![\"\"](\"https:\/\/admiringlight.com\/blog\/wp-content\/uploads\/z72-1.jpg\")
<\/a>One interesting thing that has come about with the big three full-frame camera makers is utilizing similar body styles for different models. Sony largely re-uses the same body style for most cameras of the same generation, with small tweaks here and there. Canon use the same general body for the R5, R6 and R6 Mark II, as well as the same for the RP and R8. Nikon similarly uses the same body style for all the sub-Z9\/8 full-frame bodies, with the Z5, Z6, Z7, Z6 II and Z7 II all sharing the same compact form factor and button layout, with the Z5 only differing in the layout of the top plate. As such, any accessories like custom quick release plates can be used for any of these bodies. <\/p>\n\n\n\n
The Z7 II is a reasonably comfortable camera to hold and operate, with a decently deep grip. The rear thumb rest is part of the SD card door, but provides a place to grip the camera on the rear. I do wish the thumb rest was angled a bit more strongly, as the shallow angle used could sometimes lead to my thumb sliding slightly to the right when holding the camera one-handed. The grip is deep enough that my average sized hands can almost entirely fit on it, with my pinky just holding on to the bottom of the grip. Those with larger hands will find themselves with a dangling pinky, much like on Sony cameras. Overall, I think the Z7 II fits in somewhere in the middle among the major full-frame mirrorless cameras in this class with regards to comfort. I don’t think it’s as comfortable as the R5 or R6, but I do prefer it to Sony’s bodies, though overall handling is pretty similar between them. <\/p>\n\n\n\n
The controls on the Z7 II are very well placed, with essentially everything within easy reach. The only controls that are a little difficult to reach are the four buttons at the rear bottom of the camera, but those control functions that are not often changed rapidly on the fly. The two programmable function buttons on the front of the camera are very easily accessed with the middle and ring fingers on your right hand. These are wonderful control additions, and I’ll go deeper into the functionality when I get into the operation of the camera. <\/p>\n\n\n\n Buttons overall have excellent tactility, and the dials click positively and operate very well. The only exception is the four-way controller on the rear, which has mushy and indistinct tactility, and is the only real letdown on what are otherwise very pleasing controls to use. <\/p>\n\n\n\n One of the big upgrades the Z7 II saw over its predecessor was the addition of a second card slot, giving the Z7 II one CF Express Type B slot, and one SD UHS-II card slot. Like essentially all cameras with dual card slots, these can be set up to write to both cards for backup, write RAW files to one and JPEGs to another, or simply have the second card be an overflow slot, for when the first card fills up. <\/p>\n\n\n\n As a long time Canon and Sony shooter, the Nikon control scheme took a little getting used to, but after becoming familiar with the Nikon way of doing things, I actually found myself really appreciating the control layout, and growing to love it. Nikon has managed to pack a lot of control points into a small body and make it work well and not feel cramped. Still, things aren’t all good here, so let’s get into specifics. <\/p>\n\n\n\n As one can see in the previous image, the front of the Z7 II has the front command dial on the grip, and two programmable function buttons right next to the lens mount. These buttons can be set to one of 41 different options, some of which are direct access controls, such as AE Lock, toggling silent mode or turning on and off the grid display, while others are meant for use in conjunction with the two command dials, such as focus mode, white balance and bracketing. I have my two set for focus mode\/area size, and exposure bracketing settings. Changing the control layout is done through the Custom Settings menu, item f2, which brings up a nice diagram of the camera to highlight the button being customized. This is standard fare for most cameras nowadays, but it’s still nice to see. <\/p>\n\n\n\n By default, all the controls that use the command dials in conjunction with a button operate by holding the button down while operating the dials, but this behavior can be changed to a button press, then change the setting, and then confirming with either the OK button or with a half press of the shutter button. I personally prefer the latter way of doing things. <\/p>\n\n\n\n Moving to the top of the camera, Nikon has placed the standard PSAM mode dial to the left of the viewfinder. This dial turns with very satisfying clicks, and has a press-lock button to prevent accidental changes. In addition to the standard modes, there is a full auto mode, and three programmable user modes that