There is one particular field that keeps catching my eye, and I keep saying out loud to Sofia, on her school run, I must bring my camera and photograph that field. She will be relieved that today, after weeks of saying this to her, I finally took my camera out and captured it.

This particular field is full of bales of hay, all rolled up tightly and strewn across the landscape for as far as the eye can see. From my vantage point, the bales spread out towards and onto a gently sloping hill. The combination of the land’s natural beauty along with the geometric man-made shapes covering it get my creative juices flowing. It’s a veritable playground of compositional possibilities. Fortunately, the sun came out on this, the last day of August, and the farmers were kind enough to have not removed all the hay.

Recording the land in Perthshire, whether its natural beauty or the way in which man works with it, is part of an ongoing project of mine to document ‘The Land’.

Now I know that a lot of people will say that photos should be edited to within an inch of perfection, but I’m going to be brutally honest now and say, I really don’t enjoy spending any more time than I have to editing photos. For me, the joy is in seeing, not in tweaking. So these photos are all straight out of camera black and whites from my Nikon Z8 set to the Monochrome profile. I retain the raw files too, just in case one of the JPEGs doesn’t cut it, but in this case, I got the exposure pretty close in camera and simply adjusted the endpoints and cropped some shots to a 16:9 aspect ratio where I felt it worked best.

It’s a place where the solitude and natural beauty really speak to me. It feels like the Scottish Highlands that my mind goes to when I look back on my younger years. Wild hills, huge bodies of water and the feeling that this place belongs to nature and not to us. You can see the video I shot there this week below.

But I thought it would be interesting to break down a few of the photos I took there during the harsh mid day light to see what worked, what didn’t and give an insight in to how I work. Firstly, a bit of context as to why I shot how I did. I chose black and white for the majority of shots, only switching to color when I felt the color actually added something to the photo. I find myself predominantly working in black and white these days, those of you who have read my previous articles will know why. I still see the beauty around me everywhere, but it feels tainted by at the moment. I’m trying to work through that and photography, as always is my crutch.

Let’s start out with this black and white shot of the dam wall and water tower at Loch Turret. I’ve marked up the photos. Green are the things that work well, yellow shows the compositional guide such as the rule of thirds or golden ratio and Red highlights the problems or mistakes.

Lighting & Exposure

The harsh light creates shadows that help add depth, particularly in black and white images. The overall exposure works well, with one caveat to come later.

What Worked Well

• Green A: I Positioned myself and composed the image to create a triangle shape from the rocks pointing further into the frame, helping to draw the eye through the photo.
• Green B: I Used the dam wall to create strong converging lines that draw the eye deeper into the photo.
• Yellow: The main subject is placed on one of the intersecting lines using the rule of thirds, giving it prominent attention and balancing the photo. It is placed on the opposite side of the dominant dam wall to help achieve balance.

Room for Improvement & Critiques

• Red A: The top of the dam wall was in deep shadow; even after lifting the shadows, it remains slightly distracting and draws the eye away from the main elements. The positioning is also uncomfortable, running into the photo about 3/4 of the way up from the bottom, which throws off the geometric balance.
• Red B: The rock is cut off so doesnt sit naturally, neither fully in the frame, nor removed entirely.
• Red C: Although the converging lines of the dam wall draw the eye deeper into the image, ideally they would have run toward the water tower.

Conclusion

• Overall, I like the photo, but with a little more thought and time, perhaps I could have lined up the elements in the scene to work even better together to create a stronger, more focused composition.

Loch Turret: The First Frame That Didn’t Work

This was the opening shot in the video, and I knew right away that it simply didn’t work but as I was in position for the video clip, I took it anyway. Rather than trying to force it, I moved positions, but it’s worth looking at why this composition fell flat:

• Red A (The Rocks): The foreground rocks are naturally drawing the eye away from the subject (the water tower) and dragging it toward the dam wall instead.
• Red B (The Dam Wall): While the dam wall is less prominent here than in other frames, the deep blocked shadows and awkward placement still pull the eye away from the rest of the scene.
• Red C (Mountain Peak): The highest peak of the background mountain sits dead center in the frame, creating imbalance.
• Red D (The Water Tower): The main subject is stranded in “no man’s land.” It isn’t centered with intent to anchor the frame, nor is it placed on any of the rule-of-thirds intersecting lines to create balance.

