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. 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) 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 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.

That’s exactly where the Ricoh GR IV fits in.

I’ve taken it out a couple of times recently — once on a walk with Sofia, and again yesterday on a local stroll where I didn’t want to carry a full system camera on a strap or in a bag. Its tiny size means I can slip it into my pocket and no one would even know I have it on me.

It makes it feel as if I’m just going out to spend time with Sofia, or in nature, or simply for a walk in the countryside. I don’t feel any pressure to take photos with it. If it stays in my pocket the whole time, that’s fine — but if I see something worth capturing, I know it still offers the quality to make that photo good enough.

When Sofia gets distracted charging around or discovering something interesting, I can pull it out, and it’s instantly on and ready to shoot, fire off a few shots, and get some memories of these moments and places in our lives — then just as quickly, it’s back in my pocket and out of the way.

No other camera that I own offers that.

If you’re looking at alternatives in this category, I’ve covered the best options in my guide to the best compact cameras.

After using it like this, it becomes pretty clear who should actually buy this camera — and who shouldn’t.

What It’s Actually Like to Use Day-to-Day

The biggest difference with the GR IV isn’t really about specs — it’s how it fits into your life.

Yesterday, walking a local country lane in Perthshire just to get some fresh air, I must have pulled it in and out of my pocket a hundred times or more. And that never gets frustrating in the way pulling a camera out of a bag does.

Before I’ve even brought it up to shooting level, it’s already turned on and ready to go.

I only use the small wrist strap supplied by Ricoh — just to make sure I don’t drop it if I’m clumsy in cold weather — but apart from that (and a screen protector), I keep it as simple as possible. That’s how I like to shoot with this camera.

The fixed 28mm field of view also plays into that simplicity. There’s no choice. That’s the camera I’ve brought, and realistically it’s the only one I would have brought on a walk like this anyway.

Image Quality (In the Real World)

If I didn’t have the Ricoh GR IV — or previously the GR III — with me on these kinds of walks, I probably wouldn’t take any photos at all. Maybe the odd one on my phone, but those are usually just record shots that I’ll never look at again.

The GR IV sits a level above that.

It’s smaller than my phone, yet when I use it I’m far more mentally switched on. I know that unlike with a phone, the shot won’t be wasted because of the output quality.

I’ve been shooting RAW + JPEG, and the Positive Film profile gives very nice-looking results straight out of camera, particularly when there’s a bit of blue sky or sunshine. In the Philippines I was mostly shooting in warm afternoon light, but here in the Scottish Highlands I find myself shooting in whatever conditions I get as I explore the area and make notes on where to come back to in better light.

Battery life is much improved over the GR III. I still don’t have a second battery, but it comfortably gets me through several-hour walks where I’m taking shots every few minutes.

The Trade-Offs (And Why They’re Part of It)

On the odd occasion, I might miss a shot because of the fixed 28mm focal length or slightly slower autofocus compared to larger cameras with interchangeable lenses.

But I don’t really see that as a problem.

I rarely regret anything like that — there’s not much point. If I miss something, I just take it in properly instead of trying to force a photo. That’s part of using a camera like this.

There are a couple of more practical considerations though.

The lack of weather sealing is one. Walking here in Scotland, that did cross my mind yesterday. I was wearing a softshell rather than a waterproof, and I did think — what happens if that cloud bank rolls in and soaks me through? Will the GR IV be alright?

That’s where something like the Fujifilm X100VI, with a filter attached, feels like a safer option.

The other issue — and one that’s always been there with the GR series — is the lack of a viewfinder. Even in a bit of Scottish sunshine, the rear screen simply isn’t bright enough to see clearly. I found myself lining up shots but not being able to properly check the edges of the frame, making sure nothing was creeping in where it shouldn’t.

So I ended up going back to the old DSLR habit of chimping shots afterwards to see what I’d actually captured.

None of this ruins the experience, but it does define what the camera is.

Who Should Actually Buy the Ricoh GR IV

This isn’t a camera for everyone.

But for the right person, it makes a lot of sense.

You don’t want to feel like you’re carrying a camera

If you want to go out for a walk, spend time with your family, or just get some fresh air without turning it into a photography session, this is where the GR IV fits.

You want something you can just slip into your pocket

No bag, no strap, no planning.

Just take it with you and forget about it until you need it.

You’d otherwise just use your phone — or nothing at all

If the alternative is not taking photos, or relying on your phone for quick snapshots, the GR IV gives you something noticeably better without adding effort.

You prefer simplicity over flexibility

No lens choices. No zoom. No overthinking.