can be programmed to quickly change a variety of settings for specific shooting scenarios. <\/p>\n\n\n\n On the right side of the top plate are the shutter button, which is surrounded by the On\/Off switch, a movie record button, ISO button and exposure compensation button. Unfortunately, Nikon only gives the option to reprogram the movie record button, and the options for this button are more restricted than those on front, with just 23 options. Given the two dial control, I would definitely have kept the ISO button mapped as it is, so the lack of programming on that button doesn\u2019t bother me. <\/p>\n\n\n\n The EC button is something I felt was a waste of a non-programmable button at first, but as I have come to use my Nikon cameras, I’ve realized that Nikon uses exposure compensation to control flash output as well (tying EC and FEC together). As such, if shooting with flash in manual mode, the rear dial controls shutter speed, and therefore, adjusting flash output can still be done quickly by pressing the EC button and adjusting the dial. <\/p>\n\n\n\n The rear command dial sits on the back right corner of the top plate next to the LCD display. Informational LCDs are making a bit of a comeback in the past few years, after disappearing for a while on a lot of mirrorless cameras. This one shows the basic exposure settings, battery life, the current drive mode, and the number of shots remaining. The LCD adjusts its brightness automatically according the environment, which is nice, but it is completely off when the camera is switched off, which means you have no information about the camera’s state until you turn it on. <\/p>\n\n\n\n On the back of the camera, the image playback button and file delete button sit at the top left of the camera. The playback button is one of the only controls where I dislike the placement. It’s a bit of a holdover from their DLSRs, as these buttons have been in this location for quite some time on the DSLR line, and Nikon has largely tried to keep very similar control layouts throughout the years. It’s nice if you’re transitioning from a Nikon DSLR, but a bit annoying to have to use your left hand to quickly review images in the field. The Z8 and Z9 moved this button to the bottom right where the drive mode button sits on the Z7 II. <\/p>\n\n\n\n On the right side of the camera back are the AF-On button and focus point selection joystick, both of which are placed exactly where one would expect, along with the display mode toggle button that sits within a handy switch for flipping between stills and video. The i-Menu button and standard Nikon four way controller are below the focus joystick, and the controls finish off with menu, drive and enlargement buttons at the bottom of the camera. On the rear controls, only the AF-On button and the focus joystick center press can really be customized. All the other buttons are locked into their self described functions. I’d prefer a bit more flexibility here, as not everyone likes to set their cameras up the same way. With that said, the controls are logical, and I never found myself frustrated with the control points on the camera. In fact, as I got used to the way Nikon does things, I came to really like the way the camera operates. Most major photographic settings can be changed quickly and easily, and it is a very nice camera to use in the field. <\/p>\n\n\n\n As with the controls, Nikon’s menus in the Z7 II are a continuation of the design that has been used by Nikon for years and years. While the ‘modern’ Nikon menu system could be said to have originated all the way back with the D200 in 2006, though the basic structure of the menu system is still similar to even the D1x from 2001. Of course, there has been continued evolution, with the My Menu and Retouch tabs being added in the mid-2000s, the Video tab added when video was incorporated into the camera, and the ability to use the touch screen for operation with the more recent cameras. The reason this menu system has stuck around is because it’s quite good. <\/p>\n\n\n\n The menus are logically laid out with clear tabs along the left hand side, and then options spreading out to the right. Playback, Photo Shooting, Video Shooting, Custom Settings, Setup, Retouch and My Menu (or recent settings if you prefer) divide the camera settings in to logical divisions, and everything seems to be more or less where it should be. <\/p>\n\n\n\n The Custom Settings menu is where a lot of items for personal operation are tweaked, and where the settings that really mold the camera to your shooting style can be found. The My Menu section has become ubiquitous in cameras of all sorts, but Nikon was one of the first to allow a customizable menu, and it still operates very well here, where multiple pages of your most changed settings can be organized. <\/p>\n\n\n\n One issue I have with the My Menu, though, is that there