The Nikon Z50II ($909.95, body only) may seem like only a slight upgrade at a glance—after all, it looks very similar to the Z 50, and the two share the same sensor. But a new image processor upgrades its autofocus system for smarter and faster tracking and 10-bit video, and we like the subtle changes that Nikon has made to its compact, but comfortable, body. It proves to be a capable do-it-all for various photo genres, earning our Editors’ Choice award for mirrorless cameras under $1,000. It edges out the Fujifilm X-T30 II, which is still a good performer by today’s standards, but is often out of stock at retailers.
Design: Compact, With Dust and Splash Protection
The Z50II cuts size and weight versus full-frame cameras, its APS-C (DX in Nikon speak) sensor affords a smaller form overall, 3.8 by 5.0 by 2.6 inches (HWD) and 17.5 ounces. I won’t go as far as to call it tiny, as it doesn’t quite match Canon’s twee EOS R50 (3.4 by 4.6 by 2.7 inches, 13.2 ounces). Instead, the Z50II does a fine job walking the tightrope between portability and usability. I found the EOS R50’s controls to be a little too cramped for comfortable everyday use, but don’t have similar gripes about the Z50II.
(Credit: Jim Fisher)
The camera is available in a black finish only; if you prefer a silver body, the retro-styled Fujifilm X-T30 II (if you can find one in stock) and the Nikon Z fc are alternatives. The Z50II doesn’t come with as much visual flair or style, though its handgrip includes a bit of red accent color, a motif that dates back to Nikon SLRs from the 1980s.
Despite its sub-$1,000 starting price, the Z50II includes some premium materials in its construction. The body frame is made from magnesium alloy and covered in a nice feeling leatherette for improved grip and aesthetics. The body includes some dust and splash protection, too, a rare feature in this price range. Other manufacturers reserve weather protection for more expensive bodies—the Canon EOS R7 ($1,499), the Fujifilm X-T5 ($1,699.95), and the Sony a6700 ($1,399.99) are the most affordable sealed options in their respective lens systems. None of these include an in-body flash, however, while the Z50II has one.
(Credit: Jim Fisher)
The Z50II works with Nikkor Z series mirrorless lenses. It can use Z DX optics, which are designed to work with its sensor size, or with full-frame Nikkor Z lenses, the latter will show a restricted view versus with the larger surface area of an FX sensor. I used the Z50II with a couple of DX zooms, the wide-angle Z DX 12-28mm F3.5-5.6 and the bright aperture Z DX 24mm F1.7, as well as the full-frame Nikkor Z 50mm F1.4 during the course of my review. If you are upgrading from an Nikon DSLR, you can connect F-mount lenses using the FTZ II autofocus adapter.
You can buy the Z50II as a body only for $909.95 and pick your own lens, or you can get it in a single lens kit with a discounted copy of the Nikkor Z DX 16-50mm F3.5-6.3 VR for $1,049.95, or a dual lens kit with the 16-50mm and the Nikkor Z DX 50-250mm F4.5-6.3 VR for $1,299.95. Either is a good option to start out, though I’ll lament that Nikon does not market F2.8 zooms for the DX sensor for photo hobbyists and pros at this time. Sony and Fujifilm both have (pricey) first-party options for their respective systems, and Sigma sells its excellent, affordable 18-50mm F2.8 DC DN Contemporary for both those system,s too, as well as Canon, but not for Nikon Z.
(Credit: Jim Fisher)
Controls: A Healthy Grip and Smart Layout
The Z50II uses an SLR-style body with a prominent handgrip and centered viewfinder, which contrasts with the flat-front Nikon Z fc and the viewfinder-free Z 30. The grip has a slight, sculpted indentation that works as a rest for your index finger and leaves enough room between it and the mount to accommodate a pair of configurable front function buttons (Fn1 and Fn2).
(Credit: Jim Fisher)
Importantly, the handgrip provides enough support so that you can comfortably use a larger lens with the camera. I had a pleasant experience pairing it with one of Nikon’s largest zooms, the Nikkor Z 180-600mm F5.6-6.3 VR, for some wildlife ops. I found myself missing a dedicated control stick for focus point control, something that’s included in the Canon EOS R10 and the Fuji X-S20, but the Z50II’s d-pad works fine as an alternative. The touch screen can also be set to manipulate the focus point; it works as a touchpad when viewing a scene through the EVF and supports tap to focus when using the LCD as your viewfinder.
