1. Playback Menu

1.1. Dual-Format Recording PB Slot

When playing back photos, which card should be viewed first?

Recommend JPEG.

1.2. Image Review

Whether to immediately review a photo after taking it.

Recommend On for landscapes and Off for street photography.

1.3. Rotate Tall

When shooting vertically, whether the photo is viewed vertically or horizontally during playback.

Recommend On, so portrait-orientation photos can be viewed horizontally.

1.4. After Delete

Recommend continuing in the previous direction. That is, if I was browsing toward <, continue toward <; if I was browsing right, continue right.

1.5. Highlights

Keep the histogram toward the right, but do not let it hit the wall.

1.5.1. Which Highlights Can Be Ignored?

👉 “Normal highlights” that do not need to be handled:

Street lights
Sun reflections
Metal reflections
Highlight points on water

👉 Must be controlled:

Cloud detail
Highlights on faces
Bright areas of buildings
IV. Practical advice for you

1.6. Pixels and File Size

Total size = number of pixels × bytes per pixel

6016*4016=24160256=24 million pixels=24MP

Each pixel uses three RGB channels, and each channel uses 8 bits, so 3*8=24bit=3B.

Then theoretically JPEG=24 million*3B=72 million B. If the compression ratio is 3, the final size is about 27MB.

For RAW:

Format	Bit Depth	Per Pixel
RAW (12bit)	12 bit	≈ 1.5 Byte
RAW (14bit)	14 bit	≈ 1.75 Byte

24MP*1.75=42M

I did not understand: why is RAW described using bit depth, while JPEG is described using RGB channels?

RAW is “measurement data”; JPEG is a “rendered result.”

RAW: it has not yet become a final image → so “bit depth” describes its precision.
JPEG: it is already an image → so “RGB channels” describe its color.

Dimension	RAW	JPEG
Data stage	Raw sensor data	Processed image
Information per pixel	Single channel (one of R/G/B)	Three channels (all RGB)
Precision	12bit / 14bit	8bit
Compression	Lossless or light compression	Lossy compression
Can be displayed directly	❌ No	✅ Yes

2. Photo Shooting Menu

2.1. Storage Folder and File Naming

Affects organization.

2.2. Choose Image Area

FX: 24 million pixels
DX: 10 million pixels

Just keep using FX. DX is equivalent to cropping the FX image in-camera.

Item	FX	DX
Sensor usage	Full	Center crop
Field of view	Wide	Narrow (1.5x)
Resolution	High	Low
Image quality	Best	Slightly lower

If a telephoto view can be obtained by cropping a wide-angle image, does that mean only a wide-angle lens is needed?

Conclusion first: no. Cropping a wide-angle image ≠ using a real telephoto lens. Cropping is only “digital enlargement” and cannot replace a telephoto lens in image quality and spatial presentation.

The essence of cropping: lose pixels in exchange for a narrower field of view.

Suppose you take a 24-million-pixel photo at 24mm and then crop it to the field of view equivalent to 120mm:

120 / 24 = 5x focal length
Area retained = 1 / 5² = 1/25
Actual remaining pixels ≈ 24 million / 25 ≈ 960,000 pixels

→ Result: the image does look “closer,” but resolution drops severely.

Core conclusion:

Cropping can only change the “framing range.”
It cannot increase “detail information.”

Dimension	Wide-Angle Crop	Real Telephoto
Field of view	✅ Can simulate	✅
Resolution	❌ Decreases	✅ High
Detail	❌ Lost	✅ Preserved
Depth of field / blur	May differ depending on final composition, aperture, and viewing size	Depends on lens and shooting parameters
Perspective / spatial compression	Cropping from the same camera position preserves the same perspective	Perspective is still determined by camera position
Noise	❌ Worse	✅ Better

2.3. NEF Recording

Item	Lossless Compression	Compression
Data integrity	Reversible compression, data preserved	Irreversible compression, smaller file
File size	Larger	Smaller

The Z5’s official NEF recording options provide lossless compression and compression. An “uncompressed” option that does not exist should not be written into the menu description.

Item	14-bit	12-bit
Data precision / post-processing latitude	Higher	Lower
Gradation	Finer	Usually sufficient, with less latitude for extreme adjustments
File size	Large	Small

NEF recording = determines RAW “data precision.”

