Frederik is a photographer, blogger and youtuber living in Denmark in the Copenhagen region. Outdoor photography is the preference, but Frederik can also be found doing flash photography applied to product shoots and stills.
EV is an abbreviation for exposure value. It is a way to express exposure in one number, i.e. the combination of shutter speed, aperture and ISO. To be quite honest, I doubt that many use EV’s today, as most rely on the exposure meter in their cameras, possibly in combination with the histograms.
But you can study EV as a way to understand exposure better. For example, if you shoot at f/4 and 1/125th, you are at EV 11, but if you open up the aperture to f/5.6 and maintain the shutter speed, you are now at EV 12. This is referred to as going one stop up. So walking up and down the EV scale is referred to as stops of light. The light is doubled or halved for each stop. This gives you a “settings independent” way of talking about exposure, and you can say go one stop up in aperture and one down in shutter speed and arrive at the same EV. So shooting at f/4 and 1/125th gives the same EV as shooting at f/5.6 and 1/60th. I half the light that comes though the lens (f/4 -> f/5.6) but double the exposure time (1/120th -> 1/60th). Both are EV 11.
For simplicity I have kept the ISO out of the description above, but it is the same logic: doubling of halving the ISO is the same as going one stop up or down in exposure. So the ISO scale is: 100 – 200 – 400 – 800 – 1600 etc. Many cameras allow you to select ISO values more granularly than full stops, and that can be handy, but remember to double/half to make a full stop difference.
Another area where EV is useful is when it comes to the spec list for a camera. The cameras dynamic range is expressed as an EV. For example the Nikon D750 over at DxOMark is listed as having a dynamic range of 14.5 EV’s, whereas the Nikon D810/D850 has 14.8 EV’s. Higher is better, as it enables you in one shot to span across more difference in light in the scene, without blowing out the highlights or loosing details in the shadows. So if dynamic range is important for your kind of shooting, then the EV for a camera you consider buying could prove an important part of your decision making.
The image sensor has replaced the 35mm film as the receptor of light. This gives many advantages, for example that you don’t have to change film every 24 or 36 images, that you can preview the result immediately and don’t have to wait for the lab to deliver results. Further, you can carry a very large number of pictures on a small memory card and it is easy to transfer the files to a PC for post processing. Most shoot with digital cameras these days, but – just like the revival of the vinyl records – there as some that mix film shooting into their work simply because they like the expression you get this way.
The 35mm film has been replaced by a sensor that is able to read the light it is exposed to.
The image sensor is the unit that has replaced where the film used to be – and this is very literally. The sensor sits in the same position as the film used to do and the size is – provided you shoot full frame – also the same (35 mm).
The camera image sensor, here from the Nikon Z50. In a mirrorless camera the sensor is completely exposed when the lens is removed; on a DSLR the sensor is hidden behind a diagonal positioned glass.
With the introduction of mirrorless cameras you can now actually see the sensor when the glass is removed from the camera body. This also makes the sensor vulnerable to dust and dirt if you change lenses in the field. With a DSLR, the sensor is to some extend protected behind the mirror.
The sensor is not exposed entirely, as there is a thin layer of glass in front of the sensor; otherwise the sensor would be too vulnerable. You can buy sets to clean the sensor and to blow air onto the sensor in order to remove dust and particles. Never remove dust from the sensor using your breath – it contains moist and that is dangerous for your camera in general and the electronics in particular. Always use a (rocket) air blower for such work.
The sensor reads the light just like the film used to do and the values read are then made into an image stored on the memory card in the camera. You cannot change the sensitivity of the sensor, it remains the same as when the sensor left the factory. But you can change the ISO value, which is a factor applied to the light read by the sensor by the cameras image processing software (firmware). Unfortunately, cranking up the ISO means that both signal and noise is amplified, and with a weak signal, it can be difficult for the camera to distinguish between signal and noise. For that reason images taken with high ISO values are grainy and have washed out colors.
A mirrorless (ML) camera is as the name says, a camera without a mirror, nor does it have an optical viewfinder. Light flows directly from the lens to the camera sensor. The ML camera can be seen as a natural evolution of the DSLR and even the SLRs, but the ML concept is also used in cameras that do not have an interchangeable lens system, like a point-and-shoot camera or a smartphone.
The image below shows how a DSLR works. The light is sent to the optical viewfinder via several mirrors, most notably the first one that keeps the light away from the sensor (or film).
