In partnership with

The New Nikon Z5 II - A Close Look

Nikon just pulled the curtain back on the Z5 II, its latest full-frame mirrorless camera and a big leap forward from the original Z5. It still sits in that entry-level full-frame spot — especially price-wise at $1,700 — but in terms of features and performance, it punches well above its weight. It’s a solid option for anyone wanting to move beyond crop-sensor gear without shelling out Z6 III money, especially if image quality is the top priority. Since the Z5 II doesn’t use a stacked sensor, it avoids the typical dynamic range loss you sometimes see in faster cameras.

At the heart of it is a 24-megapixel backside-illuminated sensor paired with Nikon’s EXPEED 7 processor, which gives it some serious chops in low-light conditions. Nikon’s claiming best-in-class performance here, with minimal noise and snappy autofocus even in really dark scenes — we’re talking down to -10 EV, which is basically candlelight levels. The ISO range backs that up, going from 100 to 64,000 natively for photos and topping out at 204,800 in extended mode. For video, it hits ISO 51,200. There’s even a Starlight View Mode to help with focusing and composing in extremely dark conditions, plus a night vision-friendly Warm Color Display Mode. And if you’re shooting long exposures, it supports up to 15-minute shutter times — no external timer needed.

The camera’s in-body image stabilization system adds even more low-light flexibility, offering up to 7.5 stops of shake reduction at the center of the frame. Edge stabilization isn’t far behind at 6 stops, and there’s also a new Focus-point VR feature that adjusts stabilization based on where your focus point is — helpful when your subject is off-center.

For folks chasing more detail, the Z5 II also includes a Pixel Shift mode that stitches together 96-megapixel images using Nikon’s Studio NX software. And autofocus is a big upgrade from the first Z5. You get Nikon’s 3D tracking and, for the first time in a full-frame Nikon mirrorless camera, the new AF-A mode — it automatically switches between single and continuous focus depending on what it detects in the frame. No more toggling between human or animal tracking; the camera figures it out.

Speed-wise, it’s no slouch. You’ll get up to 14 FPS for JPEGs and 11 FPS for RAW with the mechanical shutter, or 30 JPEG and 15 RAW using the electronic shutter. It also includes Nikon’s pre-release capture mode, which lets the camera buffer shots a second before you press the shutter all the way. Great for unpredictable action moments.

Build quality hasn’t been overlooked either. The Z5 II has magnesium alloy panels on the front, top, and back, giving it solid durability and weather resistance. It even comes with dual SD card slots, a feature usually reserved for more expensive bodies. There’s also a dedicated Picture Control button up top that gives instant access to up to 31 built-in color profiles and downloadable Imaging Recipes. Think of it like built-in film looks you can preview live.

The EVF has seen a big boost too — Nikon says it’s six times brighter than other models and can hit 3,000 nits at peak. The rear LCD is a 3.2-inch fully articulating touchscreen, great for awkward shooting angles or video work.

Speaking of video, the Z5 II records uncropped 4K at 30 FPS. Want 60 FPS? That’ll come with a 1.5x crop. If you drop down to Full HD 1080p, you can go all the way up to 120 FPS. The camera can shoot in 12-bit N-RAW (and, notably, to SD cards — a first), 10-bit H.265, and standard 8-bit H.264.

A couple sample images:

The Nikon Z5 II is set to hit shelves in April 2025 for $1,699.95 body-only. If you want a kit lens with it, you can bundle it with the Nikkor Z 24-50mm f/4-6.3 for $1,999.95, or go all in with the Z 24-200mm f/4-6.3 VR for $2,499.95. Either way, it looks like Nikon’s entry-level full-frame game just got a serious upgrade.

Image credits: Nikon

Get your Photos featured in this Magazine for Free

I am currently testing a new feature, where everyone can get a completely free chance to be featured in my magazine and get seen by thousands of fellow photography enthusiasts.

Advertisement (Absolutely make sure to check it out) ⬇️

Let’s get serious

What’s the mark of the world’s best, most growth-minded newsletter creators? They’re all on beehiiv.

Why? Our entire platform exists to help serious content creators scale faster. We’re built for those who are ready to take their content and build it into a behemoth. 

It’s why we offer a no-code website builder. It’s why our ad network matches you with global brands like Nike and Netflix. It’s why we never take a dime of your subscription revenue. And it’s why Arnold Schwarzenegger and Ashley Graham trust us to connect with their huge fan bases. 