Engineering understanding:

Compression method → whether data is lost
Bit depth → data precision (quantization precision)

2.4. ISO Sensitivity Settings

Auto ISO can be used, but maximum ISO and minimum shutter speed should be set according to the subject, lens, stabilization, and acceptable image quality.

A historical personal starting point was: maximum 1600 during the day and maximum 6400 at night. These are not universal values.

Shutter speed: 1 / focal length.

Why should safe shutter speed be the reciprocal of focal length?

For the same angle of hand shake, the longer the focal length, the greater the image-plane displacement and the more obvious the blur.

2.5. White Balance

Make white look white.

Auto is fine.

2.6. Set Picture Control

Adjust on top of Nikon presets:

Sharpening
Clarity
Contrast
Brightness
Saturation
Hue

These Picture Control settings directly affect JPEG and the in-camera preview. RAW source data is not permanently rendered in the same way as JPEG, but the settings are recorded as part of metadata/preview information and compatible software may read them.

Parameter	Frequency Range Affected	Analogy
Sharpening	High frequency (detail edges)	Fine lines, leaves
Mid-range sharpening	Mid frequency (structure)	Building outlines
Clarity	Low frequency (overall contrast)	Three-dimensionality / “hardness”
Quick sharpening	One-click overall adjustment	= combination of the three above

I do not recommend Quick Sharpening; adjust the three separately.

2.7. Color Space

The range of colors a photo can represent (color gamut).

Item	sRGB	Adobe RGB
Color gamut	Small	Large
Compatibility	Very high	Average
Straight-out result	Stable	May show color shifts
Use case	Web / daily use	Professional post-processing

Color space only affects JPEG and does not affect the actual RAW data.

2.8. Active D-Lighting

In high-contrast scenes, try to “reduce highlights + raise shadows” so bright areas are not overexposed and dark areas do not become completely black (mainly for straight-out JPG).

That is:

It mainly compresses scene contrast during in-camera processing, protects highlights, and lifts shadows. The specific exposure and curve strategy is determined by the camera.

👉 It can be understood as automatic dynamic-range optimization for JPEG/in-camera rendering, rather than a fixed formula of “first reduce exposure, then raise shadows.”

2.9. Long Exposure Noise Reduction

A noise-reduction mechanism for slow-shutter shooting (usually ≥1 second).

The process has two steps:

Take a normal photo (exposure N seconds).
Then take a “dark frame” of the same duration.
Use the dark frame to subtract:

Hot pixels
Fixed noise produced by long exposure

👉 Essence: Dark Frame Subtraction.

II. The most direct effects

Item Enabled Disabled
Noise (especially colored spots) Less More obvious
Shooting time ×2 (very important) Normal
Continuous shooting ability Very poor Normal

👉 Key point:

10-second exposure → actually wait 20 seconds.

2.10. High ISO Noise Reduction

When high ISO produces grainy noise, this controls how strongly the camera “smears away noise” in JPG.

Engineering understanding:

Noise = high-frequency information
Detail = high-frequency information

👉 The essence of noise reduction:

It cannot completely distinguish between the two.

2.11. Vignette Control (Focal Length)

Automatically correct dark corners in the image (lens vignetting).

This is common at large apertures or certain focal lengths. Raising corner brightness during correction may also raise corner noise.

2.12. Diffraction Compensation (Aperture)

A fallback mechanism that helps “pull back a little sharpness” when a small aperture makes the image softer.

Choose an appropriate aperture primarily according to depth of field and lens performance. If a smaller aperture is needed for depth of field, diffraction compensation can be enabled as an in-camera correction. There is no universal rule that “f/8 is best.”

2.13. Flicker Reduction Shooting

Under flickering artificial light, avoid inconsistent brightness and color between frames.

2.14. Metering

Mode	Calculation Logic	Exposure Tendency	Tolerance	Control
Matrix	Global analysis	Balanced	⭐⭐⭐⭐	⭐⭐
Center-weighted	Center-weighted	Subject priority	⭐⭐⭐	⭐⭐
Spot metering	Single point	Extreme	⭐	⭐⭐⭐⭐
Highlight-weighted	Highlight priority	Darker	⭐⭐⭐	⭐⭐⭐

Mode	What Happens
Matrix	Tries to balance → sky may be slightly blown
Center-weighted	Looks at the center → if the center is ground → sky is more likely to blow
Spot metering (on ground)	Ground is normal → sky blows completely
Spot metering (on sky)	Sky is normal → ground becomes very dark
Highlight-weighted	Sky is protected → ground is darker

For most everyday scenes, start with matrix metering and then adjust according to the subject and histogram.