With a mirrorless camera, the light is constantly and directly sent to the sensor. The optical viewfinder is replaced by a electronic viewfinder, which basically is a small TV screen located where the optical viewfinder used to be. Not all ML cameras have a viewfinder, but instead uses the rear LCD as viewfinder.
Many DSLR cameras can flick away the mirror and show on the rear LCD what you can see in the electronic viewfinder of the ML camera. In that way, the DSLR can work as a ML when using the rear LCD.
The lack of a mirror is not to be confused with the shutter. Many ML cameras have both a mechanical and an electronic shutter. The mechanical shutter has two curtains that allow the sensor to be exposed according to the selected shutter speed by moving the curtains across the sensor. The electronic shutter turns the camera sensor on and off to get the same effect. It is all about measuring the light at the timeframe dictated by the shutter speed. Notice that for flash photography a mechanical shutter is required.
On a DSLR/SLR, the focus system is often a separate system that via a small hole in the glass uses a small area of light to determine focus or not. Therefore a DSLR focus system often only allows you to select a focus area in the center of the frame. With a ML system, the entire sensor in real time receives light and determines focus or not – this requires good software and computing power, but it also opens up for selecting focus points in the entire frame (incl. corners) and intelligence to recognize people (their eyes) and animals, and thereby take the sophistication of the auto focus systems to a new level.
Many find manual exposure a bit intimidating and stay with the automated mode or one of the semi automated modes like aperture priority or shutter priority. Good news is that manual exposure is not complicated at all and that you have a lot of room for making exposure mistakes and still be able to fix it in post, provided you shoot RAW, which I highly recommend. And you will understand your camera a lot better when you know how to operate in manual exposure mode.
You camera has a built in metering system, that constantly measures the available light. This system continues to work also when you set the camera in manual mode. Select the manual mode on the PASM dial top left on the Nikon Z6ii.
Mode dial top left – here the mode “M” for manual is selected.
Once in manual mode, you will notice a little exposure indicator appearing, both in the viewfinder and in the rear LCD. This indicator will tell if the camera finds that the aperture, shutter speed and ISO settings will give a correctly exposed picture when you hit the shutter.
Notice the scale bottom right on the rear LCD. Here the metering system says the image will be significantly underexposed. The histogram seems to agree!
It is a good thing to keep an eye on the exposure indicator to make sure you get the exposure you are after. Sometimes you want deliberately to over- or underexpose your picture, and the exposure indicator is a good tool to make sure you get what you want.
The exposure indicator shows if the picture will be over- or underexposed or correct exposed. Notice the difference between the viewfinder orientation and the rear LCD ditto. Credit: Nikon Z6ii manual.
Another way to see the same information as the exposure indicator is to use the histogram – you can make it appear by hitting the “disp” button on the center top rear on the camera. Finally, as you have WYSIWYG, you can simply notice if the LCD or electronic viewfinder turns very dark or very bright – a good indication something is off relative to a technically correct exposed picture.
Aperture and shutter speed
You control the aperture and the shutter speed by turning the front and rear command dials respectively.
The thumb is on the rear command dial that sets the shutter speed. The index finger is on the front command dial that controls the aperture.
As you do so, you will notice that the exposure indicator changes in accordance with the selected settings for the two.
If the camera flashes “FEE” in the top LCD when you mount the lens, it is probably because you have not locked the aperture on the lens to the highest f-stop number possible – the camera needs this setting to be so, in order for it to control the position of the aperture blades when shooting with AF or AF-D lenses.
If your lens is an older model (say AI or AIS) where you have an aperture ring on the lens, it is not always possible to change the aperture with the front command dial – instead you will have to set the aperture on the lens. The top LCD will not show the aperture but just a “F–” to indicate it cannot “see” the chosen aperture. The metering indicator works fine still though.
ISO
On a digital camera, ISO is actually not part of the exposure. The sensor has the sensitivity it had when it left the factory and it cannot be changed.
By setting the ISO to other values than the base ISO 100, you apply a gain to the values read by the sensor. It is camera internal post processing that happens from the sensor has read the light and until the image sits on the memory card. Just like in the old days when you turned up the radio, you both amplified the signal and the noise – the original signal remains the same. ISO works the same way, so the price for turning up the ISO is more noise and grain.
When you push the ISO button on top of the camera, you change the function of the front and rear command dial.
The ISO button is located on the top of the Nikon Z6ii.
