Introduction
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The Panasonic Lumix DC-S5 II and Nikon Zf look like very different cameras but they currently represent their respective manufacturer’s main offering for keen photographers in the circa-$2000 part of the market.
Sony and Canon have both nudged their competing models up to the $2500 mark, leaving the Panasonic and Nikon looking quite keenly priced, by comparison. And, while they might outwardly look rather different, the two cameras are both based around the same 24MP BSI CMOS sensor and offer a lot of features in common.
We’ll have a look at what each camera offers, discuss their relative strengths and weaknesses and hopefully help you understand which (if any) might be right for you.
Sensor and specs
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Where they’re the same: Both cameras share the same full-frame 24MP BSI CMOS sensor that’s almost certainly from Sony Semiconductor Solutions (by far the camera industry’s largest supplier). Both have phase detection autofocus, support 4K video up to 30p derived from the full width of the sensor but need to apply a 1.5x crop (to an APS-C sized region) to deliver their 4K/50p and 60p modes.
Where they differ: The Nikon can shoot JPEGs at up to 15fps in e-shutter mode, or Raws at up to 11fps using its mechanical shutter mode, whereas the S5 II can shoot at up to 30fps with continuous AF using its e-shutter or up to 7fps if your subject needs a mechanical shutter.
Handling
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Where they’re similar: Both are mirrorless interchangeable-lens cameras with some external controls, electronic viewfinders and fully articulated rear displays, but that’s where the similarities end.
Where they differ: Handling is perhaps the biggest difference between the two. The Panasonic has a pronounced, hand-shaped grip at the front, increasingly standard on modern cameras, whereas the Nikon Zf has a more classic design that hearkens back to the brand’s cameras from the early 80’s.
Modeled on the company’s original pro and enthusiast-focused DC-S1, the Panasonic has a host of dedicated buttons and switches to change drive mode or AF-S/AF-C/MF and more at a moment’s notice, plus an AF joystick. There’s a control point for just about everything, and a wide range of customization options. The Zf has no joystick, no focus mode control and a more limited range of customizable buttons, leaving you more dependent on the on-screen menus.
Autofocus
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Both cameras represent major steps forward in autofocus for their respective brands.
For Nikon, the Zf sees the arrival of the machine-learning-trained subject recognition system from the high-end Z8 and Z9 cameras. It also gains a version of the 3D Tracking system from Nikon’s DSLRs, which makes selecting a (non-recognized) subject to track much quicker and simpler. The performance isn’t quite as consistent as on the latest Sony and Canon cameras around the same price, but it’s very close and is a significant step forward.
The Panasonic S5 II is the first of the company’s cameras to gain phase detection autofocus, meaning it can directly assess the distance to a subject, rather than trying to infer it, as previous models did. This, combined with Panasonic’s subject recognition algorithms produce a camera that can be more decisive than existing Lumix cameras but our experience is of a system that isn’t as predictable or reliable as the best in class. The Panasonic’s tracking is less good at sticking to subjects (recognized or not) and can occasionally refuse to focus altogether, if you’re really unlucky.
High-resolution mode
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Where they’re similar: Both cameras offer some degree of multi-shot high resolution mode, combining multiple shots into an image with a higher resolution than the sensor can capture in one go. Panasonic developed its mode before so many patents restricting multi-shot modes arrived, so has a more complete implementation.
Where they differ: Panasonic introduced its system much earlier than Nikon, and its system is generally more advanced and usable than the Zf’s. The S5 II shoots eight images with slight offsets to boost the nominal resolution to 96MP. What sets the Panasonic apart is its ability to combine its images in-camera, compare frames, and apply motion correction (using the data from a single image for parts of the image that have moved). It also added a hand-held high res mode, which we’ll be testing as part of our full review.
The Nikon offers a four-shot mode that uses whole pixel sensor movements to ensure at least one red, green and blue value is captured for each pixel location, removing the need to demosaic and preventing false-color from aliasing. There’s also an eight-shot mode that performs this routine twice to boost noise/total performance. The sixteen-shot mode is more like that of the Panasonic, adding smaller offsets to increase the nominal resolution to 96MP. Then there’s a 32-shot version that again boosts image quality through the weight of numbers.
Video
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Where they’re similar: Both cameras can shoot 4K footage at up to 30p using the full 6K width of their sensors or can shoot 60p footage from an APS-C crop. Both cameras can record this output in 10-bit precision, giving flexible Log files or ready-to-use HDR video to the HLG standard. The Zf is one of the few cameras to match Panasonic’s provision of a waveform display for assessing exposure, putting the two cameras on what appears to be a pretty level footing.
Where they differ: But the deeper you delve, the more the S5 II delivers. The Panasonic can shoot ‘open-gate’ footage from the full sensor region. Alternatively, it can output the standard 16:9 video region in its native 5.9K resolution or 1.89:1 video as either DCI 4K or 6K footage. The S5 II also has a built-in fan for more dependable video capture and a full-sized HDMI socket for more secure connection to external devices. If video is really your thing, then the slightly more expensive S5 IIX model adds a series of additional video features, such as All-I codecs, Raw video output over HDMI and the ability to capture video directly to an SSD.
All that said, we’ve found Nikon’s video AF more dependable in our use so far (though its digital stabilization introduces a degree of jitter).
Lenses
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Where they’re similar: both cameras use relatively modern lens mounts, meaning the bulk of the lenses available were designed specifically for mirrorless cameras using the latest design and manufacturing techniques.
Where they differ: The S5 II uses the Leica-developed L-mount, which went full-frame in late 2015. The Zf uses Nikon’s Z-mount system, which emerged three years later and has a comparatively less developed lens ecosystem.
In terms of native, modern designs, the Panasonic has a distinct advantage. Leica formed the L-mount alliance with Panasonic and Sigma, significantly boosting the range of lenses available. This openness to working with other manufacturers means the S5 II users can add the premium lenses from Leica or the often excellent options Sigma has made for full-frame mirrorless, in addition to Panasonic’s own creations.
The Nikon Z-mount has a relatively sparse lineup by comparison. There are some excellent lenses starting to appear but third-party support has been limited, though there are some Nikon-branded versions of some popular zooms available. However, the Zf can also mount, via an adaptor, the majority of the company’s F-mount DSLR lenses, with varying levels of function preserved.
Summary
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The Panasonic S5 II and Nikon Zf represent two very different ways to attract enthusiast photographers into the full-frame fold. There are cheaper models on the market: Canon’s EOS R8 and Nikon’s own Z5 in particular, but both the S5 II and Zf promise broader feature sets, larger batteries and, in their own ways, a more engaged or engaging shooting experience.
So how do these more cost-conscious alternatives to the Sony a7 IV and Canon EOS R6 II compare? We found the Nikon’s autofocus to be more dependable and competitive with the performance of those two more expensive cameras in many circumstances. Its handling makes it less flexible than the Panasonic, but it exerts a certain appeal, despite its occasionally quirky behavior.
The Panasonic has the edge in terms of video, though not by much, and the more expensive ‘X’ version is even better equipped if that’s a major focus for you. But although it’s the better handling camera, we found it still lags the group in terms of autofocus reliability.
What would really shake the market up might be a hypothetical Z6 III, which offered more of the S5 II’s hands-on control with the capabilities of the Zf. But as things stand, you have to choose from the cameras that actually exist.
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This article comes from DP Review and can be read on the original site.
