Nikon Z System News and Commentary

Waiting for Zf Godot

I see quite a few people speculating on a ZfII lately. Such a model isn't likely any time soon, so let me explain why.

The Zf is already a Z9-generation camera. That means it has EXPEED7 and all the goodness that comes with that. Indeed, the Zf has some features, such as HEIF and Pixel shift shooting, that haven't even made it into the Z9 yet. It seems unlikely that Nikon would continue to advance EXPEED7 software features in the Zf first. That just puts the Z6III, Z8, and Z9 cameras in jeopardy, and forces updates of firmware upwards rather than in the downward fashion Nikon prefers.

Thus, the only way that makes sense for a ZfII is to change hardware in some fashion. And there we have a couple of issues. First, the image sensor. Yes, you could move the Zf to the Z6III partially-stacked sensor, but then you're undermining the Z6III. Essentially you'd be saying to users "pay US$500 less but you get a retro style body." The whole notion of selling the same basic inside at a lower price doesn't make a lot of sense to me. It's also a marketing nightmare.

Some suggest putting the Z7II image sensor in the camera and calling it a ZfII. Okay, that sort of works, given that you'd charge more for it, but now you have an even further complication for any potential Z7III. 

So what other hardware changes could Nikon make? Not many I can imagine. Indeed, the number one hardware change Zf users might want comes in the FTZ adapter, not the camera (e.g. screw-drive and full AI support). Most of the other things I can conjure up are cosmetic. 

Let's face it, the Zf sits oddly in the Nikon lineup. Theoretically, the primary lineup fully updated would go Z30II, Z50II, Z5II, Z6III, Z7III, Z8, Z9. The Zf currently sits in the pricing position near where a Z5II would be. The Zf works in the current lineup because of the discounting on the Z5 and the push upwards in price of the Z6III (and the fact that the Zf appeared before the Z6III). If the ZfII has to co-exist with something at the same price point, then it becomes "buy legacy or buy modern," which splits the sales at that price point into two models, which is R&D inefficient. 

At the moment, a ZfII isn't anywhere on my future product radar. The current Zf doesn't seem to be under any pressure from other full frame retro cameras at the moment, so I'd bet that Nikon doesn't have a ZfII on their short-term radar, either. 

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Bonus: I keep hearing about a "completely different" design, lower-end model. Call it the Z1. I know this product has been prototyped in some form, but it has not been approved yet by management, to my knowledge. Nikon has a long history of trying to build the infamous "easier to use" high-end camera dating back well into the film era. They even have experience with that in mirrorless (Nikon 1). Nikon also has a long history of failing when they attempt it. 

However, one does have to wonder whether the automation we now have coupled with some additional AI might render the controls of an ILC not so necessary (or at least minimized). The problem I see isn't that Nikon wouldn't be able to do the basic engineering of such a camera "right," but that Nikon is not really a consumer-focused company, so I can't fathom them getting the marketing right. For example, I can't see them doing another celebrity promotion as they did with the Nikon 1. I'm not even sure Nikon would know which celebrity that should be (and it would be decidedly different in China, Europe, and the US, complicating the problem). But even at the influencer level, I'm not sure Nikon has the inroads necessary, nor would they be able to react and amplify on that as quickly as Fujifilm did with the X100, for instance. 

A Z1 would be at the lower end of Nikon's lineup (~US$1000), whereas management really wants progress on the upper end, where they see the margins and returns being higher. Whereas that higher end is mostly understandable and rationalized (Z6III, Z8, and Z9, with a wait on what a Z7III means), the lower end is a bit of a mess (Z30, Z50II, Z5, Zfc, Zf) because it's two different generations with two different styles. Adding a Z1 would contribute to the mess, not solve it.

The Z9 Generation Key Differences

In answering a question this weekend—sadly to someone who lost their home and cameras to the LA fires and now needs to replace gear—I realized that I haven't capsulized the way the Z9 generation cameras really differ where it might matter. Here's a quick table to try to fix that problem:

Pluses Minuses
Z50II Smallest size
Lightest weight
Built-in flash
Price!

