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

Some of the links on this page are affiliate links. This means I may earn a small commission if you purchase through them, at no additional cost to you.

Nikon Z 40mm f/2 SE – Best Overall

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

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

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

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

Nikon Z 50mm 1.8S – Best for Image Quality

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

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

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

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

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

Nikon Z 35mm 1.8S – Best Wider Option

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

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

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

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

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

Lenses to Avoid on the Nikon Zf

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

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

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

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

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

Final Thoughts

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

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

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

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

To my eye, the Nikon Zf might be the best looking of them all.

A beautiful camera makes you want to pick it up and use it. It makes you want to go out and shoot. But is the Nikon Zf just a pretty face, or is it genuinely as good as it looks?

Beyond the looks of a camera, there are photographers — myself included — who genuinely appreciate physical control dials. Perhaps it’s nostalgia. Perhaps it’s simply that we feel more connected to a camera when we can avoid menus and physically control shutter speed, ISO and exposure compensation with dials. Whatever the reason, the Nikon Zf is Nikon’s take on this kind of shooting experience.

Affiliate disclaimer: Some links in this article may be affiliate links. If you buy something through one of them, I may earn a small commission at no extra cost to you. I only recommend gear I’ve personally used or genuinely believe is worth your money.

Design & Ergonomics

In terms of style, I don’t think anyone could argue that Nikon didn’t hit it out of the park with the Zf. Styled to resemble the FM2, it looks superb. The first thing that struck me, though, wasn’t the styling — it was the size. This is not a small camera in the way the OM System OM-3 is. At 144 × 103 × 49mm and 710g, made mostly from magnesium alloy, the Zf feels wide and hefty in the hand. The width in particular took me by surprise after using the Fujifilm X-T5 so regularly. In comparison, the Nikon feels a little too wide and slightly short in proportion.

However, the build quality feels excellent. Dense. Solid. The dials in particular feel better built than those on the Fuji X-T5 or the Fujifilm X100VI, with a more assured, mechanical click when turned. They feel like they belong on a camera at this level.

Weather sealing is officially described as dust and drip resistant, but in my use — from monsoon downpours in Southeast Asia to continuous drizzle in the Scottish Highlands — I’ve had no issues with water ingress at all.

The Zf takes the same EN-EL15C batteries as the Z6 III and Z8, which is perfect for Nikon shooters. Being able to swap batteries between bodies matters. It charges via USB-C. It has dual card slots.

But here’s the problem: the second slot is microSD.

On a camera of this level, I don’t want to be using microSD. I don’t want to buy microSD. I don’t want to carry microSD adapters. It feels out of place on a camera that otherwise feels premium and serious. That decision makes no sense to me.

On the top of the camera you’ll find physical ISO, shutter speed and exposure compensation dials. All are well damped and feel properly built. The ISO and shutter speed dials both have locking mechanisms, although these only apply in certain positions. The shutter speed dial, for example, cannot be locked across the full 1/8000–4 second range. In practice, I haven’t found either dial particularly easy to knock, so this hasn’t caused issues.

The exposure compensation dial is slightly smaller than I’d ideally like, but it doesn’t protrude past the rear edge of the camera and isn’t prone to accidental movement. There’s also a small top LCD displaying aperture. The shutter release is nicely damped and not overly reactive, which makes half-press focusing confident and controlled.

Where things become more nuanced is in the implementation of the dials themselves.

Fuji removes PASM altogether. On the Fujifilm X-T5, if you move one dial off “A” and leave the others on auto, you’re automatically in shutter or aperture priority. If you control all three exposure variables physically, you’re in full manual. The dials behave predictably. The physical position is the mode. That creates absolute mental clarity. Muscle memory doesn’t need to be pre-conditioned with “what mode am I in?”

The Zf takes a hybrid approach. Under the ISO dial sits the MASP lever. Because Nikon’s current Z lenses don’t offer true aperture rings, you’re only ever physically controlling two of the three exposure variables unless you map a control ring. In Manual mode, everything works logically: shutter speed and ISO via the top dials, aperture via the front dial. But switch to Aperture Priority and the shutter speed dial becomes inactive. Switch to Shutter Priority and it works again.

It functions. But it isn’t as elegant.

Unlike Fuji’s implementation, the Zf’s dials are conditional. You do occasionally need to be aware of which mode you’re in before assuming how they will behave. Over time, I found myself shooting in Manual almost all the time simply to avoid that nuance. In Manual, the camera feels coherent. Outside of it, the logic isn’t as seamless.

So yes — the Zf looks fantastic and is beautifully built. But the dial implementation isn’t as pure as Fuji’s. It’s Nikon’s interpretation of tactile control, layered on top of a modern PASM foundation. For Nikon shooters, that familiarity may be reassuring. For those coming from Fuji, it will feel like a compromise.

How It Feels in the Hand

I mentioned earlier that the Nikon Zf doesn’t feel like a small camera — and that’s true. But what accentuates that even more is the tiny front grip and the way the camera actually sits in my right hand. I’ve written an article which talks about the best lenses for the Nikon Zf as not all lenses work well on this camera.

This is where I need to be specific.

My thumb naturally wants to rest between the AE-L button and the rear dial. As I arch my forefinger forward to reach the shutter button, there’s a noticeable gap between the palm of my hand and the side of the camera body. Combine that with the Zf’s 710g weight and the result is a feeling of very little purchase on the camera.

That’s a long way of saying: I don’t find the Nikon Zf comfortable to hold in its standard form.

It looks fantastic. It feels well built. But ergonomically, for me, it’s compromised.

That changed completely once I fitted the SmallRig L-grip. Once installed, the camera feels secure and properly balanced in the hand. I’ve never taken it off since fitting it, and I consider it essential if you plan to use the Zf seriously, especially with larger lenses.

If you’re considering the Zf, I’ve listed the exact grip I use — along with the other accessories I genuinely recommend — in my Best Accessories for the Nikon Zf guide. If you like the Zf’s style but you’re just starting photography, see my guide to the best cameras for beginners.

Without the grip, it’s style over comfort.
With the grip, it becomes usable for longer sessions.

The Zf features a fully articulating screen, and it’s a good one. But I would have preferred a 3-way tilt screen like the one on my Z8. For photography, the 3-way tilt design is simply better. It keeps the screen centred behind the lens axis and is faster to deploy for waist-level shooting in both horizontal and vertical orientations.

The Zf is a capable video camera, but everything about its styling and control layout suggests it’s aimed at photographers first. A 3-way tilt screen would have suited that identity better. Here’s how I’ve set up my Nikon Zf for photography first use.

Switching between the Z6 III and the Zf also highlights a difference in EVF quality. The Z6 III offers a brighter, more refined viewing experience. The Zf’s viewfinder is perfectly usable — I’ve had no issue with it in real shooting — but it isn’t on the same level. It’s one of the things that stood out to me when comparing the Zf vs the Z6III.

Performance: Autofocus, Image Quality and Real-World Use

In terms of autofocus, the Nikon Zf is genuinely excellent.

Nikon has taken the Expeed 7 processor from the Z8 and applied all of those latest autofocus algorithms to the previous-generation Z6 II sensor. That means you get Nikon’s most advanced subject detection — people, animals, birds, vehicles — on a proven 24MP full-frame platform.

For everyday photography, travel and family work, it’s more than good enough. It rarely lets you down. Eye detection is reliable, tracking is confident and in normal use it feels modern and capable.

However, it is still a touch slower and slightly less decisive than both the Nikon Z6 III and the Nikon Z8. The Z6 III and Z8 feel a little more immediate when switching focus points or tracking movement. The difference isn’t dramatic, but when you move directly between bodies, it’s noticeable.

Image quality is superb.

Dynamic range is strong, colours are consistent and low light performance is excellent. ISO 6400 is essentially clean. ISO 12,800 is surprisingly good. Even ISO 16,000 produces files that are entirely usable with sensible exposure and processing.

In terms of raw image quality, the Zf is on par with the Z6 III. You are not giving anything up here in pursuit of styling.

Handling is where things become more conditional.

With the SmallRig L-grip fitted, the camera feels much more secure and balanced. Personally, I wouldn’t use the Zf without it. Once fitted, I’ve never taken it off.

Where the Zf really shines is with prime lenses.

Pair it with Nikon’s 28mm or 40mm f/2 SE lenses and the balance is excellent. Even up to the 50mm f/1.8 S, the camera feels cohesive and well matched. With these smaller lenses, the Zf feels purposeful and enjoyable to use.

Move beyond that, and it becomes more compromised.

I was recently out with the Zf and the 24–120mm f/4. It’s a very nice pairing optically and it worked well — mainly because for most of the time I was carrying the camera on a Peak Design Slide Lite rather than holding it in my hand. When the weight is supported by the strap, the combination feels manageable.

But if I were hand-holding that setup for extended periods, even with the grip extension fitted, I wouldn’t want to do it for too long. There still isn’t enough purchase on the body to make larger lenses feel comfortable over time. Eventually, that leads to fatigue.

With compact primes, the Zf feels balanced and cohesive.
With larger zooms, it becomes an ergonomic compromise.

Conclusion

The Nikon Zf is a wonderful camera.

