Nikon Z6 Vs. Sony A7III
With the never-ending expansion of the Internet and its constant need for billions of photos, the money-grabbing possibilities have clearly made tens of thousands of people interested in buying a good camera and trying their luck. Of course, not everyone will buy a camera to earn their living – there are many photo enthusiasts who just love shooting stuff.
Both professional and amateur photographers and filmmakers will definitely want the best gear to make their art. But what camera to choose?
Here is a list of the Top 10 most popular cameras, based on their selling numbers in recent times, to help out in this dilemma. And of course, we will also answer the big battle: Nikon Z6 vs Sony A7III. Read on!
Top 10 Best-Selling Cameras in 2020
Nikon has started a new era in its history. From now on, nothing will be the same. Neither in Nikon’s camp nor in the world of mirrorless cameras. The new Nikon full-frame (FX) mirrorless system will be marked Z. The last letter in the alphabet indicates that Nikon has a desire to introduce ultimatum to the world of mirrorless cameras. Also, the company played with perception when it comes to markings – if you tilt your head to the side, the letter Z turns into N.
Although the Nikon Z7 has attracted the most attention, the younger brother Nikon Z6 is more prevalent given the more affordable price, and consequently being listed here. Just as the Z7 is parallel to the Nikon D850 in the MILC world, so the Z6 has similarities to the Nikon D750. Compared to the Z7, the Z6 is weaker in terms of:
- megapixels (it has a full frame BSI CMOS sensor of 24.5MP (without OLPF)),
- the AF system (contains a total of 273 points with phase detection).
But it can boast higher rate bursts – 9 fps (but with the exposure locked on the first shot). Due to the lower resolution of the sensor, the Nikon Z6 is also a more appreciative option for video than the Z7. A smaller number of pixels allows you to record the so-called ‘oversampled’ 4K video (most similar to what the Z7 can do is Super 35 / DX-crop mode).
These are, in essence, the differences between Z6 and Z7. Everything else that characterizes the Z7, including the processor, 4K video, built-in image stabilization, Z-mount bayonet, exterior design, and other features, also applies to the Z6.
Perhaps the most powerful weapon of the Nikon Z mirrorless camera is the built-in 5 axes sensor-shift image stabilization, which provides up to 5 apertures longer exposure than recommended for a certain focal length.
As for 4K video, the maximum resolution is 3840 x 2160 with 30 fps and can work on 10-bit 4:2:2 via HDMI cable (N-Log function) and standard 8-bit 4:2:0 when recording to a memory card (Full HD is recorded at 120 fps).
In addition to first-class performance, the Nikon Z full frame mirrorless series also makes a difference in terms of overall appearance. Their Z-mount is currently the largest mount among full-frame MILC cameras on the market, with a diameter of 55mm (17% larger than F-mount), which allows mounting lenses with aperture width up to f/0.95, while the registration distance (flange focal distance) only 16mm (65% smaller than F-mount) – the world’s shortest full frame mirrorless camera.
By all external features, the Nikon Z7 and Nikon Z6 look identical. The Nikon Z6 is packed in a sealed case made of magnesium alloy and its tightness and durability are on a par with the D850. The mobile touchscreen TFT LCD screen with a resolution of 2,100,000 dots and an electronic OLED viewfinder with a magnification of 0.8x and a resolution of 3,690,000 dots are in charge of framing. Moreover, at the top, there is a status display showing the current settings.
Among other features, the following should be noted:
- the buffer can store up to 18 14-bit compressed and 23 12-bit lossless compressed RAW files;
- battery autonomy according to the CIPA standard is 330 photos (uses a new battery – EN-EL15b), but work is underway on the MB-N10 battery grip, which is expected to increase the autonomy by about 1.8x;
- files are recorded on XQD cards, and firmware will soon be released that will bring support for CFexpress cards;
- the latest SnapBridge wireless system is also available, consisting of Wi-Fi and Bluetooth functions.