Top controls are all positioned on the right side of the viewfinder hump, and the space to its left is reserved for the in-camera microphone. The camera has a standard Mode dial with a Photo/Video toggle nested at its side, a color profile button, and a rear command dial on the back portion. It puts its shutter release, On/Off switch, and Record, ISO, and EV buttons at the top of the handgrip, with a forward command dial at the grip’s front.
(Credit: Jim Fisher)
Looking to the rear, Drive/Self-Timer and Delete buttons are in the top left corner, abutted by the EVF and LCD. Viewfinder and Disp (Display) buttons are next up, just to the right of the EVF. The viewfinder toggle lets you pick between auto switching (the EVF includes an eye sensor for this) or full-time EVF or LCD use, while Disp changes how much information overlays the live view feed—you can use it to toggle from a clean view, one with grid lines, or one with a histogram and exposure information, for example.
An AE-L/AF-L button that can be set for exposure or focus lock (or focus drive, if you prefer), and a four-way rear controller (for menu navigation and focus area selection) round out the photographic controls. The Z50II also has Menu, OK, Play, and Plus/Minus buttons, as well as a button marked with a lowercase italicized i that brings up an on-screen overlay menu and is useful for getting at your most adjusted settings in a jiffy.
(Credit: Jim Fisher)
The full multi-page menu is straightforward and logically laid out. It is divided into six sections (Photo, Video, Custom Settings, Playback, Setup, Network). It has a My Menu tab that you can populate with your most-used settings for easier access. Both the full and i menus are navigable using touch or buttons.
EVF and LCD: Keeping Up With the Joneses
The Z50II’s viewfinder specs are similar to the Z50, with a 0.68x magnification rating, 2.4-million-dot resolution, and OLED display tech. Nikon says the Z50II’s finder can go up to 1,000 nits, or twice as bright as the Z50, but wasn’t able to provide a refresh rate—it looks pretty smooth to my eye, regardless. For most of my time with the camera, I left EVF brightness set to Auto, which adjusts the levels based on ambient light, and I never had a complaint about its luminosity. I’m not as impressed with the resolution or size, though I’ll note the EVF is in line with cameras that cost about the same. If you want a larger, clearer viewfinder, the Fujifilm X-T5 is among the best in APS-C (0.8x, 3.7 million dots, 100fps refresh) but costs nearly twice as much.
(Credit: Jim Fisher)
The rear touch screen is spacious at 3.2 inches, but like the EVF, it has a middle-of-the-road resolution: 1.04 million dots. The Canon EOS R10 comes with a similar LCD resolution, and the Fuji X-T30 II and the X-S20 are a bit better with 1.68-million-dot displays, though all have a smaller 3-inch size.
The Z50II’s screen resolution may not wow me, but the LCD’s viewing angles are excellent, and the display is pretty bright. I like that it articulates via a vari-angle hinge too. The LCD flips out to the side and twists up for waist-level angles, down for situations where you’ve got to hold the camera above your head, and forward for selfies. The screen design is a huge improvement over the Z 50’s LCD, which uses a silly design that flips under the bottom of the camera to face forward.
(Credit: Jim Fisher)
Power and Connectivity: Worth Getting a Spare Battery
The Z50II uses the EN-EL25a battery, a newer version of the EN-EL25 from its predecessor. The two are physically identical; you’ll just get less longevity from older packs (in case you’ve got a stash already). The EL25a is CIPA-rated to run the Z50II for around 270 LCD/250 EVF pictures per charge, though if you use your camera in burst mode and limit flash use, you can get more, as CIPA ratings are notoriously conservative. Still, they serve as a good comparison benchmark, and I’ll note the Z50II isn’t too far off from the EOS R10 (340 LCD/210 EVF), and while the Fuji X-S20 has a longer-lasting battery (750 LCD/EVF), it also costs a few hundred dollars more.
(Credit: Jim Fisher)
The Z50II can run for about an hour on a charge for video. I recommend grabbing an extra battery for extended outings, especially if you plan to mix video recording with your photography. Nikon sells the EN-EL25a for $69.95. You also have the option of charging on the go, as the Z50II supports in-camera charging with a USB-C charger or power bank.
