Pros & Cons
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- Stabilized full-frame image sensor
- Large, sharp OLED viewfinder
- Up to 14fps Raw capture with 3D Tracking focus
- Dust- and splash-resistant construction
- Dual memory card slots for redundant recording
- Records N-Raw video to SDXC cards
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- Middle of the road battery life
Nikon Z5II Specs
| Battery Type | Nikon EN-EL15c |
| Connectivity | Bluetooth |
| Connectivity | Headphone (3.5mm) |
| Connectivity | micro HDMI |
| Connectivity | Microphone (3.5mm) |
| Connectivity | USB-C |
| Connectivity | Wi-Fi |
| Dimensions | 4.0 by 5.3 by 2.8 inches |
| Display Resolution | 2.1 |
| Display Size | 3.2 inches |
| EVF Resolution | 3.7 |
| Flat Profile | |
| HDMI Output | 4:2:2 12-bit |
| Lens Mount | Nikon Z |
| Maximum ISO | 204800 |
| Memory Card Format | SDXC (UHS-II) |
| Memory Card Slots | 2 |
| Minimum ISO | 50 |
| Sensor Resolution | 24.5 |
| Sensor Size | Full-Frame |
| Sensor Type | BSI CMOS |
| Stabilization | 5-Axis IBIS |
| Touch Screen | |
| Type | Mirrorless |
| Video Resolution | 4K |
| Viewfinder Magnification | 0.8x |
| Viewfinder Type | EVF |
| Weight | 1.5 |
Regardless of whether you're a video creator who wants to get started with a full-frame camera, or a photographer looking to upgrade from an old SLR, you should pay close attention to the Nikon Z5II ($1,699.95, body only), a body that sits comfortably in between basic and professional grade. Sensor stabilization, weather sealing, dual memory card slots, a fantastic electronic viewfinder (EVF), and fast burst capture with 3D Tracking focus are highlights for photography, and the camera records full-width 4K30 video in Raw quality. Put it together and it's clear that the Z5II is worthy of our Editors' Choice award and its $100 premium over our previous winner among affordable full-frame cameras, the Canon EOS R8, which now starts at $1,599 after tariffs. If you're searching for a starter camera that qualifies as fully featured, look no further.
Design: Prioritizes Utility
The Z5II won't win any awards for innovation in design: It looks and handles much like any other mirrorless camera. Its body style is fundamentally sound, with a centered viewfinder, deep handgrip, and ample controls. If you want a full-frame camera that doubles as a fashion accessory, the retro Nikon Z f and brutalist Sigma BF both qualify. The Z5II is utilitarian in comparison, though not without some flair. Its handgrip includes a metallic red stripe, a small touch of color that's adorned Nikon cameras dating back to the F3 film cam from the '80s.
(Credit: Jim Fisher)The camera body isn't that far off from the original Z 5 and higher-specced bodies like the Z6III, which includes more advanced sensor tech for even faster burst rates and 6K video, and the 45MP Z 7 II. The Z5II measures 4 by 5.3 by 2.8 inches (HWD) and weighs 1.5 pounds without a lens, within millimeters and grams of the Z6III and Z 7 II. One small note: Older Nikon Z cameras have spaces in the names, but for more recent entries, Nikon decided to close up the spacing, just in case you were wondering about the discrepancy.
Most entry-level cameras omit weather protection—Canon leaves it out of its most affordable EOS RP and step-up EOS R8 bodies, for instance—but Nikon puts it in the Z5II, and in the Z 5 for that matter. The Z5II doesn't have an official IP rating, but it's still a good fit for taking photos outdoors and in nature. It's also sturdy; its chassis is mostly magnesium alloy, so it can withstand some rough and tumble handling.
(Credit: Jim Fisher)The Z5II is a mirrorless camera that works natively with Nikkor Z lenses but can also focus AF-S Nikkor SLR lenses with either the FTZ or FTZ II lens adapter. The adapters are functionally identical, but the FTZ II is smaller, so it doesn't interfere with a vertical grip. Nikon sells an add-on grip for the Z5II, the MB-N14 ($377.95), which holds a second battery and includes controls that fall naturally under your fingers when holding the camera vertically for portraits.
Nikon sells the Z5II as a body only and in kits with a starter lens. You can get it with the compact Nikkor Z 24-50mm F4-6.3 for $1,999.95, or with the Nikkor Z 24-200mm F4-6.3 VR superzoom for $2,499.95.
Handling and Controls: Excellent Ergonomics All Around
The Z5II is comfortable to use with larger lenses, thanks in large part to its handgrip and sculpted rear thumb rest. Between them the camera feels natural to hold, and balances well with longer lenses like the Nikkor Z 70-180mm F2.8 that I used during my review. The grip leaves enough room between the mount so that my fingers didn't feel cramped, and includes a pair of configurable buttons (Fn1, Fn2) that adjust white balance and autofocus settings by default.
(Credit: Jim Fisher)The grip includes a command dial, with another at the rear just above the thumb rest, that work together for exposure control. Top controls include a Mode dial, a Picture Control button (to change the JPG profile or add a filtered look to pictures), along with Record, EV, and ISO buttons, and the shutter release collared by the On/Off toggle.