Sony A7 III
The Sony Alpha series of full-frame mirrorless cameras continue to evolve. With the Sony A7 III, the Japanese giant managed to make a fusion of the Sony A7R III and Sony A9, and offer a price that casts a shadow over all other cameras of this caliber.
The main advantage of the A7 III is the BSI Exmor R CMOS sensor of 24.2MP, which in combination with the front-end LSI and BIONZ X processors (as with the A9 and A7R III) brings sophistication, a dynamic range of as much as 15 apertures, and 4K video (3840 x 2160 ) at 30 fps. This combination of processors delivers lightning-fast performance – 10 fps at continuous focus (8 fps), while the buffer allows shooting 177 JPEG, 89 compressed RAW, and 40 uncompressed RAW photos at once, and the focus is inherited from the A9 – 4D.
Focus system with 693 AF points with phase detection and 25 points with contrast detection. All in all, the company states that the focus of the A7 M3 is approximately twice as fast as its predecessor, the Sony A7 II. When it comes to the focus, the Sony ILCE-7M3 offers many more professional options with:
- the A9 and A7R III: Eye AF function, even in AF-C mode (it also works when A-mount lenses are used with the optional LA-EA3 adapter)
- a dedicated multi-selector joystick that makes it easy to select AF points;
- the ability to focus by touching the screen; autofocus capability in Focus Magnifier mode;
- AF On button etc.
When it comes to what Sony does best – video recording – in addition to the now-standard 4K resolution at 30 fps, the Sony A7 III still boasts the Hybrid Log-Gamma (HLG) option, which was taken over from the A7R III. Panasonic GH5), which provides HDR video, which allows HDR (HLG) TVs to transmit video as it is, eliminating the need for post-production. There are also S-Log2 and S-Log3 options for more advanced color processing, Zebra function, Gamma Display assist, then Full HD video at 120 fps up to 100 Mbps, as well as fast and slow-motion modes. Perfect video performance is complemented by another fact: the Sony ILCE-7M3 offers built-in 5-axis optical image stabilization, which provides up to 5 apertures longer exposure than recommended for a specific focal length by CIPA standards, which is a better result than the Sony A7R III.
In terms of physical predispositions, the A7 III is packaged in the same sealed case as the A7R III, so it can hold two SD memory cards and uses the same advanced Sony NP-FZ100 battery, which gives it approximately 2.2x more autonomy than its predecessor – 710 triggers. We must mention that this is the best result in terms of battery autonomy in the MILC class so far!
Framing is done via a movable touch screen LCD screen with a diagonal of 3″ and a resolution of 921,600 pixels (reduced resolution compared to its predecessor, but that’s why there is touch control) and an electronic OLED viewfinder with a magnification of 0.78x and a resolution of 2,359,296 pixels. It can go wirelessly via Wi-Fi and NFC functions, or via the SuperSpeed
For filmmakers who choose only the best for themselves, we have created a unique kit, a combination of one of the most popular and most powerful cameras of today, and the new Tamron lens, which continues on a safe path that has been trodden by 28-75mm. Introducing the movie kit for top results – Sony A7 III + Tamron 17-28mm f / 2.8.
Driven by the success of the Tamron 28-75mm f / 2.8 Di III RXD among Sony lenses, Tamron decided to continue its series of lenses designed for Sony full-frame E-mount cameras and introduced the Tamron 17-28mm f / 2.8 Di III to the market. RXD. The Tamron 17-28 is an “extension” of the aforementioned “wide” lens. It is a wide-angle lens of smaller dimensions and weight, but equally of superior sharpness. The most important characteristics. those that raised the Tamron 28-75, remained the same at 17-28mm: f / 2.8 aperture and silent RXD stepper motor (Rapid eXtra-silent stepping Drive). In terms of optical construction, the Tamron 17-28mm f / 2.8 III consists of 13 elements in 11 groups, among which there are XLD and LD elements, all of which are covered with BBAR coating (Broad-Band Anti-Reflection) and fluorine. Filter diameter, minimum focal length, and aperture in Tamron 17-28mm f / 2.8 Di III RXD (Model A046) remained the same as in model 28-75mm: 67mm, 19cm, 9 rounded blades.