The camera includes a single UHS-II SDXC slot located in the battery compartment, plus the typical arrangement of accessory ports. It also includes USB-C for charging, data transfer, and webcam support, a micro HDMI video output for use with an external monitor or recorder, and 3.5mm microphone and headphone jacks to connect a microphone and monitor audio when rolling video, respectively.
(Credit: Jim Fisher)
The Z50II supports wireless communication, too; it has Bluetooth 5.0 and Wi-Fi 5 and pairs with a smartphone app, Nikon SnapBridge (available on Android and iOS). The app supports file transfer from the camera, firmware updates, and remote control. It also allows you to store images from the Z50II on the cloud via the Nikon Image Space service. There’s no cap to how many you can store, but keep in mind that images stored on the cloud are downsampled to just 2MP.
Autofocus: 3D Tracking With Subject Recognition
The Z50II’s autofocus system enjoys a healthy upgrade from its predecessor. The camera has more subject recognition modes (for people and pets, as well as animals, birds, cars, and planes), plus adds 3D Tracking, a focus feature that traces its origins to Nikon DSLRs. 3D Tracking follows a subject as it moves through the frame and is bolstered by subject recognition. If it recognizes that it’s tracking a person or an animal, for instance, the focus point will jump to the tracked subject’s eye, assuming you have subject recognition enabled, of course. The initial area of interest for 3D Tracking is restricted to a small flexible square, but again, if you get that square close to a recognized subject, the focus will jump to the right spot.
Nikkor Z DX 24mm F1.7, f/1.7, 1/640-second, ISO 100 (Credit: Jim Fisher)
That’s how autofocus works pretty much like every other mirrorless camera, as most have subject tracking modes, though others allow for configurable areas of interest to start. The Z50II has these available too: flexible spot (in small, medium, and large), Dynamic Area AF (a group of flexible spots, also in small, medium, and large), plus small, large, wide, and tall zones, and a full frame option that lets the camera pick a subject on its own.
Nikkor Z 180-600mm F5.6-6.3 VR, 600mm, f/6.3, 1/1,000-second, ISO 2500 (Credit: Jim Fisher)
The sensor mixes phase and contrast detection to keep up with moving targets at up to 30fps using the electronic shutter or 11fps with the mechanical shutter, both figures with continuous focus and with Raw capture support. The buffer is ample, too. I tried the 30fps mode with a fast 299MBps UHS-II memory card, and I was able to jam the shutter button down for seconds with no apparent slowdown.
Nikkor Z DX 12-28mm F3.5-5.6 PZ VR, 12mm, f/11, 1/60-second, ISO 100 (Credit: Jim Fisher)
There is also a precapture mode at 15fps (labeled C15 in the menu) or 30fps (C30), it buffers either 0.3, 0.5, or 1.0 seconds of action for as long as focus is active, and commits it and the current moment going forward. Precapture is limited to JPG images, however, so it’s necessary to get your exposure right in camera, but even with that restriction, it’s a handy option to have for scenes with unpredictable action. It’s a good way to cut down on the number of throwaway exposures you’d take otherwise and can make up for a slower reaction time too.
Nikkor Z 180-600mm F5.6-6.3 VR, 600mm, f/6.3, 1/1,000-second, ISO 1000 (Credit: Jim Fisher)
In practice, the Z50II works well, as I never had a problem with still life subjects, and it responded quickly enough to handle some family, pet, and wildlife photography too. I still miss having a focus joystick, though, because the d-pad is a little too touchy, and I often found myself moving the focus box a little too far if I wasn’t careful. I ended up going back to a focus and recompose method for wildlife photos—keeping the focus box at the center of the frame, tagging my bird, and adjusting the camera to get a composition I like—a tried and true method. For pets and family snaps, I left the focus system to its wide area and let subject recognition do the work with consistently good results.
Nikkor Z DX 12-28mm F3.5-5.6 PZ VR, 12mm, f/11, 1/200-second, ISO 100 (Credit: Jim Fisher)
Imaging: A Proven Sensor With a Fresh Processor
There’s not too much different about the heart of the Z50II’s imaging engine—its sensor—versus the Z50. The two use the same APS-C format 20.9MP CMOS sensor, so even though the Z50II is powered by Nikon’s Expeed 7 processing engine, a generation ahead of the Expeed 6 from the Z50, the two cameras are on even footing when it comes to picture quality.