Just a fixed 28mm view and a camera that’s ready when you are.

You want the option to take photos, not the obligation

You don’t feel like you have to use it.

But when you do, it’s there and it’s capable.

Who Should Avoid It

You want one camera to do everything

This isn’t that camera.

You need fast autofocus for demanding situations

It’s fine for what it is, but it’s not built for speed.

You want zoom or multiple focal lengths

The fixed 28mm lens is part of the appeal — but also the main limitation.

You rely on a viewfinder

If you struggle with rear screen composition, like I do, especially in brighter conditions, this might frustrate you.

Final Thoughts

For me, the Ricoh GR IV fills a very specific role.

It’s the camera I take when I don’t want to carry anything — when I just want to go for a walk, spend time with Sofia, or get out into the countryside without it becoming about photography. It’s also the camera I would feel most comfortable with, shooting street photography, or around town where I don’t like to draw attention to myself.

And because of that, it’s a camera that offers something that none of my other cameras do.

Not because it’s the best camera I own — but because it’s unique.

Well, except for the Ricoh GR III, which when used in the same way offers a very similar experience. The main difference is that the GR IV simply does everything that little bit quicker.

I’ve been given information that certain stretches of the river have beavers along them, so I wanted to go down there myself, take a look at the area, check the flow of the river, look for any signs of activity, and scout potential shooting locations—particularly how the light might fall at dusk.

Today wasn’t really about shooting, although I took my Nikon Z8 and 400mm f/4.5 with me for any chance encounters. I recently discussed my full wildlife photography setup in this article.

Why I Took the 400mm f/4.5

This combination is so light for what it delivers that I can just attach it to my Peak Design Slide Lite strap—one end on the tripod collar, the other on the camera—and sling it over my shoulder. I barely even feel the weight of it.

A prime 400mm lens doesn’t immediately seem like the most flexible option for a scouting walk, but there are a couple of reasons I was happy to head out with it.

First, it’s a brighter lens than my 180–600mm, which helps on dull, overcast days like today. Second, it’s extremely sharp and crops well. With the Z8’s DX mode, I can get a 600mm equivalent field of view and still have a 20MP file.

So although it’s a prime, on the Z8 it becomes a pretty flexible, lightweight, weather-sealed setup.

A Change of Plan

At this time of year, the sun is rising around 6am here in the Scottish Highlands, but realistically I just don’t have enough time to get out and shoot and get back home in time for family duties.

By the time I’ve got Sofia up, ready for school, and I’m back home again, I’m lucky to get out before 9:30am. That will change as the Sun rises earlier as we head towards June.

So rather than heading out with a full bag of gear hoping for good light, I decided to use the time to scout. I’ve been doing the same thing with the Nikon Z8 for landscape photography recently.

First Impressions of the Location

This walk follows the river closely, moving through woodland and passing both fast-flowing sections and slower, calmer stretches.

Within 10 minutes of starting, I spotted a red squirrel off to my right, moving between two large trees about 25 metres away.

He was low down at first, darting between trunks. I swung the camera up and managed to grab focus almost instantly, catching a few shots through the gaps in the trees.

I was a bit too far away at 400mm, so while my mum watched through binoculars, I moved slightly closer and adjusted my angle as he worked his way higher into the canopy.

The best shot came as he moved along a branch towards me. I started with wide-area AF (L), but there were simply too many branches obscuring everything so I switched to single-point using a custom button to lock him in. A quick burst at 20fps and I had something I was happy with, especially given the flat light and busy background.

I stopped shooting for a moment after that and just watched him properly. It’s something I try to do more of—put the camera down once I’ve got the shot.

I did try for a silhouette against the sky, but the branches made it difficult. Still, I managed something usable before he disappeared deeper into the trees.

How the Area Feels

As we continued along the path, what stood out most was how quiet it is.

A couple of walkers, one runner, but otherwise just the wind in the trees and the river moving beside us.

That’s always a good sign.

Z8 + 400mm in Use

What really struck me again is how manageable this setup is.

It doesn’t feel much bigger or heavier than my OM-1 Mark II with the 100–400mm. I could comfortably carry this all day, even if photography wasn’t the main reason for being out.

Autofocus is noticeably faster than the 180–600mm. That lens is already good, but the 400mm f/4.5 feels instant.

It wasn’t all perfect though.

At one point, a robin landed very close to me—too close, in fact. The lens couldn’t focus at that distance, and by the time I tried to adjust manually, it was gone.

Signs of Beaver Activity

Further along, the river slowed and I started noticing what looked like mud slides leading into the water.