🌅 Sunset / high contrast

👉 Two approaches:

Simple:
Matrix + -0.7EV

More stable:
Highlight-weighted metering

🎯 Special control (advanced)

👉 Spot metering:

Meter the sky → protect the sky
Meter the face → protect the face

👤 Center-weighted (you basically will not use it)

👉 Suitable for:

Centered portrait composition

2.15. Flash Mode

Who “dominates the image”: flash or ambient light.

Mode	Control Dimension	Background Brightness	Subject Clarity	Speed	Typical Use
Fill flash	Fill light	Medium	High	Fast	Backlit portrait
Red-eye reduction	Eyes	Medium	High	Slow	Close portrait
Slow sync	Ambient light	High	Medium	Slow	Night portrait
Slow + red-eye	Ambient + eyes	High	Medium	Very slow	Close night portrait
Rear-curtain sync	Motion trail	High	High (clear at the end)	Slow	Dynamic night scene
Off	None	Depends on environment	Depends on parameters	Fast	Landscape / natural light

2.16. Focus Mode

Mode	Focusing Timing	Updates?	Stability	Suitable For
AF-S	Once	❌	⭐⭐⭐⭐	Static. Landscape
AF-C	Continuous	✅	⭐⭐	Dynamic. Street photography
MF	Manual	-	⭐⭐⭐⭐	Fine control. Night scene

2.17. Focus Area

Mode	Control	Precision	Tolerance	Suitable For
Single-point	Person	⭐⭐⭐⭐	⭐	Landscape
Dynamic	Person + camera	⭐⭐⭐	⭐⭐	Slight movement
Wide-area	Semi-automatic	⭐⭐	⭐⭐⭐	Portrait
Auto-area	Camera	⭐	⭐⭐⭐⭐	Snapshot
Tracking	Camera-dominant	⭐⭐	⭐⭐⭐	Moving target

2.18. Vibration Reduction

Offset image blur caused by hand shake so you can use a slower shutter speed while still shooting sharply.

Your hand is shaking slightly.
The camera compensates by moving the sensor.
Result: the image is more stable and clearer.

👉 Essence:

Use hardware to offset low-frequency shake.

2.19. Auto Bracketing

Press the shutter once and continuously take multiple photos that are “slightly different” (most commonly different exposures).

Composite them in post-processing.

3 shots
±2EV
Continuous shooting mode

2.20. Multiple Exposure

In the Nikon Z5, Multiple Exposure is a creative function. Its core is:

Overlay multiple photos together to create one composite image.

It is completely different from the auto bracketing/HDR mentioned earlier—multiple exposure is not for exposure itself, but for image effects.

2.21. HDR

On the Nikon Z5, HDR (High Dynamic Range) is an in-camera compositing function. Its core is:

The Z5 takes two different exposures and combines them in-camera into an HDR JPEG. You can also choose to save the individual NEF (RAW) source image used for compositing.

Function	Essence
Auto bracketing	Take multiple shots
HDR	Automatically combine into one
D-Lighting	Optimize a single shot

HDR and auto bracketing both involve multiple exposures, but the Z5’s HDR is an independent two-exposure + in-camera compositing function. Auto bracketing only takes multiple images according to the settings and does not automatically combine them.

2.21.1. What Is the Difference Between the Nikon Z5’s Built-In HDR and Combining HDR in Lightroom?

Dimension	Z5 In-Camera HDR	Lightroom HDR
Number of shots	2	Usually 2 or more, depending on the bracket sequence
Format	Composite result is JPEG; an individual NEF can optionally be saved	Merged result is usually DNG, preserving more post-processing latitude
Dynamic range	Average	Higher
Detail retention	Limited	More complete
Adjustment latitude	Very small	Large
Processing method	Automatic in camera	User-controlled
Naturalness	Easy to look “fake”	Can be very natural

2.22. Focus Shift Shooting

2.22.1. Why Did My Nikon Z5 Take Only 22 Photos When I Set Focus Shift Shooting to 100 Shots, Step Width 1, Aperture F4?

The logic of focus shift shooting is not “force it to take the full number of shots,” but:

Gradually move focus from near to far → stop when “infinity” is reached or no further usable focus positions are available.

Therefore:

The 100 shots you set = the maximum upper limit.
Actual number of photos = the minimum number needed to cover the full depth of field.