There are no green notes on this one—sometimes a composition just doesn’t work.

This is the frame I shot after trying to build a composition that worked better than the first image. When I’m shooting, I tend to instinctively recognise the issues without consciously diagnosing them right away. This image works much better than the first and feels significantly more balanced.

• What worked:
  • Green A (Foreground Rocks): I positioned myself and framed the shot so that the foreground rocks converge directly toward the main subject (the water tower).
  • Green B (Mountain Ridgeline): The background mountains now feel balanced, with a natural flow from left to right that leads your eye to explore the hilltops. Their placement feels right, with enough sky above them to provide proper environmental context.
  • Green C (The Dam Wall): The dam wall that caused issues in the previous photos has now been minimized by the angle of the shot, removing it as a heavy, distracting element.
  • Yellow (Subject Placement): The main subject is now placed purposefully, allowing the eye to come to a natural rest on it after being led around the various elements of the frame.
• The Trade-Off: In an ideal world, the subject could feature more prominently by being larger within the frame. I could have achieved this by using a longer focal length to compress the elements together, but doing so would have made it impossible to include the foreground rocks in the same way. Every shot is a compromise and a balance.

All of the photos here, and in the video are completely uncropped in post. I tend to prefer to try and get things right in camera but of course, if you get back home and can see an issue, sometimes the resolution of the Nikon Z8 can help out and allow you to crop distracting elements out of the frame. What it can’t do is change the position of elements, relative to each other after you’ve taken the shot.

In the last few weeks I’ve waved goodbye to my youngest daughter at the airport, shed more than a few tears, sold off all my camera gear except for Nikon (I sold the OM System gear too in the end) and have taken a few days off to try and recharge my batteries and reset myself to start building something once again.

With all that in mind, yesterday I went out with my camera to some local woodland up near Crieff, where I also shot my first video in some time. You can see that video below.

It’s the first in what will become a long running series and isn’t the finished product that I’m aiming for but it was a lovely morning out and was good practise to get back in to the swing of video again. The aim of these videos is to bring you along while I’m out photographing in Scotland for the projects that I’m working on, to show the area, where I am creating these images from and later, a bit of the why and how.

For now, I’ll leave you with a brief glimpse into some of the beautiful woodland near my home in Perthshire. Roll on Autumn.

As part of that series, I took the Nikon Z 50mm 1.8S lens out on a local walk through the Perthshire farmland near my home yesterday with the intention of seeing how it changed the way I shoot, the images I could make and whether I could make it work for the wide-open countryside near my home. You can see how the Nikon Z 50mm 1.8S compares against the 24-120mm f/4 here.

It was a beautiful sunny, summers day which sounds lovely, and it was, but it’s not my preferred weather for trying to shoot landscapes.

The high contrast light means that you have to carefully watch your exposure, ensure highlights aren’t clipped and it tends to flatten everything. That combined with being faced by a wall of green at this time of year has resulted in me looking more for interesting pockets of light across the landscape where it creates more depth than simple flat looking sunny scenes.

The 50mm focal length changes the way I shoot, It gives a feeling of peering in to the landscape rather than being immersed in it. The images often end up feeling more intimate. I tend to look for foreground elements that can frame a subject which sits deeper in the image.

I started out the walk, up an old railway path, looking for exactly these kind of compositions, peering through leaves and branches toward something that caught my eye. The light was a mix of bright sunshine, and the ocassional cloud rolling across the sky which would briefly cast shadows on to the land below.

