News center
We cater to custom orders with pleasure

Nikon Z8 in

May 29, 2023

June 9, 2023

: out of 5

: 5 out of 5

: 5 out of 5

: 5 out of 5

: 5 out of 5

: 4-5 out of 5

: 5 out of 5

: 5 out of 5

: 4-5 out of 5

: 5 out of 5

Pros: + Superb image quality+ Remarkable continuous shooting+ Phenomenal subject-detection autofocus+ Pro-spec build and handling+ Excellent viewfinder and screen+ Discreet, silent operation

Cons: - Still quite a sizeable camera- Imperfect custom setup options


Nikon's latest high-end full-frame mirrorless camera, the Nikon Z8, offers essentially the same specifications as the flagship Nikon Z9, but in a significantly smaller and less expensive body. With an impressive combination of high resolution, high speed, and cutting-edge autofocus, all wrapped up in a rugged pro-spec body, it's a camera that should be able to take on any conceivable task. Without doubt it's one of the best Nikon mirrorless cameras to date.

The Z8 may be smaller than the Z9, but it's still a fairly hefty beast. Credit: Andy Westlake

However, ‘smaller and less expensive’ doesn't by any means ‘small and cheap’ – the Z8 is still a hefty camera, and at $3,999 / £3,999 body-only, it's a serious investment. Nikon is pitching it as a ‘true successor to the D850’, which is quite a claim given that the Nikon D850 was probably the best DSLR ever made.

Compared to its major competitors, though, the Nikon Z 8 looks like quite a bargain. This is a camera that can shoot 45.7MP raw files at 20 frames per second, while recognising and tracking focus on specific subjects. It can also record 8K video at 30fps. Perhaps its clearest direct rivals are the Sony Alpha A1, which shoots 50MP stills at 30fps and costs $6,500 / £5,879, and the Canon EOS R5, which offers 45MP at 20fps for $3,800 / £4,299. But neither of these older models has quite such a sophisticated AF system.

The back of the camera has a similar layout to other Nikon models, with a tilting touchscreen. Credit: Andy Westlake

Indeed, possibly the biggest question posed by the Z8 relates to its stablemate, the Z9. A detailed line-by-line spec comparison reveals that the supposedly junior model is a match for its $5,500 / £5,300 sibling in pretty much every aspect of its operation, aside from battery life. So the question we need to address is whether the Nikon Z8 really is as good as it looks, and if so, why would anyone now spend all that extra cash on the Z9? Let's dig in and find out.

In terms of its major photographic specifications, the Z 8 is essentially a direct match for the Z 9. This means you get the same excellent 45.7MP full-frame sensor, which offers a standard sensitivity range of ISO 64-25,600. This is extendable to ISO 32-102,400, but at the risk of clipped highlights at low ISOs, and excessive image noise at the top settings. The fastest shutter speed is an action-freezing 1/32,000sec, while at the other end of the scale, landscape photographers can enable timed exposures as long as 15 minutes in manual mode.

The Z8 uses the same 45.7MP stacked CMOS sensor as the Z9. Credit: Andy Westlake

Crucially, the Z8's sensor is of the stacked CMOS type, with a super-fast readout speed. This is so effective at suppressing the usual image-quality problems associated with electronic shutters that the camera doesn't need a mechanical shutter at all. As a result, it can shoot bursts at up to 20 frames per second in raw, 30fps in JPEG, and fully 120fps in 11MP JPEG. To make file handling more manageable, there's a high efficiency raw format which significantly reduces file sizes without any loss of detail or processing flexibility

Subject recognition autofocus is available, with the camera capable of recognising people, animals (including cats, dogs, and birds), and vehicles (cars, motorbikes, bicycles, trains, and airplanes). As on the Z9, you don't necessarily have to specify a subject type in advance, but can allow the camera to choose between the available options automatically.

Nikon has equipped the Z8 with CFexpress and UHS-II SD memory card slots. Credit: Andy Westlake

As with Nikon's other full-frame models, both stills and video shooters benefit from in-body image stabilisation, which promises up to 6 stops of shake reduction. It also works in concert with optically stabilised lenses. Another notable feature shared with the Z9 is a shield to protect the sensor when the camera is switched off, which will be welcome for anyone changing lenses in dusty conditions.