Nikon Z6 vs Sony A7III
These two cameras are among the most sold ones today, and well deservedly so! The performance-price ratio is fantastic, with specs good enough for both amateurs and professionals! Comparing these two is more or less easy, as the price of these two is almost always identical, and there are just slight differences in performance, as stated above.
All in all, the Sony A7 III lens lineup is magnificent, making it an arguably better camera for different photo shootings. On the other hand, Nikon Z6 has better battery life and storage memory, with slightly better video recording possibilities.
Which one you prefer better is up to your needs. But you won’t regret one single bit if buying any of these two cameras, like millions of others.
Canon EOS R5
The EOS R5 is an undisputed leap forward when it comes to mirrorless camera technology and it delivers the highest resolution EOS camera ever. The DIGIC X processor, CMOS sensor, and RF lenses combine to enhance all aspects of image quality to achieve a resolution exceeding 45 megapixels. Up to 100% AF coverage with 5,940 selectable AF points and an ISO range of 100-51,200 keep subjects perfectly sharp even in low light conditions. Dual card slots support high-speed CFexpress and SD UHS-II cards and are housed in a weather-resistant magnesium body.
Professionals can capture stunning 8K 12-bit RAW video internally using full-width sensors to get a true cinematic result with constant AF eye and face tracking for humans and animals. The EOS R5 also sets new standards for 4K videographers. Shoot 4K DCI (full-frame) and 4K UHD at speeds up to 120p (119.88 frames per second) with 4:2:2 10-bit quality, allowing for smooth, slow-motion, high-resolution shooting with full AF performance. Users looking for the highest 4K quality can use 4K HQ mode to reproduce amazing detail at speeds up to 30p by internally oversampling 8K records.
- 8K RAW internal video recording up to 29.97 frames per second (no cropping);
- 8K internal recording up to 29.97 frames per second (without cropping) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265);
- 4K internal recording up to 119.88 frames per second (without cropping) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265);
- 4:2:2 10-bit Canon Log or 4:2:2 10-bit HDR PQ output via HDMI at 4K 59.94 frames per second.
The user request led to the return of the multi-controller to the EOS R5 in addition to AF control using the touch-and-pull function using a 3.2-inch Vari-angle touchscreen with a resolution of 2.1 million dots. Since Dual Pixel RAW is also supported, it is possible to correct the focus and contrast in the background and change the brightness of the portrait after capturing an image, enhancing creative possibilities. The 0.5-inch electronic viewfinder (EVF) refreshes at 120 frames per second with a resolution of 5.76 million pixels, which gives a stunningly realistic view of the world compared to an optical viewfinder.
Canon EOS R6
The EOS R6, like the EOS R5, demonstrates the incredible capabilities of the EOS R system, giving enthusiasts the potential to capture extremely sharp images and movies from the hand. Providing class-leading full-frame speed and quality, the EOS R6 is a powerful and versatile camera that goes far beyond the demands of enthusiasts and semi-professionals across all genres. Sports and wildlife enthusiasts can confidently capture fast-paced action using speeds of up to 20 frames per second, the flexibility of up to 6,072 selectable AF points, and deep-learning face, eye, and animal tracking AF modes. The 20.1-megapixel CMOS sensor shares many of the technologies and features available in the EOS-1D X Mark III, providing a 100-102,400 auto ISO range that allows users to take clear images in the toughest low-light conditions such as weddings and events indoors, providing additional flexibility and choice.
