Compared to the entry-level full frame mirror-less cameras of Nikon’s nearest competitors, the Canon EOS RP, the Sony a7II, and the Panasonic Lumix S5, The Nikon Z5 beats them all in both technical specifications and, importantly, price. And while the differences in the spec sheets are in some places marginal, there is a clear winner in the end.

So let’s compare the Nikon Z5 with the very similar cameras mentioned previously, with specific focus on what makes the Z5 the one to buy.

Specifications of the Nikon Z5

• Image Sensor: 24.3 MP FX BSI Sensor, 5.9µ pixel size
• Sensor Size: 35.9 × 23.9mm
• Resolution: 6016 x 4016
• Native ISO Sensitivity: 100-51,200
• In-Body Image Stabilization: 5-Axis
• Processor: EXPEED 6
• Dust Reduction: Yes
• Weather Sealing: Yes
• Body Material: Magnesium Alloy
• Shutter Speeds: 1/8000 – 30 seconds
• Shutter Durability: 200,000 cycles, self-diagnostic shutter
• Storage: 2× SD UHS-II
• Viewfinder: 3.69 Million Dot OLED Electronic Viewfinder
• Viewfinder Coverage: 100%
• Viewfinder Magnification: 0.8×
• Continuous Shooting Speed: 4.5 FPS
• Built-in Flash: No
• Autofocus System: Hybrid PDAF, 273 Focus Points
• AF Sensitivity Range: -2 to +19 EV (-3.5 to +19 EV with low-light AF)
• LCD Screen: Touch-enabled 3.2″ Tilting LCD with 1.040 Million Dots
• Movie Mode: 4K UHD @ 30 FPS, 1.7x crop
• HDMI Output: 8-bit 4:2:0, no N-Log
• Silent Photography Mode: Yes
• Intervalometer: Yes
• Focus Stacking: Yes
• In-Camera HDR Capability: Yes
• WiFi / Bluetooth: Yes
• Battery Type: EN-EN15c
• Battery Life: 470 shots (CIPA)
• USB Standard: Type-C 3.1
• Weight and Dimensions: 590 g (Body Only); 134 × 100.5 × 69.5 mm
• Price: $996

Experienced photo nerds will likely browse that spec sheet and settle on the last line of data – the price. It’s surprisingly low.

That we can get a camera this good for $996 is simply astonishing. And while $996 is a lot of money, no doubt, I can see by the specs that the camera we get for that money could satisfy the image-making requirements of most photographers for a long time to come. With a spec sheet that good, there’s very little reason to upgrade.

Nikon Z5 Mirrorless Camera

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The Nikon Z5 Compared to the Canon EOS RP

Canon has their own entry-level full frame mirror-less camera, called the Canon EOS RP. And it’s a very good camera. But when we really dive into its spec sheet we start to see that it falls just short of the Nikon in a few key areas. Here’s a list.

Nikon’s Z5 has in-body 5-axis sensor-shift image stabilization which works in both stills photography and video modes. The Canon EOS RP does not have in-body image stabilization whatsoever. Instead, Canon offers lenses with built-in optical image stabilization (IS lenses). These lenses are bigger and more expensive than those without IS. When shooting video (but not in stills photography), the Canon uses software-based digital image stabilization. This sounds neat, but it also slightly degrades image quality.

Nikon’s Z5 can shoot 4K video at 30 fps, where Canon’s EOS RP records 4K only at 24fps. While this isn’t a massive win for the Nikon, it’s still a win. Both cameras, incidentally, record 4K at a 1.7 crop factor, which is a big reason to consider upgrading to a higher level camera – but now we’re getting away from entry-level pricing.

The Nikon’s electronic viewfinder has higher magnification than Canon’s, 0.8x compared to 0.7x, and the Nikon’s is made up of 3.69 million dots where Canon’s is 2.36 million. Another win for Nikon.

The Canon only has a single SD card slot compared to the Nikon’s two slots. This is important for anyone who wants to use this camera professionally, as it’s critical to have redundant backups of images that can’t be replaced. Think, weddings, engagement photos, senior portraits – working photographer stuff.

Nikon’s camera costs $5 less than Canon’s. Okay, that really shouldn’t factor. But again, that’s a free cup of coffee or two if we choose the Nikon.

The Canon EOS RP does actually edge out the Nikon in a few lines of the spec sheet. Its LCD display can flip entirely around to a front-facing configuration where the Nikon’s only tilts up and down, and the Canon’s image sensor offers a couple of additional megapixels (Canon’s EOS RP sensor records 26.2MP compared to Nikon’s 24.3MP). Canon’s burst mode fires at 5 FPS compared to Nikon’s 4.5 FPS.

For me, the data points dominated by the Nikon are more critical than those claimed by the Canon. And that’s why I chose the Z5.