These are almost certainly used by beavers.

On the near bank, there are some excellent vantage points, with trees that would make good cover. It’s easy to see how I could position myself here at the right time of day and stay hidden.

This is exactly what I was hoping to find.

Conditions and Practical Use

As the rain started to come in, I just left the camera hanging at my side.

Both the Z8 and 400mm handled it without any issue, which is what I expect at this point.

It’s a setup that doesn’t get in the way. You can just carry it and forget about it until you need it.

The Walk Back

On the return leg, the path moves away from the river and back through woodland.

There are early signs of spring starting to show—crocuses coming through and small patches of blossom appearing.

We also spotted three roe deer in the distance, a couple of red kites overhead, and an overly friendly sheepdog that insisted I throw his stick for him.

Final Thoughts

This wasn’t a shoot.

It was a recce.

But it feels like a good one.

The location has potential—quiet, varied, and with clear signs of activity. More importantly, I now know where I need to be, and roughly when.

I’ll be back here at dawn or dusk next time.

It sits in a slightly awkward position in Nikon’s lineup, between the Zf and the Z8, but in reality it’s probably the smartest choice for most people.

Compared to the Z8, it gives up very little that actually matters in real-world use. You lose some resolution, slightly stickier autofocus, faster sensor readout and a few pro-level features, but for the majority of photographers, none of that will make a meaningful difference to the images they take day to day.

At the same time, it’s significantly cheaper, lighter, and still delivers excellent autofocus, strong video performance, great ergonomics and some genuine advantages of its own like better low-light autofocus and more effective IBIS.

Against the Zf, the decision is less about performance and more about experience. The Z6 III is the better tool in almost every measurable way, but the Zf is the more characterful camera. Both can produce similar results, but they appeal to very different types of photographer.

Owning all three, this is how I see it: the Z8 is the performance choice, the Zf is the emotional choice, and the Z6 III is the one that simply makes the most sense.

It’s a camera that can handle almost anything you throw at it, from fast-moving kids to travel, landscapes and general everyday photography, without forcing you to pay for performance you may never actually need.

WHERE THE Z6 III FITS

The Nikon lineup is now broad enough that choosing between bodies isn’t as straightforward as it used to be.

Each camera has a clear role:

• The Z5 is the entry point — good image quality, but fairly average performance overall
• The Z6 III is the all-rounder — the best balance of performance, price and usability
• The Zf is about experience — style with substance, but not as practical for everyone
• The Z8 is the no-compromise option — maximum performance if you’re willing to pay for it

For most people, the Z6 III is the smart choice.

It’s the camera I’d recommend to anyone who just wants one body that can handle almost anything without overthinking the decision. It delivers a level of performance that’s more than enough for the majority of photographers, without the cost or size of the Z8.

That said, the Z8 is still my personal favourite. It feels like it can do anything and do it exceptionally well, especially if you’re shooting wildlife, landscapes or pushing the camera harder.

The Z6 III sits just below that level, but much closer than the price difference would suggest.

If anything, it’s probably slightly overlooked. It doesn’t have the flagship appeal of the Z8 or the character of the Zf, but what it offers is arguably more useful to most people.

The Nikon Z6 III exists for people who just want to get on with the job of shooting.

WHO SHOULD BUY THE NIKON Z6 III

Hybrid Shooters (Photo + Video)

The Nikon Z6 III is one of the rare cameras that genuinely delivers both excellent stills and high-end video performance without compromise.

You’re getting strong image quality, fast autofocus, 4K 120 video, solid codecs and an articulating screen, all in one body. There aren’t many cameras at this price point that balance both sides this well.

If you shoot a mix of photo and video, whether that’s content creation, travel, or documenting everyday life, this is one of the best options available right now.

Family Photography

The Z6 III is more than capable for family photography, especially if you value autofocus performance and reliability.

It will keep up with kids running around, handle low light well, and deliver consistently sharp results without much effort.

That said, this is one of the few areas where the decision isn’t purely about performance.

The Nikon Zf offers a different experience. It’s smaller, less intimidating, and its design tends to get a more natural reaction from people. If you want something that feels a bit more personal and encourages you to take it everywhere, the Zf is a very strong alternative.

The Z6 III is the better tool. The Zf is the more enjoyable camera to carry. For family photography, either could be the right choice depending on how you shoot.

Travel and Everyday Photography

For travel, the Z6 III makes a strong case for itself, especially if you want one camera that can handle anything.

It offers better low-light performance and autofocus than most APS-C options, and it’s flexible enough to cover everything from landscapes to street and general day-to-day shooting.