It encourages you to get out and shoot. It doesn’t feel intimidating when you point it at your kids. It feels friendly. And the image quality from the 24MP full-frame sensor is genuinely superb.

But I wouldn’t recommend it as your only camera — unless you mainly shoot primes, or you’re willing to compromise on ergonomics because the looks and tactile controls matter that much to you.

Where the Zf really makes sense is as a second body.

For Nikon Z6 III, Nikon Z8 or Nikon Z9 shooters, it’s the perfect creative companion. If you’re still deciding where the Zf sits within Nikon’s wider lineup, I’ve broken down the strengths of each body in my guide to the best Nikon Z cameras for photography.

The Zf is something you can mount a prime lens on and head out just for the enjoyment of photography. For the experience. For the dials. For those days when the camera becomes part of the trip, rather than the sole reason for it.

It changes the feel of shooting, even if the files themselves are comparable.

It will also suit Fujifilm users who want to change — and I say change deliberately, not upgrade — to full frame while keeping physical control dials. But those users should be prepared for a less seamless dial experience than they’re used to. Fuji still implements tactile controls with greater clarity and elegance.

Overall, the Nikon Zf is a beautiful camera that offers excellent autofocus and image quality. It’s a pleasure to use with prime lenses. But Fuji does dials better, and the Z6 III is the more universally practical camera for most people.

The Zf isn’t the most sensible choice in Nikon’s lineup.

It’s the most distinctive one.

On paper, the Z6III wins almost every time. It has the more modern sensor, more professional memory card options, faster autofocus and a more advanced viewfinder. All of which I go into in more depth in my full Nikon Z6III review and who should buy the Nikon Z6III.

But the appeal of the Zf doesn’t lie in the spec sheet.

Yes, it’s a beautiful camera. But that’s only part of it. The real appeal is that it speaks to a certain type of photographer.

I own both of these cameras. And recently, I’ve found myself reaching for the Zf more often. I shot our family Christmas with it. I travelled back to Scotland with it. And I’ve started to genuinely enjoy the experience of using it. See my full Nikon Zf review for more detail.

But I wanted to make sure I wasn’t just being seduced by the aesthetics.

So over the past week, I deliberately switched back to the Z6III.

This article isn’t going to be a line-by-line spec comparison. Instead, I’m going to talk about what actually stands out in real use — which photographers each camera suits best, which scenarios favour one over the other, and ultimately, which one you should buy.

Where the Z6III Makes More Sense

If performance is your priority, the Z6III is the obvious choice.

If I needed the absolute best autofocus between the two, I would choose the Z6III without hesitation. Wildlife is a perfect example — I wouldn’t even consider the Zf in that scenario. Partly because of autofocus reliability, but largely because of ergonomics and handling with longer lenses. The Z6III can be set up for wildlife photography much mre effectively than the Zf.

The Z6III is simply better suited to zoom lenses and larger glass. The grip is deeper, more secure and more comfortable over extended sessions. The button placement feels intuitive and logical. Even after a heavy period of shooting the Zf, it took me literally two frames with the Z6III to feel completely at home again.

It’s also the camera I would take hiking.

Not because the Zf can’t handle it, but because the Z6III feels more robust. It looks and feels more weather sealed. The buttons are easier to use with gloves. The grip inspires confidence when conditions turn. Whether that confidence is partly psychological doesn’t really matter — what matters is that it changes how you use the camera.

After returning to the Z6III recently, I was reminded just how good it really is.

The autofocus feels snappier. The viewfinder is brighter. The camera feels more balanced and purposeful in the hand. Operation feels quicker — not necessarily in menu speed, but in the way everything is positioned so logically that you don’t think about it.

And that’s important.

There is a certain calm that comes when a camera isn’t fighting you. When every button is exactly where you expect it to be. When you’re not thinking about functions or layout.

You’re just shooting.

For me, that’s the sign of a brilliant all-round camera. It gets out of your way. It’s quietly competent. It lets you focus entirely on your subject.

If I could only own one of these two cameras, it would be the Z6III. Not because the Zf is lacking — but because the Z6III is simply more flexible and better suited to a wide range of tasks with fewer compromises.

The Nikon Z6III is for photographers who value performance above all else. It’s the primary camera. The one that needs to handle everything.

Where the Zf Starts to Make Sense

The Zf is different.

On paper, it doesn’t beat the Z6III. In pure performance terms, it doesn’t try to.

But the Zf isn’t about winning on paper.

It’s about how it feels to use.

There is something undeniably inspiring about a beautiful camera. The dials. The tactile controls. The deliberate act of setting exposure manually. It slows you down in a way that feels intentional rather than restrictive.

The Zf suits photographers who need to feel something when they shoot.

Whether that’s nostalgia, simplicity, or the experience of pairing it with a prime lens and heading out without pressure — the Zf encourages a different rhythm. For this experience it’s important to pair the Zf with lenses that actually suit the camera though. That’s why I wrote about the best lenses for the Nikon Zf.

For me, it’s the ideal camera to take when I want to capture family moments or travel without letting photography dominate the experience. It works beautifully with primes. It rewards thoughtful shooting.

It’s not about having to get the shot.

It’s about wanting to press the shutter.

And importantly, it’s not so compromised that performance gets in the way. The autofocus is still excellent. The image quality is stunning. It’s a modern camera beneath the retro exterior.

But the emphasis is different.

The Zf is for photographers who care as much about the experience of shooting as the outcome.

The Nikon Zf needs a few accessories to make the handling the best it can be. Here are the accessories I use with my Nikon Zf.

So Which Should You Buy?

If you want the most capable, flexible and performance-driven body, buy the Z6III.

If you shoot zoom lenses regularly, buy the Z6III.

If you shoot professionally, buy the Z6III.

If you want the strongest price-to-performance ratio, buy the Z6III.

If this will be your main camera for years and needs to handle almost anything without compromise, the Z6III is the smarter choice. It’s more adaptable, more robust and simply better suited to a wider range of tasks.

Now here’s where the Zf earns its place.

If you primarily shoot primes, the Zf feels purpose-built for that style of photography. Particularly with lenses like the Nikon 40mm f/2 SE which I recently reviewed.

If physical dials and direct control make you more deliberate and engaged, the Zf supports that way of working.

If the way a camera looks and feels genuinely affects how often you take it with you, the Zf has an advantage. It encourages use. It makes you want to shoot.

And for family photography and candid portraits, the Zf changes the dynamic. It doesn’t look like a professional workhorse. It feels less formal when pointed at someone. In my experience, people relax more quickly. Expressions feel more natural. Moments feel less staged.

If you already shoot a Z9 or Z8 and want something fun to use on weekends, away from work, the Zf is definitely the one to choose.

At the end of the day, this decision comes down to what kind of photographer you are.

If you want one camera that can handle almost anything you throw at it — wildlife, hiking, professional work, zoom lenses, unpredictable conditions — the Z6III is the logical choice.

But if photography is as much about the experience as the output, the Zf offers something different. It changes how you shoot. It changes how people respond to you. It encourages a slower, more intentional rhythm without sacrificing modern performance.

The Z6III is the camera you rely on.

The Zf is the camera you reach for.

For me, owning both makes sense. If I had to choose only one, logic says Z6III. But when I head out with a prime lens and no pressure, the Zf is often the one in my hand.

And that difference has nothing to do with the spec sheet. At the end of the day, they can both get the shot, but how they feel doing it is where the real difference lies.

If you’re still weighing up Nikon’s wider lineup, I’ve also broken down which body makes the most sense overall in my guide to the best Nikon Z camera for photography.

Over the past few months I’ve been using the X-T5 and the Zf side by side, and I know a lot of people are trying to decide which modern, retro-styled camera makes more sense. I genuinely enjoy using both. They’re both excellent cameras, both offer more image quality and features than most people will ever need, and both are more than capable of producing great images.

But if you’re having to make this decision — if you can only choose one — then there are some important differences worth understanding.

This comparison isn’t just based on technical specs or marketing claims. It’s based on real-world use here in the Philippines, and on years of shooting with both Fujifilm and Nikon cameras. Below, I’ll walk through the areas that actually matter in daily use, to help you decide which one is the better fit for you. For more on the Nikon Zf, see my full review.

This article contains affiliate links. If you choose to buy through these links, I may earn a small commission at no extra cost to you. I only recommend gear I use myself or genuinely believe in.

Autofocus: Nikon Zf vs Fujifilm X-T5

In practice, the Nikon Zf is the stronger autofocus camera.

AF-C tracking is faster and more confident, particularly with moving subjects, and Nikon’s tracking mode is simply more reliable overall. Eye detection in continuous autofocus is also better on the Zf, locking on quickly and holding focus with less hesitation.

That said, the Zf isn’t perfect. The lack of a joystick is frustrating, especially coming from the X-T5, where focus point control is more immediate and tactile. Fuji’s autofocus performance is still very good, but when it comes to tracking consistency and motion, Nikon has the edge. Nikon’s 3D tracking performance does somewhat negate the need for a joystick, as you can simply place the focus point over your subject and recompose while the camera maintains focus. Of course, there are still times when you want to move the focus point manually, and in those situations the joystick on the X-T5 works more intuitively and feels quicker to use.