Enabling content creators to meet the growing demands of producing stunning both photos and videos, the innovative EOS R6 can capture video in 4K UHD resolution at up to 59.94 frames per second, which is achieved by oversampling 5.1K. Take amazing slow-motion shots with AF support using Full HD at 119.88 frames per second. When shooting a movie, it is possible to use the zebra display as a guide to adjust the exposure, which is especially useful in conditions that usually lead to overexposed bright parts of the image. Thanks to the option to record internally in 8-bit H.264 or 10-bit YCbCr 4:2:2 H.265 and Canon Log, users can experience superior post-production flexibility.
The 0.5-inch 3.69-megapixel EVF, which operates at a maximum refresh rate of 120 frames per second, supports a minimum delay perfect for sports photography, providing a transparent and responsive view of the subjects. The 1.62-megapixel 3-inch LCD screen encourages shooting from creative angles. Dual card slots allow users to insert 2x SD UHS-II cards and record on both cards at the same time, with the ability to record in different formats for safety, security, and speed.
EOS R5 and EOS R6 Power
The new generation of CMOS sensor technology combined with high-performance RF lenses allows users to capture new levels of detail at industry-leading speeds. The EOS R5 and EOS R6 can shoot up to 20 frames per second using the electronic shutter in full silence with full auto exposure (AE) and autofocus (AF) tracking. Users can reliably record the action, both images, and video, in outstanding quality, in any location, without disturbing subjects. The mechanical and electronic shutter of the first curtain also provides continuous shooting at a high speed of up to 12 frames per second.
For the first time in the EOS series, the EOS R5 and EOS R6 include a 5-axis In-Body Image Stabilization (IBIS) function, benefiting users of all lens types. Designed to work in conjunction with the IS system of the RF lens, this solution is designed so that the RF lenses and sensor work on correcting tilt and rotation, and the sensor corrects movements along the X-Y axis and rotation. This intelligent stabilization system corrects up to an incredible 8 steps – which is the best image stabilization in the world – allowing new levels of creativity when shooting handheld at slow shutter speeds or shooting tripod-free videos.
The wide diameter of the RF lens mount ensures that the light continues to reach the entire sensor, all the way to the corners, even with the movement of the sensor that occurs due to the stabilization of the image in the body of the camera. The 54mm diameter allows RF lenses to be designed with larger image circles allowing greater IS system start-up in the body, meaning that some non-IS RF lenses such as RF 85mm F1.2L USM or RF 28-70mm F2L USM also can achieve image stabilization in up to 8 steps.
EF lens users will experience improved IS performance, as IS in the body, works with IS-enabled EF lenses to provide rotation correction along the X-Y axis as well. Even EF lenses that do not have IS will benefit from the 5-axis correction provided by IS in the body of the EOS R5 and EOS R6.
The DIGIC X processor technology at the core of the EOS R5 and EOS R6 – the same technology as the preferred EOS-1D X Mark III – supports the familiar new generation of Dual Pixel CMOS AF II technology by moving speed and reliability to unrivaled levels. The world’s fastest AF focuses in as little as 0.05 seconds, and the EOS R5 can focus at light levels of just -6EV5, while the EOS R6 is the first EOS camera to provide a minimum EV for AF of -6.5EV4.5. High-precision AF is effective even in low light or low contrast conditions.
The iTR AF X AF system is programmed using deep-learning artificial intelligence, and the face/eye detection mode ensures that subjects are kept sharp even when moving unpredictably with shallow depth of field. Even if the person turns for a moment, it continues to follow their head.
Advanced tracking made possible by deep learning algorithms recognizes the faces and eyes of human beings, and now includes cats, dogs, and birds, both in shooting modes and in movie shooting modes. The EOS R5 and EOS R6 maintain high-precision focus and tracking regardless of subject size, position, orientation, or face direction, making it easy for users to confidently capture even the most unpredictable subjects.