The Nikon Z5 Compared to the Sony a7II

The camera that I used professionally before switching to the Nikon Z5 was, in fact, the Sony a7II. And I couldn’t be happier with the decision to switch. While Sony’s camera is excellent, the Nikon is just better. Here’s where we see that on the spec sheet.

Nikon’s camera does 4K video and Sony’s does not. It only shoots as high as 1080p. That’s worse than the Canon and an easy win for Nikon.

Nikon’s electronic viewfinder is better than Sony’s, too. Sony’s EVF has the same resolution as the Canon EOS RP, at 2.36m dots compared to the Nikon’s 3.69m.

The Nikon, as already mentioned, has two SD card slots. The Sony, like the Canon, has one.

Possibly a subjective assessment here, but after years of shooting the a7II I’m comfortable reporting that the ergonomics of the Sony are cramped and painful, especially for extended shoots. The Nikon is an ergonomic dream. Its grip, balance, size, and weight are all perfect, and its button layout is intuitive and clean.

The Sony’s finish and durability aren’t as high quality as the Nikon’s. My Sony’s rubber thumb grip peeled away after a year, and the SD card slot door has always been flimsy and weak.

But most damning of all for Sony’s machine is the price. The Sony a7II has a list price of $1,398. That’s $400 more than the Nikon Z5. So, you pay more for… less?

The Nikon Z5 Compared to the Panasonic Lumix S5

Of all the competition on this list, it’s the Panasonic Lumix S5 that comes closest to toppling the Nikon Z5. But that really shouldn’t be surprising, considering that the Lumix S5 has a list price of $1,997 (nearly double the cost of the Nikon). And even though Panasonic seems to run a perpetual sale on the S5, that sale price still never drops below $1,497 ($500 more than the Nikon).

This higher price point realistically places the Lumix S5 as competition for Nikon’s up-specced Nikon Z6, rather than the entry-level Z5. But I include it in this comparison to better illustrate the point that we get a lot for our money with the Nikon Z5. It even competes with cameras above its class.

When we compare the Nikon Z5 to the Panasonic Lumix S5, the only appreciable difference is that the Lumix can shoot 4K video at 60FPS. If we’re happy with 4K video at 30FPS, the Nikon does that for $500 less.

Sample Images Made with the Nikon Z5

(Just imagine what a good photographer could do with one!)

Final Thoughts

Truth be told, all of the cameras mentioned in this article are amazing machines. As I said to my friend when he asked which full frame mirror-less camera he should buy; nobody makes a bad full frame mirror-less camera. The Canon EOS RP, the Sony a7II, the Panasonic S5, and the Nikon Z5 are all world-class, and any of them would do anything that the everyday photo nerd requires. But if I had to pick one, it’s the Nikon.

If only by a narrow margin, the Nikon Z5 is truly the best value camera on the market right now. It’s more feature-dense than the entry-level full frame mirror-less camera from Canon, and a much better camera (and value) than the Sony a7II. The only camera that could beat it is the Panasonic Lumix S5, but that camera’s priced so high that I find it unfair to measure it against the Z5.

The best endorsement that I can give a product is to use that product myself. The Nikon Z5 is the camera that I chose. And I chose it because, simply put, it’s the best value full frame mirror-less interchangeable lens camera available today.

Nikon Z5 Mirrorless Camera

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Full disclosure; I’m a camera freak, jumping from brand to brand, going from digital to film, experimenting with different formats. I have no shame. This is what happens when you are a lover of cameras and photography and not loyal to any brand or format.  

A camera is a tool used to capture light in a box. Sure, some are more elegant, some do it more efficiently, but the best camera for each photographer is the one that serves their needs for the given situation. It’s that simple. 

So, with Panasonic and OM Digital Solutions (formerly Olympus) set to launch their new flagship cameras based on the micro four third sensor shortly [in fact, Olympus today announced the new OM-1], let’s examine the system’s strengths, limitations and yes, the hate.

A brief history of micro four thirds

The micro four thirds (MFT) system is the standard based on the four third system originally developed by Kodak and Olympus. It was the first format specifically designed for digital single lens reflex (SLR) cameras. Olympus engineer Katsuhiro Takada selected the sensor size as the best compromise that allowed for optically excellent images from a smaller camera body. 

Later, Panasonic joined Olympus to further develop the MFT system. The sensor size remained the same. The only difference was that the MFT system was without a mirror. They were the first mirrorless cameras with interchangeable lenses. The first MFT camera released was the Panasonic Lumix DMC-G in 2008. Olympus followed in 2009 with the PEN E-P1.