If autofocus performance — especially tracking — is your top priority, the Zf wins here.

Is the X-T5 going to hinder you? Very unlikely.

Despite what you might hear on YouTube, the Fujifilm X-T5 has very good autofocus performance. It can take a little longer to dial in the best settings compared to some other cameras, but paired with Fujifilm’s more modern lenses it works extremely well in real-world use. I have made my Fuji X-T5 settings file available for free to help you get quickly set up with settings that work well.

If you regularly shoot wildlife, sports, or very fast-moving subjects, the Nikon Zf does have the advantage. Even then, it’s worth saying that for those specific genres there are other cameras that would outperform both. If you want the best settings for your Nikon Zf then I’ve published my settings here.

Size, Weight & Handling

This is one of the biggest differences between the two cameras.

The Zf is noticeably larger and heavier than the X-T5, and that difference becomes more obvious once you start mounting lenses like the Nikon 50mm f/1.8 S. Nikon Z lenses are optically excellent, but they’re not small — and the lack of aperture rings removes some of the tactile shooting experience.

The question I’d be asking myself is this: does the Nikon Zf feel significantly larger than the X-T5, and if so, will that actually affect whether I bring the camera with me?

Here’s my honest answer: yes, the Zf does feel noticeably bigger than the X-T5.

When I switch from the Nikon Zf with the 50mm f/1.8 S to the X-T5 paired with the 33mm f/1.4 WR, the Fuji immediately feels compact. It’s lighter, more manageable, and easier to live with day to day.

The Zf doesn’t feel too big, but it is big enough that it subtly changes the mindset from “I’m going out and I’ll take a camera with me” to “I’m going out with my camera.” That’s a small distinction on paper, but in real life it makes a meaningful difference. If you’re buying it then you need to make sure that you actually get lenses that suit the Nikon Zf or it can feel awkward.

The Zf also uses a single SD card slot located in the battery compartment, which isn’t ideal from a handling or workflow perspective.

By contrast, the X-T5 feels lighter, more compact, and better balanced for long days of shooting. Even Fuji’s faster f/1.4 “red badge” primes are still lighter than Nikon’s f/1.8 S lenses, which makes a real difference if you’re building a camera you want to carry everywhere.

Image Quality & Colour

Technically, the Zf has the edge.

You get roughly 1–1.5 stops better low-light performance, with more flexibility when pushing shadows before noise becomes an issue. Nikon’s out-of-camera colour is excellent — Natural Picture Control looks genuinely pleasing, black and white modes are strong, and Deep Tone Portrait produces very attractive results. Skin tones look good on both cameras, but Nikon’s are slightly more realistic and neutral straight out of camera.

That said, Fuji still offers something different.

The X-T5 gives you far more creative control straight out of camera thanks to film simulations and custom recipes. Image quality is still excellent, and while the 40MP sensor won’t matter to most people, those who crop heavily will appreciate the extra resolution. The 24MP vs 40MP debate isn’t something you need to overthink — if it matters to you, you already know why.

The question I’d be asking myself here is this: does the improved image quality of the Nikon Zf actually make a meaningful difference to the photos I can create?

The honest answer is: it depends.

If you shoot in low light a lot, then yes — the Zf is meaningfully better. You have more flexibility, cleaner files, and more room to push shadows without penalty.

For almost everything else, technique, vision, and the lenses you use will make far more difference than the camera itself.

Controls & Shooting Experience

The PASM lever on the Zf takes some getting used to.

If you’re not in the correct mode, the physical dials are overridden, which can feel unintuitive at first. Shooting in full manual mode largely solves this, as the dials then behave as expected — but you do need to consciously select the shooting mode first.

Fuji’s system is more fluid. Simply operating the shutter speed or ISO dials on the X-T5 automatically puts you into the relevant mode. It’s faster, more intuitive, and better aligned with a traditional, dial-based shooting experience.

If you care about how a camera feels when you use it, Fuji does the physical dials better. For everything else, both are enjoyable.

Screens, EVF & Build Quality

The X-T5’s three-way tilting screen is better suited to photography than the Zf’s fully articulating screen, especially for waist-level or vertical shooting.

EVF quality is effectively a wash — neither camera has a meaningful advantage here.

Both cameras are fully weather-sealed and have handled rain without issue. The Zf’s dials feel more substantial, with firmer clicks and a more premium tactile feel, while the X-T5’s dials function better in day-to-day use.

Battery life is also effectively a wash.

Dual Card Slots

The X-T5 uses dual full-size SD card slots, which is the cleaner and more practical solution.

The Zf technically has dual slots, but one is microSD. It works, but it’s not ideal and is worth factoring in if redundancy matters to you.

Final Thoughts: Which One Should You Choose?

It really comes down to priorities.

If you value size and weight, the X-T5 is noticeably lighter with equivalent lenses. If you want a genuine retro shooting experience, Fuji gets you closer. If you crop heavily, the 40MP sensor provides some extra flexibility.

If you’re looking for a camera you’ll always want to carry with you, one you’ll build a full kit of lenses around, and you don’t need the thinnest depth of field or the absolute best low-light performance, the X-T5 is still the better overall choice — especially if it’s your only camera.

If, however, you already shoot Nikon, want a beautifully designed secondary body to complement something like a Z6 III or Z8, want to use your existing lenses, and expect the same autofocus behaviour you’re used to, then the Zf makes more sense.

Both cameras are excellent. And honestly, neither is worth switching to from the other if you’re already invested in lenses for one system.

If you’re buying fresh, though, the decision really comes down to:

If you value a smaller, lighter setup, a more intuitive physical shooting experience, and greater flexibility with straight-out-of-camera looks, the Fujifilm X-T5 makes more sense.

If you prioritise faster autofocus, full-frame image quality, and stronger low-light performance, then the Nikon Zf is the better choice.

If you’re also building out your Nikon kit, you might find my best Nikon Z lenses guide useful and if you want to get your Nikon ZF set up the right way from the beginning then see my article on the best settings for the Nikon ZF.

This article is based on real-world use. I own the Nikon Zf, bought it and the 40mm f/2SE lens, along with the accessories with my own money, and I continue to use it as part of my kit. Every recommendation below has earned its place through repeated use — not hype, not specs lists, and not “because everyone else recommends it”.

SmallRig L-Shaped Grip Extension — Fixing the Nikon Zf’s Biggest Weakness

The Nikon Zf is no doubt one of the prettiest cameras released in a long time. However, the lack of a substantial front grip — combined with the width of the body — means that if you’re not hanging it from your neck with a decent strap, it isn’t the most comfortable camera to hold.

It’s manageable with smaller lenses like the 40mm f/2 SE, but once you start using even relatively compact lenses such as the f/1.8 primes (35mm, 50mm, etc.), the balance begins to feel a little off. Yes, you can — and I do — use a two-handed grip, taking some of the weight in the left hand and using the right to operate the controls. But that still doesn’t solve the issue of carrying the camera comfortably between shots. I’ve written about which lenses are the best for the Nikon Zf.

The best solution I’ve found is the SmallRig L-shaped grip extension.

It adds a genuinely substantial front grip to the body, giving you enough purchase to comfortably carry the Nikon Zf one-handed for long periods. The grip is well designed and, in use, everything just falls into place. My index finger sits perfectly over the front control dial of the Zf, and for the first time my pinky finger actually has somewhere to go — resting on the grip instead of awkwardly curling underneath the camera body. It’s a small detail, but it makes a surprisingly big difference to how natural and balanced the camera feels in the hand.

That alone transforms how the camera feels day to day — especially if, like me, you don’t always want to rely on a neck strap.

The grip has a soft silicone finish that feels good in the hand, offers excellent grip, and is easy to wipe clean. Importantly, it doesn’t ruin the aesthetics of the Zf. The finish is very close to the camera’s faux leatherette, so it still looks like it belongs there rather than an obvious bolt-on accessory.

At just 102g, it adds very little weight — and more than makes up for that by making the whole camera feel far more comfortable and secure. In real use, the Zf actually feels lighter because the weight is better distributed.

Installation is simple. The grip attaches via a D-ring to the tripod mount, which I personally prefer to grips that rely on an Allen key. Those are far too easy to lose, even when the key is supplied. With the SmallRig grip, fitting and removal takes seconds.

You still have full access to the battery and memory card compartment, and as an added bonus, the base of the grip is Arca-Swiss compatible — making it easy to drop straight onto a tripod if you use one. There are also three threaded mounting points on the bottom for attaching tripod or gimbal plates if needed. Clearance of the rear screen is also not affected by the grip.

Overall, for the price, the SmallRig L-shaped grip is a complete no-brainer if you want to make the Nikon Zf more comfortable for daily use — especially if you don’t always carry the camera on a strap. It’s the first accessory I’d buy for the Zf, and the one that makes the biggest difference.