Thanks to built-in Bluetooth and Wi-Fi technologies, the EOS R5 (5 GHz Wi-Fi) and EOS R6 (2.4 GHz Wi-Fi) can easily connect to a smartphone and network, allowing high-speed file sharing and FTP/FTPS transmission. This functionality also allows cameras to be remotely controlled using Camera Connect and EOS Utility, connected to a PC or Mac via Wi-Fi or high-speed USB 3.1 Gen 2. Since content delivery is just as important as capturing images and video, EOS R5 and EOS R6 support automatic transfer of image files from the device to the image. Canon cloud platform to easily share and print images or for integration with Google Photos or Adobe Creative Cloud workflows.
After the Fuji X-T3 was launched, the first question most people asked was: “And when will the X-T30 come out?” As was the case with the release of the X-T2 and X-T20 one after the other, and after all the X-T1 and X-T10, Fujifilm repeated the pattern and created the Fuji X-T30, which, as in previous generations, has the most important features of the “older brother” packed in a smaller and unsealed housing.
A new 26.1MP APS-C X-Trans CMOS 4 sensor is available, followed by a quad-core X-Processor 4 processor (3 times faster than the previous generation), a 425-point hybrid autofocus system (exactly 100 more than its predecessor), with phase detection which instead of the central part, which was the case with the X-T20, covers the entire frame (it has 2.16 million pixels for phase detection). When it comes to the focus, it is worth noting that face and eye detection have been improved compared to the previous generation (eye detection is now possible in AF-C mode), while the light measurement is even 1.5x faster.
Of course, as with the X-T3, the video offered by the Fujifilm X-T30 has undergone significant improvement over the previous iteration. It is understood that it is 4K (4096 x 2160), the frame rate is 30 fps, the image can be transferred via HDMI cable with 10-bit 4:2:2 values
With such predispositions woven into a small and light body (156g lighter than the X-T3), there is every chance that the Fuji X-T30, like its predecessor, will be the best-selling advanced APS-C camera of its time. If we add the fact that there is a new dark gray outfit (charcoal), in addition to the standard black and silver, then it is clear to everyone that we have a possible new favorite on the market.
The Sony Vlog camera ZV-1 is a purpose-built compact camera that combines the proven image processing capabilities of the RX-100 series with an advanced design for more efficient content creation.
It has a 3.0” side-folding touch screen and a directional microphone with 3 capsules that are ideal for recording with the camera facing. The ZV-1 also meets the needs of its users with settings with Product Showcase, Background Defocus, Soft Skin Effect, and Face Priority Auto-Exposure.
Despite its sleek and lightweight design, the ZV-1 also features a large handlebar that is ideal for one-handed shooting along with a front light, a large REC button on the top panel, and a multifunctional interface foot to add accessories. Impressive ZEISS 24-70mm lens with aperture f/1.8-2.8 is suitable for shooting on the go, Active SteadyShot image stabilizer helps to calm the image and reduce the effect of camera shake for fluid and smooth shots.
The ZV-1 has well-known image processing attributes such as the 1” and 20.1 MP Exmor RS CMOS sensors and BIONZ X image processor, with a front LSi that contributes to impressively fast performance as well as a wide range of sensitivity that favor operation in a variety of conditions. Processing options include Real-Time Eye AF and Real-Time Tracking for fast and accurate focusing and tracking of the subject. In terms of video, UHD 4K recording at 30p for extended shots is supported, and the micro-HDMI port can be used for an external recorder or monitor as desired. Sony’s S-Log2 and HLG image profiles, which match professional film cameras and provide refined color, dynamic range, and a multitude of details, also contribute to image quality.
Olympus OM-D E-M5 Mark II
The Olympus OM-D E-M5 The Mark II continues where its predecessor, the Olympus OM-D E-M5, left off.
- the redesigned 16MP Live-MOS Four Thirds sensor,
- TruePic VII processor,
- 5-axis image stabilization,
- 1,040,000-dot hinged three-touch LCD screen,
- 2,360,000-dot electronic viewfinder with 1.48x magnification,
- built-in Wi-Fi,
- and is also resistant to dust and weather
What is very important is the fact that the E-M5 Mark II has a high-resolution shooting mode of 40MP, which features shooting 8 images in a period of one second, during which time the sensor moves by half an inch when shooting each subsequent image. These images are then combined into a single ultra-high resolution image, which is equivalent to those images taken with a 40MP full-frame camera.