20mp
DX
Mode dial UI
Worst EVF
Single slot (SD)
No weatherproofing
Moderately high rolling shutter
Lowest battery life
No vertical grip option
4K H.265 video (60P cropped)
No sensor VR
1/4000 top shutter speed
No MC-DC2 connector
Z6III Smallish size
Modest weight
Best EVF
6K raw video

24mp
Modest AA filter
Lower DR at base to gain ISO
Mode dial UI
Mixed slots (CFe, SD)
Moderate rolling shutter
Z8 45mp
8K raw video
Little rolling shutter
1/32000 top shutter
Fullest feature set
Mode button UI
Fully weatherproof
Mixed slots (CFe, SD)
Largish size
Higher weight
Z9 45mp
8K raw video
Little rolling shutter
1/32000 top shutter
Mode button UI
Built-in GPS
Built-in vertical grip
Huge battery capacity
Matching slots (CFe)
Fully weatherproof
Largest size
Heaviest weight
Missing HEIF, couple of others


I've left the Zf out, as it's just a completely different kind of design and at the moment stands alone in its differences. For most things in the table, the Zf slots between the Z50II and the Z6III, as you might expect from the price.

What's remarkable in the four cameras shown above, though, is how close they come in both features and customization, which means that each is a fine stand-in (backup) for the next higher level. I find it relatively easy to move between these four cameras, as the menus, features, and customizations all are (surprisingly for once) consistent. Where a feature or customization isn't available on one of these four, it often is because it's not supported by hardware (e.g. multiple slot configuration is not something you find on a Z50II, 8K video can't be done on the 24mp Z6III). There are a couple of oddities that aren't included in one model or another, but these are rare and often have workarounds. 

One thing not in the above table is the Rear LCD. The bottom two models (Z50II, Z6III) have fully articulating (swinging) screens, the top two models (Z8, Z9) have dual-axis tilting screens. As you might guess from price, the Z50II has a lower dot count and brightness than the other three.

For what it's worth, this is the first time since the D1h, D1x, and D100 that we've had reasonably consistent UI and closely matching feature sets in the primary bodies from bottom to top. Once we got to the D2 generation, Nikon started making bigger and bigger deviations as they expanded the consumer and prosumer lines, though we did get some higher end "pairings" that were relatively consistent (e.g. D300, D3, D700, or the later D500, D850, D5). 

So what's missing? The Z5 and Z7 joining this Z9 generation consistency. I fully expect the Z5 to do that at some point, but I'm less sure about a Z7III, as it just becomes a lower cost Z8. It seems to me that the Z8II has to appear (with new abilities/features) before a Z7III makes sense.

Nikon Has Added to the Self Support System

Since Nikon keeps adding to their self-service manuals, I've added pages for cameras/accessories and lenses that tell which products have manuals. Some parts are available from NikonUSA (currently 1683), but note that for truly serious internal repairs, you sometimes need access to "core" components, which aren't always available here in the US.

This is truly "void your warranty" territory and not for the faint hearted. Moreover, if you don't have a set of JIS screwdrivers or don't know what that means, you probably shouldn't even contemplate repairs on your own.

After completely scorching NikonUSA years ago when they basically closed off all third-party repairs and stopped selling parts, I have to commend them for visibly re-entering the fray (though some of that is motivated by right-to-repair laws that have come into effect). 

Other site note: now that we have over 100 mount adapters, I've highlighted the ones that are autofocus on my Z-mount adapter page.

Is One of Nikon's Problems Just Names?

As many of you know I've been working on a book about Nikon JPEG use (it’s going to be well into 2025 before it appears, so please don't pepper me with questions of "when?"). 