Key Benefits
– Transforms the Nikon Zf’s handling for one-handed carry
– Adds a proper front grip without ruining the camera’s aesthetics
– Silicone grip surface provides secure hold and a soft, comfortable feel
– Better finger placement on the front dial and improved pinky support
– Lightweight (102g) yet makes the camera feel more balanced overall
– Quick D-ring attachment — no Allen keys to lose
– Full access to battery and memory card compartment
– Arca-Swiss compatible base for fast tripod mounting

Who This Isn’t For
If you always wear the Nikon Zf on a good camera strap — like the one I recommend below — then this grip may not be essential for you. When the camera is hanging from your neck or shoulder most of the time, the lack of a front grip is less of an issue.

I personally like having both options. The grip works best when you’re carrying the Zf in and out of a bag all day and want to be able to pick it up comfortably with one hand. A strap works best when you’re just out with the camera and no other gear. Used together, they cover almost every shooting scenario.

Peak Design Camera Leash — The Best Strap Match for the Nikon Zf

If I’m heading out with the Nikon Zf and no bag — just the camera and a lens — this is the strap I reach for. The Peak Design Camera Leash suits the size, weight, and character of the Zf far better than most standard camera straps.

What really sets it apart is the Anchor Link system. Once you’ve used it, it’s hard to go back to threading straps through metal lugs. I keep Peak Design anchors attached to all my cameras, which means I can move the Leash between bodies in seconds — or remove it entirely when I want to shoot without a strap.

Adjustment is quick and genuinely usable one-handed. I can loosen the strap to bring the camera up to my eye, then tighten it again so the Zf sits close to my body while walking. It works well as a neck strap, shoulder strap, or sling, depending on how you prefer to carry the camera.

Importantly, it doesn’t clash with the Zf’s design. The materials are understated, well finished, and don’t distract from the camera itself — which is something I care about with a body like this.

If you want something even more comfortable, I also use the Peak Design Slide Lite. It’s more substantial, works better if you’re regularly attaching heavier lenses to the Nikon Zf, and the wider strap is noticeably more comfortable on longer days.

That said, I often shoot the Zf with just a single prime attached, and in those situations I find the Camera Leash more suitable. The strap material is softer and less stiff than the Slide Lite, and it’s less prone to bunching up near the camera body — which makes it nicer to live with day to day.

Honestly, the ideal situation is to own both and pick and choose depending on the day. But if I had to choose just one strap for the Nikon Zf and the way I shoot it, the Peak Design Camera Leash is the one I’d recommend.

Reliable SD Card — What I Actually Use in the Nikon Zf

The Nikon Zf doesn’t really need many accessories, but this is one area where I don’t compromise. While the Zf does offer a MicroSD card slot as a backup, I don’t use it. MicroSD cards are easier to lose, more fiddly to handle, and not something I want to rely on for a camera I use regularly.

I use SanDisk Extreme Pro SD cards, and for the Nikon Zf I’ve found 256GB to be the perfect size. With a 24MP sensor, the Zf produces very manageable file sizes — nothing like the large RAW files from cameras such as the Z8 — so 256GB gives me plenty of capacity without feeling excessive.

More importantly, I stick with SanDisk because they’ve earned my trust. In over 20 years of shooting, I’ve never had a SanDisk Extreme or Extreme Pro card fail on me — something I can’t say for a few other brands I’ve used over the years. For me, that kind of long-term reliability matters far more than chasing headline speeds on a spec sheet.

If you want to mirror my setup, this is the card I’d recommend:

Peak Design Everyday Sling — The perfect bag for the Nikon Zf

The best Messenger/sling style camera bag I’ve ever used is the Peak Design Everyday Sling. I’ve tried a lot of bags over the years — and I mean a lot. I’ve got bags from Lowepro, Manfrotto, Think Tank, and various no-name brands sitting in my studio — but the Peak Design sling is still the one I reach for most often.

For the Nikon Zf, the 6L version is a perfect match if you want to keep things light. It easily fits the Zf with a prime attached, plus an extra lens or two, while staying compact enough to carry comfortably all day. If you mostly shoot with one camera and a small selection of lenses, this is the size I’d recommend.

That said, the bag I actually use the most — especially for travel — is the 10L version. It gives you far more flexibility without feeling bulky, and it’s ideal if you’re carrying more than one body or want space for accessories and tech.

For reference, I can comfortably fit my Nikon Zf + 40mm f/2 SE and Z6 III (with 50mm f/1.8 lens attached), plus the 85mm 1.8S prime lens. There’s still room for my 13” iPad Pro (in its dedicated sleeve), memory card case, spare batteries (in an internal zippered pocket), cables, a charger, and two power banks — all in the outside zippered pocket. The outer zippered pocket easily swallows the smaller items without everything turning into a mess.

Comfort is a big part of why I keep coming back to this bag. It’s comfortable to carry all day, highly weather resistant (so it keeps rain off your gear while you find cover), and the internal dividers are genuinely flexible rather than fiddly. There’s also a separate internal zippered section that’s ideal for batteries and memory cards, which means you’re not digging around every time you need to swap something.

If you want the lightest possible setup for the Nikon Zf, the Everyday Sling 6L offers the same build quality and design in a smaller package. If you travel, carry multiple lenses, or regularly bring an iPad or other accessories with you, the 10L version is the one I’d choose — and the one I do choose.

Conclusion

The Nikon Zf is a camera I genuinely enjoy using, and one of the reasons for that is that it doesn’t ask much of you. It doesn’t need to be covered in accessories or modified to within an inch of its life. A few small, well-chosen additions are enough to make it more comfortable, more practical, and easier to live with day to day.

Everything I’ve included here has earned its place through regular use. The grip fixes the biggest ergonomic compromise, the strap makes carrying the camera effortless, a reliable SD card removes one more thing to worry about, and the sling bag keeps the whole setup organised without getting in the way. Nothing more, nothing less.

If you value simplicity and enjoy shooting in a more deliberate, unhurried way, the Nikon Zf fits that mindset beautifully. Set it up in a way that supports how you actually shoot, and then forget about the gear and get on with taking photos — which is exactly what this camera encourages you to do.

As someone who shoots travel, landscape, and street photography, by far my most treasured photos are of my daughters, Sofia and Isabelle. Sofia is 9. Isabelle is 18 months. They’re growing up at a pace that genuinely catches me off guard, and one of my main motivations for photography now is simple: to hold on to these fleeting moments and have something meaningful to look back on when I’m old and grey (which, realistically, probably isn’t all that far away).

I’m sharing that because it matters. The purpose of this article isn’t to impress anyone with specs or keep up with camera trends — it’s to remove the noise and simplify things down to what actually works for family photography.

One of the first things I’ve learned from photographing my own kids is that big, bulky, top-of-the-line mirrorless cameras — like the Nikon Z8 — are often the worst possible tools for family life. Kids don’t welcome having something large and intimidating pointed at them all the time. It changes the atmosphere instantly. Everything starts to feel too professional, too cold, and you end up with the kind of family photos we’ve all seen before: children lined up, forced smiles, being told to “look at the camera.”

Those aren’t the photos I want to look back on.

For me, any camera I use for family photography has to meet a few non-negotiable criteria. It needs to be unintimidating — even better if it looks stylish rather than serious. It needs to be small enough that I’ll actually bring it with me. The image quality has to be good enough to print from. And the autofocus has to keep up with a 9-year-old and a 1-year-old who have absolutely no interest in dad directing them.

That last point matters more than people realise. The best family photos, in my experience, are candid — genuine moments unfolding naturally, not anything staged or choreographed.

I shoot with a lot of different cameras, across multiple systems, but there are only three that make this list, and that’s for very good reason. These are the cameras I actually reach for when photographing my own children — and I’ll explain exactly why below.

Some of the links in this article are affiliate links. If you choose to buy through them, I may earn a small commission at no extra cost to you. I only recommend cameras and gear that I’ve personally owned and used.

Nikon Zf — The Best Camera for Family Photography Overall

If I had to recommend one camera for capturing family moments, the Nikon Zf would be it. If you’re just starting your photography journey then my guide to the best cameras for beginners includes the Nikon Zf’s smaller sibling.

The Nikon Zf offers the best overall combination of image quality, autofocus reliability, lens choice, and design for family photography. Being full-frame, the image quality is excellent — particularly in lower light — and that matters when you’re shooting indoors, in winter, or during those quiet moments in the evening when life actually happens. In practice, the Zf consistently produces good-looking images in lighting conditions where other cameras start to struggle.

The Nikon Zf uses physical control dials for shutter speed and ISO, along with an exposure compensation dial, which makes the experience of shooting it genuinely enjoyable. At the same time, you’re not locked into that way of working — you can switch to full auto, aperture priority, or other modes and concentrate only on the controls you actually want to adjust. It also features a dedicated black-and-white switch, making it easy to move seamlessly into monochrome when the moment suits. It’s a small detail, but in practice it’s a lovely way to capture more stripped-back, timeless photos of your family without breaking your flow.

Where the Zf really stands apart for family photography is autofocus. It’s fast, reliable, and confident in a way that lets you stop thinking about it altogether. When you’re chasing a 9-year-old and a 1-year-old who have no interest in cooperating, that reliability is everything. Missed moments aren’t something you get back. I wrote an article on my Nikon ZF settings which shows exactly how I set up the camera.