Videographers are well served too, with the ability to record in 8K resolution at 30fps or 4K at 120 fps. Nikon claims you can record for at least 90 minutes without overheating (however, the Z 9 is slated to keep going for a further 30min). There's a whole host of high-end video features on board, including both N-RAW and ProRes RAW formats with 12-bit colour. You get a full-size HDMI output along with 3.5mm microphone and headphone ports.

The Z8's smaller size necessitates a smaller battery, and therefore reduced stamina. Credit: Andy Westlake

Compared to the Z9, the most obvious spec difference comes in terms of battery life. The Z 8 uses Nikon's familiar EN-EL15C battery, which is rated for 340 shots per charge, less than half the Z 9's 740-shot stamina from its larger EN-EL18D battery. But you can buy an add-on MB-N12 vertical grip for the Z8 that takes a second battery for $349 / £349, almost doubling the shooting time. It's possible to power the camera via USB-C, too.

Another major difference between the cameras is that while both have two card slots, the Z8 takes one CFexpress (or XQD) card and one UHS-II SD, as opposed to the Z9's twin CFexpress /XQD slots. This means Z9 users can back-up files to both cards with no speed penalty, but have to pay a lot extra for the privilege, as CFexpress cards are considerably more expensive. Physically, the Z8 also lacks a flash PC-sync socket and an RJ-45 network port, however you can still get ethernet connectivity via a USB-C adapter.

Uniquely, the Z8 has two USB-C ports, alongside a full-size HDMI, 3.5mm stereo microphone and headphone sockets, and Nikon's 10-pin remote connector. Credit: Andy Westlake

As usual, both Bluetooth and Wi-Fi are built in for smartphone connectivity, via Nikon's SnapBridge app. You can operate the camera using your phone, via either a simple Bluetooth release or a comprehensive Wi-Fi remote control. You can also copy across your pictures for sharing on social media. It's even possible to transfer every single image you take to your phone automatically, although on a camera capable of shooting at 120fps, that may not be a good idea.

Compared to the Z 9, the most obvious change comes with respect to the body design, with the Z 8 doing without an integrated vertical grip. Measuring 144 x 118.5 x 83 mm and weighing in at 910g, it's distinctly smaller and more portable than its big brother, but in your hand, but it feels every bit as tough. Compared to Nikon's other 45.7MP models, it's smaller than the D850 DSLR, but rather larger and heavier than the Nikon Z7 II. In particular, it's unusually tall compared to other full-frame mirrorless models. However, two Z 8 bodies will still weigh less than a Z9 and Z7 II, which is a popular pairing among Nikon shooters.

In your hands, the Nikon Z8 feels every bit as robust as the Z9. Credit: Andy Westlake

In terms of control layout, the Z8 mirrors the Z9 very closely, which means it’ll feel instantly familiar to existing users of pro-level Nikon Z-system or DSLR cameras. There are the usual front and rear control dials, while practically every available surface is covered in buttons, giving direct access to all the most important settings. It has the same top-plate status panel, and benefits from illuminated buttons on the rear, which is great for shooting in low light. All the buttons and dials are well placed, and once you get used to how it works, it offers quick access to every setting you need while shooting.

By default, shutter speed and aperture are controlled using the rear and front dials respectively, with buttons just behind the shutter release for ISO and exposure compensation. Falling under the arc of your right thumb, there's an AF-ON button, joystick multicontroller for moving the focus point, and the ‘i’ button which allows many secondary settings to be changed with the camera up to your eye.

The Z8's rear controls replicate those on the Z9. Credit: Andy Westlake

Focus mode and AF area settings are easily changed via a button that's handily placed on the front left corner of the body. Two customisable buttons between the handgrip and the lens mount switch between custom camera setups (known as Shooting Menu Banks) and image area settings. The latter provides an easy means of engaging the 20MP DX crop mode, which I used a lot.

There are, however, a few detail changes in the Nikon Z8 compared to the Z9. The Z8 does without a drive mode dial on the top left, with this function now controlled entirely from the drive button. In practice, I found this to be an improvement, as it's quicker to select the shooting speed you want using the front and rear dials. The white balance button has also moved to the top-left cluster, displacing flash mode from the physical control set.