is no way to have the My Menu page come up as the default starting position when pressing the Menu button. The menu system by default simply displays the last position you were using when you exited the menu. This can be convenient, but I’d prefer to go immediately to the My Menu when opening the menu system. You can program one of the function buttons to jump directly to the My Menu screen, but unfortunately, since the Menu button can’t be re-mapped, this means that you would lose a function button that might otherwise be useful for other features. <\/p>\n\n\n\n Nikon’s i-Menu is a quick-settings menu that overlays on the shooting screen, and has space for twelve settings that can be quickly adjusted. These 12 slots can be customized to fit your choice out of 39 possible options. The i-Menu is laid out almost identically to Sony’s Fn menu, and operates essentially the same as well. <\/p>\n\n\n\n The Z7 II comes with a 3.69 million dot EVF with huge 0.8x magnification. While on paper, the resolution is below that of rivals like the R5 and A7R V, the Z7 II’s EVF is quite good, with excellent clarity, good color and is reasonably responsive. Contrast is in-line with many competitors\u2019 EVFs, but is less contrasty and colorful than the EVF in the Z8. Because it is only a 60Hz panel, the Z7 II’s EVF isn’t quite as fluid as some competitors when shooting action, but the Z7 II isn’t really billed as an action camera anyway. The only issue I really take with the EVF is the responsiveness of the auto-switching eye sensor. The Z7 II takes about a half a second to switch from the rear screen to the EVF, and it’s a delay that is noticeable, and could cause you to miss shots if shooting in situations where every moment counts. It’s one reason I wouldn’t be choosing the Z7 II as a sports or action camera. <\/p>\n\n\n\n The rear screen, is a 2.1 million dot 3.2″ tilting touch screen. The screen is reasonably bright and very clear, with accurate color. Touch controls are laid out intuitively, and the touch panel operates responsively. The tilting mechanism can tilt out flat for low to the ground shooting, or angle down at a 45 degree angle for shooting above your head. However, it lacks full articulation, or the multi-axis tilt of the Z8 and Z9, so if shooting vertical photos, you get no help when shooting above or below you. <\/p>\n\n\n\n I’ve always been of two minds on tilt vs. fully articulated, and when shooting horizontally, I prefer the tilt screen, as it stays in line with the lens, and is much more easily flipped out. However, I’ve grown accustomed to full articulation, and it is definitely invaluable for low to the ground portrait orientation shooting, which I do enough of to make it something I missed a bit on the Z7 II. <\/p>\n\n\n\n The Z7 II’s autofocus system has been somewhat lambasted by a lot of photographers as being sub-par for the category, and while there are definitely areas where the Z7 II’s AF lags behind competitors, I did not find it to be a bad system by any means. Still, it’s not the mirrorless camera I would reach for first when shooting sports or wildlife. <\/p>\n\n\n\n For everyday shooting, the Z7 II’s autofocus is very competent. Single shot focusing is quick and sure. In lower light, where something like the Nikon Z5 struggles, the Z7 II is reasonably quick to lock with good accuracy. Nikon improved the eye and face detection algorithms on the Z6 II and Z7 II, and moved those modes into the standard rotation of focus point sizes. In my experience, the Eye AF on the Z7 II works very well for portraiture, or slower moving action like you would find in event photography. On the down side, the subject detection algorithms are are really only set to pick up on people and pets. Animals like birds, squirrels, or more exotic wildlife are essentially left out entirely, as are other subjects such as vehicles. <\/p>\n\n\n\n For shooting portraits, the Z7 II is not quite as reliable at hitting the subject’s iris as competing cameras like the Canon R5, but it still manages a very good hit rate, and was reliable enough to use as the main form of AF for portraiture. Just know that occasionally, it’ll grab the eyelashes or eyebrow when shooting with very shallow depth of field. The shot below was a self-portrait using Eye AF with remote shooting with very shallow depth of field, and the camera was able to nail focus on my eye with ease. <\/p>\n\n\n\n Continuous AF is reasonably competent in good light as well, as long as you treat the camera like a DSLR and use zone focusing. Here, the camera can do a very nice job tracking motion and keeping things in focus. In tracking a subject running towards the camera, I found the Z7 II to have an excellent hit rate when using small zone, and keeping the subject’s face within the box. However, using wide area focusing with subject detection resulted in a dramatic drop in accuracy when