Lens choice is another huge strength. Nikon’s Z-mount lineup is excellent, and it includes genuinely lightweight, purpose-designed lenses that suit family photography perfectly — the 40mm f/2 SE being a great example. You get high image quality without ending up with a camera that feels oversized or clinical.

Nikon Z also offers some excellent zoom options that stay relatively compact, such as the NIKKOR Z 24-70mm f/4 S, which works extremely well for family photography. And if you like those softer, more “dreamy” looking portraits with the background gently melting away, the full-frame sensor in the Nikon Zf makes that easier to achieve than with the other cameras on this list.

Just as importantly, the Zf doesn’t feel intimidating. It’s beautifully built, looks stylish rather than professional, and doesn’t create that uncomfortable “dad turning into a photographer” atmosphere. I shot our entire Christmas Day with it, and it never felt like a barrier between me and my kids — which, for me, is the ultimate test. It does benefit from a few key accessories to make the shooting experience even better.

OM System OM-3 — The Best Smaller, Lighter Alternative

If the Nikon Zf is the best all-rounder, the OM-3 is the camera I’m most likely to grab simply because it’s so easy to live with. You can read my full OM-3 review here.

It’s smaller and lighter (with the right lenses) than both the Zf and the X-T5, which makes a real difference over time. A camera that’s easier to carry is a camera you bring with you — and that matters far more than marginal differences in image quality.

The OM-3 is also a beautiful object in its own right. It doesn’t look like a tool meant for work, which helps kids relax around it, and it’s incredibly well built despite its size. Autofocus is excellent — not quite at the level of the Zf, but close enough that it’s never held me back when photographing fast-moving children.

One of the OM-3’s biggest strengths is flexibility. The lens lineup is outstanding, ranging from small, lightweight primes like the 17mm f/1.8 II to professional lenses such as the 40-150mm f/2.8. Lenses are generally cheaper, smaller, and easier to carry than their full-frame equivalents.

Image quality is very good — and yes, it’s absolutely good enough for professional-looking results. Don’t listen to anyone who tells you Micro Four Thirds can’t produce serious images. I’m comfortable printing files from the OM-3 up to around 30×20 inches without hesitation.

The OM-3 also lets you fine-tune colour in-camera to a greater degree than the other cameras here. There’s a dedicated colour dial that allows you to adjust things like hue, saturation, and curves without needing to dive into menus or rely on editing later. There’s also a dedicated black-and-white mode, with genuinely beautiful monochrome profiles that are easy to tweak in-camera. It’s a very intuitive system and works particularly well if you like your images to look the way you want straight out of the camera.

It also offers a range of computational features that make it incredibly versatile for travel and landscape photography alongside family use. Once set up, it’s quick, intuitive, and easy to operate. The main weakness is low-light performance compared to full frame, but that can be offset to a large degree with fast lenses like the updated f/1.8 primes or, if you want something special, the 25mm f/1.2 Pro.

Another advantage for family photography is depth of field. With the OM-3, you naturally get a bit more of the scene in focus for a given aperture compared to larger-sensor cameras. I won’t bore you with the physics, but in real life it simply means it’s often easier to keep more than one child sharp in the same photo — which is surprisingly useful when your kids are playing together and refusing to stay on the same plane of focus.

If you prefer the flexibility of zoom lenses, very good options like the 12–40mm f/2.8 PRO II are also noticeably smaller and lighter than equivalent zooms for Fuji or Nikon, which again makes a difference when you’re carrying a camera around all day with kids.

Fujifilm X-T5 — Beautiful Colour and a More Considered Shooting Experience

The Fujifilm X-T5 is still an excellent camera for family photography, and for some people it will feel like the most emotionally satisfying one to use — even if it isn’t quite as reliable in fast-moving situations as the two cameras above. My full Fuji X-T5 review is here and a direct comparison between the Nikon Zf and Fuji X-T5 after lots of use is here.

One of Fuji’s biggest strengths is colour. Straight out of camera, the X-T5 produces beautiful results, particularly for people and skin tones, which is a genuine advantage if you don’t want to spend your evenings editing photos after the kids are in bed. For family photography, that matters more than people often admit.

Fujifilm also offers more in-camera colour profiles — called film simulations — than the other options here. In practice, that means you can get beautiful, finished-looking images straight out of camera using simulations like Classic Chrome or Acros (black and white), without needing to tweak settings or spend time editing afterwards.

Like the Nikon Zf, the X-T5 uses physical dials for shutter speed, ISO, and exposure compensation, giving it a slower, more deliberate shooting experience that many photographers love. Unlike the Zf, most Fujifilm lenses also include an aperture ring, so you can control all three exposure settings physically if you want to.

The X-T5’s dials also feel a little more complete in use, as they override camera settings directly rather than working alongside them. That said, if you don’t want to think about settings at all, you can still switch the camera to auto and let it handle everything for you — it works perfectly well that way too.

Fuji’s lens lineup is another major reason the X-T5 remains such a strong option. There’s a fantastic range of primes, from small and lightweight f/2 lenses like the 35mm f/2, right through to professional-grade options such as the 33mm f/1.4 WR. There are also excellent zooms available, including the 16–55mm f/2.8 II, which makes the system very flexible overall although the best zooms are getting up there in size relative to the other options on this list.

So why does it sit behind the Nikon Zf and OM-3 for family photography? Autofocus. While the X-T5 is absolutely capable, both the Nikon Zf and OM-3 are more reliable when it comes to tracking fast-moving children. That difference shows up most clearly when moments unfold quickly and you don’t get a second chance.

Ergonomically, the X-T5 is very comfortable when you add a few key accessories, and with the right lenses it can be smaller and lighter than the Zf. In practice though, with a decent strap, none of these cameras are genuinely heavy. For me, the deciding factor is simply that the Nikon and OM System cameras make it easier to forget about the camera altogether and stay focused on what’s happening in front of you.

I really enjoy using the X-T5 and have consistently chosen it to record family moments over the years. That said, I’m an experienced photographer and I’ve spent a long time learning how to get the best out of Fuji’s autofocus system. It takes a little more time to master than the other two cameras above, and that’s ultimately why — as a general recommendation — I place the Nikon Zf and OM-3 ahead of the X-T5 for family photography.

Why Some Very Capable Cameras Aren’t Included Here

There are a lot of cameras that are more than capable of capturing great family photographs — including several that I personally own and use, such as the Nikon Z8, the Nikon Z6III, and the Fujifilm X100VI. Excluding a camera from this list doesn’t mean it’s incapable, or that you can’t get wonderful results with it.

The reason they’re not included here is much simpler than that.

For family photography, the experience of using a camera matters just as much as the image quality it produces. Some cameras look and feel too professional and intimidating when pointed at children, which immediately changes the dynamic and leads to more self-conscious, staged photos. Others are large or heavy enough that you’re less likely to bring them with you consistently — and a camera left at home captures nothing at all.

In other cases, it comes down to autofocus reliability and flexibility. While many cameras can produce excellent results in the right hands, not all of them make it easy to consistently capture fast, unpredictable moments without thinking about settings, focus modes, or technique. For this article, I’ve deliberately prioritised cameras that remove friction and reduce missed moments, rather than cameras that an experienced photographer can learn to work around.

That’s the key distinction. This isn’t a list of the most powerful or impressive cameras available — it’s a list of the cameras I can confidently recommend specifically for family photography, based on how they behave around real children in real situations.

Family photography isn’t about perfect cameras or perfect settings. It’s about being present, noticing the small moments, and giving yourself the best chance of coming away with photos that still matter years from now. The cameras in this list aren’t here because they’re impressive on paper — they’re here because they get out of the way and let real life happen.

If we’re looking purely at which Nikon Z camera is best for photography, I think it makes sense to set Nikon’s DX (cropped-sensor) bodies aside. That isn’t a criticism of those cameras — many of them are excellent — but historically Nikon has positioned DX as a stepping stone into its FX full-frame system rather than the end point. The same thinking is reflected in Nikon’s lens lineup, which is clearly focused on full frame. If Nikon’s best camera exists, it makes sense that it sits within the FX lineup.

Within Nikon’s current full-frame Z range, the standouts are the Nikon Z9, Nikon Z8, Nikon Z6 III, and Nikon Zf. These cover a range of price points, sizes, and feature sets, but they’re the cameras most photographers will realistically be choosing between.

The Z9 is an exceptional camera and, in many ways, it set the foundation for the Z8. I’ve spent time with the Z9, and there’s no question about its capability. However, for most photographers, the Z8 makes far more sense. It delivers virtually the same performance as the Z9, without the built-in battery grip, at a lower price and in a more manageable form factor. Once you account for that, the real decision comes down to three cameras: the Zf, the Z6 III, and the Z8.

How I’m Defining “Best for Photography”

When I say best for photography, I’m aware that this is inherently subjective and depends heavily on what — and how — you like to shoot. From my point of view, the best camera for photography is one that offers a seamless shooting experience, without major compromises that get in the way of either the act of taking photos or the camera’s ability to produce strong images.

Image quality, autofocus reliability, and handling all matter, but just as important is how those elements come together in everyday use. A camera can be technically impressive and still feel awkward or frustrating to work with. For me, the best photography camera is one that stays out of the way and lets you focus on the photograph rather than the tool.