One thing that's come up in my research with users about JPEG use is that many prefer Fujifilm if JPEG files are what they are always creating. When I press these users on this, it turns out that this is partly because Fujifilm uses film names for their JPEG looks: e.g. Provia, Velvia, Astia, Classic Chrome, etc. Nikon's naming is a much more generic Auto, Standard, Neutral, Landscape, etc.

Moreover, Fujifilm's current cameras can display a full page of information about each look as you scroll through them:


Setting aside for the moment that I don't find any of Fujifilm's film simulations accurate to the way the named films depict a scene, doing things by using film names has two positive impacts for users: (1) it reaffirms the reason why they might want to use a simulation; and (2) for those who used film in the past, it matches the way they used to pick what they were using.

You might think this is a subtle difference, but consider Nikon's Picture Control naming for a moment, specifically Standard, Neutral, Landscape, Portrait, and Vivid. What if you're not photographing a landscape or a portrait, which Picture Control do you use and why? You seem to be left with the names Standard, Neutral, and Vivid to choose from, and no additional information to help you! 

Things get worse with the twenty Nikon Creative Picture Controls (Dream, Morning, Pop, Sunday, etc.). Basically you're on your own, and I hope you read the manual or my book on your camera and paid careful attention to the words we used in describing those Picture Controls (tip: I use more words than Nikon, and I display the same scene with each Picture Control in my books to give you an accurate visual reference). 

What I've found with a number of Nikon users is a form of analysis paralysis: the words don't give them enough information to make a useful decision, so they punt and just set Auto hoping it will do the "right thing." 

Let me cut to the cheat sheet: most of the film simulations and Picture Controls differ mostly in two specific things: contrast and saturation. So let me offer you some crude not-quite-equivalents (these do the same basic things, but not by exactly the same amounts):

  • Baseline: Fujifilm Provia, Nikon Standard
  • Turn it up to 11: Fujifilm Velvia, Nikon Vivid
  • Dial it down: Fujifilm Eterna, Nikon Neutral

The problem with both Fujifilm and Nikon is that their other choices fall in between the above in some not-always consistent or easy to describe way. The Fujifilm Pro Neg and Astia choices all take out contrast, and the Pro Neg choices also takes out saturation. There's also nothing between Provia and Velvia in the Fujifilm Contrast/Saturation chart. With Nikon, we've got Landscape in between Standard and Vivid

Nikon unfortunately removed the function in their cameras that used to tell us how each Picture Control plotted in terms of contrast and saturation, including how far you could vary it with the sub-parameters. Now they've gone the opposite direction and, with the new Flexible Picture Controls you can create using your computer, give Z50II and Z6III users an overwhelming array of control in this regard. (If you want to see what the strange Recipes—pre-made Flexible Picture Controls by an odd assortment of creators—provides, scroll all the way to the bottom of the Nikon Japan page for Flexible Picture Controls where it says Picture Control Simulator, and click on one of the circular buttons below the sample pictures. Way to bury information, Nikon. But thanks for helping prove my point. ;~)

If you look carefully, you can see engineers trying to do the right thing, but the product marketing folk completely at a loss for how to describe and promote it, plus then removing the thing that allowed us to begin understanding what is happening. Thus, it all comes back to words, and we don't have many, so it's unclear what you do when the word doesn't match what you're photographing. For travel photography, for instance, should you use Standard, NeutralLandscape, or Vivid? If there's a person in the image do we absolutely need to use Portrait? And what does Rich Tone Portrait do? 

So what's happening with my upcoming book on using JPEGs is this: part of it is turning into a dissertation on matching Picture Controls to intent. 

Fortunately, there's a practical workaround, and of all things, the best version of this just appeared on the Nikon Z50II via its Picture Control button: (1) tap the button, (2) now looking at your scene use the dial to select which Picture Control looks best (you can also use the Front Command dial or Direction pad to select sub-parameters, all while still viewing the scene you're trying to capture). 

If you don't have a Z50II, you can do something similar: (1) tap the I button, (2) navigate to Set Picture Control and select it (OK button), (3) use the Direction pad to select a Picture Control and other adjustments as you view the scene. One difference compared to the Z50II besides the extra steps: you see less of the scene this way, as the on-screen control structure takes up a more significant portion of the display.