shooting action. The camera just can’t seem to both find eyes and track action at the same time with any degree of reliability. <\/p>\n\n\n\n When using the Z7 II for shooting landscapes, travel photography, architecture, or portraiture, it does a fine job, but one needs to be more careful and deliberate when using the camera for wildlife or sports shooting, and expect that you’ll miss a few shots that competitors would be able to capture. <\/p>\n\n\n\n With the exception of the aforementioned EVF switching delay, the Z7 II is a responsive camera body. Startup is quick, with the camera ready to shoot about a half second after flicking the On switch. Images can be reviewed quickly after shooting, as well as while a burst of images is still writing to the card. <\/p>\n\n\n\n As far as burst shooting is concerned, the camera can shoot at up to 10 frames per second (with locked focus), or 9 frames per second with continuous autofocus. This isn’t terrible for a high resolution body, but it pales in comparison to something like the Canon R5 with it’s 20 fps electronic shutter mode and 12 fps mechanical shutter. Buffer is ok, with the ability to capture around 49 images in lossless compressed RAW 14 bit before slowing down, which gives a bit more than 5 seconds of burst shooting with AF before you need to slow down. It’s not a sports camera, but this is enough to capture some action if needed with the camera. <\/p>\n\n\n\n Like all of Nikon’s full-frame Z series cameras, the Z7 II has 5-axis in-body image stabilization (or in-body Vibration Reduction as Nikon calls it). The vast majority of mirrorless cameras now have IBIS, and Nikon’s system is pretty good. The Z7 II’s internal VR system is rated for 5 stops. On paper, this is a bit behind some of its competitors, but I’ve found the IBIS on the Z7 II to be competent, and a bit better than what I experienced on Sony’s A7 III and A7R IV. <\/p>\n\n\n\n In daily use, I could count on the IBIS system to get me about 3 stops or so of extra stability, with lenses from wide angle up to around 300mm. Adapted lenses don’t get to take advantage of all 5 axes of stabilization, but instead revert to 3 axis IBIS, which I found to be good for an extra 2-3 stops. <\/p>\n\n\n\n Like any camera released in the last decade or so, the Z7 II has relatively full featured Wi-Fi connectivity and features, allowing for image transfer, remote shooting control and geotagging. I’ve used the connectivity apps for most of the major camera brands, and Nikon’s SnapBridge application is among the best overall, though it certainly has its own set of issues. <\/p>\n\n\n\n Setup and connection of the camera went very smoothly for me, and I’ve consistently had solid connections between my phone and camera, with no intermittent dropping of connection or failed authentication. It’s been very reliable in my experience, and that’s probably the most important thing. <\/p>\n\n\n\n I mostly use wireless connectivity for wireless transfer of images from the camera to my phone for review in the field or easy sharing with friends or family. The SnapBridge app is able to quickly connect and allow for selection of photos on your phone, and then transfer reduced size JPEGs (2 megapixel), or full size images. One down side is that the camera will not do auto creation of full-size JPEG images to transfer to a mobile device, so if you want full size JPEGs, you’ll either need to shoot in JPEG (or RAW+JPEG), or create individual full size JPEGs from RAW with the in-camera RAW converter prior to transfer. SnapBridge can also transfer the RAW files directly, if you want to do RAW development on your mobile device. <\/p>\n\n\n\n Remote control capabilities are relatively full featured as well, with live view streaming of the viewfinder, and adjustment of most major settings, including all exposure parameters and white balance. While you can also switch between photo and video mode, you aren\u2019t able to change focus modes in remote shooting. Live view is relatively low lag and the view can be turned off too, to make it more of a standard remote. One down side is that for some reason, ISO 64 and ISO 80 are not usable with the remote control app, which limits its functionality when shooting landscape work. <\/p>\n\n\n\n Like most other cameras nowadays, the Z7 II can also be set up to auto-link and pull GPS data from your phone to embed in images. In all, I’ve had a generally positive experience with the wireless features of the Z7 II. <\/p>\n\n\n\n Nikon calls its focus stacking mode ‘focus shift shooting’, which I suppose is a more accurate descriptor, as the Z7 II cannot stack the images in-camera. However, the full-featured Focus Shift mode does allow for incremental focus shifting to allow for easy focus stacking in the software package of your choice. The interface allows you to set the number of shots to be taken (to a maximum of 300), the focus step width between 1-10, an interval between shots, whether the camera should lock exposure on the first shot, and whether it should use the electronic shutter or not. You set your closest point of focus, then enter the menu and select start, and the camera does its thing.