👉 So if it only took 22 photos, that means:

By the 22nd photo, focus had probably already advanced near infinity, so the camera ended early. Nikon Z5 documentation also explicitly states that shooting may end before the specified number of shots is reached when infinity is reached.

2.22.2. What Do Focus Stacking and Exposure Stacking Mean? How Do You Handle Them in Lightroom?

1️⃣ Focus Stacking

Purpose: solve insufficient depth of field.

Multiple photos, each focused at a different distance.
Each photo is sharp only in part of the scene (foreground / midground / background).
After compositing → the whole image is sharp from near to far.

Typical scenes:

Macro (insects, flowers)
Landscape (foreground rocks + distant mountains)

2️⃣ Exposure Stacking (Exposure Stacking / HDR)

Purpose: solve insufficient dynamic range.

Multiple photos with different exposures (underexposed / normal / overexposed).
Each retains information at different brightness levels:

Underexposed → preserve highlights (sky)
Overexposed → preserve shadows (ground)

After compositing → highlights are not blown + shadows contain detail.

Typical scenes:

Backlighting (indoors + outside the window)
Sunset / night scene

Type	Problem Solved	Changing Dimension	Final Effect
Focus stacking	Insufficient depth of field	Focus distance	Increase depth of field after compositing
Exposure bracketing / HDR merge	Insufficient dynamic range	Exposure	Preserve more highlight and shadow detail

Lightroom Classic can directly perform HDR merge. Ordinary “Stack” is only catalog organization and does not automatically perform focus compositing. Focus stacking usually requires Photoshop Auto-Align/Auto-Blend or another specialized stacking tool.

2.22.3. What Does Dynamic Range Mean? Is HDR the Same as Exposure Stacking?

I. What is Dynamic Range?

Definition:

The range between the brightest detail and darkest detail that the camera can record at the same time.

It can be understood as:

In one photo, you can see both cloud detail near the sun and texture in the shadows. That ability is dynamic range.

Concept	Meaning
HDR (result/workflow)	Represent or combine scene brightness information using a larger dynamic range
Exposure bracketing + merge (method)	A common way to generate an HDR image

3. Video Shooting Menu

3.1. Video Format

Dimension	MP4	MOV
Essence	Container format	Container format
Codec	H.264	H.264
Image quality	❌ No difference	❌ No difference
File size	≈	≈
Compatibility	✅ Best	Medium
Professional workflow	Average	Friendlier

3.2. Focus Mode

I. Focus Mode (AF Mode)

Determines: how focusing “works.”

1. AF-S (Single AF)

Half-press to focus → lock.
Does not continuously track focus.

👉 Video conclusion:

Basically not suitable for video (unless completely static).

2. AF-C (Continuous AF)

Continuously tracks focus.
Suitable for moving subjects.

👉 Video conclusion:

Usable, but not the best default for video.

3. AF-F (Full-Time AF / video-specific)

The camera automatically adjusts focus continuously.
No half-press required.
Focus changes are smoother.

👉 Video conclusion (key):

Prefer AF-F for video.

II. AF Area Mode

Determines: where focus “looks.”

1. Auto-Area AF (face/eye detection)

The camera automatically recognizes faces/eyes.
No need to manually choose a point.

👉 Suitable for:

Portrait video
Vlog
Following people

👉 Risk:

In a complex background, it may “jump around.”

2. Wide-Area AF (Large / Wide)

A relatively large focus box.
The camera automatically selects a target inside the box.

👉 Suitable for:

Landscape video
Irregularly moving subjects
When you do not want to switch focus points frequently

👉 Recommendation level: ⭐⭐⭐⭐ (stable)

3. Normal-Area AF (Single Point)

Precisely focus on one point.

👉 Suitable for:

Static subject
Precise composition (such as trees, buildings)

👉 Risk:

Easy to “lose focus” in video if the subject moves.

4. Dynamic-Area AF

Not available in Z5 movie mode; photo mode only.

5. Subject-Tracking AF

Start it under Auto-area AF, then manually select a target → camera tracks it.

👉 Suitable for:

A clearly defined single subject (for example, a person walking)

👉 Risk:

Z5 tracking ability is average (easy to lose the subject).

III. Combined Use (Core Conclusion)

This is the key point. Practical combinations:

Scene 1: Portrait / Vlog

Focus mode: AF-F
Area mode: Auto-area AF (face/eye)

👉 Easiest solution.