It is recommended to use a tripod and M.ZUIKO DIGITAL PRO or M.ZUIKO Premium high-resolution lenses for this type of photography. The mirrorless E-M5 Mark II also boasts Full HD video (1080/60p), a 10 fps burst with Single-AF (S-AF), or 5 fps with Continuous-AF (C-AF), and also features flash FL-LM3 dust and storm-resistant.
Sony A7R III
After the Sony A9, another top Sony mirrorless full-frame camera arrives, which will set new standards in the field of mirrorless photography, as well as video recording. Sony has explored all the possibilities with the A9 model and incorporated the benefits into the sequel to the A7 series.
The Sony A7R III is equipped with a 42.4MP BSI Exmor R CMOS sensor with anti-reflective AR coating, like its predecessor Sony A7R II, but now there is a combination of BIONZ X and LSI processors with Sony A9, which brings processing of larger amounts of data at the same time, and at a higher speed. Along with this combination of processors, the shutter mechanism has been improved, which now provides a 10 fps burst, with full autofocus capacity (AF/AE tracking), both in mechanical shutter mode and in electronic mode, but also reduces vibration and the possibility of blurry photos in all modes.
Up to 76 JPEG or compressed RAW photos and 28 uncompressed (14-bit RAW) shots can be fired during continuous firing. Moreover, the ILCE-7RM3, like the Sony A6500, can fire 8 fps in LV mode. The speed of the Sony A7R III is also reflected in its autofocus system, which consists of 399 AF points with phase detection, which covers about 68% of the frame both horizontally and vertically, and 425 AF points with contrast detection, which together brings twice the speed relative to its predecessor in low light conditions. Also, according to the company, the Eye AF function is twice as fast as the previous generation, and it is available when using A-mount SSM and SAM lenses with the appropriate adapter (for photos only).
Other focus improvements include autofocus capability in Focus Magnifier mode, as well as support for AF with phase detection when using A-mount SSM and SAM lenses with an adapter (for photos only).
When it comes to video, the Sony A7R III, of course, records 4K video. It is possible to record UHD 4K with the full width of the sensor, but for better results, you should use Super 35 crop mode because the resolution of 5176 x 2924 pixels “shrinks” to 3840 x 2160, which brings video with more details. The A7R Mark III also boasts the Hybrid Log Gamma (HLG) option, first seen on the Panasonic GH5, which provides HDR video, allowing HDR (HLG) TVs to stream video as it is, eliminating the need for post-production. There are also S-Log2 and S-Log3 options for more advanced color processing, then Full HD video at 120 fps, as well as fast and slow-motion modes. And to keep video at the highest possible level, the Sony ILCE-7RM3 offers built-in 5-axis image stabilization, which provides up to 4.5 apertures longer exposure than recommended for a specific focal length by CIPA standards, which is one of the best results on the market, in terms of the stabilization system.
Another important novelty in the Sony A7R III is the so-called ‘The Pixel Shift Multi Shooting mode’, which fires 4 photos in a row and moves the sensor one pixel each time it is fired so that each pixel position in the last photo is captured with red, blue and two green pixels. Pentax DSLRs (Pixel Shift Resolution System) has a similar system and it can be seen in Pentax K-70. This configuration brings perfect color accuracy and is ideal for photographing architecture, artwork, or any static subject with lots of detail. It should be noted that the time between firings is half a second, one second, and even two, which can be inconvenient when shooting targets in motion; for this reason, it is advisable to use this option only for static targets. However, unlike the Pentax, with the A7R III, these four RAW files cannot be merged into one in the camera itself but require new Imaging Edge software (free download). This software brings 3 PC applications (Remote, Viewer, and Edit), which allow live-view shooting via PC, as well as the development of RAW photos.