Tip: In my presentation on Black Friday I did a very brief demonstration of how Flexible Picture Controls are useful to the wildlife photographer (for when they use pre-release capture). What I didn’t say is this: on that Z50II I can disable Picture Controls I’m not interested in. Meaning that I can more quickly navigate to one of my predefined ones using that Picture Control button. Hopefully Nikon sees how useful this is and adds this small change (ability to remove Picture Controls from choices) to the other cameras.  

How’s Your Fruit Hanging?

Now that Nikon has rolled the EXPEED7 generation from top of the line (Z9) to the bottom (Z50II), one of the questions I keep getting is about the next generation cameras.

Many expect EXPEED8 popping up at the top of the lineup again in something that might be called a Z9II. I’d more likely expect an EXPEED7 Extended, as in a companion chip that performs a subset of actions, likely all AI-related. We’ve seen Sony do this recently, and I believe this is the correct approach for the volume-constrained dedicated camera market; you can’t keep completely redesigning your complex SoC (system on chip) to smaller process and newer core/IP as well as new functions constantly, it’s just too expensive to do that for the small volume of units (likely ~3m units lifetime for Nikon now, which would be done over four years minimum at current volumes). But you can augment that by offloading some of the work to a simpler, new companion chip in the top camera that returns more R&D money due to its lower design cost and the fact it is in a product with a high retail price.

I believe Nikon experimented with that idea using the dual EXPEED6 chips of the Z6II/Z7II cameras, though because that was basically putting two full SoCs together it wasn’t particularly efficient at adding capability plus doubled the SoC cost for the cameras. The Z8 and Z9 already have that unique dual stream coming off their image sensor, so this seems exactly where you might be able to derive a benefit with an auxiliary chip: you even further split that stream so that two chips are looking at it, perhaps with one doing the viewfinder work, the other doing the focus work. 

Now that we have the Canon R1 and Sony A1 II available, the Nikon Z9 is the elder statesman of the top-of-the-line pro cameras and we should be comparing potential Z9II additions to those cameras. It's illustrative therefore to compile a list of the major things these two newer cameras have that the Z9 doesn't:

  • Cross type AF detection (R1)
  • Eye control focus (R1)
  • 40 fps (R1)
  • Main subject priority (R1) or stickier subject recognition (A1 II)
  • Person registry (R1)
  • Stills while recording video (R1)
  • 9.4m dot EVF (R1 and A1 II)
  • Hot shoe accessory electronics (R1 and A1 II)
  • UVC streaming directly (R1)
  • Auto framing (A1 II)
  • Tilt/Fully Articulating LCD (A1 II)
  • 1/400 flash sync (A1 II)
  • Content authentication (A1 II, R1?) 

With the above in mind, it's time to talk about the fruit. As in what might be low-hanging fruit for Nikon to harvest, and what is the tougher fruit to get to and pick? So let’s discuss what might be in a Z9II by which type of fruit it might contain.

Low-hanging fruit:

  • 5m dot or higher EVF. The natural thing would be to move to the Z6III viewfinder. That’s very low-hanging fruit. Going higher in dots or nits would still be relatively low-hanging, but requires a bit of extra work and may require more use of EXPEED’s bandwidth during composition.
  • CFe 4.0 support. We have faster cards now, but the camera needs card slots that support them. This might not be as low-hanging a fruit as it first seems—at least not if you want to use all that speed—because EXPEED itself needs to support the extra PCIe lanes, and I don’t know if EXPEED7 does so directly or not.
  • Fill in the missing features. Surprisingly, a Z9 after all the big firmware updates still doesn’t have HEIF, Pixel shift shooting, Nikon Imaging Cloud, and a few other things that appeared first on later, lesser cameras.
  • Fix the customization. I outlined how the way to save and change configurations on the camera should work over six years ago. We still are using separate Banks and a single Save menu settings capability that is no longer anywhere close to state-of-the-art for a top end camera. A configuration-save rethink is mostly reprogramming the menu system to support it. Very low-hanging fruit, you just need some laborers to do the picking.
  • Improve the existing features. Another pass on the machine learning for subject detection could improve focus, plus we should easily get things like stills-while-recording-video, and UVC direct streaming. 
  • Any kind of raw pre-release capture. It doesn’t matter if it’s 15 fps High efficiency, or even 10 fps Lossless compressed. While neither of those are optimal, they’re 100% better than we’ve got.
  • Content authentication. Nikon was first to demonstrate this (on the original Z9), but it appears they’ll be last to ship it. This is fruit that probably will fall right off the tree if you look at it hard enough. 