Nikon squeezes the Drive/Self-Timer and Delete buttons into the top left corner, above the LCD and to the left of the EVF, an unusual decision that proves beneficial. The Drive button is easy to find by touch so you can get at it when holding the camera to your eye, and works in conjunction with the rear dial to change between different burst rates while staying in the moment.
(Credit: Jim Fisher)The remainder of the rear controls are positioned on the right side. They include a Disp button to change the amount of information shown in the viewfinder or on the rear display, AF ON for back button focus drive, an eight-way focus control joystick, a button to access the i quick menu, and a four-way d-pad. Menu, Play, and Plus/Minus buttons for magnified image review or punch-in focus are in a cluster at the bottom.
The i menu is an on-screen overlay with a dozen configurable slots. Its default set for photography includes useful options like file size and format, focus mode, picture profile, metering, and stabilization settings, and a separate menu for video includes resolution, frame rate, and microphone settings, but you can configure both to taste.
(Credit: Jim Fisher)The full multi-page menu is dense, but thoughtfully laid out. Side tabs break functions down by category, and a My Menu page is included so you can more easily get at functions you use frequently.
Viewfinder and Display: Large, Clear EVF Steals the Show
The Z5II's OLED electronic viewfinder shows a large (0.80x magnification), clear (3.7 million dot) picture with smooth 60fps motion, plenty of brightness (up to 3,000 nits), and punchy colors. Most exposure information is positioned above and below the frame preview for a less cluttered view than other brands. And if you wear eyeglasses and have a hard time seeing the edges, you can change the EVF size to Small in the menu; Nikon doesn't list a magnification rating for the Small setting, but it appears to be about three-quarters of the larger default (Standard) option. I wear glasses and prefer the larger size, but your mileage may vary, and I'm happy that Nikon includes the option.
(Credit: Jim Fisher)The rear LCD panel is also excellent. It is slightly larger than average at 3.2 inches (most mirrorless cameras have 3-inch screens) and sharp enough at 2.1 million dots, plus it includes touch support. The screen is mounted on a dual-articulating hinge and swings out to the side and twists to face forward, up, or down for off-angle capture. It's a good design for a hybrid stills-video camera, though I prefer a single-axis screen (like the one on the Z 5) when using ultra-wide lenses, as it makes it easier for me to frame images with straight, level lines. Ultimately, it's your call as to which style of screen you prefer, but I prefer a camera with some level of screen articulation.
Power and Connectivity: Grab a Spare Battery for Extended Use
The Z5II uses the EN-EL15c battery, the latest iteration of a power pack that Nikon's used for its full-frame SLRs and mirrorless cameras for years. The Z5II works with older EN-EL15 batteries (with lesser battery life and without in-camera charging support, depending on the generation), but the continuity is welcome for brand loyalists who have a pile of old batteries on hand. The EN-EL15c is rated for around 330 exposures per charge on the standard CIPA battery test, which matches some others in the class, including the EOS R8 (370 LCD/220 EVF), but falls well shy of the 530-exposure benchmark set by the Sony a7C II. In practical terms, you'll be able to get through a photo outing with the Z5II, but it's worth buying a spare battery ($59.95) for weekend trips, event photography, and the like.
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Like most full-frame bodies, the Z5II omits an in-camera flash, but it works with Nikon Speedlights and wireless transmitters via its hot shoe. The camera also has USB-C for charging, data transfer, and UVC/UAC streaming, as well as micro HDMI to connect to an external recorder or monitor, and a pair of 3.5mm jacks to plug in a microphone and set of headphones.
The Z5II includes a pair of UHS-II SDXC slots for media storage, a nice touch that makes the camera suitable as a primary or backup body for wedding and event photographers who simply can't afford to lose pictures due to a memory card failure. Redundant recording is also available with the original Z 5 and Panasonic's similarly minded Lumix S5 II, but is not included with entry-level alternatives like the EOS R8 and Sony a7C II.
The camera includes Bluetooth and Wi-Fi for a wireless connection to an iPhone or Android phone via the Nikon SnapBridge app. It's easy to set up; I paired the Z5II with my iPhone 13 in just about a minute. The app supports file transfers, remote control with live view, and firmware updates. On the pro side, the Z5II works with Atomos AirGlu BT tech to sync with other cameras, so it can fit into a multicam environment, plus it supports the Nikon Imaging Cloud service and can send media to an FTP server.
Autofocus: 3D Tracking Keeps Up With Moving Subjects
The Z5II is a faster camera than the Z 5 when it comes to focus and burst capture, and has a far more capable autofocus system. The Z5II supports a variety of narrow and wide focus zones, so you can choose between a flexible box or let the camera decide focus. It includes subject detection modes that reliably set focus on people, pets and animals, birds, automobiles, and planes, with your choice of automatic or manual subject type. It's a very useful feature in practice, especially since the focus box will jump to faces and eyes of people and animals, and you can easily turn it off for situations where you want precise control over the focus point.