Scene 2: Landscape / street photography (your most common use)

Focus mode: AF-F
Area mode: Wide-area AF

👉 Reason:

Does not jump around.
More stable than Auto-area.
More forgiving than Single-point.

Scene 3: Static composition (architecture / night scene)

Focus mode: AF-S or AF-F
Area mode: Single-point AF

👉 Or directly:

👉 Manual focus (more stable).

Scene 4: Moving subject (person walking)

Focus mode: AF-F or AF-C
Area mode: Auto-area AF (start Subject-Tracking AF when needed)

3.3. Vibration Reduction / Electronic VR

I. Conclusion First (Avoid Taking the Wrong Path)

In-body/lens VR and Electronic VR solve the problem in different ways. Usually rely first on optical/in-body stabilization to preserve image quality and field of view. Electronic VR can be used as an additional stabilization method in video, but it introduces costs such as cropping.

II. Vibration Reduction (VR) — Physical Stabilization

Principle:

5-axis in-body stabilization (IBIS).
Offsets shake by moving the sensor.

Characteristics:

Does not crop the image.
No image-quality loss.
Natural stability (no “jello” feeling).

Performance on the Z5:

Static handheld: works very well.
Slight movement: usable.
Walking: not enough (still shakes).

👉 Conclusion:

VR can usually be enabled when shooting handheld. Whether to disable it when using a stable tripod, a specific lens, or a special shooting method should be decided according to the lens/camera instructions and actual testing.

III. Electronic VR — Algorithmic Stabilization

Principle:

Crop the image + software algorithm stabilization.

Characteristics:

Crops the image (field of view becomes narrower).
May produce “jello / distortion.”
Provides some improvement for walking video.

Actual effect (Z5)

Advantages:

Handheld walking is slightly more stable.
More resistant to shaking than pure VR.

Disadvantages (key):

Wide-angle becomes less wide (very obvious).
Image edges may deform.
Enabling it crops the image and narrows the angle of view; it is unavailable at 3840×2160 (4K UHD).

VI. Suggested Combinations (For You)

You often shoot: landscapes + cities + hiking.

Scene 1: Static landscape (your most common case)

VR: On
Electronic VR: Off

👉 Cleanest image quality.

Scene 2: Slow handheld movement (slight pan)

VR: On
Electronic VR: Optional (generally Off)

Scene 3: Walking shot (street photography)

VR: On
Electronic VR: On

👉 But accept:

Image crop
Slight deformation

VII. A More Fundamental Understanding (Very Important)

Priority for stabilizing the image:

Stabilizer (gimbal)

In-body stabilization (VR)
Electronic stabilization

👉 Electronic stabilization is essentially a “remedial measure,” not the primary solution.

3.4. Attenuator

I. What Is the Audio Attenuator?

Its essence is to reduce audio input sensitivity / gain headroom in order to reduce clipping distortion in high-sound-pressure environments. The exact attenuation amount depends on the Z5 implementation; it does not need to be understood as a fixed -20 dB formula.

It has only one purpose:

👉 Prevent audio “blowout / clipping.”

II. When Should It Be Enabled?

1. High-SPL environments (enable when the recording level is approaching clipping)

Concerts
Bars
Subway / streets with dense traffic

👉 If it is not enabled:

Waveform hits the ceiling (clipping).
Sound becomes harsh and distorted (cannot be recovered).

2. Recording very close to the source

Talking very close to a person.
The recording device is very close to the sound source and the recording level is approaching clipping.

👉 Prevent transient clipping.

III. When Should It Not Be Enabled?

1. Normal environments (your most common case)

Daily vlog
Landscape ambient sound
Quiet street

👉 If enabled:

Sound becomes too quiet.
Noise floor is amplified when volume is raised in post.

3.5. Frequency Response

The “Frequency Response” you see in the Nikon Z5 video menu refers to the microphone frequency-response setting.

Microphone Frequency Response

It controls:

👉 Which frequency range the camera gives more emphasis to recording (low / mid / high frequencies).

I. Z5 Frequency-Response Options

Usually there are two:

1. Wide Range

Records the full frequency range (low + mid + high frequencies).

Closer to real environmental sound.

👉 Characteristics:

Natural, transparent sound.

But easier to capture wind and environmental noise.

2. Vocal Range

For recording human voices.