Pushing the ISO button and at the same time turning the front and rear command dial, changes the ISO values. The front command dial switches between ISO and auto-ISO and the rear command dial shifts between ISO values, say from 100 to 140, and from 140 to 200, and so on.
Here the ISO button is pushed. Notice that the top LCD now shows the chosen ISO value.
When you have auto-ISO switched on, the camera will be in a – if not semi automatic – then quarter automatic mode. In other words, the camera will try to make the picture correctly exposed ALONE changing the ISO. So if you have a dark scene where the aperture is closed down and the shutter speed is fast, the camera will have to go to very high ISO values to compensate.
You can use auto-ISO to make sure you come home with images that show at least something, but be aware that grain and noise may be the price you pay for switching auto-ISO on. For starters, I would recommend that you have auto-ISO off, and keep an eye on the exposure indicator or the histogram to make sure the exposure is roughly right. Later, when you have some experience, auto-ISO can make you work faster.
Metering modes
The Nikon Z6ii has 4 metering modes. You can access these by pushing the little “i” in the rear of the camera (middle) and this shows a 6×2 menu where the 9th option (counting top left to right) is “metering”. Selecting that one, brings a sub-menu with 4 options.
The 4 metering options.
The metering mode does NOT change the amount of available light, rather it changes how the camera meters the light that passes through the lens. I shoot almost entirely in the “matrix metering” mode as it is the most advanced one, that tries to take in the entire scene and find a good compromise.
Second option is center weighted metering. This one is good if you shoot portraits where you don’t really care of the corners are exposed correct – the important is that the person in the frame is exposed correct. The manual also mentions this as a good mode if you shoot with filters.
The third option is spot metering, where the focus point is where the metering is done entirely. This is a good option of you know that a particular point in the image needs to be correct exposed, but you do not care too much about the rest of the frame. In the settings menu B3 you can set the size of this point.
The final option is highlight-weighted metering. This one many street photographers use as they are not afraid of loosing details in the shadows. I use it for shooting silhouette photography, where the details in the shadows are also less important.
All of these modes may seem confusing, so my advice is to use matrix metering. If you shoot RAW, then there are plenty of options for adjusting the exposure in post and hence I find that these 4 options are more for backward compatibility with older DSLRs than anything else.
Many associate silhouette photography with shooting into the light where the dynamic range of the scene forces both bright areas to be blown out and all details in the shadows to be complete gone and pitch black instead. But take a look at the image below – it is possible to make silhouette photography without shooting into the sun!
Although there are no super bright areas in this image, the details in the dark of the branches are completely gone and you only see the branches as silhouettes.
But otherwise silhouette photography is, as the name says, shot in a way where the subject only stands out as a silhouette. A lot of detail and information is lost about the subject or subjects. And this is on purpose to bring the structure or the shape of the subject in focus.
Image left, histogram right. Notice how the histogram touches the left hand side, indicating that details are lost in the shadows.
Although some details of the lamppost is provided, the tree and the lamppost stand as silhouettes against the moon top left. Notice how the image plays with lack of depth information.
Another often overlooked feature in silhouette photography is that it is 2 dimensional. Often photographers add depth in an image by having something both in the foreground, middle and background to compensate for a photo being a 2D representation of a 3D world. Silhouette photography deliberately seeks a more 2D expression just like a Chinese shadow theater.
A more classic silhouette photography with lots of dynamic range. The houses are reduced to black shapes and so is the tree. Morning sun.
You can try out silhouette photography: Shooting into the sun is the “classic” way of doing it, and your camera will often not be able to capture the dynamic range of it all and hence create an image that looses a lot of detail in the shadows – just like you want it to. If your camera has an metering setting that allows you to expose for the highlights, you can try this option – it is excellent for shooting silhouette photography also when you are not shooting into the sun.
Manual focus may not be the first you think of when considering the Nikon Z6ii as your next camera. But in this post I ask you to reconsider, as manual focus can be very rewarding and bring you closer to the shooting experience.
Manual focus of course has its limitations. Unless you are a photographer with almost supernatural skills, manual focus is not relevant for shooting fast moving subjects like birds in flight, events or sports. But for landscapes, architecture, product shoots, portraits and the like, manual focus can work just as well as auto focus.