It’s all to put your hard work in front of more people. So if you’re ready to build, ready to grow, and ready to make the world take notice, beehiiv is ready for you.

Get started for 20% off with code BUILD.

Interview with Viewfinderthis

This week’s Interview with JT, a very talented Photographer from New York City.

You can find him on Instagram as: @viewfinderthis

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

Hey, I’m JT, a photographer with a deep love for shooting in the rain. There’s something about the reflections, the mood, the chaos—it all speaks to me.

How did you get into photography?

Photography came into my life during one of my darkest periods.

I was a French-trained executive chef, and that was my world—until I suffered a severe back injury. I had to undergo four major open-back surgeries, and for four years, I couldn’t walk. While I was recovering, I read a story about another chef going through something similar. He picked up a camera to deal with depression and creative frustration. That story stuck with me. In 2019, I decided to do the same—I bought a used camera on eBay, and that moment changed everything. I had found a new outlet, a new way to create, and a way to slowly rebuild myself.

What does street photography mean to you?

Street photography is my way of letting go of everything else.

When I’m out in the streets, I’m fully present, reacting to the moment, watching people move through space and time. It’s fast, unpredictable, and real.

There’s a kind of peace in the chaos—it becomes meditative.

Do you prefer shooting alone or with others?

Alone. When I’m out to create, I need to be in the zone, completely focused on what’s happening around me. If I’m with other people, it becomes more of a social hangout, which I enjoy—but it’s a different vibe. When I’m alone, I’m fully immersed.

How did you develop your style—both in shooting and editing?

Style, to me, is something that evolves over time.

You can’t force it. It comes from shooting constantly, and from spending time learning your editing tools inside and out. I use Lightroom Classic, and I’ve spent hours just playing around, seeing what happens when I tweak something just a little.

Eventually, certain colors, tones, and moods start to feel like you.

What role does lighting play in your photography?

Lighting is everything—especially when I’m not shooting in the rain.

I think of it as the invisible subject that helps reveal everything else. It adds emotion, clarity, or even mystery. Whether it’s a single beam of light on a busy street or the soft glow of city reflections in a puddle—light tells the story just as much as the people do.

What sets your work apart from others in the field?

Honestly, not many people shoot in the rain all the time, and that’s become a big part of what makes my work stand out.

It’s unpredictable, messy, and uncomfortable—but that’s also where the beauty is. Rain transforms the street. It adds drama, mood, and movement.

What inspires you creatively?

I’m a huge film buff, and I draw a lot of inspiration from directors like Christopher Nolan, Matt Reeves, the Wachowskis, and Denis Villeneuve.

The way they build atmosphere, tension, and emotion—it’s cinematic storytelling, and I try to bring a bit of that into every photo.

But more than anything, what pushes me is this: I couldn’t walk for four years. So every single day I wake up and my legs work, I get out and create. That’s my fuel.

What gear do you use?

I keep it simple: Sony A7iii with an 85mm f/1.4 and 35mm f/1.4

Those two lenses give me all the range I need—compression, intimacy, and context. I don’t carry a lot of gear; I want to move light and stay present.

What’s your editing process like?

I use Lightroom Classic, and I don’t really time myself when editing.

Some shots come together quickly, others take longer. I like to take my time with each image, listen to what it wants to be, and not rush the process.

What’s your take on watermarking?

Totally personal choice. I choose to add a watermark to my images.

It’s easy—just a one-click export setting for me. It adds a little signature to my work and helps keep things connected back to me.

What qualities do you think make a great photographer?

First: have fun.

Second: never stop learning. There’s always something new to try, some skill to sharpen, some mistake to learn from.

If you stay curious and open, your work will always grow.

Any tips for people just starting out?

Just get out and shoot as much as you can. Don’t overthink it. Don’t obsess over gear.

Focus on the joy of creating. That’s where everything begins.

Where do you see your work going in the future?

The rest, 3 more questions, of this Interview are for Premium subscribers only.

Subscribe to the Premium Version here

Falcam’s Move LightGo

Falcam has introduced a new piece of gear that might quietly become one of those behind-the-scenes game-changers for anyone working with lights on set. It’s called the Move LightGo, and the whole idea is pretty simple: it's a motorized lighting controller that lets you adjust the position of your light remotely, sort of like a gimbal but for lighting setups instead of cameras.