Aside from a repositioned white balance button and the lack of a drive-mode dial, top-plate controls match the Z9. Credit: Andy Westlake

The control setup is highly customisable, which means most users should be able to set up the camera to suit their personal needs. If, for example, you’d prefer to make the Z8 behave like a Canon DSLR, with exposure compensation controlled from the rear dial, that's just a few menu settings away. Many of the buttons can be customised too, for example allowing different AF area modes to be recalled quickly, which is handy for sports and action shooting. It's even possible to configure buttons to change a whole group of settings with a single press, using the ‘Recall shooting functions’ option. But annoyingly, the ability to switch from AF-S to AF-C is missing here.

In principle, the Z8's Shooting Menu Banks are a handy way of switching quickly between camera configurations for different shooting scenarios. But bizarrely, the Z8 inherits the same limitation as the Z9, in that it's not possible to include the drive mode, despite the lack of a physical dial for this setting. My workaround was to use the Continuous Low option, setting 1fps for static subjects and 10fps as the start point for those that move. This works pretty well for me, but obviously isn't ideal. Also, while you can give the settings banks meaningful names, the camera won't show these onscreen when switching between them via the Fn1 button.

Here you can see the front Fn1 and Fn2 buttons, plus the AF button on the other side. The sensor cover can be set to close when the camera is switched off. Credit: Andy Westlake

The external controls are all nicely complemented by the touchscreen, which provides a quick means of operating the ‘i’ menu, and navigating and changing main menu settings. Nikon's menu system is as vast and complex as you might expect, so if there are settings here that you revisit frequently, it's worth taking the time to assemble them into a custom My Menu.

Continuing with the general theme of this review, the Z8 provides essentially the same excellent viewfinder and screen arrangement as the Z9. So you get a truly excellent 3.69m-dot electronic viewfinder with 0.8x magnification, which provides blackout-free viewing during continuous shooting. A subtle flickering frame around the edge of the preview image provides visual feedback that the camera is shooting.

Nikon has employed the same large, bright viewfinder as in the Z9. Credit: Andy Westlake

By default, Nikon previews colour processing, simulates exposure across a +/-3 EV range, and previews depth-of-field at apertures down to f/5.6. This display behaviour can be adjusted using the View Mode (photo LV) menu setting, with options to neutralise colour, disable exposure preview, and brighten shadows, which together can give a view more like a DSLR's optical viewfinder.

You can assign a custom button to switch between preview settings, and I found this useful in high-contrast situations such as sunsets, as it allows you to see detail that would otherwise be hidden in dark shadows. Meanwhile, landscape photographers can assign depth-of-field preview to a custom button for use with smaller apertures. It's also possible show an array of exposure and compositional aids, including a live histogram, electronic levels, and gridlines.

Nikon has also re-used the same 3-way tilting screen previously seen on the Z9. Credit: Andy Westlake

You also get the same 3.2in, 2.1m-dot rear screen as the Z9. This boasts a four-hinge arrangement that allows it to be tilted up and down for low-angle or overhead shooting in both portrait and landscape formats, which is a significant advantage over the Z7 II. To my mind, this is the best screen articulation layout for shooting stills. However, unlike a side-hinged unit, it can't be set to face forwards for video shooting. That's perhaps the only questionable design decision on a camera that Nikon is touting for its movie credentials.

Probably the biggest innovation in camera technology over the past couple of years has been subject detection autofocus. Nikon's implementation on the Z8 (and Z9) is without doubt one of the best around. It can identify and focus specifically on people, animals or vehicles, and you can either specify a particular subject type, or let the camera choose between them automatically. It's easy to use and works extremely well.

The Z8's subject detection system can recognise and track focus on a wide variety of subjects. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, DX crop mode, 1/1000sec at f/7.1, ISO 100. Credit: Andy Westlake

If you know that you want to shoot only a particular kind of object – for example aircraft at an airshow – you can set the camera to prioritise the autofocus accordingly, and essentially ignore anything else. But otherwise, you can usually just leave the system set to Auto and let it do its thing. Detected subjects will be outlined in the viewfinder, and when there are multiple options in the frame, you can choose between them quickly using the joystick. It's all very quick and intuitive to use.