Further, the Nikon Z6ii like the other mirrorless cameras from Nikon has no auto focus motor built into the camera body. As a consequence, AF and AF-D glass with mechanical auto focus does not work on mirrorless cameras, and you are left with manual focus. So if you are heavily invested in AF or AF-D glass with no appetite for changing your glass, and you want to switch to mirrorless, then you are left with manual focus. This is a step down from the most Nikon DSLRs (the 3×00 and 5×00 excluded) that has a focus motor built into the camera body and hence offers mechanical auto focus for AF and AF-D glass.
Mirrorless cameras offers some options for determining if you have obtained focus that DSLRs do not offer. And it actually helps you when working for example with a vintage lens with no auto focus system built into it. This has led to a revival of vintage lenses from Nikon (AI and AIS), as there is a lot of good (“oldie but goldie”) glass to be found. Nikon has produced glass since the 1950’s, and there is lots of options to choose from.
Now, without further ado, lets look at 4 different ways of focusing manually, 3 of them that are exclusive to the mirrorless cameras.
Focus peaking highlights
Focus peaking highlights mark in the electronic viewfinder with a red, yellow, white or blue color which areas that are in focus.
You can set both the strength and the color of the focus peaking highlights. Go to the menu item d11 in the setup menu.
You will see this as coloring of your subject that is not there in real life, but is added to the image by the camera. You may know this from Live View on a DSLR, but here the great news is that it works both in the rear LCD (Live View) and in the electronic viewfinder.
The dark red edges around the petals of the flower shows the area in focus.
In the example above, you can see that there is a little bit of red around the both the petals and the stem of the flower . That’s the area in focus.
Zooming in
Another feature that you may know from Live View on a DSLR, is the ability to zoom in. The zoom function works both in Live View as you may know it from a DSLR, but also in the electronic viewfinder. I use this a lot, especially when shooting flowers or the like.
Here zoomed in on the flower. Notice the graphics bottom right that shows the size of the zoomed in area (yellow) relative to the entire frame.
You can zoom in to varying degrees using the plus and minus buttons bottom right on the rear of the camera. The max zoom is 200% and that is a lot! The graphics bottom right shows the size of the zoomed in area (yellow) relative to the entire frame (the dark grey box).
Focus confirmation
You probably know the focus confirmation “dot” and the associated arrows that show if the focus plane is too close to you or to far away.
The classic focus dot and how Nikon describes its function in the manual.
With a mirrorless, the focus confirmation is provided two ways. First in the shape of the graphics illustrated above. In the image below, the focus confirmation dot is bottom left, just to the right of the battery level indicator.
Focus confirmation dot bottom left is in alignment with the green box showing the focus point. Both signal that the subject is in focus.
But also notice the green focus area selector in the center of the LCD. It can be moved around using the joystick. This box is red when the area in the box is out of focus, but turns green when focus is obtained. So you will see the dot appearing at the same time as the box turns green.
Availability
The focus peaking highlights works for all lenses, at least as far as I have been able to test, also AI and AIS lenses. However, mind you that if the subject is moving, for example waves on the ocean far away, the camera may have problems illustrating the peaking highlights as it cannot keep up with the movement. Also, when fully zoomed in, the peaking highlights do not work either.
Zooming in happens electronically, so this also works for all lenses.
The focus conformation dot requires distance information to work on a mirrorless, and this part only works for AF-D, AF-S and S-series lenses. It can seem a little strange as it works on ancient DSLRs with old lenses, but mind you that the focusing system of a mirrorless is very different from a DSLR.
A battery grip is an optional extension of your camera body, that allows you to mount more batteries than what can be in the camera body as such. Some cameras like the Nikon D4 are “born” with the grip as an integral part of the camera, but most cameras has a battery grip as an option.
A battery grip for my Nikon D700 here front left. Notice the contacts that enables the grip to talk to the camera.
You can always carry an extra battery in your pocket, but the first advantage of a grip is that it extends the number of “built in” batteries. Some camera grips even allows you to charge the battery while mounted in the camera which further eases the job of leaving home with sufficient battery power.
Battery grip mounted here on the Nikon D700.
Another advantage is improved ergonomics. In the image above, you can see that the camera body is extended downwards, and there for gives more real estate for your hands to hold on to. When shooting in landscape mode, especially the pinky on large hands will find much better support and grip than without the grip.
Shooting in portrait mode with improved ergonomics.