<\/p>\n\n\n\n The focus step width, like on Canon cameras, is not specific, as the actual step width changes depending on starting focus distance, with much finer intervals used for macro shooting than landscape work. The interval between shots may be useful if using the mechanical shutter. I’d only consider using the mechanical shutter for this mode when using it in conjunction with flash, as there is no other downside to the electronic shutter. <\/p>\n\n\n\n The shot above was a simple test shot of the feature, and comprises a 50 shot stack at 1:1 (and cropped slightly) with step width of 2, merged in Helicon Focus. At high magnification like this, depth of field is razor thin, so even 50 shots only allowed for the front part of this tiny elephant charm to be in focus.<\/p>\n\n\n\n There are a few other items worth mentioning about the Z7 II’s operation and features:<\/p>\n\n\n\n The Nikon Z7 II uses the same 45.7 megapixel backside illuminated sensor as the Z7, and while this sensor is now coming up on 5 years old, Nikon made a smart decision by reusing this sensor in the Z7 II. As an owner of the Canon R5, and previous owner of the Sony A7R IV, I’ve used excellent high resolution full frame sensors in the past, but the sensor in the Z7 II is perhaps the finest imaging sensor I’ve had the pleasure of using in the 20 years I’ve been a photographer. Let’s dive into the specifics.<\/p>\n\n\n\n The Z7 II has been lauded for its excellent image quality, and that starts with its truly outstanding dynamic range. While the R5 and that aforementioned A7R IV measure similarly in the dynamic range department by the numbers, in real-world usage, I’ve never used a camera that produces files that can be pushed and pulled to the degree that the Z7 II’s can. Shooting at ISO 64 produces exceptionally clean images that have decent highlight headroom for RAW recovery, but exceptional shadow detail. Even a 5 stop push in the shadows yields excellent detail with no banding, and outstanding color fidelity. There is some noise when pushing a photo that far, but with modern noise reduction software, this can be reduced so that even wildly underexposed images can be rescued and used for large prints. Higher ISO files don’t have the insane dynamic range of the lower ISOs, but the incredible dynamic range of the Z7 II makes it a dream to use for landscape photography. <\/p>\n\n\n\n The shot above was taken as part of a bracketed series, due to the extreme brightness differences in the scene. The merge to HDR worked ok, but had some artifacts due to moving leaves and changes in the water reflections. However, simply taking the darkest exposure and pushing the exposure, and some masking of the brighter area above, yielded an image with nearly the same level of detail in the shadows, while avoiding all the artifacts. This is a +3.5 stop straight push, with an extra +35 in the shadows, and pulling back some of the highlights. <\/p>\n\n\n\n Below are 100% crops of the darkest part of the image, showing the exposure of the RAW file straight out of camera (top half), and the same spot after the exposure adjustments and processing (bottom half):<\/p>\n\n\n\n Color is excellent too, with a natural feel to the files that has cut down on the amount of postprocessing work that I do. While I slightly prefer my Canon bodies for portraiture with regards to the color science, I prefer the Nikon colors for landscape work, with outstanding greens and beautiful tonal transition in browns and yellows. <\/p>\n\n\n\n With 45.7 megapixels, the Z7 II is capable of producing images with excellent detail for making large prints or heavy cropping. Despite the lack of an anti-aliasing filter, I did notice that the Z7 II files don’t have quite the biting pixel level detail that some other 45 megapixel cameras have, including Nikon’s Z8, but it an extremely minor difference that no one will likely ever see in real world use. <\/p>\n\n\n\n Noise control is exceptional at lower ISOs, with ISO 64 images being perhaps the cleanest of any camera I’ve used in recent memory. Higher ISOs are good, but of course show a bit more per-pixel noise than lower resolution cameras. I’m comfortable shooting the Z7 II up to around ISO 12,800, where images still retain good levels of detail, and noise, while certainly present, cleans up quite nicely with modern tools. Higher ISOs can be used in a pinch, of course, but will show a more pronounced drop in image quality. <\/p>\n\n\n\n If you\u2019re a frequent visitor to this site, you know that I\u2019m not a videographer. I shoot a handful of clips a year using my serious cameras, and