Subject detection works in conjunction with 3D Tracking focus, a mode in which the focus box moves along with a subject, a handy feature when capturing images of any sort of moving object. The Z5II can track anything, not just recognized subject types. It supports Raw capture at up to 11fps (mechanical shutter) or 14fps (electronic shutter), and can go faster when capturing JPGs (14fps mechanical, 30fps electronic) with a pre-release buffer available when using the e-shutter for JPGs. These speeds are excellent and make the Z5II a fantastic option for sports and wildlife photography. The buffer is seemingly limitless too; I rattled off hundreds of Raw and JPG images at top speeds when paired with a Sony Tough V90/300MBps memory card. It's worth it to spend the money for speedy memory if you plan on using the Z5II's burst modes (or Raw video feature, for that matter).
Nikon's autofocus system is overall excellent, just shy of the best in class. Sony still ekes out a win there with its latest Real Time Tracking engine, found in the a7C II, which supports several different acquisition areas to start tracking (while the Nikon is restricted to one box size) and adds insect detection to the mix. I'll admit, I kind of missed that particular feature when trying to get a picture of a dragonfly, but I still got the shot with the Z5II. It's a serious upgrade from the Z 5, which tops out at 4.5fps and doesn't include 3D Tracking for sure, and just as good as the Canon EOS R8 and R6 Mark II.
Imaging: Stabilized BSI CMOS Sensor
The Z5II's 24MP BSI CMOS sensor and Expeed 7 image processors are new to the line, replacing the basic CMOS and Expeed 6 chips from the original, but not new to Nikon cameras. The Z f uses the same sensor and processor combination for the same outstanding picture quality. The Z5II supports 14-bit Raw, 10-bit HEIF, and 8-bit JPG image formats with a native ISO 100-64000 sensitivity range and goes from ISO 50-204800 in the extended range.
You'll enjoy better picture quality in the standard ISO range. Images show the lowest noise and capture the widest dynamic range from ISO 100-1600, and start to show some signs of noise at ISO 3200, but still look good up through ISO 25600. Fine detail takes a visible hit at ISO 51200 and above, with JPGs showing blur from in-camera noise reduction, and Raw images showing rough grain.
The sensor is mounted on a 5-axis stabilizer that prioritizes stabilization around the point of autofocus, something that Nikon says improves its performance versus systems that calculate stabilization for the center. It's difficult to say how much better it performs for off-center subjects, but I am able to get handheld photos with no visible blur at 1/2-second consistently and at 1-second with about a 50% success rate at the 70mm focal length.
The Z5II also uses its in-body image stabilization (IBIS) system for a multi-shot sampling mode that shifts the chip slightly to sample color and light at every photo site, avoiding the interpolation that's required with single exposures. This allows for truer color and detail than single exposures, and ups resolution to 96MP, but comes with a couple of caveats. You'll need to use a tripod and find a static scene for the best results, and the images must be combined together with Nikon's NX Studio desktop software. The Z5II isn't the only camera that does this; the Lumix S5 II also supports 96MP multi-shot, but makes it more convenient to use with in-camera processing. The Z5II is a better camera overall, but if you put a priority on landscape or architectural scenes and anticipate using the feature a lot, the S5 II is worth considering.
The Z5II includes the typical array of color profiles (landscape, monochrome, portrait, standard, vivid, and the like), and like others in the industry, it includes more stylized profiles for photographers who want a filtered look right out of the camera. Some of my favorites include Deep Tone, Denim, Monochrome, and Pop. The Z5II includes in-camera Raw processing too, so you can play around with different looks after you've captured an image, right in the camera. To access the feature, press the i button when reviewing images and choose Retouch from the menu options.
Video: A Proverbial Powerhouse
The Z5II's video features go well beyond entry level, though it is not quite as capable as cameras that cost more like the Z6III and Canon EOS R6 Mark II, both of which record 4K60 using the full width of the sensor. The Z5II uses an APS-C (Super35 in video terms) sensor area for 4K60, and takes advantage of full sensor width for 4K30 and 4K24 recording. Essentially, you'll need to use a wider angle lens than you'd expect for a scene if you choose to use 4K60.
And while you give up the full-width 4K60 that pricier cameras deliver, the Z5II's video looks great. It supports 10-bit H.265, 8-bit H.264, and 12-bit N-Raw encoding (a V90 card is required for N-Raw). The Z5II is restricted to standard camera profiles (including the filtered looks available for photos) with 8-bit recording, and adds options for HDR HLG and flat N-Log at 10-bit.
N-Raw video works with N-Log or SDR color, and provides the most leeway for editing color and exposure of all the video modes, though you have to know what you're doing to edit and color correct the footage. Still, it's a positive that the Z5II includes features for video experts, while still making it easy to get good-looking video right out of the camera.
Vloggers will appreciate the simplicity, and the Z5II can easily work as a main camera for a studio show, plus its stabilized, full-frame sensor is a good choice for location work. It does a good job for heat control, too; I recorded about an hour of 4K60 without encountering any warnings or shutdowns. The in-camera microphone is shy of professional grade, but the mic input port lets you add a wireless or on-camera mic; our favorites include the DJI Mic Mini and Sennheiser MKE-200.