A third advantage is also related to ergonomics. When shooting in portrait mode as many portrait photographers do most of the time, the battery grip provides ergonomics very similar to the grip in landscape mode. You avoid the twist in the wrist, as your hand can stay in the same position while you turn the camera. This may sound like a small thing, but when you are working with heavy cameras and/or for extended periods of time, the relief a grip provides for your wrist is vital.
On battery grips, it is often the case that the shutter release and the most vital controls are replicated. Not all grips have this feature, so make sure to check the one you consider to buy. Lack of controls on the grip reduces the ergonomic benefits somewhat.
Vital controls are replicated on the grip here, and even a joystick is added which is not part of the camera body as such – it “only” has a command wheel.
In the example above from my Nikon D700, the grip actually has better buttons and dials than the camera body as such, as the command wheel is replaced by a joystick!
A final benefit is the ease of access to the batteries in the grip, when mounted on a tripod:
Easy access to the battery in the grip. A little tray that slides out horizontally holds the battery.
The battery in the camera body sits vertically, where as the grip holds the battery in a horizontal position. This makes access much easer. A slight disadvantage is though that access to the battery in the camera body can be more cumbersome, as it involves removing the grip first.
The disadvantage of grips is extra cost and extra weight.
A grip can easily make up a significant investment relative to the price of the camera body. There are many off brand producers that make battery grips that price wise are significantly lower than the brand versions. But in my experience, the extra cost of the brand version is more than justified in better quality and feel.
Not everybody likes the added weight. I find on the contrary that the overall balance in the camera body and glass is improved, so I love my grips! But we are into personal preference territory here, and I recommend that you try out a grip before you buy exactly for that reason.
Since the dawn of mankind, Nikon cameras have been equipped with a so called preview button. The image below shows the preview button of the D750, but I find a similar one on my old F100!
The preview button (PV) on my trusty Nikon D750The preview button (PV) on my trusty Nikon D4
Sadly, on the Nikon Z6ii that button is gone! Yep, it is no more. Replaced by two programable buttons instead.
The two programmable function buttons on the front of the Nikon Z6ii.
But luckily it is possible to assign the function of preview to a range of buttons using the settings menu. I assigned it to the joystick when pushed, but you can assign it in many different ways.
Preview button assigned to the joystick (when pushed).
The good question is of course if you no longer need this button? Is it a appendix from way back when todays grumpy old men were happy kids playing football in the yard? The boring answer is: it depends. Let me explain.
In order for the camera to receive sufficiently light to do all the complicated readings, calculations etc. associated with especially focusing, there are limits to how narrow the aperture can be. As you probably know, if you take a lens and close it down to say f/11 or even higher, it is a very small hole the aperture blades leaves to let light in. So what does your camera do? It cheats a bit. It keeps the aperture unchanged when you turn the front command dial, and waits to adjust the aperture blades until you hit the shutter. At that exact moment it moves the blades to the desired position (say f/11) takes the picture and moved the blades back out. So what you see is not what you get if you shoot with narrow apertures (above f/5.6).
The camera has no problems opening up wide, say to f/2.8 and adjusting the blades to let in a lot of light. You can see here that the blades are in the “correct” position at f/2.8 here.
Between f/1.8 and /f/5.6 the blades and the camera settings are aligned.
But when you close down the aperture to say f/11, the camera secures a minimum of light inflow by stopping the blades at f/5.6 – so when you turn the front command wheel beyond f/5.6 the blades are not moved. The “hole” in the lens remains the same.
You cannot tell that the camera setting here is f/11 as the lens is not stopped down beyond f/5.6
So from f/5.6 and upwards, what you see in the viewfinder and what the camera captures are drifting apart. More and more as you stop down.
The purpose of the preview button is to temporarily bring alignment between the camera aperture and the position of the blades in the lens. And as you have probably guessed, pushing the preview button will potentially dramatically change the depth of field.
The preview effect
The extremely poor image below shows my office captured through the electronic viewfinder. I am at f/16 camera setting wise, but the lens is at f/5.6.
Preview not pushed.
When I then push the preview button, other than the grid disappearing, the lens now moves the blades from f/5.6 to f/16 (the ISO goes ballistic as I am shooting this at night during winter, but please ignore that).
Preview button pushed.
Although the image is horrible, the legs on the chair shows the difference: Due to the increased depth of field, the red focus peaking highlights now show on the legs much more than in the first image. You will also notice the same bottom left on the computer screen.
To preview or not to preview
As a landscape photographer, I use preview a lot. I need to see that as much as possible of the landscape is in focus (I am not a fan of hyperfocal distance calculations); and the preview with focus peaking highlights is the only way to do so when shooting at small apertures.