Initially, I was still looking for similar compositions as I would normally, perhaps some foreground interest, leading towards the subject, framing it or leading in to it. To be honest, whether it was having my wife with me as I’m teaching her to create videos, or it was simply that I didn’t adjust my thought process enough, I was struggling to get anything other than snapshots of a nice subject.

One such location was a beautiful field of crops, blowing in the wind, creating swirls and patterns as the tops of the crops swayed during each gust. It immediately caught my eye and I headed down off the path to get closer. My instinct was to place the crops right up front in to the foreground and find a point of interest in the distance that could act as an anchor to the frame.

The problem, I found was that the 50mm focal length, didn’t allow me to get in close enough to feel immersed in the stems and seeds of the crop, while allowing enough depth of field and space in the frame to include the beautiful Oak tree in the distance that I had picked out as the anchor. I moved around, changed angles, raised the camera, lowered it, moved in closer, further out and stopped down my lens to f/16 but no matter what I did, it just wasn’t working. The second issue I was having is that I really wanted to capture the movement of the (wheat or barley, I think) as it swayed in the wind, almost as one organism rather than individual crops. Sadly, I hadn’t brought an ND filter and so in the bright sunshine, I couldn’t slow my shutter speed enough to capture the movement.

In the end, I got some shots, but they weren’t any good and didn’t capture the vision I imagined when I spotted the scene.

The 50mm is a fantastic lens that combined with any of my Nikon Z cameras, offers great image quality and performance. But having a fixed focal length meant I had to adapt my shooting style, which so far on the walk just wasn’t happening because of my pre-conceived ideas of the shots I would try and capture.

Thats was, until we continued walking along the path and to my right were tracks weaving thier way through the exact same field. I couldn’t resist trying to use these tracks in a photo as they created a beautiful S-curve through the crops.

Normally, I would have moved off the elevated path overlooking them and tried to get in close, using a similar thought process as my last unsuccessful attempt.

Instead, I saw clouds moving towards us which might offer some interesting shadows on the field. This could be the cherry on the cake of any image, if I could snap my brain in to thinking a little differently than it curretnly was.

This time I decided to stay on the elevated path as it gave a good vantage point over the field, emphasizing the shape of the leading lines of the path. In the distance, a beautiful row of trees framed the farmland. Knowing that I could use the compression of the 50mm focal length to pull the background closer, I framed up the shot multiple ways to see which worked best. The 50mm in this case, was actually giving me more sky in the frame than I wanted, but before the crop field was dead land, that was ugly and which I definitely didn’t want in the frame.

This is where a fixed focal length forces you to try multiple compositions and really think, often having to try multiple positions and framing options before settling on the one that works best. It forces you to really explore a scene and consider what it is that you want to show. Of course, the reverse of that is that sometimes, you have to make compromises you wouldn’t necessarily have to with a zoom.

In the end, I shot in portrait orientation to better align the frame with the flow of the tracks leading through the frame. In landscape orientation, there was too much dead space on the right of the frame that looked out of place. I decided that this was the best compromise, including more sky, rather than more field. Then, I simply waited for those clouds to move in and create some light pockets over the field that would bring out the texture and add a little more depth to the shot.

There are a few scenes on this walk that remind me of the time I spent in Tuscany, Italy and so I edited the image with that in mind. I go in to more detail on my thought process and techniques when shooting and editing on my personal website.

I’m going to get the key specs out of the way as some of them directly relate to my experience but the specs really don’t tell the story with these two cameras, well at least not with the Zf.

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Firstly, lets talk about the design because theyre fundamentally different and because much of the Zf’s appeal is based on its beautiful retro design, and it is beautiful. I have the the silver Zf (see my full Nikon Zf review) , normally I tend to go for the black versions these days but only the silver one was available when I bought it in the Philippines. It’s a stunning camera. I’d probably rank it alongside my OM system OM-3 as the best looking camera I own. The silver finish isn’t too light or bright and the dials remind me of film cameras of years gone past. The Z8 on the other hand is purely functional, it’s basically a modern D850 DSLR (See my full Nikon Z8 review), nothing about it is designed to wow you or appeal to nostalgia. Well, unless you’re nosatgic about the DSLR era I suppose.