The Z8's autofocus has no trouble keeping fast-moving subjects sharp at rapid continuous shooting speeds. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, 1/2000sec at f/5.6, ISO 11,400. Credit: Andy Westlake

If the subject detection system can't find anything, the camera will fall back on its conventional autofocus setup, which provides all the options you’d expect. You can choose between multiple focus point sizes, including three customisable rectangle settings, and place them anywhere in the frame. Nikon's 3D tracking is also on board for following subjects that the AF system won't recognise of its own accord.

With small, distant subjects, I found the AF system worked better when the camera was switched into DX crop mode. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, 1/2000sec at f/5.6, ISO 250. DX crop. Credit: Andy Westlake

Looking back over the thousands of images I shot using the Nikon Z8, primarily with the Nikkor Z 100-400mm f/4.5-5.6 VR S, what's striking is just how high the AF system's hit-rate is. Whether it was track cycling, water birds, or vintage fighter aircraft, I found it genuinely hard to find a shot that was clearly out of focus. Its prowess with birds in flight isn't limited to larger, easier targets, as it also worked perfectly well with faster, more erratic species such as ducks or gulls. One point worth noting, though, is that with small, distant subjects, it's worth switching to DX crop mode as the subject recognition works appreciably better.

The camera can recognise subjects from almost any angle, such as this dramatic head-on view of a Republic P-47 Thunderbolt. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S, 1/1600sec at f/5.6, ISO 110. DX crop mode. Credit: Andy Westlake

The system isn't infallible, of course; I found it occasionally lost track of eyes, or when photographing waterfowl, focused on the reflection rather than the bird itself. But overall, the Z8's autofocus is a huge step beyond anything most Nikon users will have experienced before, unless they’ve used the Z9.

As a camera that aims to supplant the D850 in diehard Nikon users’ kit bags, the Z8 needs to satisfy the needs of demanding photographers. After a couple of weeks intensive use, I can only conclude it’ll do so with ease. In fact, this is a camera that's so phenomenally capable that it did everything I asked of it without any problem at all. No matter what the shooting scenario, I struggled find any way of stressing it.

The Z8 gives fantastic results with almost any kind of subject. Nikon Z8, Nikkor Z MC 105mm f/2.8 S, 1/125sec at f/8, ISO 100. Set design and styling by Therése Asplund, model Emile Rodney @emilee3ee. Credit: Andy Westlake

Operationally, it's super-fast and responsive, while delivering excellent results in terms of image quality, shot after shot. With no mechanical shutter, it can be completely silent in operation, although personally I preferred to turn on the faux-shutter sound for audible feedback most of the time. Crucially there's no problem with rolling shutter distortion, even with rapidly moving objects such as propeller blades.

There's no problem with rolling shutter distortion, thanks to the Z8's stacked CMOS sensor. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, 1/2000sec at f/5.6, ISO 180. DX crop. Credit: Andy Westlake

Nikon's metering is generally reliable, and it's easy to see in the viewfinder when you might need to apply any exposure compensation. There's a bewildering choice of Auto White Balance options, and the default setting really isn't to my taste, as it frequently over-neutralises strong colours. But if you switch to Natural Light Auto, you’ll get consistently more attractive results, aided by Nikon's typically bright and punchy JPEG colour output.

Nikon's JPEGs are generally very usable directly from the camera. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, 1/2000sec at f/5.6, ISO 12,800. Credit: Andy Westlake

While the Z8's continuous shooting is incredibly impressive, you do need to invest in CFexpress Type B cards to get the very best performance – at least if you want to shoot at 20fps in full-resolution raw. Then it’ll just keep on going until the card is full, perhaps throttling the speed back a little if necessary. This is where Nikon's high efficiency raw format pays dividends, with the reduced file sizes allowing rapid writing to card.

The ability to shoot long bursts at 20fps allowed me to capture this moment of touchdown. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 400mm, 1/2000sec at f/5.6, ISO 1000. DX crop mode. Credit: Andy Westlake

However, the camera also behaves very sensibly with slower XQD or SD cards. Set to 20fps, it will shoot a rapid burst of images for several seconds, and then settle down to shooting at whatever speed the card can sustain. Drop the speed to 10fps – which frankly is more than fast enough for most subjects – and it’ll probably keep on shooting at that rate almost indefinitely, at least with a fast enough SD card (I used Lexar's latest Professional 2000x 128GB UHS-II SD, rated for 300MB/s). You’ll also get almost unlimited high-speed bursts in DX crop mode with fast SD cards.

