Nikon Z50 II review: a solid, efficient and responsive family hybrid

Getting started

The Z50 II is a lovely lesson in design and design. Infused with this cameraness that Nikon likes to highlight, the body is not a toy. The handling is straightforward, reassuring and the controls fall well under the fingers. The case body feels solid, much more so than many entry-level hybrids.

The viewfinder, although of modest definition (2.36 million dots), is brighter than in the past: 1000 cd/m², twice as much as the previous model. Note that if the definition is not great, we feel Nikon’s mastery in the optical parts of the viewfinder. Like the Z6 and Z7 (I and II), the image is perhaps less precise than some better defined models, but the image is much more organic, natural.

From the point of view of software ergonomics, the partition is less satisfactory. We hear the “nikonists” here crying lèse-majesté, yet the reality is that the interface is identical to that of Nikon’s expert and professional cameras, while the Z50 II rather targets a young and/or neophyte population. No offense to the experts, camera menus need a simplified version for the general public.

Sensor controlled, but still not stabilized

Nikon has renewed its 20.9 megapixel (Mpx) sensor from the previous Z50. The definition therefore remains modest in the world of cameras. On the one hand, it limits large prints and significant cropping. But considering the target, it doesn’t really seem like a sin and even has an advantage. Indeed, the files, which are very good as we will see, take up less space on the memory card and hard drives. However, raw files are much easier to develop, even with a modest computer. A major asset, particularly for beginners and poorly equipped or wealthy audiences.

However, we regret a little the absence of mechanical stabilization of the sensor. While the general public would benefit enormously from significant compensation for parasitic movements – the pros know how to correct them in part, or at least adapt their settings -, Mr and Mrs Trucmuche are less prepared.

That being said, in the world of APS-C hybrids for less than €1000, no device integrates mechanical stabilization of the sensor. You have to pay €150 to get one of Sony’s latest Alpha A6600 (now replaced by the A6700), or even €350 for Fujifilm’s X-S20. Nikon is therefore not making any mistakes here compared to the competition. He still has a problem on this side: the optical fleet.

Few APS-C lenses

In addition to the 16-50mm F3.5-5.6 VR with which we tested this camera, Nikon only has four other DX lenses designed for its APS-C sensor. There is a family telephoto lens (50-250mm F4.5-6.3 DX VR, 75-375 mm eq.), a travel zoom (18-140mm F3.5-6.3 DX VR, 24-210 mm eq.), a motorized vlogging zoom (DX 12-28mm F3.5-5.6 PZ VR, 16-36 mm equi.) and a small fixed reporting focal length (24 mm f/1.7, 35 mm eq.).

The problem of the absence of stabilization does not arise for these lenses (the 24 mm is sufficiently wide), but it will do so when you want to expand your desires for native APS-C lenses.

However, the problem is that apart from large telephoto lenses, the full-frame Nikon lenses which fit perfectly on this APS-C body are not stabilized. At Tamron, of the six lenses currently compatible with the Z mount, none are dedicated to the APS-C (DX) format, and the only two stabilized models are large telephoto lenses. Since Sigma has still not announced a Z-mount optic, the offer is very limited.

Integrated flash, a good idea

Detail for some, the presence of a pop-up type flash is an excellent choice. Whether to clear a shadow in broad daylight, illuminate a dark interior or use second-curtain flash in the evening, it represents very good news for many photographers.

The latter may prefer a cobra flash, since the Z50 II retains its flash shoe, which is still not equipped with digital sockets like those of certain manufacturers, notably Sony. Creators will therefore have to use the analog 3.5mm headphone/microphone jacks on the side of the device.

Autonomy decreasing

Camera testing sessions in our lab involve a lot of shooting, including a few repeat bursts. But the activity being static and the number of shots reduced, the cameras are never flat after this exercise. However, we noticed that this little Z50 II only displayed one bar out of three after our tests, which led us to do some checks… resulting in small disappointments.

Primothese three battery life bars, inherited from the SLR era, are all that the device displays to inform you about its status. It’s quite an antediluvian approach, we much prefer the percentages of the competition (of all the competition, in fact). Having 34% battery available is not the same thing as 65%, although these two values ​​are indicated here in the same way, namely two bars out of three.