So on design alone, the Zf objectively has to be declared the winner but that doesn’t tell the whole story because not everyone wants a retro looking camera and when I look at both of them sat next to each other on my OCD shelf (I call it that as everything has its place, lenses in focal length order, cameras in size order etc) I don’t see them in the same way. Yes the Zf is undoubtedly the conventionally better looking camera but the Z8 calls to me because it screams, im going to get out of your way, get the job done and be really comfortable and easy to use while getting your shots. There’s an appeal to me in a camera that means business, is solid and leaves me knowing it can handle anything I throw at it. So lets just say, I don’t see one as the ugly duckling and the other as the beauty queen. One’s a Ducati 748, beautiful and will get you around the track quickly, the other is a Honda Fireblade, still looks good but is built to get the fastest possible lap time first and foremost. I like both.

What’s surprising is how close they are in weight and even size when you hold them. Although the Z8 is clearly bigger, its not night and day. The Zf feels very wide, almost too wide for it’s height and out of the box, it lacks any grip whatsoever making it awkward to hold. I’ve improved this by adding the Smallrig grip (full accessories for the Nikon Zf article) but even with that, the weight of the Zf pulls to the left, and the grip doesn’t offer enough extra purchase to stop the camera feeling like it wants to drop to the left which eventually, fatigues your hands more than I’d like.

The Z8 sits a lot taller and substantially deeper but that’s offset hugely by its really good grip.

If I’m packing for travel and I need to minimise space then the Zf definitely packs down smaller whereas the Z8 is more of a squeeze in my Peak Design Everyday Sling 10L once I attach the 50mm 1.8S, pack an additional prime like the 35mm 1.8S, spare batteries, memory cards, cleaning kit and my Ipad Pro 13″.

But in actual use, they don’t really feel like a completely different class of camera in terms of weight because the grip on the Z8 is so deep and well designed that it makes holding the camera with any lenses larger than the 40mm f/2 more comfortable than the Zf with anything more than the 28mm/40mm f/2 sized lenses.

If im packing light, going to wear the camera on a strap or keep popping it in and out of my bag all day, the size advantage of the Zf makes more sense and the grip of the Z8 is less of a factor. But if I’m going to have the camera in my hand most of the day, the Z8 is much more comfortable to hold.

The other major difference is the controls. The Nikon Zf has physical dials for shutter speed, ISO and exposure compensation. The dials work well when you’re in full manual mode and are a pleasure to use for slower paced or creative photography. Where it differs from the implementation on my Fuji X-T5 (full review here) is that the dials on the Zf are dependant on which mode you put the camera in on the MASP switch (the Zf’s equivalent to standard PASM dials). In manual mode, every dial works as expected, but because most Nikon Z lenses don’t have an aperture ring (although you can program it to the control ring if your lens has one) you have to use the front command dial to change aperture.

In Aperture priority mode, the shutter speed dial becomes inactive. The system makes sense but If you’re going to give me a physical control for shutter speed, I want that dial to overide the MASP setting. I’d say it feels incomplete because of a lack of aperture rings on Nikon Z lenses and, slightly disjointed because you have to mix using physical controls for shutter speed and ISO with command dial use for aperture as it comes out of the box. I’ve set up the lens control ring to function as the aperture dial on my Zf and while it works fine, it lacks the tactile feedback of having a physical aperture ring on a lens as there’s no clicks.

The Z8 uses a PASM based system. I shoot it almost exlusively in manual mode with auto ISO. I then use the front dial to control aperture and the rear dial for shutter speed. It’s very quick in use to adjust settings.