👉 Characteristics:

Better suited to speech.

II. Essential Difference (Technical Level)

Wide range = records a wider range of frequencies

Vocal range = intended for human voices

III. How to Choose (Based on Your Use Case)

You mainly shoot: landscapes + occasional video.

Scene 1: Landscape / environmental atmosphere (recommended)

Frequency response: Wide range

👉 Reason:

Preserve wind, water, and environmental layers.

More of a “live” feeling.

Scene 2: Vlog / talking

Frequency response: Voice

👉 Reason:

Voice is more prominent.

Better suited to speech.

Scene 3: Noisy environment (subway/street)

Frequency response: Voice

👉 Try Vocal range first.

3.6. Wind Noise Reduction

You are asking about the Wind Noise Reduction setting in the Z5 video menu. This is an in-camera audio-processing function for wind noise. Its core purpose is to reduce the low-frequency “whooshing” caused when wind hits the microphone.

I. What Is It Actually Doing?

Wind noise usually contains very strong low-frequency energy. The camera reduces these components. The specific filtering implementation is not exposed as a user-adjustable parameter, so it does not need to be understood as a fixed cutoff frequency.

👉 Result:

Wind noise is reduced.
Low-frequency ambient sound is also reduced at the same time.

II. When Should It Be Enabled?

1. Outdoors with wind (recommended)

Lakeside, seaside (scenes like West Lake)
Mountains, bridges
Wind clearly hitting the microphone

👉 Otherwise the recording becomes:

Low-frequency “whoosh—whoosh—” noise, basically unusable.

2. Walking while recording video

Wind combines with airflow from movement.

👉 Enabling it helps.

III. When Should It Not Be Enabled?

1. No wind / indoors

👉 Enabling it only causes:

Thinner sound.
Worse environmental atmosphere.

2. When you need to preserve low-frequency ambience

For example:

Water sounds (streams, ocean waves)
Urban low-frequency ambience

👉 Wind-noise filtering removes these as well.

IV. Limits of the Effect (Important)

This function is notall-powerful:

Can solve:

Light wind noise ✅

Cannot solve:

Strong wind directly hitting the microphone ❌
Strong airflow impact ❌

👉 Once there is severe wind overload, the audio is basically unsalvageable.

V. Correct Priority (Engineering Thinking)

Effective order for reducing wind noise:

Physical wind protection (most important)

Choose the shooting environment
Microphone direction
Wind Noise Reduction (menu)

VI. Practical Plan

1. Most effective: physical wind protection

Foam cover (basic)
Furry cover (deadcat, strongly recommended)

👉 This is an order of magnitude more useful than the menu option.

2. Camera-position control

Shoot with your back to the wind.
Use buildings / trees as windbreaks.

3. Menu combination (Z5)

Windy scene:

Wind Noise Reduction: On
Frequency response: Wide range or Voice (depending on whether speech is needed)
Attenuator: Off (unless the sound is very loud)

No-wind scene:

Wind Noise Reduction: Off
Frequency response: Wide range

4. Custom Settings Menu

4.1. Focus Tracking with Lock-On

This is a parameter specifically controlling AF-C continuous-focus “tracking stability vs response speed.”

Higher value → more “stable” (less easily disturbed)
Lower value → “faster” (switches targets more easily)

Default 3 is fine.

4.2. Auto-Area AF Face/Eye Detection

For portraits, prioritize:

AF-C + Auto-area AF + Eye detection

❗ Why does focus jump around?

Multiple people in the scene.
Automatically switches targets.

👉 Solution:

Use the directional pad to lock onto one person.

① Half-press shutter / press AF-ON to activate focus.

👉 The camera automatically recognizes multiple faces.
👉 Multiple boxes appear on the screen/viewfinder.

② Use the directional pad to choose the target.

👉 Press the camera directional pad (up/down/left/right).

Effect:

Switch between different faces.
The currently selected face box becomes yellow (or highlighted).

👉 This is “locking the target.”

③ Keep half-pressing the shutter (or AF-ON).

👉 The camera:

Continuously tracks this person.
Does not easily switch even if someone passes by (used together with a3).

Item	AF-S	AF-C
Focusing method	Single lock	Continuous tracking
Face/eye	✔ Can recognize	✔ Can recognize
Person moving	❌ Does not follow	✔ Continues tracking
Suitable scene	Static portrait	Dynamic portrait

4.3. a5 Focus Points Used

I. What Does It Control?

Limits the “number/range of focus points you can select.”