Nikkor Z DX 24mm F1.7, f/1.7, 1/4,000-second, ISO 100 (Credit: Jim Fisher)
The sensor covers ISO 100-51200 in its native sensitivity range and can be pushed up to ISO 204800 in its extended mode. It supports 8-bit JPG and 10-bit HDR HEIF images with in-camera processing, as well as 14-bit Raw NEF photos that must be processed before sharing or printing. I used Adobe Lightroom Classic for Raw processing for this review. The Z50II includes a mechanical focal plane shutter and also supports a fully electronic shutter, both with a minimum 1/4,000-second exposure time. This is one area where newer sensor designs do better—the Fuji X-T30 II’s electronic shutter supports brisker 1/16,000-second exposures, so you can more easily use bright apertures in sunlight.
If you use JPG or HEIF the camera delivers clean images with strong detail and little visible grain from ISO 100-1600, and just a slight drop in fidelity at ISO 3200. I see some smudging of details in our test scene at ISO 6400-12800, and results are slightly blurred at ISO 25600-51200. Picture quality suffers even more at ISO 102400-204800, though you aren’t likely to use those settings that often.
Nikkor Z DX 24mm F1.7, f/1.7, 1/250-second, ISO 100 (Credit: Jim Fisher)
Out of the box, auto ISO is set to a maximum ISO 51200 (you can raise or lower it if you’d like), so you’ll have to make an effort to go any higher. If you like to make images in dim light, it’s worth picking up a bright prime like the Nikkor Z DX 24mm F1.7 or mulling an upgrade to a camera with a larger full-frame sensor with even better low-light image quality like the Nikon Z 5 II or the Canon EOS R8, both good options that won’t break the bank. The Z 5 II and the EOS R8 are also rough at ISO 102400-204800, but show clearer results than Z50II in the ISO 6400-51200 range.
Nikkor Z DX 12-28mm F3.5-5.6 PZ VR, 12mm, f/8, 1/60-second, ISO 560 (Credit: Jim Fisher)
The Z50II includes a good set of color profiles for out-of-camera images and movies, with a mix of nice looking color options (Standard, Neutral, Vivid, Flat, Landscape, Portrait, Rich Tone Portrait) and a couple of black-and-white looks (Monochrome, Flat Monochrome, Deep Tone Monochrome) plus a huge set of filtered styles with names like Dream, Somber, and Denim to evoke their mood or effect.
If you opt for Raw format, you can take command over color yourself when processing photos. The 14-bit NEF format provides ample leeway to edit color, exposure, and contrast without the quality loss you see when editing JPGs. Raw images also skip noise reduction; Lightroom’s default noise reduction does a very good job cutting away color noise but leaves some grain (luminance noise) to avoid a waxy look. I see clear detail up through ISO 12800, with a rougher look that cuts into detail at ISO 25600-51200. Dynamic range suffers at higher ISOs, however, which means that you’ll have the most headroom to adjust exposure at lower sensitivity.
Nikkor Z 180-600mm F5.6-6.3 VR, 600mm, f/6.3, 1/1,000-second, ISO 360 (Credit: Jim Fisher)
The Z50II does not include in-body image stabilization. The feature is not unheard of in this price range, as OM System puts it in the entry-level E-M10 Mark IV, but it’s not an expected feature at this price point. Nikon doesn’t include it in any APS-C camera at this time, though it’s a common feature among the brand’s full-frame line. It’s worthwhile to pick up a lens with a VR designation for the Z50II to add optical stabilization.
All and all, the picture quality here is in line with similarly priced alternatives like the Canon EOS R10 and the Sony a6400, though Nikon’s decision to reuse an older sensor (the 20.9MP CMOS chip is a variation of the one introduced in the D500, a 2016 release), means it comes with a few readout drawbacks versus newer chips. Its readout speed isn’t as brisk as fresher BSI CMOS designs, so its electronic rolling shutter can show motion distortion when photographing moving subjects and is a little behind newer chips when used at higher ISOs.