The Z8 offers a remarkable combination of high resolution and rapid shooting. Nikon Z8, Nikkor Z 100-400mm f/4.5-5,6 VR S at 400mm, 1/20000sec at f/5.6, ISO 9000. Credit: Andy Westlake

While battery life is on paper the only question mark compared the Z9, in practice I didn't find it a problem at all. That 340 shots per charge rating uses the CIPA standard test, which reflects shooting individual frames at fixed intervals. But if instead you shoot a lot of bursts, you can get many times more than that. On one occasion I shot over 1600 frames off a single charge, with the battery indicator showing plenty in reserve at the end of the day.

This Douglas C-47 Skytrain was one of my last shots on a day when I took well over 1600 frames on a single battery charge. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S, 1/1600sec at f/5.6, ISO 160. DX crop. Credit: Andy Westlake

Nikon's in-body image stabilisation works extremely well, and I was able to get sharp hand-held images at shutter speeds as slow as 1 second using the Nikkor Z 24-120mm f/4 S at 38mm. At such slow shutter speeds, I also got much better results using the standard IS mode, rather than the default ‘Sports’ mode which is designed for panning with telephoto lenses. One point worth noting though, is that, unlike a lot of modern systems, with the Nikon Z8 it's best to turn off IBIS when using a tripod, especially with shutter speeds in the 1/10sec to 1sec range – otherwise you risk pixel-level blurring.

Effective IBIS allows hand-held long exposures. Nikon Z8, Nikkor Z 24-140mm f/4 S at 38mm, 1sec at f/4, ISO 500. Credit: Andy Westlake

Of course, raw image quality is absolutely superb, with the 45.7MP sensor delivering on all fronts of detail rendition, dynamic range, and high-ISO noise. You may not quite get the highest pixel count currently available on a full-frame camera, but you should still be able to make critically sharp prints up to 27 x 18 inches in size, at least. Even the 60MP Sony Alpha A7R V only provides 15% greater linear resolution. That massive pixel count also gives great scope for cropping, which really is useful for distant subjects such as wildlife.

The sensor's enormous dynamic range allowed me to balance the setting sun against a foreground that was very much darker in reality than it appears in this final image. Nikon Z8, Nikkor Z 24-120mm f/4 S at 34mm, 1/200sec at f/8, ISO 64. Credit: Andy Westlake

At low ISOs, raw files have such great dynamic range that you can adjust exposure and shadows sliders in raw processing almost with impunity. If there's any difference compared to other high-end full frame models, including the Z7 II, it's not of any practical importance. I was also perfectly happy shooting at ISO settings up to the top standard setting of ISO 25,600, especially with the latest AI-based noise reduction algorithms from the likes of Adobe and DxO.

Video quality is likewise excellent, even directly out of the camera with no editing. Again, it benefits from impressive levels of detail and Nikon's attractive colour processing. The in-body image stabilisation does a good job of smoothing out minor jitters, and the built-in microphones give very acceptable sound quality. But like on most cameras, they are prone to being affected by even light wind outdoors, where it's advisable to use an external microphone with a windshield.

Thanks to its 45.7MP sensor, the Z 8 captures an impressive amount of detail, surpassed only by a few 61MP models among its full-frame peers. There's no visible noise at ISO 64, and even at ISO 1600, you have to examine files close-up onscreen to make out the first appreciable appearance of luminance noise.

High ISO image quality is very impressive. This is ISO 14,400, with Adobe's AI DeNoise applied. Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 at 600mm, 1/800sec at f/5.6, ISO 14,400. DX crop. Credit: Andy Westlake

Fine detail starts to blur away at ISO 6400, but it's only when you hike the sensitivity to ISO 25,600 that noise really has a major negative impact on image quality. However, the extended ISO 51,200 and ISO 102,400 settings are best avoided, as they suffer from excessive noise and lose almost all shadow detail.