That said, I still personally lean towards the Fuji X-T5 for travel. The smaller lenses, lighter setup and overall shooting experience make it easier to carry all day.

The Z6 III is the more capable camera. The Fuji system is often the easier one to live with.

Enthusiasts Upgrading from DSLR

This is where the Z6 III really makes sense.

For Nikon DSLR users who have been holding off on mirrorless, this is the point where you’re no longer giving anything up.

You get modern autofocus, strong video, excellent image quality and a familiar, comfortable shooting experience. The only real downside compared to DSLRs is battery life.

If you’ve been waiting for a camera that does everything well without compromise, this is it. Pair it with the best Nikon Z lenses and you’ve got a setup that can handle almost anything.

General Photographers (A Bit of Everything)

This is where the Nikon Z6 III makes the most sense.

If you’re the kind of photographer who doesn’t stick to one genre, shooting a mix of landscapes, family moments, travel, and the occasional bit of wildlife, this is exactly what the Z6 III is built for.

It’s a camera that adapts to whatever you need it to do, without forcing you into a specific style of shooting.

You’re not chasing maximum resolution for landscapes, or the absolute fastest performance for wildlife. You just want a camera that can handle all of it to a high standard.

That’s where the Z6 III stands out.

It’s not the most specialised camera in Nikon’s lineup, but it’s the one that makes the most sense if you want a single body that can cover everything without compromise.

WHO SHOULD NOT BUY THE NIKON Z6 III

Wildlife Photographers (Serious / Dedicated)

While the Nikon Z6 III is a very capable wildlife camera, this is one area where the Z8 clearly pulls ahead.

The first thing you notice is balance. With larger lenses like the 400mm f/4.5 or 180–600mm, the Z8’s bigger grip makes a real difference, especially during longer shooting sessions.

Then there’s resolution. Wildlife photography almost always involves some level of cropping, and this is where the Z8 really stands out. Its higher resolution sensor makes DX crop mode genuinely usable, still delivering around 20MP files. With the Z6 III’s 24MP sensor, you simply don’t have the same flexibility.

Finally, at very high burst rates, the Z8’s faster sensor readout reduces rolling shutter. This matters when you’re shooting fast-moving subjects like birds in flight, where you want clean, natural wing shapes.

If wildlife is your main focus, the Z8 is the better tool.

Landscape Photographers (Who Crop or Print Large)

For landscapes, the Z6 III is still more than capable, but resolution does start to matter depending on how you shoot.

If you regularly crop your images or print large, the Z8 gives you more flexibility. More resolution means more room to adjust composition after the fact without sacrificing detail.

That said, 24MP is still enough for high-quality prints up to around 30×20” and beyond if you get it right in-camera.

The Z8 also offers a lower base ISO of 64, which gives it a slight edge in dynamic range. It’s not something that will matter for everyone, but if you’re chasing the absolute best image quality, it’s a meaningful advantage.

Photographers Choosing Between the Z6 III and Zf

This isn’t really a technical decision.

The Z6 III is the camera you buy with your head. The Zf is the one you buy with your heart.

The Z6 III is more practical. Better ergonomics, more flexibility, stronger overall performance.

But the Zf is the camera that makes you want to pick it up and go out and shoot. It feels different, and for some people, that matters more than specs.

If you value shooting experience, design and connection to the camera, the Zf may actually be the better choice for you.

Who the Z6 III Isn’t For

Honestly, there aren’t many people who wouldn’t be well served by the Z6 III.

For most photographers, it does everything to a very high standard without any major weaknesses.

The only real question is whether you specifically need more performance at the extremes, or whether you value the experience of shooting enough to choose something like the Zf instead.

Final Verdict

If you’re the kind of photographer who wants the most capable camera without paying for performance at the extremes, the Nikon Z6 III is one of the best choices available right now, regardless of brand.

It may not be the most exciting camera in Nikon’s lineup, and it doesn’t have the character of the Zf or the outright performance of the Z8, but what it offers is arguably more useful to most people.

It delivers a level of performance that’s more than enough for almost any situation, whether that’s family photography, travel, landscapes or general everyday shooting.

And it does so at a price point that makes it very hard to justify spending more unless you know exactly why you need to.

The Nikon Z6 III isn’t about chasing specs or standing out on paper.

It’s about having a camera that simply works, no matter what you point it at.

If you’re still deciding, take a look at my Nikon Z6 III vs Zf comparison and Nikon Z6 III vs Z8 comparison, where I break down exactly which one I’d choose depending on how you shoot.

This article contains affiliate links. If you make a purchase through these links, I may earn a small commission at no extra cost to you.