The good news for Nikon Z shooters is that all three cameras discussed here are excellent in their own ways. This article isn’t about identifying a clear-cut winner based on specifications alone, but about looking at nuance and real-world use cases to decide which one makes the most sense overall. And when I do use the word winner, it’s worth taking that with a pinch of salt — all three are highly capable cameras.

What Would I Recommend?

Rather than jumping straight to a single recommendation, I think it makes more sense to approach this in stages. The three cameras I’m focusing on — the Nikon Z8, Nikon Z6 III, and Nikon Zf — represent three slightly different interpretations of what a Nikon photography camera should be.

The Z8 and Z6 III are the most natural place to start, as they share a broadly similar user experience. Their control layouts, menu structure, and overall handling philosophy are closely aligned, and for many photographers the choice between them will come down to capability and price rather than how the camera feels to use. In that sense, the Z8 needs to justify why it exists above the Z6 III — not in theory, but in everyday photographic use.

Once that comparison is clear, the Zf becomes a more interesting contrast. It isn’t trying to mirror the experience of the Z8 or Z6 III at all as I discussed in my Nikon Zf review. Instead, it represents a different design philosophy, prioritising a more traditional shooting experience and a different kind of engagement with the camera. When combined with lenses like the 40mm f/2 SE which I reviewed recently it gives a very different experience. Putting the Zf directly alongside the Z8 isn’t about feature parity, but about weighing two very different approaches to photography.

By looking at the cameras in this order — first comparing the Z8 and Z6 III on familiar ground, then introducing the Zf as an alternative way of working — it becomes easier to understand not just which camera is best, but why one might suit a particular photographer better than another.

Why the Z8 Pulls Ahead of the Z6 III for Photography

The first thing I notice when moving between the Z6 III and the Nikon Z8 is size. Even with small-to-medium-sized hands, the Z8 is simply more comfortable to use. The larger body feels more substantial and more rugged, and that translates into confidence when you’re shooting. Both cameras are well built, but the Z8 edges the Z6 III out in terms of overall comfort and perceived durability.

The Z6 III does have a higher-resolution electronic viewfinder, but in practical use I’ve found both EVFs to be more than good enough for photography. It’s a specification difference that matters far less in the field than it does on paper.

Sensor resolution is a more meaningful distinction. The Z8’s 45-megapixel sensor offers noticeably more flexibility than the 24-megapixel sensor in the Z6 III. While many photographers will be perfectly satisfied with 24MP, the extra resolution of the Z8 allows for more aggressive cropping while retaining detail, as well as larger prints. Although the Z6 III has an advantage in low light at native resolution, once the Z8’s files are properly downsized, that advantage largely disappears in real-world use.

One of the most significant differences for stills photography is the rear LCD design. The Z6 III uses a fully articulating screen, which is excellent for video but not my preferred design for photography. When shooting from non-standard angles, the screen needs to be flipped out to the side, which unbalances the camera. It’s also less discreet when shooting candidly, drawing more attention than I’d like.

The Z8’s three-way tilting screen is far more photographer-friendly. It allows the screen to tilt up and down in landscape orientation while staying aligned with the camera body, which is quicker and more discreet in use. The additional axis also allows left-to-right tilt for shooting at unusual angles in portrait orientation. For stills, the only real advantage of a fully articulating screen is the ability to fold it inward for protection when not in use.

Autofocus performance on both cameras is excellent, but when you get into the finer details, the Z8’s autofocus feels slightly more sticky. It also benefits from an additional button on the side of the camera for quick access to autofocus settings, which helps in fast-moving shooting situations.

My only real criticism of the Z8 is Nikon’s use of memory banks for storing custom settings. They can feel confusing at first, but once understood, they actually offer more flexibility than the U1–U3 custom modes found on the Nikon Z6 III. I wish Nikon would allow users to choose whether custom settings revert when the camera is powered off, or retain changes as they’re made.

There’s no question that the Z6 III is more than enough camera for most photographers, especially considering its lower cost, as I said when I compared the two. But this article is about identifying the best Nikon Z camera for photography. When all of these factors are weighed together — handling, resolution, screen design, autofocus nuance, and overall shooting experience — the Z8 comes out on top. You can find my Z8 review here if you would like more detail on the camera.

Where the Nikon Zf Fits — And Why the Z8 Still Wins

The Nikon Z8 and Nikon Z6 III sit firmly in the lineage of Nikon’s DSLR workhorses. They are designed first and foremost to get the job done in the most efficient way possible, and in that regard they remain largely unrivalled among full-frame cameras. Their control layouts, ergonomics, and overall philosophy prioritise speed, reliability, and consistency — qualities that matter when photography is the primary goal.

That said, there is a different way of approaching photography, and one that has become increasingly popular among a certain group of photographers. For some, the experience of using the camera is as important as the result. It’s not just about getting the shot, but about wanting to pick the camera up, take it with you, and enjoy the process itself. That’s where the Nikon Zf comes in.

From a design perspective, the Zf is one of the most attractive cameras currently available. I also own the OM System OM-3, and it’s genuinely a close call between the two in terms of sheer visual appeal. But once you move past aesthetics and focus on how the camera actually works, the Zf represents a very different shooting philosophy.

The Zf does away with the traditional PASM dial (though Nikon retains a MASP lever) and instead uses dedicated physical dials for shutter speed and ISO, alongside an exposure compensation dial. There’s also a dedicated black-and-white shooting mode operated via a switch beneath the shutter-speed dial. At the same time, the Zf retains many of the advantages of Nikon’s latest generation of mirrorless cameras, pairing a 24-megapixel sensor derived from the previous-generation Z6 II with the EXPEED 7 processor used in the Z8.

In terms of image quality, the Zf is essentially on par with the Z6 III as I found out when I compared the Zf vs the Z6III— in other words, excellent. It shares largely the same menus and features, and autofocus performance is in the same general ballpark, with strong 3D tracking in AF-S mode. With some careful setup, I’ve been able to configure the Zf so that moving between it and my other Nikon bodies is relatively seamless.

So does the Zf fulfil its promise of a retro-inspired photography experience, and does that make it better for photography than the Z8? With more time spent using it, I’ve come to genuinely enjoy the Zf. The dials are engaging and fun to use, even if they don’t function quite as intuitively as Fujifilm’s approach, where physical controls more consistently override other settings. The Zf is an enjoyable camera, but in my view it works best as a second body or in the case if its sibling the Zfc, a brilliant camera for beginners.

For Nikon Z shooters, the Zf makes the most sense as a complementary camera — something to use alongside a workhorse like the Z8 or Z9 for family time, personal projects, or slower-paced shooting. Where it falls short as a primary photography camera is in a number of small but meaningful ways.

First, the retro experience is incomplete without aperture rings on Nikon’s lenses. While it’s possible to assign aperture control to the lens control ring on some lenses, that remains a workaround rather than a true solution. Second, despite being clearly aimed at stills photographers, the Zf uses a fully articulating rear screen — a design choice I find less suited to photography than a tilting screen. Third, the use of a microSD card for the backup slot feels like an unnecessary compromise.

Ergonomics are another limiting factor. While the Zf is beautiful, it simply isn’t as comfortable to hold as the Z8. The Z8’s deep grip and abundance of physical buttons make it feel like an extension of your body, allowing you to shoot for long periods without fatigue or constant menu diving. By contrast, the Zf’s lack of a substantial grip, combined with its relatively heavy weight (especially when compared to cameras like the Fujifilm X-T5), can put noticeable strain on the wrists over a long shooting day.

The Zf works best with smaller, lighter lenses such as the 40mm f/2 SE, which are clearly designed with this camera in mind. Once you start mounting lenses like the 50mm f/1.8 S, the balance deteriorates, and with something like a 24–70mm f/2.8, much of the supposed shooting pleasure disappears. In practice, the Zf requires additional accessories to improve comfort — something I’ll cover separately.

I genuinely like the Nikon Zf. It satisfies a long-standing desire I had for something like the Nikon Df, and it offers a fun and engaging way to shoot. But when photography is considered in its broadest sense — from family documentation through to professional wildlife and sports work — there can only be one overall winner.

The Nikon Z8 remains the best Nikon Z camera for photography in 2026. It combines excellent ergonomics, dependable autofocus, outstanding image quality, and reassuring build quality at a price that is remarkably reasonable for a flagship-level camera. Paired with what I consider to be the strongest full-frame lens lineup currently available, it’s a camera that can handle almost any photographic task without getting in the way — which, ultimately, is what matters most. If you’re building or refining a Nikon Z system, I’ve put together a separate guide covering the best Nikon Z lenses for photography, including my recommended primes and zooms based on real-world use. I’ve also written up a guide to the best lenses specifically for the Nikon Z8.

In this guide, I’m going to give you the exact baseline settings I recommend for the Nikon Zf for general photography, travel, family moments, and everyday use. if you are still trying to decide whether the Zf is the right camera for you then I give an honest opinon on it in my full review. The core of this setup is based on the same approach I use on my Nikon Z6III — because Nikon’s autofocus logic and menu structure are very consistent across the Z system — but I’ve adapted the emphasis to suit the Zf’s more minimal, dial-led shooting style. Once you have the camera set up, if you’re still deciding which lenses to pair with your Zf, I’ve written about the lenses that work best with the Nikon Zf here.