The next major difference is that with 45mp resolution, the Z8 basically doubles every lens you have, to give a usable FX and DX variant as DX still gives you 20mp files. Practically I consider 24mp to be plenty for normal use in most situations. I tend to think in terms of ‘is something enough’, rather than ‘is it the best available’, especially for resolution as I remember printing 30×20″ gallery prints from my Canon 5d mk II (which only had 20mp) and the quality was excellent.

But in use, the ability to turn every lens that you have in to two usable focal lengths has two main benefits that I’ve found could almost justify the cost difference between the Zf and Z8 alone.

I often travel with one camera and two prime lenses to keep things light. Usually I’d pick a 35mm and a 50mm lens to take with me, to cover normal wide and mid range. these are my most often used focal lengths for travel.

If I take the Zf with both lenses I get 24mp files for everything and the total weight is 1.6kg. But if i take the Nikon Z8 with just the 35mm 1.8S (reviewed here)and use it in FX mode for the 35mm focal length and in DX mode to get an equivalent 50mm field of view. I can leave the 50mm 1.8S lens behind (reviewed here) and get 45mp shots in FX mode and still only lose 4mp against the Zf with 20mp files in DX mode. The total weight for the Z8 and 35mm 1.8S is 1.28kg and I’m gaining a lot of resolution in Fx mode and only giving up minimal resolution in Dx mode. Yes, the 35mm 1.8S wont give quite the same subject separation or look as using the native 50mm lens but it’s close enough that at those focal lengths the differences probably wont make or break a shot.

The Z8 combination ends up being arguably more capable yet lighter.

If you still want to carry two lenses, with the Z8 you now have four focal lengths to use.

So if I’m talking purely about weight and functionality, the Z8 gives a lot of extra flexibility thanks to its higher resolution sensor. Ultimatley the Zf does pack down smaller if your kit is the same and that can be important for travel but it’s not a clear win for the Zf as there’s lots of different factors to consider.

Where the Zf does make more sense is for hobbyists and as a second camera for Nikon Z shooters. There’s no getting around the fact that the Zf offers a completely different shooting experience from the DSLR style of the Z8. The physical control dials make me feel more like an artist than a photographer, they slow me down, slow my thinking down and make the whole experience feel more tactile and about the joy of shooting as much as getting the shot. There’s also something to be said for using a beautiful camera, I know that sounds shallow but for someone like me, who’s professional life revolves around photography, having a camera that makes you feel pride in its appearance, even perhaps get the odd complimentary or inquisitive comment, is a pleasure. And, the third point I would definitely say is a factor for travel, is that turning up in some far flung location with a camera that looks like the Zf changes the way you are perceived and often, the reactions that you get when you point it at people.

The Zf definitely gives off the ‘harmless tourist vibe’ rather than the ‘professional photographer look’ which often allows you to get photos without disturbing the people you are shooting, which results in less stares, less changes in the way people behave in front of the camera and generally, more natural candid photos. I should say though that more than the camera you are using, how you interact and behave when you’re photographing a place has more impact on the reactions you get.

Finally, for a photograhy first camera, the Zf has a few strange design choices in my opinion, the first being the inclusion of a fully articluating screen. There’s nothing wrong with it but for photography, and especially if you’re trying to take advantage of the Zf’s more discreet nature, having to pull out the fully articulating screen and have it stick out of the side of your camera in order to shoot at the hip or shoot from higher or lower positions makes little sense.

The Z8’s screen is by far my preferred choice for photography as you can simply flip it up or down in-line with the camera which is much quicker to do and more discreet. The Z8 doesn’t make for much of a selfie camera because of this, but I reckon that probably loses Nikon about 2 sales a year.

Most of the article so far has been based on travel photography because, that’s really one of the main use cases I can see for the Nikon Zf. For landscape and general photography for most people, the Z8 simply makes more sense, if you can afford it.

As I’ve now moved to Scotland, where I’m shooting landscapes more so than travel photography, my own use has switched to heavily preferring the Nikon Z8 over the Zf. In fact, apart from shooting for reviews, I honestly haven’t picked up the Zf for a couple of months until today.