Let me stop there for a moment. Would the above things be enough to sell a Z9II? I believe so. Basically you’d get a followup model without a ton of extra R&D investment. Every one of the things I just mentioned are things that would improve my ability to do the level of work in sport and wildlife I’m currently achieving, because they relieve pressure points. I’m pretty sure that most pros would feel the same way. (Given the low-key reaction to the Sony A1 II, I’d expect a Z9II defined by low-hanging fruit to get the same response.)

Okay, but what about other fruit?

Hard-to-reach fruit:

  • Faster electronic shutter. The need for this starts with the group using flash: it would enable higher flash sync. However, in general, less rolling shutter simply tidies up the performance of the camera overall, particularly when used for video. The Z9 is good, the Z9II could be better. The Sony A9 Mark III sets the bar with its global shutter, though that comes at a cost we probably don't want to pay. Can Nikon move closer to that bar with a refresh of the image sensor to increase internal bandwidth? It’s about the right time period where such internal speed increases would be expected.
  • Faster frame rates. Related to the former, as both require more bandwidth in the underlying electronics. The Z9 is already 8K/60P (though in raw). Can you really get another 2x push inside the sensor without breaking things? And just how much benefit is 30 fps over 20 fps for stills? Both things are worth pursuing, but it's a cost/benefit problem right now as the fruit might not quite be ripe.
  • Better dynamic range. For every photon we do convert into an electron, we currently throw away at least one, and more typically closer to two. Increasing sensor efficiency would definitely have direct image quality implications, but nobody’s moving the efficiency bar these days with current sensor technologies, which implies you'd need a completely new sensor design. That's fruit sitting at the very top of the tree, plus it might not be ripe yet.
  • Direct storage. Why not let an SSD connect directly to the camera? At the simplest level (image transfer), you could do that today, though we probably need to be concerned about the power implications. I’m not sure that EXPEED is currently set up for anything more than what it's currently doing in pushing to CFe 2.0, so any higher speed use—recording raw video direct to SSD, for example—probably gets us into heavier R&D efforts.
  • Better direct communication. I had a video camera that supported a cellular slide-in accessory eight years ago. Today I have a portable video switcher that supports multiple, banded-together cell streams today. What I don’t have is a still camera that truly (directly) supports any form of direct communication (FTP via Ethernet or USB is indirect). I can run a cable to my phone and set up the phone to push to a single FTP point (using NX MobileAir), but that’s slower and more cumbersome than it need be (again, it’s also indirect, not direct). The ultimate, of course, would be to have a cellular option in (or an accessory for) the camera, with all the VoIP type options (including streaming) as well as direct push to anywhere. This fruit has been ripe for some time, but apparently no one wants to climb the ladder to pick it.

The problem with almost all that tougher to pick fruit is that it requires replacing current parts with newer, better performing parts. That is not just added R&D cost, but it also takes time—sensor bandwidth increases on a regular basis, and can’t really be forced to happen faster—as well as significantly more testing to insure that it works as expected. 

Also: the more forbidden the fruit you’re reaching for, the more likely you fail to reach it. You can say “we’re going to implement Technology X.” However, as you try to do that you may discover you can’t get it to the point where it’s worth deploying yet. Either the technology isn’t quite there yet, or the cost of it is too high.  