If you seldom shoot beyond f/5.6 or the depth of field is not that important to your style of shooting, then I think you can have a great photography life without the preview function. And enjoy that what-you-see-is-what-you-get really is what-you-see-is-what-you-get.
I must admit that I don’t really know why triangles are such a universal shape – maybe because it reminds us of a mountain or the shape of a pine tree? I have absolutely no clue, but the effect of using triangles in photography is often more order, structure and interest, that helps both obtaining the viewers interest but also help decode the message.
You can go a little nuts when you start to notice triangles in your photo work – both explicit triangles like a mountain or implicit triangles created by the relationship between objects in the frame. As with any new photography skill there is the risk that you use it too much, i.e. when you have a hammer, then everything becomes a nail. Over time you will however incorporate your awareness of triangles as any other composition skill, e.g. leading lines or the rule of thirds.
Take a look at this sunset for example. Notice any triangles?
I’m sure you did. In the image below I have marked a few, but there is also a triangle top right where the fisherman is standing; a triangle made up of the horizon, the right edge of the frame and the stone pier. Some of the waves also make up triangles if you look carefully, etc. As I said, when you got a good new hammer, everything becomes a nail.
Infinity views often gives naturally created triangles, like a road that disappears in the distance or as in the example below, a long pier.
Especially roads, streets and buildings can create triangles of interest – in the image below I shot from a relatively low position, which underlines the triangles created by the staircase.
You can use triangles to almost point to your subject as in the example below where the building both left and right create triangles that seem to point to the subject a create an area of interest – helped by the big arrow in the bottom of the frame!
Triangles can also be less explicit and more implied, like the triangle created by the birds and the trees together, pointing in the direction the birds are moving and hence emphasizing the action.
In the example below, I have stopped counting the number of triangles! The framing and the lines crossing creates more interest to the iconic Berlin tower than had I just shot the tower stand alone.
Buildings often hold many triangles that you can use for interesting angles and cropping – the example below is perhaps not brilliant, but illustrates the point.
Triangles can also be used to stand out in a universe of circles or squares – in the image below from Louisiana Museum of Modern Art north of Copenhagen, then legs of the Giacometti shape makes a triangle that stands out relative to all the squares created by the window and the shades cast by the same. Also notice the implied triangle created by the tiles in the floor, pointing towards a single point to infinity.
I hope the above served as inspiration for your composition work, both in general and when it comes to triangles specifically. If triangles in a composition is new to you, it is only natural that you in the beginning see triangles everywhere! Don’t worry, it will fade and afterwards just be another tool in your photography toolbox.
In this post I take you through some of the observations I have made during my first weeks of shooting with the Z6ii. I come from a long line of DSLRs including the Nikon D700, D750 and the D4 – all of which are still with me, so of course many of the things I observe are relative to these cameras. I only use the Z6 for photography, so I do not go into video shooting in this post.
Build quality
There is a lot of plastic in use when it comes to the Z6ii and you can get worried by that fact alone. Also, the camera is built in Thailand, and not good old solid Japan that we were used to, at least with some of the DSLRs back in the days. But I am happy to say that it to me feels and looks like a very solid built camera.
I don’t miss any metal anywhere. Command wheel and joystick works as it should, the same applies to the buttons on the rear of the camera. The rear LCD flips out without feeling wobbly and the rubber on the grip also leaves a good impression.
The only buttons that I don’t really like are the ones on the front right (FN1 and FN2) – I will return to these. You have to push them quite deep to activate them and they are a bit wobbly – like the manual gear shifter in a French car. But overall a very convincing first impression.
Deep hand grip
One of the first things I notice when I grab a camera is the camera body grip. I have fairly big hands, and if the grip is not deep, then this alone can be a reason to ditch the camera! Yes, I walk the talk: I sold the Fuji X-T3 because the ergonomics simply did not work for me. We are deep into personal preference territory here, but ergonomics is vital for me and I find that I simply leave a camera at home if the overall ergonomics do not work for me.
Buttons and dials concentrated on the right hand size of the Nikon Z6ii.
As I am a Nikonian, I am happy to report that the grip is plenty deep and gives me lots of real estate to hold the camera comfortably for extended periods of time. Phew – glad Nikon passed that showstopper with flying colors!