If you’ve decided the Z6 III is the right camera for you, you can check the latest pricing below.

When you’re starting photography, the goal isn’t to buy the most advanced camera you can afford. The goal is to buy a camera that helps you learn photography properly.

A beginner camera should be easy to use, reasonably priced and capable of growing with you as your skills improve. Expensive gear doesn’t automatically create better photographs. If you don’t yet understand light, composition and timing, your photos won’t look much different from phone photos no matter how much money you spend.

This article contains affiliate links. If you buy through them, I may earn a small commission at no extra cost to you. I only recommend cameras and books that I believe are genuinely worth considering.

I actually avoided writing a “best cameras for beginners” article for a long time. Most guides push beginners toward expensive cameras they simply don’t need yet. That often leads to people spending too much money, feeling overwhelmed by complicated gear, or giving up on photography entirely.

This guide takes a different approach. Instead of encouraging beginners to buy the most advanced camera possible, it focuses on choosing a simple camera that helps you learn photography properly.

In fact, I’d go so far as to say that for someone who genuinely wants to learn photography, a used entry-level DSLR combined with a kit lens and a cheap 50mm f/1.8 lens would probably be the ideal starting point.

That’s how I started. I picked up a Canon 450D (called the Canon EOS Rebel XSi in the United States). It wasn’t fancy, but it did everything I needed at the time. It allowed me to learn about exposure, practise using manual controls and, most importantly, simply spend time taking photographs. However, if you want new camera recommendations, then I give those below.

Why Your First Camera Doesn’t Need to Be Expensive

Buying your first camera is a bit like learning to drive.

When someone starts driving, they don’t usually begin in a high-performance sports car. They start with something simple, affordable and forgiving. The goal isn’t to impress anyone — it’s to learn the fundamentals.

Photography works in exactly the same way.

A beginner photographer doesn’t need the latest $2000 camera with dozens of advanced features. In fact, starting with a simpler camera can actually make learning easier because you focus on the important things: light, composition, timing and understanding how your camera works.

Those skills are what make great photographs.

Once you understand them, almost any camera can produce excellent images. But without them, even the most expensive camera in the world won’t magically improve your photos.

That’s why your first camera doesn’t need to be perfect. It simply needs to give you the tools to practise and learn.

And that’s also why many beginners make the mistake of worrying about things like sensor size, megapixels or whether they should buy a full-frame camera. In reality, none of those things matter very much when you’re just starting out.

What matters most is getting a camera in your hands and using it regularly.

Not All Beginners Are the Same

One thing most “best beginner camera” guides overlook is that not all beginners are the same.

Some people simply want a camera that takes better photos than their phone. Others discover that they enjoy photography and want to explore it more deeply as a hobby.

Those two situations are slightly different, and the advice that works best for each group is also different.

Understanding which type of beginner you are will help you make much better decisions about your first camera.

Beginner Type 1: Moving Up From a Phone

For many people, the goal of buying a camera is simple: they want better photos of everyday life.

Family moments, holidays, walks, pets, children growing up — the kinds of moments that phones sometimes struggle to capture well, especially in low light or when you want a more natural background blur.

For this type of photographer, a simple two-lens setup is often ideal.

A versatile kit zoom lens can handle most everyday situations, while a small and affordable 50mm f/1.8 lens allows you to take photos with stronger subject separation and more visual impact.

For many people, that combination will cover everything they ever need.

Photography becomes a way to capture memories rather than a technical hobby, and a small camera kit can do that beautifully.

Beginner Type 2: Learning Photography as a Hobby

The second type of beginner is someone who catches the photography bug.

They want to learn how to take better photos and need a camera that will help that learning process without hindering them.

For this type of photographer, the best approach is often surprisingly simple.

Instead of buying several lenses straight away, it’s often better to start with just one lens and use it for a few months.

Working with a single lens teaches you a lot about photography. You begin to notice how light behaves, how changing your position affects composition, and how your camera responds in different situations.

It also helps you discover what kind of photography you enjoy most — whether that’s portraits, landscapes, travel, wildlife or street photography.

Once you know that, choosing your next lens becomes much easier.

Many beginners make the mistake of buying too many lenses too quickly, only to discover that several of them end up sitting unused in a drawer.

Spend Less on Gear, More on Learning

If you’re serious about learning photography, one of the best investments you can make isn’t a more expensive camera — it’s education.

Understanding light, composition and storytelling will improve your photography far more than upgrading to a newer camera body.

In fact, the best money many beginners can spend when starting out is often on a few well-chosen photography books.