This is not the end of innovation. One interesting novelty is the so-called Anti-flicker, which shows its potential in artificial and fluorescent light. Namely, if it is photographed or shot in such light conditions, with the Anti-flicker option, the camera automatically detects the frequency of light and then adjusts the shutter speed to it. This reduces exposure and color anomalies that can sometimes occur at the top and bottom edges of a photo when shooting at higher shutter speeds.
When it comes to ergonomics, the dimensions and weight of the body remained almost the same as in the previous iteration. What’s new is that there is now an AF-On button on the top and a joystick that, among other things, offers a selection of focal points, for easy and fast focus control. Moreover, the A7R III has two memory card slots (one is UHS-II), as well as two USB ports, one of which is super fast USB 3.1 and one micro. Autonomy has also been improved thanks to the NP-FZ100 battery, which delivers about 650 shots when using the LCD or 530 when framed through the viewfinder. For even better results, the battery grip VG-3EM, which also uses the Sony A9, is available separately.
Improvements over the previous generation have been experienced by the aforementioned LCD and viewfinder: a movable touchscreen WhiteMagic LCD screen with a diagonal of 3″ and a resolution of 1,440,000 dots (allows positioning the focus during simple touch shooting), and electronic Quad-VGA OLED Tru-Finder viewfinder with a resolution of 3,686 .400 points. What is missing to be mentioned is that the A7R Mark III offers a very wide dynamic range of as many as 15 apertures. The Wi-Fi function is the default.
Nikon has expanded its line of cameras with the new Z50 model, and it is the company’s first camera without a mirror in DX format. The new model arrives at a significantly lower price than the previously announced Nikon Z6 and Z7 models.
The Nikon Z50 has an APS-C format camera, with a 20.9MP CMOS sensor, with a maximum resolution of 5568 x 3712 pixels. Users can create photos in 1:1, 3:2, and 16:9 aspect ratio, as well as video in resolutions up to 4K UHD 3840 x 2160 pixels.
Nikon has implemented a number of functions in the camera, including digital image stabilization for video recording, ISO 100 to 51200, electronic shutter speed from 1/4000s to 30 seconds, support for interval shooting, and more.
Along with this model, Nikon also released two lenses: Nikkor Z DX 16-50 mm f/3.5-6.3 VR pancakes and zoom and Nikkor Z DX 50-250 mm f / 4.5-6.3 VR telephoto lens, and an FTZ adapter, which allows the F optics of Nikon full-frame SLR cameras to be used with Z-mount cameras.
- Nikon Z 50 + Nikkor Z DX 16–50mm: approx. 1200$
- Nikon Z 50 + Nikkor Z DX 16–50mm + Nikkor Z DX 50–250mm: around 1400$
- Nikon Z 50 + FTZ: 1149 € Nikon Z 50 + Nikkor Z DX 16–50mm + FTZ: around 1400$
The Z50 is positioned at the D7500 level in the Nikon catalog. Made of magnesium alloy, it is similar in design to other Z models, but it is even more compact (approximately 126.5 × 93.5 × 60 mm, for a weight of 450 g). The Z50 body is durable in all weather conditions, which we cannot say with complete certainty for the two lenses on offer. This model has an integrated pop-up flash.
The Nikon Z50 has a built-in 2.36 Mpx OLED viewfinder, which is a little less than its bigger brothers from the Z series. The touch screen tilts vertically and can switch to selfie rotation mode by 180 degrees, but downwards, so unfortunately in this case the use of a tripod is disabled.
The model has one SD card slot (UHS-I), micro HDMI, and a microphone jack. We’re a little disappointed that the model doesn’t have USB-C as well as a headphone jack. Micro-USB is used to charge and transfer files. The Nikon Z50 has Wi-Fi and Bluetooth for remote control of the device or for transferring images via the Snapbridge mobile app.