For a broader look at how this camera compares within the system, see my guide to the best Nikon Z camera for photography.

If you’re building out a Nikon Z kit, I’ve put together a full, experience-led guide to the best Nikon Z lenses based on real-world use.

My goal is always the same: keep things simple and logical, with essential settings available quickly and everything else out of the way. If you’ve just bought your Nikon Zf and want a reliable starting point you can trust, the settings below will get you there fast — and you can tweak them later depending on what you shoot. Once you have dialed in these settings, to get the most out of your camera, these are the best accessories for the Nikon Zf that I actually use.

One of the things that appeals most about the Nikon ZF is that it has physical dials for shutter speed and ISO. However, for any Fujifilm shooters, they don’t always overide settings as you would expect. For instance, if you are shooting in aperture priority mode with auto ISO the shutter speed dial becomes redundant, whereas on Fuji this would change the shooting mode. On the Nikon ZF you have to choose your shooting mode using the lever at the base of the ISO dial first. Then work from there. I still usually shoot in aperture priority with auto ISO and then simply flick the shooting mode lever back to M when I want to control the shutter speed.

Quick Navigation

• Basic Setup
• Image Quality Settings
• Autofocus Settings
• Custom Controls (Zf)

Basic Setup (Out of the Box)

Before changing any shooting settings, it’s worth running through a few quick setup steps in the Setup Menu (spanner icon). These make the Nikon Zf behave properly from day one and avoid small issues later on.

• Time zone and date
Set your local timezone and make sure the date format is correct so your metadata stays accurate.

• Auto temperature cut-out
If you shoot video or long bursts in warm climates, set this to High.
Otherwise, leave it on Standard.

• Clean Image Sensor
Set Automatic Cleaning → Clean at Shutdown.
This keeps dust under control without you having to think about it.

• Copyright Information
Add your Artist Name and Copyright Info here.
It embeds your details into every image and is worth doing properly.

• Voice Memo (optional but useful)
If you’re shooting documentary work or want to record quick notes, set Voice Memo → Press and Hold to Record in the Image Playback menu.
It’s a simple but powerful workflow feature.

• USB Power Delivery
Turn this On if you plan to charge or power the camera over USB-C.
Useful for travel or long days out.

• Firmware Version
Check your firmware and update it if needed.
You can update via the Nikon SnapBridge app or by downloading firmware from Nikon’s website and copying it to a memory card.

Photo Shooting Menu

The Shooting Menu is where you set the core behaviour of the Nikon Zf — file formats, autofocus behaviour, ISO, and general handling. Most of these are “set once and forget,” and they form the baseline I use for almost all everyday photography.

Secondary Slot Function

Overflow
One of the weaker points of the Nikon ZF is that it uses Micro SD cards for the secondary memory card slot. I don’t even bother with one so I set my ZF’s primary slot to SD and secondary slot function to overflow but you can leave it at whatever you want as it’s irrelevant if you don’t plan to use the secondary slot either.

Image Area

FX (Full Frame)
Always keep this at full resolution unless you have a very specific reason not to.

Tone Mode

SDR
Leave this on SDR unless you specifically output to HDR displays. Most people don’t need HDR for stills.

Image Quality

• RAW – If you’re happy to process your images (my recommendation)
• JPEG – If you want usable photos straight out of camera

RAW Recording

I use High efficiency
It offers the best balance between image quality and file size, with no visible loss in real-world shooting.

Note: File sizes vary slightly between Nikon bodies, but the real-world takeaway is the same — High Efficiency gives you excellent quality without needlessly huge files.

ISO Sensitivity Settings

• ISO Sensitivity: 100
• Auto ISO Sensitivity Control: On
• Maximum Sensitivity: 12,800
• Minimum Shutter Speed: 1/200s

These values work brilliantly for everyday shooting, especially people. The Nikon Zf handles high ISO very well, so I’m happy to let the camera climb when needed.

Minimum shutter speed 1/200s freezes movement for general family, portrait, and travel photography. If you shoot sports or wildlife, increase this minimum shutter speed to suit your subject.

Zf note: the Zf’s IBIS is excellent, but IBIS doesn’t freeze subject movement — so I still prefer a sensible minimum shutter speed for people. By setting the camera up this way you can freeze movement as default in a scene but should you wish to introduce a slower shutter speed, generally you have more time to adjust to those circumstances than faster moving ones.

White Balance

Auto 1
If you’re shooting RAW, this doesn’t matter too much — it’s easily adjusted later.
Auto 1 gives a neutral result without over-correcting warm light.

Picture Control

Standard
Doesn’t affect RAW files, but it’s a good baseline for previewing how the finished image might look.

If you want to shoot black and white then the ZF has a dedicated black and white mode which you can select using the rotating dial found under the shutter speed dial. The black and white output of the Nikon ZF is one of the highlights so it’s definitely worth playing around with this.

Color Space

• Adobe RGB if you want the widest colour information for printing.
• sRGB if you mainly publish online (more compatible with screens)

I use Adobe RGB because I print frequently.

Long Exposure Noise Reduction

On
This takes a dark-frame exposure after long exposures, doubling the capture time.
Useful if you shoot night scenes or astro; irrelevant for normal shooting.

High ISO Noise Reduction

Low (JPEG only)
Keeps more detail while still reducing noise.
RAW shooters can ignore this setting.

Metering

Matrix Metering (90% of the time)
Reliable, predictable, and works for almost everything.

The Nikon ZF has an exposure compensation dial which gives you quick access to adjust exposure as you desire. This removes the need to change metering modes often. Note there is a quirk (on my ZF at least) where the exposure compensation level is shown in all modes except full manual control. In manual mode, exposure compensation still effects your image by adjusting the auto ISO number used but it does not register on the meter as negative or positive exposure compensation.

Release Mode

• Single Frame for general photography
• Continuous modes for wildlife, sports, and action

Choose based on the subject.

Focus Mode

AF-C (Continuous AF)
I rarely use AF-S on modern Nikon Z cameras — AF-C is fast, accurate, and reliable in almost every situation.
The only exception is tripod-based landscape work, where you may want AF-S or manual focus to avoid refocusing every time the shutter is pressed.

AF Area Mode

3D Tracking

Nikon’s 3D Tracking is reliable enough that I rarely switch away from it now. It gives you a precise AF box and excellent subject tracking. I simply place the box on my subject and, while holding the shutter half-pressed, recompose freely. I set up an alternative focusing method with quick access using the custom button settings (below).

Subject Detection

Auto for general use.
Switch as needed:

• People for portraits
• Animals/Birds for wildlife
• Off if shooting landscapes or products

Link VR to Focus Point

On
This stabilises the area around the chosen AF point rather than the centre — very helpful when composing off-centre subjects.

Other Computational Features

This menu also includes tools like Multiple Exposure, Time-Lapse Video, Interval Timer, Pre-Release Capture, and Focus Shift Shooting.
Use these as required — they’re not essential for initial setup.

Custom Settings Menu (Custom Controls)

The Nikon Zf allows plenty of button customisation, but it’s a different experience to cameras like the Z6III or Z8. My goal here is simple: keep the Zf fast and intuitive, with just the essentials under my fingers and everything else left alone.

Custom controls (shooting)

I set the Fn button to Metering for quick access to Highlight weighted metering.

I then replicate my Z6III and Z8 setup by setting the AE-L/AF-L button to AF-area mode + AF-ON > Single-point AF. This gives me a quick way to focus more precisely if 3D Tracking (which I use as standard) isn’t ideal for a specific subject.

Custom Settings (playback)

Everything remains at default except I set the Fn button to Voice memo.

Final Thoughts

These settings give me the most reliable, consistent results from the Nikon Zf across everyday shooting, travel, family moments, and general photography. They keep the camera simple and predictable while still taking full advantage of Nikon’s excellent autofocus and full-frame image quality. Use this setup as your baseline, then fine-tune it over time depending on what you photograph most.

Read Next

• Why the Nikon ZF matters
• Best Nikon Z6III Settings
• Best Nikon Z Lenses

Frequently Asked Questions

What are the best Nikon Zf settings for everyday photography?

For general photography, travel and family moments, I keep things simple: shoot in FX (full frame), use Auto ISO with a sensible minimum shutter speed, keep metering on Matrix, and run AF-C with 3D Tracking. The goal is consistent results without constantly changing settings.

Should I shoot RAW or JPEG on the Nikon Zf?

If you’re happy to process photos, RAW is the better option (my preference). If you want usable photos straight out of camera, JPEG is fine — and Nikon’s Picture Controls and the Zf’s dedicated black and white mode make JPEG shooting genuinely enjoyable.

What Auto ISO settings should I use on the Nikon Zf for people and travel?

As a baseline, I use ISO 100 with Auto ISO on, maximum ISO 12,800, and a minimum shutter speed of 1/200s. The Zf handles high ISO well, and 1/200s is a good default for freezing everyday movement. If you shoot sports or wildlife, increase the minimum shutter speed.

What’s the best autofocus setup on the Nikon Zf?