A good book can teach you how experienced photographers think about images, how they use light and how they build stronger compositions.

Those lessons stay with you no matter what camera you use in the future.

Here are a few books that are especially helpful when you’re just starting out.

The Best Cameras for Beginners

With all of that in mind, let’s look at some of the best cameras for beginners.

Each of the cameras below offers a great balance of image quality, ease of use and room to grow as your skills improve. They are also reasonably affordable, which is important when you’re just starting out.

In most cases, spending around $1000 or preferably less on your first camera is more than enough. What matters far more than buying the most advanced model is choosing a camera that encourages you to get out and practise.

All of the cameras below are capable of producing excellent images and, importantly, they are cameras that you won’t outgrow too quickly as your photography improves.

Nikon Z fc — Best Overall Beginner Camera

The Nikon Z fc is an APS-C mirrorless camera that looks beautiful. But it’s not just about the looks.

The Z fc offers dedicated physical dials for both ISO and shutter speed, which can really help beginners see the effect that changes to these settings have on their photos. Being able to adjust those controls directly on the camera makes it much easier to understand how exposure works. That said, if that sounds complicated at first, don’t worry — the Z fc also includes the full suite of automatic shooting modes so you can simply start taking photos straight away.

Image quality is excellent thanks to the 20-megapixel APS-C sensor, which is easily capable of producing professional-level photos. Build quality is very good, the 2.36-million-dot electronic viewfinder is decent (not the highest specification but more than capable), and the fully articulating 1.04-million-dot rear LCD screen makes the camera flexible for photos, video and even selfies.

Importantly, the Z fc also gives you access to the entire Nikon Z lens range, which includes everything from small kit lenses to professional-grade glass. That means it’s a great camera to get started with while still allowing you to invest in a system that you can grow with over time.

I own and shoot with the Z fc’s bigger full-frame sibling, the Nikon Zf, and one thing that stands out is just how flexible the system is. It’s particularly good for family photography thanks to the fast autofocus that can keep up with kids running around. At the same time, the retro styling tends to feel less intimidating when you point the camera at children compared to a large modern camera. The same holds true for the Z fc.

Fujifilm X-T30 III — Best for Beginners Who Don’t Want to Edit Photos

The Fujifilm X-T30 III is a compact APS-C mirrorless camera that offers excellent image quality and very solid build quality in a small, stylish body.

Like many Fujifilm cameras, it uses physical controls for things like shutter speed and exposure compensation. These controls make it easier to understand how photography works because you can see and adjust key settings directly on the camera. If that sounds intimidating at first though, don’t worry — the X-T30 III also includes a fully automatic Auto mode that can recognise scenes and choose the appropriate settings so you can simply start taking photos.

Where the X-T30 III really stands out is in the way it renders images straight out of the camera, just like the Fuji X-T5 and X100VI that I shoot with regularly.

Fujifilm cameras are famous for their Film Simulation modes, and the X-T30 III includes 20 different film simulations designed to recreate the look of classic photographic films. These profiles produce beautiful colours, pleasing contrast and attractive skin tones without requiring any editing.

For beginners who don’t want to spend time learning photo editing software, this can be a huge advantage. You can simply take photos and enjoy the results straight out of the camera.

Like the Nikon Z fc, the X-T30 III also gives you access to a large ecosystem of lenses. Fujifilm’s X-mount system is one of the most complete APS-C lens lineups available, offering everything from small everyday lenses to high-end professional optics.

That makes the X-T30 III a great camera to start with while still leaving plenty of room to grow as your photography develops.

Are there any downsides to the X-T30 III?

For people who mainly want to capture moments of their children as they grow up, the autofocus isn’t quite as strong as the Nikon Z fc. It’s still perfectly capable, but you may end up with a few more out-of-focus shots when kids are running around at full speed. The Nikon simply tracks moving subjects a little more confidently in those situations.

Canon R100 — Best Value Beginner Camera

The Canon R100 is currently one of the most affordable mirrorless cameras available, which makes it an excellent option for beginners who want a proper camera without spending a lot of money.

I began my own photography journey with an entry-level Canon DSLR paired with a kit lens, and that simple setup took me from complete beginner to working professional while teaching me the fundamentals of cameras and photography.

Despite the low price, the R100 still uses a 24-megapixel APS-C sensor, which delivers a noticeable improvement in image quality compared to a smartphone. Photos have more detail, better contrast and a more natural background blur when paired with a good lens.

Canon has also always been very good at making cameras that are easy to use, and the R100 continues that tradition. The menus are straightforward, the ergonomics are comfortable and the camera includes a full range of automatic shooting modes that allow beginners to simply start taking photos without worrying about complex settings.