Below are 100% crops from our standard test scene, shot in raw and converted using Adobe Camera Raw with conventional noise reduction. Click on any thumbnail to see the full-size image.

Nikon Z8, ISO 64, raw + Adobe Camera Raw, 100% crop

Nikon Z8, ISO 3200, raw + Adobe Camera Raw, 100% crop

Nikon Z8, ISO 12800, raw + Adobe Camera Raw, 100% crop

Nikon Z8, ISO 25600, raw + Adobe Camera Raw, 100% crop

Nikon Z8, ISO 51200, raw + Adobe Camera Raw, 100% crop

Nikon Z8, ISO 102400, raw + Adobe Camera Raw, 100% crop

At the start of this review, I posed the question as to whether the Nikon Z8 really is just a smaller version of the Z9? The simple answer is that, in almost every practical aspect, that's exactly what it is. Which means it's an absolutely sensational camera that can handle almost any photographic task with ease, just for a lot less money (and weight) than before. For serious Nikon users, that makes for an incredibly tempting proposition.

In practical use, the Nikon Z8 is a match for the Z9 in almost every respect, making it one of the very best cameras you can buy. Credit: Andy Westlake

In fact, it's difficult to think of any situation where the Z8 wouldn't excel. It's robustly made and handles just as well as a pro camera should, with sufficient customisability that anyone should be able to set it up to their liking. The autofocus system is breathtakingly quick and reliable while being easy and intuitive to use – indeed of the thousands of images I shot, pretty much every single one was properly focused. Throw in the effective in-body stabilisation and excellent image quality, and if you can't get super-sharp shots with the Nikon Z8, then it's really not the camera's fault.

Nikon Z8, Nikkor Z 100-400mm f/4.5-5.6 VR S at 110mm, 1/1000sec at f/5, ISO 100. Credit: Andy Westlake

Compared to the Z9, there are barely any compromises. Yes, the battery life is shorter, but it's still absolutely fine for most purposes. Meanwhile, serious sports shooters might be put off by the mismatched card slots, and prefer the Z9's meatier grip for use with large lenses. But I suspect more users will be pleased by the option to use cheaper SD cards. So while there are still some perfectly legitimate reasons to go for the Z9, for most potential buyers, the Z8 is now the obvious choice.

Nikon Z8, Nikkor Z 24-120mm f/4 S, 1/5000sec at f/4.5, ISO 1600. Credit: Andy Westlake

Of course, it's still expensive, and it's really not that small, which means landscape shooters might prefer to stick with their Z7 IIs. But there's certainly a case to be made that the Nikon Z8 eclipses its Canon and Sony rivals, and might just be the most accomplished all-rounder among all the high-end mirrorless cameras currently available.

Follow AP on Facebook, Twitter, Instagram, and YouTube.

Nikon Z8 front view with 35mm f/1.8 lens. Credit: Andy Westlake

Andy has been Amateur Photographer's Technical Editor since 2014, responsible for reviewing everything from cameras and lenses to accessories and software. Prior to that, he was DPReview's Technical Editor, and introduced lens reviews to that website in 2008. Along the way, he's shot extensively with cameras and lenses of almost every imaginable type, brand and format.

Nikon Z8 high resolution high speed cutting-edge autofocus 45.7MP full-frame sensor ISO 64-25,600 1/32,000sec 15 minutes stacked CMOS 20 frames per second 30fps 120fps Subject recognition autofocus in-body image stabilisation Videographers battery life MB-N12 two card slots smartphone connectivity, Memory Cards: Battery: Connectors: Sensor cover: Z-mount: Grip: body design 144 x 118.5 x 83 mm 910g control layout shutter speed aperture ISO exposure compensation changes in the Nikon Z8 compared to the Z9 control setup is highly customisable Shooting Menu Banks touchscreen viewfinder and screen 3.69m-dot electronic viewfinder 3.2in, 2.1m-dot rear screen subject detection autofocus phenomenally capable completely silent metering Auto White Balance continuous shooting XQD or SD cards battery life 1600 frames in-body image stabilisation best to turn off IBIS when using a tripod raw image quality dynamic range absolutely sensational camera Follow AP on Facebook, Twitter, Instagram, and YouTube.