I shoot in AF-C almost all the time and use 3D Tracking as my default AF area mode. It’s reliable enough that I rarely switch away from it. I also set up a quick fallback option via a custom button so I can jump to single-point AF when I need more precision.

How do the Nikon Zf dials work with shooting modes and Auto ISO?

The Zf’s shutter speed and ISO dials are great, but they don’t behave like Fuji dials. For example, if you’re in aperture priority with Auto ISO, the shutter speed dial effectively becomes redundant. To switch modes, you need to use the lever at the base of the ISO dial. I usually shoot aperture priority with Auto ISO, then flick the lever back to M when I want direct shutter control.

Fast forward to today, and Nikon has once again released a camera for people who value the experience of shooting — and yes, an appreciation for aesthetics that so many modern cameras simply don’t fulfil. On paper, the Nikon Zf hits all the right marks: a full-frame sensor with excellent image quality, housed in one of the most beautiful camera bodies I’ve ever seen, backed by modern autofocus and features. See my full Nikon Zf review for more detail.

For a broader look at how this camera compares within the system, see my guide to the best Nikon Z camera for photography.

A little over a month ago, I bought the Nikon Zf along with the 40mm f/2 SE to see whether it performs as well as it looks.

And very quickly, I realised something:

The Nikon Zf isn’t just another camera.
It’s a reminder of why people are coming back to Nikon.

The Missing Piece in Nikon’s Lineup

I’ve been a Nikon shooter since the DSLR days, but it’s no secret that Nikon was a little late to the mirrorless party. Sony — and later Canon — got a jump start, and by the time Nikon entered the Z system era, the gap was noticeable.

The first two generations of Nikon Z mirrorless cameras showed real promise, particularly in terms of image quality. But in my opinion, they weren’t quite ready to compete with what Sony and Canon were producing at the time. Autofocus lagged behind, the cameras didn’t feel as fast or as fluid in use, and while they were excellent for landscapes, they weren’t yet convincing all-rounders.

Then everything changed.

The introduction of the Z9 — and later the Z8 — marked a clear turning point. Nikon wasn’t just catching up anymore; they were showing what they could truly do. Today, I genuinely think Nikon has the best all-round camera and lens lineup of any full-frame mirrorless brand. The cameras feel like a continuation of where Nikon left off with the D850 and D750 — confident, capable tools designed for photographers who want performance without compromise.

But even with all of that progress, something was still missing.

The Z9, Z8, and Z6III are among the very best cameras available today in their respective segments, but they’re not what I would call emotional purchases. You buy them because they’re exceptional at what they do: outstanding image quality, superb ergonomics, deep feature sets, and a lens lineup that’s second to none where it really matters. I recently compared the Nikon Zf vs the Z6III.

They’re tools — and I love that about them.

But many Nikon shooters have also felt the pull toward cameras where the shooting experience itself is part of the enjoyment — cameras that slow you down, make you more deliberate, and reconnect you with why you started taking photographs in the first place.

The Nikon Zf promises to be that camera. If you want to get your camera set up quickly then here are the best settings for the Nikon ZF and accessories I use with my Nikon ZF as well as the best lenses for the Zf.

If you’re building out a Nikon Z kit, I’ve put together a full, experience-led guide to the best Nikon Z lenses based on real-world use.

Why the Nikon Zf Matters in 2025

I’m from a generation where the switch to digital was already underway. For professional work, it’s all I’ve ever known. And yet, I’ve always felt the pull of film — that romantic, nostalgic urge to step away from technology and reconnect with photography in a slower, more deliberate way. I’ve shot 35mm, medium format and 4×5 film.

At the same time, I’m also a realist.

The price of film has skyrocketed in recent years, driven largely by its renewed popularity. And here in the Philippines, the practicalities make it even harder: sourcing film reliably, finding a lab I trust, or setting up consistent home development simply isn’t realistic.

For my own personal work, that gap has been filled by Fujifilm and in particular the X-T5 which I compared to the Zf here.

I’ve been shooting Fujifilm on and off for over a decade. Cameras like the X-T and X-Pro lines, along with the X100 series, offer much of the same appeal — physical controls for shutter speed and ISO, aperture rings on the lenses, and bodies that are genuinely pleasurable to use. They scratch that itch for something slower, more intentional, and more meaningful.

And I’ll be honest: they make me feel like an artist, not just someone firing off frames. That matters to me.

The Nikon Zf feels like Nikon’s answer to this exact pull — not just for me, but for many Nikon shooters who quietly do the same thing: using Nikon Z cameras for serious work, while reaching for something else purely for enjoyment.

For a long time, I believed Nikon and Fujifilm together made the perfect combination.

The arrival of the Zf changes that equation.

For the first time, Nikon has a full-frame Z camera that genuinely speaks to that emotional side — one that’s beautiful, enjoyable to use, and still fully compatible with the Z system and lenses many of us already own.

Over the next few weeks, I’ll be putting the Nikon Zf up against my Fujifilm X-T5 to see whether it can truly replace it — and whether it really is the missing piece in the Nikon Z system for photographers who love to shoot, not just need to shoot for work.

Why So Many Photographers Are Switching Back to Nikon Z

In the early days of mirrorless, Nikon simply wasn’t at the same level as the other two brands in the so-called “big three.” Sony, in particular, had pulled ahead — especially when it came to autofocus technology and, early on, lens availability.

At the same time, there was growing pressure on long-time Nikon DSLR shooters to make the jump to mirrorless. Once it became clear that the days of the DSLR were numbered, sticking with older systems stopped feeling realistic. For many of us, the choice wasn’t really between brands we liked — it was about which system could actually deliver what we needed at the time.

For a lot of Nikon shooters, that meant Sony.

Not because we preferred Sony, but because Nikon simply wasn’t offering a mirrorless system that felt ready yet.

Like many others, I’ve shot various Sony cameras over the years. From the original A7R adapted with manual focus lenses, right through to the Sony A7 IV paired with GM glass. I have a huge amount of respect for what Sony has achieved. Their cameras perform extremely well and, on paper, they often lead the industry.

But they’ve never quite worked for me.

If I had a pound for every time I’ve heard the phrase “Sony cameras feel like computers, not cameras,” I’d probably be able to buy a studio full of Phase One bodies by now. And while that might sound harsh, there’s a truth to it. For my own way of shooting, Sony cameras have never felt particularly intuitive or enjoyable. They do the job — often brilliantly — but they don’t make me want to pick them up and head out the door.

That’s where the shift back to Nikon begins.

With the Z9, Z8, and now the Z6III, Nikon has built a mirrorless system that genuinely covers almost everything a professional photographer could want. Image quality, autofocus, ergonomics, build quality, and lens lineup — it’s all right there, and it’s all top-tier.

For all practical purposes, Nikon is now fully back.

But there was still one thing missing.

A camera that wasn’t about work. A camera that wasn’t chosen because it was the most efficient tool for the job. Something more personal. Something beautiful. A camera you’d want to take out with your family at the weekend, or pack for a short trip where you’re not thinking about clients, deliverables, or autofocus tracking modes.

A camera you use purely for the love of photography.

The arrival of the Nikon Zf fills that gap — and that’s why it matters in 2025.

Why I Came Back to the Nikon Zf

Last year, I spent some time at my mum’s house in the UK with Sofia. I had just bought the Nikon Z8, the Z6III, and the Nikon Zf, and I had around two weeks to work out what realistically fit into my bags — and what I could justify keeping.

In reality, I had about seven days to properly live with the Nikon Zf.

Coming from years of using Fujifilm, a few things immediately worked against it. I was used to Fuji’s dial layout, to having aperture rings on most lenses, and to the size and weight of the X-T5. The Zf felt heavier by comparison, and the control layout didn’t feel intuitive to me straight away. I also didn’t yet have the muscle memory for Nikon’s approach to controls in the same way I did with Fuji.

Then there was time pressure.

With a flight looming, I had to make a quick decision — and without the luxury of working through the finer points of the Zf’s handling, I made the call to send it back. At the time, the Z-mount primes that made sense for the Zf also didn’t look as compelling to me on paper as Fujifilm’s lineup. I made the decision with my head, not my heart — something I don’t always do particularly well.

I returned the Zf with a clear sense of regret, and the lingering feeling that I’d been a little too hasty.

Fast forward to 2025, and that feeling hadn’t really gone away.

With a deeper understanding of Nikon’s Z system, more time spent shooting Nikon bodies, and a clearer sense of what I value now compared to even a year ago, I felt the pull to give the Nikon Zf a second bite at the cherry. This time without deadlines. Without flights. Without forcing a decision before the camera had a chance to settle.

I’ll be reviewing the Nikon Zf properly very soon, and comparing it directly to Fujifilm and other Nikon cameras. But after around six weeks with it this time, I can say one thing with confidence:

It’s a much better camera than my rushed first experience allowed me to realise.

Read More from My Nikon Z Series

• The Week That Changed My Thinking — And Why the Nikon Z8 Now Feels Essential
• Nikon Z6III vs Z8: Which One Makes Sense for You?
• Nikon Z6III Review: A Photographer’s Perspective
• Nikon Z 50mm f/1.8 S Review