Autofocus performance is also very good for a camera at this price. Canon’s Dual Pixel autofocus system includes face detection, which helps keep people in focus when taking portraits or capturing everyday family moments.

Like the other cameras on this list, the R100 also gives you access to a growing lens system. Canon’s RF mount includes everything from simple kit lenses to high-end professional lenses, meaning the camera can grow with you if your interest in photography develops further.

The main compromise with the R100 is that it’s a fairly simple camera. The rear screen doesn’t articulate and it lacks some of the more advanced features found on more expensive models. However, if your goal is simply to get started with photography at the lowest possible price, the R100 offers excellent value.

One thing to bear in mind if you’re planning to stay with the system long term is that Canon tends to split its RF lens lineup between very affordable entry-level lenses and more expensive professional-grade options, with fewer mid-range choices than some other systems.

That isn’t necessarily a problem — the cheaper lenses can still produce very good results — but it’s worth being aware of if you expect to expand your lens collection later on.

Ricoh GR IIIx — Best Pocketable Camera for Beginners

The Ricoh GR IIIx is quite different from the other cameras on this list. Instead of interchangeable lenses, it uses a fixed lens, which means the lens cannot be changed.

At first that might sound like a limitation, but for beginners it can actually be a big advantage.

Because the focal length never changes, you quickly learn how scenes will look before you even raise the camera. Over time this helps you pre-visualise photographs and understand composition much more quickly than constantly switching between different lenses.

Despite its tiny size, the GR IIIx uses a large APS-C sensor, the same sensor size used in many much larger mirrorless cameras. That allows it to produce excellent image quality with plenty of detail and natural-looking colours.

The lens itself is also very good. It offers a 40mm equivalent focal length, which is widely considered one of the most versatile focal lengths for everyday photography. It’s wide enough to capture scenes if you take a step back, but also long enough to create very natural-looking portraits of people.

The lens is also relatively bright, which helps when shooting in low light and makes it easier to create pleasant out-of-focus backgrounds when photographing people.

One of the biggest strengths of the GR IIIx is simply how small it is. The camera is truly pocketable — in fact it’s smaller than many smartphones — which means you’re far more likely to take it with you when you leave the house. And in photography, the best camera is often the one you actually have with you.

The camera offers full manual controls, which makes it a great tool for learning photography, but it also includes automatic shooting modes if you simply want to capture moments quickly without worrying about settings.

It’s actually the camera I bought for my eldest daughter Sofia. Because it’s so small and easy to carry, she enjoys bringing it with her and using it, which is exactly what you want from a first camera.

Another advantage of the GR IIIx is that the JPEG images straight out of the camera already look very good, so you don’t necessarily need to spend time editing your photos. There is also a strong community of Ricoh users online who share custom colour profiles. Websites like ricohrecipes.com offer a wide range of looks that can be added to the camera if you want to experiment with different styles.

The main compromises with the GR IIIx are battery life and autofocus performance. Battery life is fairly short compared to larger cameras, so it’s a good idea to buy a spare battery. Autofocus is perfectly capable for everyday photography, but it’s not designed for fast-moving subjects, so photographing children running around or sports can be more challenging than with the other cameras on this list.

However, if your goal is simply to carry a camera everywhere and capture everyday life, the GR IIIx is one of the best cameras available.

If the idea of a small fixed-lens camera appeals to you, it’s also worth taking a look at my full Ricoh GR III review, as the two cameras share many similarities in terms of design, controls and image quality.

Ricoh has also recently released the Ricoh GR IV, which offers more modern autofocus performance. It’s the better camera technically, but it is also significantly more expensive than the GR IIIx.

And if you like the idea of a compact camera with a fixed lens but want to explore more options, I’ve also put together a guide to the best compact cameras currently available.

Final Thoughts

All of the cameras in this list are more than capable of helping you improve your photography and take better photos.

The key is not to overthink your first camera purchase. It really is just the springboard and first step on what will hopefully become a lifelong hobby.

Spend most of your time practising and learning. As you gain experience, you’ll begin to understand the type of photography you enjoy most, which will naturally help you decide whether you eventually want a better camera, a new lens, or if you already have everything you need.

Taking this approach will help you avoid wasted money and expensive mistakes along the way.

But most of all, welcome to what I think is one of the most enjoyable hobbies you can do.

Now the only thing left to do is pick a camera and start taking photos.

Today’s weather had other ideas.

