the camera’s subject detection and wider autofocus modes with a very precise focus option.

Single-Point AF allows me to take complete control over exactly where the camera focuses. Having quick access to this mode makes it much easier to deal with branches, twigs and other obstructions that might confuse the autofocus system.

Focus Joystick (Sub-Selector) – Reset

I set the sub-selector press on the focus joystick to Reset.

This allows me to quickly return the focus point to the centre of the frame, which is useful if I’ve moved it while tracking a subject.

Video Record Button – Metering

For still photography I set the video record button to Metering.

The other two buttons on the top of the camera — ISO and Exposure Compensation — I leave at their default settings.

Lens Function Button – Switch FX / DX

On lenses that support it, I set the lens function button to Switch FX/DX.

This allows me to quickly crop into DX mode if I’m desperate for the reach. With a 24mp sensor I use this much more sparingly than on the 45mp Nikon Z8 but there are still times when it is useful. For instance when simply trying to make the subject larger in the frame to aid the AF in subject acquisition.

Remaining Buttons

The rest of the buttons I leave at their default settings. The Z6III already has a very logical control layout, and I prefer to keep the setup as simple as possible rather than assigning functions to every available button.

Why This Setup Works

The goal of this setup is not to configure every possible function, but to create a system that allows me to:

• acquire focus quickly
• switch autofocus behaviour instantly
• override the autofocus system when necessary
• Match the Nikon Z6III and Z8 very closely in terms of controls.

With these controls in place, the Nikon Z6III becomes much easier to operate instinctively in the field.

Basic Shooting Settings (Photo Shooting Menu)

These are the core shooting settings I use on the Nikon Z6III when photographing wildlife. The goal here is to keep the camera ready to react quickly while ensuring great image quality and the maximum number of keepers.

Primary Slot Selection

Primary Slot Selection – CFexpress / XQD

I set the primary slot to the CFexpress / XQD card.

These cards are significantly faster than SD cards and allow the Z6III to clear the buffer much more quickly when shooting high-speed bursts.

Secondary Slot Function

Secondary Slot Function – Overflow

I set the second slot to Overflow rather than Backup.

The reason for this is simple: when shooting fast bursts, writing to both cards simultaneously can slow the camera down. The SD card slot is considerably slower than the CFexpress slot, and when the camera is forced to write to both cards it can result in periods of waiting while the buffer clears.

Using Overflow allows the camera to write to the fast CFexpress card first and only move to the SD card once the primary card is full.

Image Quality Settings

Image Quality – RAW

I shoot RAW only.

RAW files give the greatest flexibility when editing wildlife images, especially when recovering highlights or adjusting exposure during post-processing. it also means I don’t need to get things like white balance and color nailed in camera which would give me too many things to consider while shooting.

RAW Recording

RAW Recording – High Efficiency*

I use High Efficiency* RAW files.

This format provides excellent image quality while keeping file sizes smaller than uncompressed RAW files, which helps when shooting large bursts of images.

ISO Sensitivity Settings

• Base ISO – 64
• Auto ISO Control – ON
• Maximum Sensitivity – 12800

Using Auto ISO allows the camera to react quickly to changing light conditions, which is particularly useful when photographing wildlife in woodland environments where light levels can change rapidly.

I normally shoot in Manual mode with Auto ISO enabled, which allows me to control both shutter speed and aperture while the camera adjusts ISO automatically.

The Minimum Shutter Speed setting is currently set to 1/400, although this is largely irrelevant in my setup because I control shutter speed manually. If you are going to use a different shooting mode such as Aperture Priority then set your minimum shutter speed according to your subject and the light.

White Balance

White Balance – Auto0

When shooting RAW, white balance can easily be adjusted during post-processing. I therefore leave this set to Auto0 and make any necessary adjustments later when editing.

Set Picture Control

Picture Control – Standard (SD)

Although I shoot RAW, I set Picture Control to Standard.

This gives me a reasonable preview of what the image will look like with basic editing applied when reviewing images on the camera.

Colour Space

Colour Space – Adobe RGB

I use Adobe RGB as I regularly print my photographs.

If you only ever publish images online, sRGB is the better option.

Focus Mode

Focus Mode – AF-C

For wildlife photography I keep the camera set to Continuous AF (AF-C) so the camera can continuously adjust focus as the subject moves.

AF-Area Mode

AF-Area Mode – Wide-Area AF (L)

This is my standard autofocus mode for acquiring focus quickly while still allowing the camera to recognise subjects effectively.

Subject Detection

AF/MF Subject Detection – Birds

Since birds are often the subjects that require the fastest reaction time, I leave subject detection set to Birds by default.

If needed, I can quickly change this to Animals using the shortcut I described earlier in the custom controls section.

Vibration Reduction

Vibration Reduction – Sport

I set vibration reduction to Sport mode.

When shooting high-speed bursts with long lenses, I’ve found that Normal VR can sometimes cause the viewfinder frame to jump slightly when the burst starts which I personally find really off-putting. Sport mode doesn’t exhibit this behaviour.

Release Mode

Continuous High – 20 FPS

I normally shoot using Continuous High extended at 20 frames per second ensuring that I am in Electronic Shutter mode via menu option D6. If you don’t enable the electronic shutter then the burst rate is capped at 14FPS. With a partially stacked sensor, the Z6III doesn’t suffer from problematic rolling shutter in high speed burst modes. However if your photos do exhibit issues (with wing movement etc) then turn the electronic shutter off temporarily and the camera will drop back down to 14FPS.

This provides the best chance of getting in focus and well composed shots. I just have to be disciplined with my trigger finger so that I don’t have to wade through too many images on the computer later.

Maximum Burst

In Menu d2 (Shooting/Display) I set Maximum Burst to Infinite.

This allows the camera to keep shooting as long as the shutter button is held down and the buffer allows.

Exposure Mode

I shoot primarily in Manual Mode with Auto ISO enabled.

This allows me to control both shutter speed and aperture directly while the camera automatically adjusts ISO to maintain correct exposure.

For wildlife photography this approach gives me the most consistent control over motion and depth of field while still allowing the camera to respond to changing light conditions.

i Menu

With this setup I rarely need to access the i Menu.

Instead, I rotate the items in the i Menu depending on the location or subject I’m photographing. In many situations I barely use it at all, although I usually ensure that Vibration Reduction settings are easily accessible.

Summary

With these settings in place, the Nikon Z6III is configured to react quickly to wildlife while maintaining excellent image quality and shooting flexibility.

Combined with the autofocus and custom control setup described earlier, this configuration allows me to focus on photographing wildlife rather than constantly adjusting camera settings. I’m now pretty happy with this set-up on my Nikon Z6III which closely replicates my Z8 settings and allows me to seemlessly switch between the two cameras.

While these settings work extremely well for my wildlife photography, the best Nikon Z6III setup will always depend slightly on the subjects you photograph and the environments you shoot in but I hope they at least give you a very good starting point for your own wildlife photography. I’ve also written an article showing the exact accessories I use with my Z6III which you might find helpful.