(The MFT sensor is 4x’s smaller than the 35mm “full frame” sensor)CC https://creativecommons.org/licenses/by-sa/3.0/

This smaller sensor creates a 2x crop factor when compared to a full frame sensor (The same dimensions of the 35mm film). Without getting too technical, just remember your field of view and depth of field are doubled. 

For example, if we use a 50mm lens with a 1.8 depth of field on a full frame camera. This same lens when placed on a MFT camera becomes the equivalent of a 100mm lens. I would have to physically back up from my subject (increase my working distance) to get the original 50mm field of view. I’m still letting in the same amount of light with the 1.8 aperture opening, but my depth of field (out of focus area) is equivalent to a 3.6 on a full frame camera.

The MFT system has its inherent limitations, which we’ll discuss first, and then follow that with its benefits. 

Limitations of MFT

• Low light ability isn’t as good as larger sensors – A larger sensor camera does a better job in low light conditions. The greater number and the larger size of the photosensors allow for more light gathering. Current MFT sensors start showing noticeable digital noise around 6400 ISO.
• Depth of field is wider – If you crave bokeh, a system with a larger sensor achieves this easier and is a better option. However, you can create sufficient subject and background separation if you understand all the variables in producing depth of field in photography even with a MFT camera. 
• Less dynamic range – There might be slightly more image detail with full frame cameras, but honestly the casual picture taker may not be able to see the difference. You would have to truly pixel peep to spot any discrepancies.

Benefits

• Size and portability – Despite the small size of the current generation of mirrorless full frame camera bodies, their lenses (yes, there are a few exceptions.) are still considerably larger than on MFT systems, especially telephoto lenses. Full frame lenses have to be larger to cover the larger surface area of the sensor. 
• In body image stabilization – Tack sharp hand-held shots are capable with shutter speeds of a few seconds, making tripods less needed. The smaller sensor is just easier to stabilize.
• Depth of field is wider – Depth of field was mentioned as a limitation before but depending on your genre of photography a wider depth of field may be more desirable. A photographer shooting adventure, architecture, environmental portraits, landscapes, macro, nature and street photography may not require a system that produces a very shallow depth of field.
• Smaller Files – For the majority of the current crop of MFT hybrid cameras the megapixel limit is around 20. There continues to be heated debate about how many megapixels are truly needed to produce quality clean images especially if images are printed. Bear in mind, as file size increases the more storage space required, and the greater computer processing power needed to work with the files in your imaging software.

Hate through the centuries  

Throwing shade on the little guy is nothing new in photography. When the 35mm film format was first gaining popularity in the early 20th century for still photography, it was considered unprofessional and the medium of only the amateur by many accustomed to using the larger film formats of the era.

In the late 19th century, Alfred Stiegliz, one of the pioneers of modern photography, wrote The Hand Camera – Its Present Importance in the 1897 edition of The American Annual of Photography.  In the article, Steigliz confessed to his past prejudice against the newly developed smaller hand-held cameras, and how he considered them not serious tools for true photographers or professionals. 

By Alfred Stieglitz – National Gallery of Art, Washington, D. C., online collection, Public Domain

In the 21st century, the same attitude over size influences beliefs about whether the MFT system is suitable for professional work. 

However, as the system has matured, there have been a number of photographers who have embraced the system and are producing compelling professional work. Below are a few:

• Matt Harspool, Australian based adventure, travel and underwater photographer 
• Magic Owen, UK based fashion photographer
• Lisa Michele Burns, Australian based travel and landscape photographer
• Jimmy Cheng, UK based portrait and wedding photographer
• Jay Dickman, USA based National Geographic travel and nature photographer 

The future

So, what does the future hold for the MFT system? With more than fifty lens manufacturers producing lenses for the system and the number of hybrid shooters it will continue to survive in some form for the foreseeable future. However, its growth has much to do with Panasonic’s and OM Digital Solutions commitment to research, development and pushing the boundaries of what’s possible with the sensor. Although capable, the current sensors in the most recent Olympus OMD EM-1 MK III and the newly released Panasonic GH5 II are four years old. A Promising sign is the development of a 21.46 megapixel stacked CMOS designed sensor that may soon find its way in future releases of micro four third cameras.

The Panasonic GH6 and the OM Digital Solutions flagship cameras are scheduled for release early this year. They will have to come strong with features and performance to silence, if only briefly the bigger is better critics.

So, is the system right for you? Only you can decide. Your subjects, shooting style and personal needs will dictate what’s best. I am cautiously optimistic about its future. I want the system to survive, not out of some great sense of loyalty. As stated earlier, I have none. I want to see it survive because it is a viable system and in the hands of a competent photographer who understands its strengths and limitations outstanding work can be produced. 

More importantly, competition drives innovation. The more manufactures we have producing cameras with their unique approach of capturing light in a box, the better it is for us photographers to tell our own singular stories.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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