Verdict

I’m sat here now, holding the Zf and asking myself why that is because it’s a really capable camera and one that is fun to use.

I think the answer is this: The Zf is very good but the Z8 is better in almost every area and with basically no weight penalty. I look at the Zf and think that looks lovely but it doesn’t make me want to pick it up becausue it’s not particularly comfortable to use and the implementation of the physical control dials feels half hearted, so I don’t get the full experience of aperture, shutter speed and ISO control that I would want from a camera like that.

For me personally, when I want to shoot in that way, my Fuji cameras still do it better and when I want to shoot Nikon Z, I’m doing so because the ergonomics and performance are what I need and the Z8 simpy performs better in those areas.

There is one area though where I would be much more likely to choose the Nikon Zf over both the Z8 and my Fuji cameras, and that’s family photography (the Nikkon Zf is recommended in my article discussing the best cameras for family photography). After years of shooting my kids, I’ve learned that how they react to the camera changes massively depending on what the camera looks like. If i stick a pro looking DSLR in their face, they stop what they’re doing, tighten up, change their expressions and stop acting naturally. If I use a camera that looks like the zf, they largely carry on with what theyre doing, especially if I put one of the smaller Z lenses on the camera such as the 40mm f/2SE (reviewed here). Although I do shoot a lot of my family photos on Fujifilm cameras, I’ll be the first to admit that the Zf’s autofocus is faster and more reliable which makes it easier to get shots of children racing around. So if I was choosing between buying the Z8 and the Zf purely to have a camera with me to take photos of my family, at home, special events, vacations or anything else, I’d pick the Zf, save the money and get an extra lens or an extra vacation.

That’s about the only use case where I can realistically see myself picking the Zf over the Z8 and on that note, I have to go and take Izzy’s first British passport photo….. and I’m still reaching for the Z8.

If you’ve decided which camera is right for you, you can check the latest prices here: Nikon Zf | Nikon Z8.

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

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

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

Photographing Woodland in Harsh Midday Light

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

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

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

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

Why I Chose One Lens and Nothing Else

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why I Processed the Photos This Way

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This article contains affiliate links. If you choose to buy through them, I may earn a small commission at no extra cost to you. I only recommend gear I’ve personally used and trust.

Why I Bought the Nikon Z8

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

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

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

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

But there was another side to it as well.

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

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

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

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

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

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

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

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

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

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

Design, Handling & Build Quality

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

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

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

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

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

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

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

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

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

Balance With Lenses

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

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

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

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

Build Quality & Weather Sealing

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

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

It has never so much as batted an eyelid.

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

Controls & Button Layout

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

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

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

The overall control layout simply works.

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

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

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

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

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

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

• Bracketing
• White Balance
• Shooting Mode
• Drive Mode

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

Rear Screen & EVF

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

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

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

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

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

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

Card Slots, Ports & Battery

The Z8 uses dual card slots:

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

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

In terms of connectivity, the Z8 includes:

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

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

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

Real-World Handling

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

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

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

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

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

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

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

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

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

Autofocus Performance

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

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

It felt stickier.

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

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

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

3D Tracking

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

This makes focusing incredibly easy for general photography.

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

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

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

Wildlife Autofocus

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

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

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

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

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

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

Where the Z8 Autofocus Struggles

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

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

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

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

You can:

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

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

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

The Z8 has handled these situations remarkably well.

Reliability & Keeper Rate

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

It’s that it’s reliable.

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

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

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

Burst Shooting & Buffer Performance

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

The Z8 can shoot:

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

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

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

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

Pre-Release Capture

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

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

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

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

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

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

Electronic Shutter & Sensor Protection

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

The Z8 has no mechanical shutter at all.

Everything is handled electronically.

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

With the Z8, that concern effectively disappears.