The button layout around the shutter release button is classic with both ISO, exposure compensation and a video record button. I am glad that ISO got its own button, so you can control the exposure triangle with buttons sitting on the top of the camera – that allows me to keep my eye in the viewfinder while adjusting the exposure settings at the same time. Brilliant.
Top LCD
When I first unboxed the camera, the top LCD was one of the first things that struck me as a surprise: It is much smaller than what I had expected.
The top LCD is much smaller than what I expected
I think it is because I put the size of the LCD relative to the size of the Z6ii, but forgot that the Z6ii is a more compact camera than what I am used to – it takes up significantly less space than say my trusty Nikon D750.
Top down of the Z6ii to the left and the D750 to the right.
I have never considered the D750 to be a big camera, rather it is small when compared to say the D4. Yet, next to the Z6ii, it appears much bigger, both because of the built in flash and the room needed for the mirror just behind the lens mount. So the Z6ii truly is a more compact camera, and knowing this, I am even more happy to say that despite all this compactness, Nikon has managed to give us a good grip.
It feels different than a DSLR. The best way to describe it is if you have ever played guitar and moved from an acoustic guitar to an electric guitar . The Z6ii takes up less space, has less real estate and everything feels more compact (i.e. there is less room for your fingers).
So how is the top LCD? Excellent! It really is easy to read, also when shooting at night. But I really do miss my back lit buttons from the D4, so although the top LCD is easy to read, it is not always easy to find the buttons in the dark!
Buttons front right
The buttons front right don’t work for me. They are big and as such OK, but the position of the top one is so that I on a regular basis push this button without wanting to do so (brings up the white balance menu!). There is simply too little space between the hand grip and the top button for my fat fingers.
Nice big buttons by the look of it…
My second issue with these buttons is the feel. As you can see they are rather square and not round like in the good old days. I checked, and the equivalent buttons on my D4, D750 and D700 are round. The buttons on the Z6ii feels like I slightly cut my fingers on the buttons – or at least that they are simply not made for human beings. Do I dare say that it is the same feeling I get when operating the buttons on my Sony A7Rii? As you have probably guessed, I am not a big fan of these buttons.
Battery grip
One of the big changes from the Z6 to the Z6ii is the addition of contacts for the battery grip. The Z6 could take a battery grip, but there were no controls on the MB-N10 battery grip. That has now changed with the Z6ii and the updated grip MB-N11.
Contacts visible at the bottom of the battery compartment.
If you shoot a lot in portrait mode, then this is really good news and a vital update to the ergonomics. Many reviewers expressed very clearly their discontent with the lack of a battery grip with controls on the first version of the Z6, and the Z6ii clearly shows that Nikon has taken the feedback seriously and updated the camera accordingly.
USB-C charging
I am a big fan of industry standards, and hence I am a big fan of USB-C. I have so many chargers and battery types that it simply drives me nuts. Therefore I was so glad to see that Nikon with the Z6 added in camera charging. But it only works with the camera off, which will annoy some video shooters. Not me though, I am a happy camper: I can charge the camera on the go with my power bank. Wonderful!
Charging via USB-C.
Rear LCD and viewfinder
The rear LCD only flips up and down. I think most photographers are happy with this solution and won’t miss a fully articulating LCD. Only if you are a videographer I think you may sometimes miss this feature.
Not articulating. Just flipping.
The screen is a pleasure to use. It is touch sensitive, and coming from an iPhone 12 I don’t miss any speed when I pinch, zoom, swipe and scroll through menu systems. It seems very responsive to me. I have not yet tested the LCD in bright sunlight – it is wintertime and here in Denmark we don’t see to much bright sunlight this time of year. But like most other LCD’s, I expect it to struggle in bright sunlight.
Relative to the mirrorless systems I have tried from Fuji and Sony, I’d say that the viewfinder is the best I have tried. Especially shooting at night, I find the viewfinder gives a very realistic image to work with. And the wonderful thing about the electronic viewfinder is that all the good stuff you are used to when shooting in Live View on a DSLR is available in the viewfinder now, e.g.:
Preview of the image exposure when shooting in manual mode (turns dark when under exposed)
Focus peaking highlights when focusing manually
A real time updated histogram
Ability to zoom in when focusing manually
Focus mode button gone!
On all my Nikon cameras, you will front left find a focus selector button. The design varies, but the basic function of that button is to switch between auto focus and manual focus, but moving the little pin driven by the AF motor in and out of the camera body. The secondary function is to select the focus mode and the focus area. This button is gone now – take a look below:
No focus mode button in sight!