That’s it for the informational ergonomics part. But there is more annoying: the autonomy, which seemed mediocre in use, is actually much lower than the competition. In energy saving mode, you only benefit from 240 images through the viewfinder (V) and 250 through the LCD screen. And in normal mode, that is to say with the best performance, there are only 220 (V)/230 (E) shots. For comparison, a Fujifilm X-T50 displays 310 (E)/305 (E) in normal mode, and the Sony ZV-E10 II (without viewfinder) no less than 610 images via its LCD screen.

We understand here that the Z50 II pays dearly for the integration of the powerful Expeed 7 processor in more high-end models. Switching from the Z50’s EN-EL25 battery (1120 mAh) to the EN-EL25a (1250 mAh) could not have a major impact.

Reactivity

One of the strong points of this Z50 II is its liveliness, particularly when starting up where it responds immediately. In just 0.41 seconds it can take photos. With the R5 Mark II, it is the hybrid champion of this year 2024 in terms of ignition.

Getting started is not its only strength. With a trigger time of 0.20 s, it is the second fastest device to trigger after its big brother, the Z6 III, also an edgy one. It is less fast in low light, but it remains about average and will not betray photographers looking for candid shots. Especially since he connects the shots very well in mode one shot.

If its bursts – mechanical at 11 fps, electronic at 30 fps – allow rapid actions to be captured, this is not its strong point. The burst at 30 fps is in fact limited to jpeg. Indeed, for a reason not specified by Nikon, this camera can only produce raw with a mechanical shutter, the electronic shutter not being controllable by the photographer. Excluding C15/C30 bursts (in jpeg), you have to put it in silent mode to take advantage of the electronic shutter which then offers fairly anemic bursts.

Considering the price and the target audience, we don’t blame him too much, especially since he is quite good at recognizing subjects. After a Z50 limited to humans (eyes, face and body), dogs and cats, the Z50 II benefits from a much wider range of recognition. The box can also hang birds, cars, motorcycles, bicycles, trains and planes. Nikon, however, did not specify whether it could attach the Starship rockets…

Image quality

35 images

The Z50 II sensor produces good images and the 16-50mm F3.5-6.3 VR kit lens, although plastic in construction, offers a good level of precision in the shots, as you can see in the 100% detail below. below. Nikon has managed its kit optics well, particularly in terms of integrated software corrections (and automatically applied to jpegs).

Although the definition of the sensor is modest by current standards, 20.9 Mpx will be more than enough for the overwhelming majority of uses. In jpeg and depending on the scenes, tastes and needs, you can work at ISO 1600/3200 without worry, Nikon’s color recipe producing well-contrasted images by default.

The general public will be able to easily play with artistic renderings since a button dedicated to jpeg renderings is placed on the top of the device. With 11 classic renderings and 20 artistic renderings, all configurable by pressing the Down key, those who resist raw development on computer/tablet can already have fun.

In terms of dynamic range potential of raw files, the Z50 II does not do better than the Z50, from which it recovers the sensor. This is a good APS-C sensor, more dated and less efficient than that of the Sony A6700, but sufficient to produce beautiful images with the right optics.

Video mode

With the screen on a ball joint, the microphone and headphone jacks (3.5 mm jack), its stabilized optical kit does a good job of stabilization. Above all, the face recognition algorithms work well and the box knows how to quickly and cleanly automatically switch the point from a landscape to a face.

However, the score is far from perfect on video. On the one hand, cropping to 4K 60p is important. Yes, it has the merit of existing for filming action scenes, but to take advantage of your real focal range, prefer 4K 30p (without any other cropping than going from the 3/2 ratio to 16/9).

Then, the deformations of the moving verticals (rolling shutter) are very important, even in 4K 30p. Here, the sensor shows its dated design in this area.

What to remember? Once again, we must remember the target: not expert vloggers/youtubers, but the very general public who will be satisfied with making pretty 4K 30p clips. And if we observe it from this prism and not that of absolute performance, the Z50 II does the job adequately. That being said, the Sony ZV-E10 II will be much superior in this area, but it does not have a viewfinder.