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

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

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

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

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

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

Image Quality

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

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

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

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

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

ISO 64 & Tonality

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

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

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

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

Resolution & DX Crop Flexibility

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

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

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

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

Dynamic Range

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

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

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

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

High ISO Performance

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

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

However, there’s an important caveat to that.

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

I’ve shot wildlife at:

• ISO 6400
• ISO 10,000
• ISO 12,800

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

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

Colour & Rendering

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

• realistic
• natural
• slightly punchy

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

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

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

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

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

They feel:

• malleable
• robust
• flexible

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

Compared to APS-C & Wildlife Detail

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

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

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

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

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

Z8 vs GFX100S

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

No.

Medium format still retains advantages in:

• tonal depth
• rendering
• overall file richness

particularly when viewed critically side by side.

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

Absolutely.

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

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

Overall Image Quality Verdict

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

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

Video Performance

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

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

Most of my footage has been shot in:

• 10-bit 4K 30p
• 4K 60p

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

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

The Nikon Z8 offers:

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

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

IBIS & Handheld Video

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

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

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

Video Quality

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

Honestly, the footage looked superb.

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

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

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

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

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

Video Autofocus

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

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

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

Overall Video Verdict

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

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

Who Should Buy the Nikon Z8?

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

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

Does that mean everyone should rush out and buy one?

Not necessarily.

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

Outdoors Photographers

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

Outdoors photographers.

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

We might photograph:

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

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

For me personally, the Z8 absolutely excels here.

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

I may not always carry a tripod anymore.

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

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

That’s where the Nikon Z8 really shines.

It gives you:

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

all in one body.

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

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

Landscape Photographers

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

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

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

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

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

Will it produce better landscape images than the Nikon Z7II?

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

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

The Z8:

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

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

Wildlife Photographers

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

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

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

Combined with:

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

the Z8 feels purpose-built for serious wildlife photography.

Documentary & Professional Use

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

Its greatest strength is versatility.

This is a camera that feels capable of handling:

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

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

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

Who Should Avoid the Nikon Z8?

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

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

For photographers who:

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

the Nikon Z6III makes a huge amount of sense.

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

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

while being:

• smaller
• lighter
• cheaper

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

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

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

Z8 vs GFX

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

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

They simply prioritise different strengths.

Verdict

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

Whether that was:

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

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

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

Then I bought the Nikon Z8.

And honestly, it changed my perspective a little.

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

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

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

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

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

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

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

They simply got the job done:

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

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

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

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

That’s how good it is.

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

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

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

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

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

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

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

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

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

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

Wide Angle Lenses for the Nikon Z8

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

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

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

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

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

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

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

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

That said, there are trade-offs.

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

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

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

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

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

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

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

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

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

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

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

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

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

Standard Zoom Lenses for the Nikon Z8

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That kind of reach changes what’s possible.

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

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

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

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

There are some downsides.

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

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

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

Building a Wildlife Kit for the Nikon Z8

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

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

From there, you can build a system around it.

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

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

There is another way to build a wildlife setup.

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

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

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

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

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

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

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

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

Portrait / Prime Lenses for the Nikon Z8

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Thoughts

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

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

I’ve taken a different approach.

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

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

Allocate your budget based on how you actually shoot.

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

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

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

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

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

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

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

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

Naturally, I couldn’t leave it alone.

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

Why Swallows Are So Difficult to Photograph

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

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

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

More than anything, it felt chaotic.

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

Trying to Track Them (And What Actually Worked)

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

That didn’t last long.

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

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

Even then, it wasn’t easy.

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

How the Nikon Z8 Handled It

A Real Tracking Sequence

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

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

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

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

But there’s a limit.

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

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

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

The Reality of Shooting Something Like This

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

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

When everything comes together, it works incredibly well.

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

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

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

The Setup

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

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

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

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

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

Shooting Experience

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

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

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

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

Image Quality on the 45MP Sensor

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

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

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

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

What Stood Out

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

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

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

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

Verdict

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

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

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