That said, a Z9II with both the low-hanging and harder-to-reach fruit in it would be a formidable beast, and further cement that camera’s abilities and reputation. 

Finally, we have fruit that are not yet ripe:

  • Global shutter. As we saw with the Sony A9 Mark III, pushing all the way to a fully global shutter has a detrimental impact on dynamic range. No one has yet shown that you can do otherwise. To me, this limits the camera’s function, whereas a Z9II needs to again be a do-all, be-all camera.
  • Quad pixel focus. Canon will probably get to this first, mostly because they’ve been exploring this longer. But I’ll use a weaker standard here: any dual axis focus capability. Right now, Nikon (as well as Fujifilm and Sony) are single axis with gaps between rows. Nikon has numerous patents in this area, but I’m not sure we’ll see anything in the next generation. The patents feel more like describing unripe fruit than pointing to something about to be picked.

Studying what Nikon’s done and the patents for what they’re likely to do, I assess the above two items to not be ready to pick. I’m guessing that those are at least another generation of camera away.

Yes, I know some of you are screaming about other things you want. Most of those likely would be EXPEED8 types of things, so that also puts them into a future full generation update. If Nikon could add an EXPEED8 bundled with more capability to the Z9II, great, but what I'm looking at now is a Z9 original that's several years old that's still pretty much at the top of class. It really just needs some low-hanging fruit picked to stay at the top of the class, and any higher level fruit is just sweetener. My guess is that EXPEED8 is not in any Z9II, partly because of the cost considerations. Nikon really needs to milk EXPEED7 as much as possible at the moment to recover R&D costs.

I suppose we could consider a 24mp Z9h instead of a Z9II (h was Nikon's designation for high speed camera in the digital era). The reduction in pixel count should allow 40 fps and 1/400 flash sync to be possible with EXPEED7. I'm not sure there's much demand for such a product, though. 

Sony moved first (A1 at the start of 2021). Canon moved next with a mid-2021 R3. Nikon moved last with the Z9 (at the end of 2021). Both Canon and Sony have now already iterated, yet here we are with the Z9 holding its own simply via firmware updates. Some low-hanging fruit could be done simply with version 6.0 firmware, or Nikon can make a small number of technical and hardware changes (EVF change, for example) and create a Z9II. I'd be happy with either.

KISS Is Your Friend

Now that all the camera body gifts have been unwrapped and unboxed—including the ones you gave yourself—what follows next is the inevitable "which lenses should I get?" question. 

When I'm asked the question (or see it in forum posts) the most popular variant is not just which lens to get, but which of several, sometimes many, lens sets should they get. My response to that is usually "keep it simple, silly" (KISS). 

The proper starting out travel/versatility "kit" is simply the 16-50mm f/3.5-6.3 VR for the DX bodies (Zfc, Z30, Z50II), or the 24-120mm f/4 S for the FX bodies (Zf, Z5, Z6III, Z7II, Z8, Z9). Why? Because they're both excellent mid-range zooms (and on DX you get some image stabilization that's not in the bodies). They both go from pretty wide to moderately telephoto, which is where you should probably start if you're thinking all-around usage.

KISS DX

DX is probably simpler to discuss than FX, because (buzz, buzz) the choices are few. The KISS principle says:

  1. 16-50mm f/3.5-6.3 VR
  2. 12-28mm f/3.5-5.6 VR and 18-140mm f/3.5-6.3 VR
  3. 16-50mm f/3.5-6.3 VR and 50-250mm f/4.5-6.3 VR
  4. 12-28mm f/3.5-5.6 VR and 28-400mm f/4-8 VR

That's exactly the order I'd suggest you consider your basic lens options. It's also the order of increasing capabilities. 