Nikkor Z DX 24mm F1.7, f/1.7, 1/160-second, ISO 100 (Credit: Jim Fisher)
Video: 4K60 With N-Log and HDR
The Z50II is a pretty capable video camera. It supports 10-bit color with full-width 4K30 recording, 4K60 with a 1.4x crop, and full-width 1080p at standard frame rates up to 120fps. All of the still color profiles are available for video, with the addition of flat N-Log and HDR HLG profiles exclusive to video. Video is clear and detailed, and between Log recording and in-camera filter looks, there are plenty of creative effects available from which to choose.
Nikkor Z DX 24mm F1.7, f/3.5, 1/640-second, ISO 100 (Credit: Jim Fisher)
The footage is clear and detailed, with a slight chance of rolling shutter distortion when panning or capturing subjects moving laterally across the frame due to the sensor readout speed. This is less of a concern at the more action-friendly 4K60 rate. Since it only uses the central portion of the image sensor, it reduces the instances of motion distortion significantly. If you plan on making video a priority it’s worth thinking about the Fuji X-S20 as an alternative, it costs a few hundred dollars more but its full-width video captures motion with fewer instances of skewed motion, and it includes IBIS for steadier results when handholding the camera.
Nikkor Z DX 24mm F1.7, f/2, 1/4,000-second, ISO 100 (Credit: Jim Fisher)
When you consider its support for external mics, headphone monitoring, competent autofocus, and flip-out LCD, it’s clear the Z50II is a heck of a good camera for videos and vlogs, though perhaps not quite an ideal one. It relies on Electronic VR, a type of digital stabilization, not IBIS, to enhance lens-based optical stabilization to smooth out handheld footage. This comes with a tradeoff—with EVR enabled, the full-width 4K30 gets a 1.2x crop, slightly reducing the angle of view of an attached lens. For steadier video when on the go, consider adding a powered gimbal like the DJI RS 3 Mini as a support or upgrading to a camera with IBIS; the Fujifilm X-S20 and the Sony a6700 include it but cost more.
Nikkor Z DX 24mm F1.7, f/1.7, 1/2,500-second, ISO 100 (Credit: Jim Fisher)
The built-in mic records relatively hollow-sounding audio with a lot of background noise, similar to what you get from most digital cameras. You’ll want to add an external mic for serious projects, but the integrated mic is a fine option for home movies and the like. If you prefer clearer sound without having to fiddle with accessories, consider the Nikon Z 30 or the Sony ZV-E10 II, both of which are video-forward cameras and include an internal 3-capsule stereo mic that captures richer sound but omit the eye-level viewfinder photographers prefer.
Nikkor Z DX 24mm F1.7, f/1.7, 1/2,500-second, ISO 100 (Credit: Jim Fisher)
Overall, the Z50II is slightly ahead of competitors when it comes to movies. The Fuji X-T30 II and the Sony a6400 are both restricted to 8-bit color sampling while the Canon EOS R10 rolls 10-bit but omits a flat profile. The Z50II comes out on top with the most well-rounded feature set of the bunch. It even includes a headphone jack, an uncommon feature in cameras priced under $1,000, as well as waveform exposure metering, both positives for expert-level videographers.
Nikkor Z DX 24mm F1.7, f/1.7, 1/4,000-second, ISO 100 (Credit: Jim Fisher)
Verdict: A Jack of All Trades
The Nikon Z50II does most things pretty well and does so by squeezing every bit of performance out of an older image sensor. It betters its predecessor with improved autofocus and tracking, 10-bit video, a more useful flip-out LCD, and 30fps burst capture. And while we can’t point out any specific area where the camera stands tall above its competitors, it keeps pace where it counts and gets some extra points for its dust and splash protection, an uncommon feature among mirrorless cameras that cost less than $1,000. The Z50II is a capable do-it-all that should satisfy creators of all skill levels, so it earns our Editors’ Choice award over similarly priced peers. If you’ve got deeper pockets, you should consider the Fujifilm X-S20 as an upgrade due to its stabilized sensor, beefier battery, and vast lens catalog.
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The Bottom Line
The Nikon Z50II makes smart tweaks to the original that improve ergonomics, autofocus, and tracking speed for an excellent entry-level mirrorless camera.
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About Jim Fisher
Lead Analyst, Cameras
