Big test
PERFORMANCE: ISO
PERFORMANCE: JPEG OR HLG?
Checking the test shots on screen at 200%, graining is just about visible at ISO 800, increasing marginally at 1600, but it’s still fine with crisp detail. Image quality starts to suffer from ISO 6400, but the increase in noise was not too detrimental and the files were still good enough for critical use. Heading further up the speed scale, quality dropped off further. Out of interest, I put the ISO 12,800 and 25,600 shots through Lightroom’s Denoise and the results looked incredibly clean and smooth. Overall, the ISO performance is straight out of the top drawer.
To observe ISO performance, I took shots with the Z 6III and Z 24- 120mm f/4 S zoom mounted on a Gitzo carbon-fibre tripod. In-camera NR was switched off and the lossless compressed Raws were processed through Adobe Lightroom using default NR. The Z 6III’s native ISO range is 100 to 64,000. At the lower end, Lo 1.0 gives the equivalent of ISO 50, while at the other extreme there’s Hi 0.3, 0.7, 1.0 and 1.7, equivalent to 204,800. It was no surprise to see that the camera did well with noise control at high ISO settings.
I took comparison shots in the 8-bit JPEG and 10-bit HLG/HEIF formats in a range of lighting scenarios using the same exposure settings and ISO. HLG on the Z 6III works within the range of ISO 400-64,000. In scenic environments, shooting towards the sunset and exposing for the trees meant the highlights were blown out: the exposure was 1/8sec at f/4.5 and ISO 400. In the unedited HLG file, there is more detail visible in the sky and high areas of the tree adjacent to the sky. In the coffee van scene, the same exposure gave very different results in these out-of-camera files taken within seconds of each other. The JPEG had lighter shadows and the highlights were burnt out. The HEIF looks richer and the highlights are more detailed.
SCENIC The JPEG (left) loses detail in the highlights vs the unedited HLG (right)
EVERYDAY The JPEG (left) is blown out compared to the overall richer HEIF (right)
HEIF-capable cameras, all you have to do is select the mode in the menu. With the Z 6III, you only get HEIFs if HLG – an HDR standard – is chosen in the tone menu; choose SDR and you get 8-bit JPEGs. HEIF uses a more space-efficient compression algorithm and 10-bit capture for a wider dynamic range with less detail loss in highlights and shadows. To enjoy it, though, you’ll need an HDR- capable monitor and software; it’s not an option for pre-capture shooting. Other limitations include ISO 400 being the lowest speed. The view through the EVF in SDR mode is decent but comparatively dull and flat compared to the vibrant, warm and bright image when HLG mode is selected. Shooting in SDR and HLG modes, the difference in the EVF image is obvious, much more so than when the actual results were compared on an HDR screen. I shot several high-contrast scenes in SDR and HLG using identical camera settings and checked them out in Nikon NX Studio and Adobe Lightroom on an Asus Proart 32in monitor that supports HDR-10 and HLG formats. Yes, the HLG shots made a better job of high-contrast scenes across the tonal range, but the look might not appeal to everyone. However, it’s worth saying that shots taken in HLG are not like the strong, overprocessed HDR look popular a few years back. See the JPEG or HLG panel for more. To sum up, the Z 6III impressed in many ways – from control layout to autofocusing, exposure and burst shooting to delivering excellent stills and video.
Final word
Verdict Nikon has hit a rich vein of winning form since the Z 9 with its camera and lens launches. The current Z line-up is enjoying plaudits from industry experts, creators and customers – both existing and new. I’ve tested the Z 8, Z 9 and Z f for PN and loved them all, so the Z 6III had a lot to live up to. I’m delighted to report that it didn’t disappoint, showing itself to be a capable full-frame hybrid and a genuine delight to use. Its £2699 body guide price does place it above its main rivals, although the gap will likely close once pre-orders have been satisfied. Whether you decide to wait or take the leap now, the Z 6III is unlikely to disappoint – so it comes highly recommended. 24 /25 FEATURES The Z 6III is more than partially stacked when it comes to stills and video features. While it’s not perfect, it wants for little
100
800
1600
3200
24 /25 HANDLING
Nikon has got so many fundamentals spot on with the Z 6III, it’s hard to find serious fault. The super-bright EVF is excellent, too
6400
12,800
24 /25 PERFORMANCE
With its capable AF and exposure systems and a fine sensor, the Z 6III simply delivers on so many levels. It’s certainly up there among the best in this category
24 /25 VALUE FOR MONEY
25,600
64,000
The camera is more expensive than its hybrid rivals but you could argue it offers more, so nothing to moan about
96 /100 OVERALL
There’s a lot to love about the Z 6III. It handles extremely well, delivering excellent stills and video effortlessly
128,000
204,800
PROS Image quality, impressive and sensitive AF, brilliant EVF, articulating monitor, IBIS performance, good burst shooting capacity, 6K/60p recording to internal memory, full-size HDMI port, accepts XQD and CFexpress B cards CONS Pre-capture works with JPEGs only, a sensor blind would have been nice
DIAL IT IN The Z 6III’s control layout is intuitive and pleasurable to use
Issue 117 | Photography News 35
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