It can shoot up to 4K30p without cropping, burst with AF tracking and it quietly reaches 11 fps with AF tracking thanks to the Expeed 6 image processing processor. The time-lapse mode for accelerating the shot goes up to 4K. There is hybrid autofocus via phase and contrast detection, as well as an autofocus function similar to Sony cameras. The Z50 handles quite well in low light up to -4EV. Nikon claims that with 209 AF points it covers 90% of the frame.
This model does not have image stabilization, but its lenses do. The picture quality is good, bright colors, completely natural, very good sharpness, and very nice background blur. The level of detail is very good, even in low light.
The 6400 Iso has digital noise, which is somewhat normal, but the photo preserves the details and colors of the image well.
GoPro HERO8 Black
Every time a new generation of GoPro HERO action cameras comes out, we ask ourselves “Can it do better than its predecessor?” Looks like it can though.
Most importantly, the seamless stabilization of the Week has been upgraded – Hypersmooth 2.0 – so the GoPro HERO8 Black boasts Boost mode as part of the stabilization, as well as automatic alignment with the horizon line. TimeWarp mode (this is a label for hyper-lapse video in GoPro) has been updated to version 2.0, which gives you automatic synchronization of recorded video with the speed at which you move (moreover, by touching the screen you can slow down some important moments in that material to highlight the most impressive).
It is understood that the video quality is at the highest possible level. However, GoPro HERO 8 Black offers the so-called ‘presets’, which allow users to change the settings regarding the video format at the time, depending on what the situation requires. Available preset modes:
- Cinematic (4K / 30p),
- Activity (2.7K / 60p),
- Slow-Mo (1080 / 240p).
Each of these settings, of course, can be “deeper” elaborated, but these preset options are designed to make life easier for all those who do not like to spend a lot of time “picking” the settings. The maximum video values
Another important novelty that sets the GoPro HERO 8 Black apart from previous models is the fact that the camera has a zoom lens and that the viewing angle at the lens (FOV) offers 4 different modes:
- Linear at 24.4mm,
- Wide at 16.5mm
- SuperView at 15.1mm (this feature, called Digital Lenses, allows you to crop the image instantly and have easy control over the situation overview).
What is different and more advanced compared to previous generations is that the GoPro Eight provides optional modes Media Mode, Battery Mode, Display Mode, and Light Mode. These are different dedicated housings or accessories that are purchased separately and facilitate the overall operation of the camera. The Media Mod case brings additional connectors and allows you to “attach” a wide range of add-on accessories to the camera – a shotgun microphone holder, a 3.5mm microphone port, a Micro HDMI output port, a USB-C port, and two cold-shoe mounts. Battery Mode enhances battery autonomy as much as 2.5x. The Display Mode brings the 1.9″ screen to fold, for easier framing. Light Mode includes an additional LED light, which is waterproof.
Like all GoPro action cameras, the GoPro HERO8 Black is full of smart features. SuperPhoto features are available for fans of HDR photos (taken from its predecessor), which reduces image blur and emphasizes details in low light situations; then LiveBurst, which allows you to take 1.5 seconds before and after you take a photo, so you can choose the best shot; for fans of timelapse and astrophotography, there’s Night-Lapse; from GoPro HERO7, the option of streaming (Livestream) on YouTube, Twitch, Vimeo and Facebook was taken over when the camera was connected to the smartphone via Wi-Fi.
Although it has proven to be a practice that GoPro HERO cameras more or less inherit the entire exterior from the previous iteration, some differences can be singled out with the GoPro HERO8 Black model. The base of the camera has a more reduced design for faster mounting, and the battery chamber door has been redesigned to charge the battery faster. Like its predecessor, the HERO8 Black is sealed and waterproof without a case to a depth of 10m and has a 2″ touchscreen screen on the back.
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A Final Word From Run Gun Shoot
Do you have your favorite? There is something for everybody here, all you have to do is think about what you need, what are you planning to do, and how much money you have to spend. Based on that, buy any of these models, and join millions of happy users worldwide.