This morning I woke up to a text from Sofia’s school letting parents know that the car park had flooded after heavy rain. It’s also been very windy here lately. As we sat in the car, the wind buffeting it quite strongly, I still had the urge to go and scout the location. But in weather like this I’m unlikely to get any usable photographs.

That’s when my thoughts turned to the OM System OM-1 Mark II. The OM System OM-1 Mark II carries an IP53 weather-sealing rating, meaning it’s designed to keep working in heavy rain, dust and cold conditions — exactly the kind of weather you often find here in Scotland.

I’ve been shooting with Olympus — and now OM System — cameras for years. I’ve had them out in monsoon rains and Hebridean storms, they’re about as rugged and weather sealed as cameras come.

Combined with its light weight and easy handling — even with gloves on (actually better than the original OM-1 in my opinion) — it makes for the perfect grab-and-go camera on a walk like this.

I wasn’t heading out with a bag full of gear. This was just a short local stroll in some pretty miserable weather, with the camera slung over my shoulder on a Peak Design Slide Lite strap.

I walked out of my house and headed up a small country lane towards some nearby farmland and a narrow path that winds through several wide, open fields.

I’d already put on my walking gear, waterproof jacket and boots before stepping outside, as the rain was still lashing down and the wind was ripping across the fields. This particular path has a few old trees lining it, with patches of dense bushes between the path and the surrounding farmland — exactly the kind of cover where I hoped to see the hares again.

It could be a fantastic location. The fields offer open views, while the bushes provide just enough natural camouflage to approach quietly.

By the time I reached the path my boots were already coated in mud. It had rained throughout the night and there was no sign of it easing. It seemed I was the only person out walking today. Maybe I’m a little crazy, but I love this kind of weather — as long as I’ve got the right outdoor gear on.

The trees were being pushed around by strong gusts of wind as the rain continued to lash down. I swung the camera around and unclipped it from the strap. It was already covered in rain, but as I’ve always found with OM System cameras, the OM-1 Mark II paired with the 12–40mm f/2.8 PRO II didn’t bat an eyelid.

I switched it on and took a few photos along the way.

Within ten minutes, a couple of hares in a field to my left suddenly bolted. They had spotted me before I even noticed them. I slowed my pace and continued more carefully as I neared the area where I hoped to photograph them.

As I turned the corner, a small hedgerow hiding my approach, I saw them.

Sheltering in the lee of a line of hedges were three more hares, hunkered down together trying to escape the worst of the wind and rain.

They were quite close to each other and well within range of both my OM System 100-400mm II and my Nikon Z wildlife kit. This particular spot looks really promising for dawn and dusk shoots. It’s close enough to my house that I can return several times a week, and it offers natural patches of cover from which to photograph the hares without disturbing them.

I sat and watched them quietly for five minutes before moving on, not wanting to force them out into the wind and rain.

As I continued along the track the wind increased, shaking the bushes that lined the path, sometimes violently. I struggled to handhold shots below about 1/25 second, which for the OM-1 Mark II is unusual. The wind was simply ripping across the fields and buffeting me too hard.

One thing about the OM-1 Mark II’s weather sealing is that it simply works. It’s such a rugged little camera that I had no hesitation placing it down in the soaking wet grass when I wanted to frame a shot.

By now my jacket and trousers were well covered in rain, although the water was still beading nicely off the fabric. I cinched in the hood on my Keela Munro jacket and carried on a little further, the OM-1 Mark II in hand, ready if something caught my eye.

But today wasn’t really about getting photos.

It was about having the right gear that allows me to get out into nature, whatever the weather — and that includes having a camera I can rely on when Scotland decides to throw its worst at it.

For me, this is exactly where cameras like the OM-1 Mark II — and the OM-3 — really shine. Small enough to take anywhere, rugged enough to handle the worst Scottish weather, and capable enough to capture the moment if the opportunity appears.

When I woke up this morning and saw the weather, I almost immediately knew I’d be taking the OM-1 Mark II out with me. It’s a camera whose weather sealing I trust to handle just about anything Scotland can throw at it — whether that’s rain, snow or sand.

On the walk back I was wrapped up in a hat, fleece, waterproof jacket and trousers, along with gloves. The little OM-1 Mark II was simply hanging from the camera strap or sitting in my hand ready to shoot. It never complained once. No issues, no faults, no problems.

When I got back to the house I just wiped it down and put it on the table next to me as I started writing this article. It looks exactly as it did before I left — although I really should clean the lens properly after having to wipe it with my gloves out in the rain.

As for the hares, I’ll be returning to that spot often over the coming months, following their lives and hopefully photographing and filming them along the way.