The Move LightGo gives you full remote control over both pan and tilt — 450 degrees of movement horizontally and 170 degrees vertically. That second part is especially interesting because Falcam rethought how tilt works when light modifiers are involved. Traditional light stands and yokes often can’t get that kind of tilt range without modifiers getting in the way, so they’ve extended the tilt axis forward to deal with that. It’s a small design tweak that could make a big difference when you're trying to fine-tune a softbox or reflector mid-shoot.

The system works with most Bowens mount lights — Falcam says about 95% — and can support lights up to six kilograms, which covers a lot of mid-size options. The unit itself weighs just under two kilograms, so it’s reasonably compact for what it does.

Controlling it is pretty flexible. You’ve got options for Bluetooth control via an app, wired operation, or a wireless remote that works up to 30 meters away.

Powering the unit is also pretty open-ended. Out of the box, it takes AC power over USB-C, but it also supports V-mount batteries or a power bank if you’re working in a location without outlets. Internally, it uses a supercapacitor that holds just enough charge after shutdown to let you reposition or reset it, and once it’s off, the self-locking mechanism kicks in to keep it from moving around.

Build-wise, the LightGo includes both standard screw holes and ARRI locating points, so it’s expandable if you want to attach other accessories or build it into a more complex rig. There's also a port set aside for future DMX integration, which suggests Falcam’s thinking ahead to studio workflows as well. Pricing is $250.

Image credits: Falcam

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @timbenzzz

Let’s Analyse this Image

Composition

What works well:

• That stream winding through the grass? - Perfect. Your eye just naturally follows it from the front of the frame straight toward the mountain, its leading your eye through the scene.

• The mountain is not exactly in the middle, which is nice. It’s just off-center enough to keep things feeling balanced but not too ‘‘unnatural’’.

• The dark slopes on either side basically frame the whole shot without being in-your-face about it. They wrap around the image and pull your focus in toward the middle.

What could be better:

• The stream at the bottom is cropped a little tight—it almost feels like it wants to breathe more. If the frame started just a bit lower it could have given the river more ‘‘space’’.

Lighting

What works well:

• The light is super soft and atmospheric.

• The way the stream reflects the light is really satisfying. It glows just enough to stand out against all that green without being too flashy.

• That gentle backlight on the mountain is really gorgeous. It makes the snow and mist glow in a way that feels magical.

What could be better:

• The right side of the valley fades into shadow a bit too much. It adds contrast, sure, but pulling out just a bit more detail there might make the whole image feel richer.

• The stream kind of blends into the grass as it winds away into the mid-ground. A little boost in contrast or clarity there could help it stay and lead you through the image even further.

Framing & Perspective

What works well:

• The perspective feels really natural—like you just stumbled on this view while hiking and had to stop to take it in. Nothing feels forced.

• The framing is spot on. You’ve got something happening in the foreground, middle, and background. It’s layered very well giving you that 3D-depth effect.

What could be better:

• If the photographer had gotten a bit lower (so to a lower spot), that might’ve made the stream feel more immersive and given it even more presence in the frame. However thats just a ‘‘could be’’ suggestion.

Storytelling

What works well:

• There’s something really peaceful about this scene. No people, no buildings—just pure landscape. It feels like a breath of fresh air.

• The way the stream winds off into the distance gives it a bit of a “where does this lead?” feeling, which adds a quiet sense of story without needing any big action.

• The mountain is such a strong presence. It kind of looms in the background like it’s been watching over the valley forever. It adds a very powerful energy.

What could be better:

• It’s a beautiful landscape without people which definitely is a positive, however throwing in a tiny ‘‘indirect’’ human element like a little tent - is an option you have - to give it more of a scale and story/adventure connection.

• The vibe is already dreamy, but if this had been taken during golden hour, the warmth could’ve added a whole other layer of emotion to it. Still, the cool tones work too—just depends on the mood you’re after.

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

Subscribe to the Premium Version here

Photographer of the Week

Photographer of the week goes to: Dominik

You can find him on Instagram as: @lake64photos

A few of his images:

Don’t forget to check out the advertisement up top and down below ⬆️⬇️

The portfolio that's automatically up to date with your work.

• Authory saves you hours with a portfolio that's always up to date.

• Get backups of all your articles.

• Be ready to impress potential clients and employers, anytime.

Get your free portfolio today

The Rest of this Issue is for Premium Subscribers

The Premium Version of this Magazine is now on a ‘‘Pay What you Want’’ model. Meaning you get to decide the price.