Low cost, fast aperture primes are proliferating in DX, but none have VR, so they lose some versatility (you start substituting faster aperture to get shutter speed). If you're getting lost in selecting a prime for a DX camera, you're really lost and should stick to the zooms until you really understand what's truly missing from your basic lens set (typically portrait isolation, which suggests 56mm f/1.4 or f/1.8). 

KISS FX

With FX it is far more easy to get lost in lens choices, as there are simply many more choices and the lens VR need is rendered mostly moot by sensor VR. Here’s my suggestions to consider (again in the order I’d suggest you consider them):

  1. 24-120mm f/4 S
  2. Any pair (or trio) of the Tamrikon f/2.8 zooms (17-28mm, 28-75mm, 70-180mm)
  3. Any 24-70mm zoom paired with the 70-180mm f/2.8 zoom
  4. The f/4 set: 14-30mm f/4 S, 24-120mm f/4 S, and I'm going to surprise you here: 400mm f/4.5 VR S
  5. The f/2.8 trio: 14-24mm f/2.8 S, 24-70mm f/2.8 S, and 70-200mm f/2.8 VR S

Again in the order you should consider, and (mostly) in the order of increasing capabilities.

Primes have also proliferated for FX, and since the FX cameras have sensor-based VR, you don't lose the extra versatility as you do with DX. But again, if you're getting lost in selecting a prime for an FX camera, you're really lost and should stick to the zooms until you really understand what's truly missing from your basic lens set (typically portrait isolation, which suggests 85mm f/1.4 or f/1.8). 

KISS Summary

If you're veering outside one of the base sets I noted above, then you apparently have specific needs or likes, and you probably already know what you're going to get. 

You need to be honest with yourself: are the photo opportunities you usually have ones where you want to carry your gear all the time with it being svelte and accessible, or do you really carry that 40-pound backpack stuffed with extra gear all the time, and have the time to pull out and set up exactly the right tool for the job? 90% of you are in the former category, I'll bet. More than two lenses just gets to be travel unfriendly, plus most of your photography is likely to happen as you travel (street photography, travel photography, landscapes on vacation, and so on). 

"Wait a second," you're going to argue, "if I'm going to photograph X today then I need a lens for X. Tomorrow may be different." Sure, but in so arguing you're also telling me you already know what lenses you need for all the photography "jobs" you are going to undertake. Perhaps you meant to ask "is the 20mm f/1.8 S or 24mm f/1.8 S the right lens for astrophotography?" ;~). 

What I'm talking about here is for the "got a new body, need a new basic lens set" crowd. These folk are going to have a hard time suggesting something better than the sets I outlined above. 

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Bonus: I'm always amused when someone does a deep analytical focal length dive on all the photos they've ever taken and comes back with the "I only use my zooms at the two extremes, so maybe I should just get two primes." Probably not. Yes, your lens is effectively equivalent to two primes, but you also don't have to be changing lenses with the zoom or carry an extra lens around with you. You also need to check whether or not you were using perspective properly at those two focal lengths, or just zooming from the same position.

This, by the way, is one of the reasons why Nikon needs its own version of the Sony 28-70mm f/2GM: that lens is what I'd call a top level 50mm f/2 prime, as well as a 28mm f/2, 35mm f/2, and 70mm f/2 prime that are all very near top level. Four excellent primes in one lens. Of course, I'm not sure anyone who has one is disciplined enough to use it that way; I'll bet they use zooming rather than controlling perspective most of the time ;~). 

Site Refresh

I spent the holidays working on the Web sites. Every year I try to bring them as much as possible to what’s current thinking about the Z System. That includes a lot of work that won’t necessarily be noticed. For example:

  • The ratings have all been re-looked at, added to, and refreshed where necessary. Charts outlining my ratings have been updated, as well. 
  • The camera reviews have all gotten an edit to bring them up to current thinking wherever possible. Some wording has been changed, a few additional comments have been added here and there.
  • A general cleanup of the site structure has moved “About” links into the footer to make the menus a little cleaner. 
  • I even found a news article that was in the wrong place in the structure and moved it into its correct position.
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