I think it makes sense not to have that button in the sense that there is no AF motor built into the Nikon Z6ii, nor the FTZ adapter, and hence the need to switch the motor in the body on and off is gone. However, the ability to change focus area and mode while keeping your eye in the viewfinder was a very pleasant side effect of that little button.
Hitting the (i) below the joystick brings up the menu where both focus mode and focus area can be selected. The FN2 button is default set-up to give access to the same items.
One way of changing focus mode is to hit the (i) button on the rear of the camera, and move the cursor to the rightmost options that gives access to the focus area and focus mode. In the image above the yellow cursor is over “MF” for manual focus, and just above that sits the focus area menu item. This is the cumbersome way. Alternatively you can hit the FN2 button, that works as the focus mode button did in the old days: you change the focus mode and focus area by turning the front and rear command dials.
When I shoot, my left hand holds the camera in the area of the now removed focus button used to be. Therefore it is super natural and easy for me to push that button with my left hand, and operate the front and rear command dials with my right hand. What I now have to do is to push FN2 with my right hand and then at the same time with my right hand operate the front and rear command dials. This feels awkward to me. It is as if Nikon has designed the camera to be right-hand operated only.
The button layout on the rear of the camera seems to confirm my suspicion – the most buttons are located to the right.
The right hand side is filled with buttons, whereas the left hand side only holds the delete and play button. The latter two for post processing.
Another button that is gone, front right on the camera, is the depth of field preview button. I never use it to be quite honest, but you may, and then you will miss it. You should see the correct out of focus areas for wider apertures, but as soon as you stop down to and above f/5.6, then you won’t. Again, strange that Nikon removed this button if you ask me.
A third button that is no more is the bracketing button. It is on the left side of my D750 and on the top of my D4. Again, it seems that Nikon has really cleaned up most buttons to the left hand side.
Format shortcut gone!
I was really surprised that I could not find 2 red “format” signs on the Z6ii. That normally signals that if you push these two buttons for a few seconds and then re-confirm when the LCD flashes “format”, then the memory card is formatted. Super convenient. I use it very often.
Ok, it is not the end of the world – I have set-up the “my menu” so that the first item is formatting the memory card. But it is not as fast as the button based shortcut on my DSLRs unfortunately.
Formatting the memory card via the menu system.
Zooming is wonderful, but…
One of the great features of a mirrorless is when you shoot with manual focus, you can zoom in, both in the electronic viewfinder and the rear LCD. The latter you have probably tried in Live View on a DSLR, but the new thing is to be able to zoom in with your eye in the viewfinder. Great!
So how do you zoom in? Well, you use the zoom buttons located next to the rear LCD, at the very bottom of the rear of the camera:
Zooming in and out is done using the + and – button on the rear of the camera. You have to move your thumb quite a distance to use these buttons.
Now, I don’t know how you work your camera, but my thumb always sits and either pushes the AF-ON button (back button focus) or operates the joystick just below it. In other words, my thumb is at the top of the camera. The zoom in and out buttons are at the very bottom.
Maybe practice will make me better, but I find it very hard to find the + and – buttons when I at the same time look in the viewfinder. I could of course re-program say the joystick so that hitting it in the center would be the same as zooming in, the only problem is that I cannot find zoom as an option. So I am stuck with these little buttons at the bottom of the camera.
Now, the world does not end because if this. But it is super annoying when you for the 30th time that day hit the menu button in attempt to find the + button while zooming to get the manual focus just right. The camera design clearly works against me, and not with me.
Summary
Thank you for making it this far, either reading or scrolling through my nerdy observations above. Bottom line here is that all the vitals are approved: the build quality, the deep hand grip, the electronic viewfinder, the rear LCD and the overall look and feel of the camera. Add to that, that the camera charges via USB-C and that a battery grip with controls is available, and the ergonomics of this camera looks like a winner.
However, there are a few things that annoys me. I am not a big fan of the “right hand operation” philosophy that is behind the button layout, nor the removal of buttons and shortcut combinations. The effect of these changes it that I cannot work as fast on the Z6ii as I can on my DSLRs. And what strikes me as even more odd is that all the buttons and shortcuts I have talked about above, as far as I can tell, are still there on the Z9. I hope future versions of the Z6ii will bring back some of the buttons and shortcuts. Please Nikon, please.