that\u2019s about it. As such, I haven\u2019t shot a single video clip with the Z7 II. There are many great reviews out there that cover the video features of this camera, so I would steer you to another site if you want to go in-depth on video features. <\/p>\n\n\n\n I can tell you that the Z7 II can shoot full sensor width oversampled 4K video at up to 30 frames per second, or up to 60 frames per second if you are OK with a small 1.08x crop. The standard 1080p modes are also present. Despite having enough pixels for 8K video, the Z7 II sticks to 4K as its maximum resolution. <\/p>\n\n\n\n The Z7 II has now been out for nearly 3 years, and when it was released, it didn\u2019t make much of a splash. The biggest reason for this, in my opinion, is that it came out a few months after the outstanding Canon EOS R5, which had a similar resolution sensor, but significantly higher performance capabilities for sports and wildlife shooters, with much higher-end video specifications. The Z7 II is a well-specified body, but it does lag the competition in a few key areas. <\/p>\n\n\n\n The biggest offender here is the autofocus system, which is definitely a good step behind the Eye tracking capabilities from Canon and Sony. While the autofocus and mid-range performance metrics would make me look elsewhere for shooting action, I found the Z7 II to be a very capable body for most other types of shooting.<\/p>\n\n\n\n The outstanding image quality is the Z7 II\u2019s biggest strength. Add in a very full feature set, comfortable ergonomics and good control layout and the Z7 II is a great camera for landscape photography, travel, architecture and most general purpose shooting. With the more capable Z8 and Z9 hogging the Nikon spotlight right now, the Z7 II can be had in great condition used for around $2,000. At that price, it\u2019s an amazing body if you don\u2019t need to shoot action. As such, it is highly recommended for photographers who don\u2019t need the utmost in AF performance, but it\u2019s a camera I\u2019d pass on for those who shoot action as their primary focus. <\/p>\n\n\n\n Click on an image to enlarge<\/em><\/p>\n\n\n\n So, after dabbling in the DSLR realm once again with my Nikon D750, I wanted to begin reviewing Nikon Z lenses and bodies. I’m starting with Nikon’s Z7 II, a camera that has had a mixed reception since release, but offers a compelling combination of features and very high image quality at a reasonable price. […]<\/p>\n","protected":false},"author":1,"featured_media":11876,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"cybocfi_hide_featured_image":"yes","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"enabled":false},"version":2},"_links_to":"","_links_to_target":""},"categories":[3],"tags":[14,9,40,8,482,388,481],"class_list":["post-11854","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-camera","tag-mirrorless","tag-nikon","tag-review","tag-z-7-ii","tag-z7","tag-z7-ii"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/admiringlight.com\/blog\/wp-content\/uploads\/z72-1.jpg","jetpack_shortlink":"https:\/\/wp.me\/p28RGq-35c","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/11854","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/comments?post=11854"}],"version-history":[{"count":25,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/11854\/revisions"}],"predecessor-version":[{"id":11949,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/11854\/revisions\/11949"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/media\/11876"}],"wp:attachment":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/media?parent=11854"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/categories?post=11854"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/tags?post=11854"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>Controls<\/h3>\n\n\n\n
<\/a><\/a><\/a>Menus<\/h4>\n\n\n\n
<\/a><\/a><\/a>Continue: Screens, Autofocus and Performance<\/a><\/h4>\n\n\n\n\n\n\n\n
Viewfinder and Rear Screen<\/h3>\n\n\n\n
<\/a>Autofocus<\/h3>\n\n\n\n
<\/a>Performance<\/h3>\n\n\n\n
In-body Image Stabilization<\/h3>\n\n\n\n
<\/a>Continue: Key Features<\/a><\/h4>\n\n\n\n\n\n\n\n
Key Features<\/h3>\n\n\n\n
Wi-Fi \/ Connectivity<\/h4>\n\n\n\n
<\/figure><\/li><\/figure><\/li><\/ul><\/figure>\n\n\n\nFocus Shift Shooting<\/h4>\n\n\n\n
<\/a>Additional Items of Note<\/h3>\n\n\n\n
Continue: Image Quality<\/a><\/h4>\n\n\n\n\n\n\n\n
Image Quality<\/h3>\n\n\n\n
Dynamic Range and Color<\/h4>\n\n\n\n
<\/a><\/a>Detail and Noise<\/h4>\n\n\n\n
<\/a>Video<\/h4>\n\n\n\n
Continue: Conclusion and Image Samples<\/a><\/h4>\n\n\n\n\n\n\n\n
Conclusion<\/h3>\n\n\n\n
Pros<\/h4>\n\n\n\n
Cons<\/h4>\n\n\n\n
Image Samples<\/h3>\n\n\n\n
<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a>If you enjoyed this review, please take a look at my other reviews in the Review Index<\/a>.<\/h5>\n","protected":false},"excerpt":{"rendered":"