That is:

The density of the focus-point grid (how many points can be selected).

II. Common Options (Z5)

1️⃣ All Points

👉 Use all focus points (about 273 points).

Characteristics:

Maximum coverage.
Stronger fine control.
Moving the focus point is slower.

2️⃣ Reduced Points

👉 Reduce the number of selectable points (for example, about 77 points).

Characteristics:

Larger spacing between focus points.
Move faster.
Precision is slightly reduced.

III. How to Choose?

👉 Recommended default:

✔ All Points

Reason:

Higher precision.
Friendlier for portraits (especially eye focus).

4.4. Store Points by Orientation

Remember different focus-point positions separately for different shooting orientations (horizontal / vertical).

II. Intuitive Understanding

When disabled:

Choose a left-side focus point in horizontal orientation → rotate vertically → the focus point remains in the original position (composition becomes wrong).

When enabled:

Horizontal orientation → remember one focus point.
Vertical orientation → set another focus point independently.

👉 The camera switches automatically.

4.5. AF Activation

Which button starts autofocus?

I. Conclusion (Directly)

👉 Recommend: AF-ON only (Back-button focus).
👉 If not used to it: start with the default (shutter + AF-ON).

II. Meaning of the Two Options

1️⃣ Shutter/AF-ON (default)

👉 Half-press shutter = focus.
👉 AF-ON button = also focuses.

Characteristics:

Most traditional.
Easy to learn.

2️⃣ AF-ON Only (strong recommendation)

👉 Half-press shutter no longer focuses.
👉 Only pressing AF-ON focuses.

III. Why Recommend “AF-ON Only”?

This is a standard setup for many advanced users, for clear reasons:

✔ Separate focusing and taking the photo (core advantage)

AF-ON → controls focusing.
Shutter → only takes the photo.

✔ Avoid “accidentally refocusing”

Common problem:

Already focused.
Press shutter → focuses again → focus point moves.

👉 AF-ON can avoid this completely.

✔ More stable for portraits

Workflow:

AF-ON focus on the eye.
Release AF-ON (lock).
Recompose freely.
Press shutter to shoot.

👉 Focus does not jump around.

✔ AF-C becomes easier to use

You can:

Hold AF-ON → track.
Release → lock.

👉 Equivalent to “manually switching AF-S / AF-C.”

4.6. Limit AF-Area Mode Selection

Based on your use cases:

Portraits
Hiking
Night scenes

👉 Recommend keeping only these 3:

✔ Auto-area AF

👉 Main portrait mode (with eye detection)

✔ Single-point AF

👉 Night scene / precise focus

✔ Dynamic-area AF (small)

👉 Street photography / slightly moving subject

👉 Others can be disabled:

Wide-area (overlapping use)
Complex tracking modes (not needed at your current stage)

IV. Why Configure It This Way?

📌 Portrait

👉 Auto-area AF + human eye
→ automatic recognition

📌 Night scene

👉 Single-point AF
→ precise focus (avoid random grabbing)

📌 Hiking

👉 Dynamic-area
→ more forgiving than single-point

4.7. Focus Point Wrap-Around

When you move the focus point to the edge and continue pressing the directional pad, whether it “jumps back” from the other side.

4.8. Focus Point Options

4.9. Low-Light AF

Off.

Extend focus sampling time / increase sensitivity so the camera can focus in darker environments.

4.10. Built-In AF-Assist Illuminator

When light is insufficient, the front of the camera emits an assist light (like a small lamp) to help the camera focus more easily.

4.11. EV Steps for Exposure Control

How much exposure changes each time you turn the dial by one click.

1/3 EV (recommended)

👉 Each adjustment: ±0.33 stop

Characteristics:

More precise.
More accurate control.

2️⃣ 1/2 EV

👉 Each adjustment: ±0.5 stop

Characteristics:

Faster adjustment.
Slightly lower precision.

4.12. Easy Exposure Compensation

Whether exposure can be adjusted directly with a dial without pressing the “± exposure compensation button.”

4.13. Center-Weighted Area

In “center-weighted metering” mode, how large an area in the center of the frame is given extra weight when calculating exposure.

4.14. Fine-Tune Optimal Exposure

Item	Fine-Tune Optimal Exposure	Exposure Compensation
Scope	Global (long-term)	Temporary
Commonly used?	❌ Rarely changed	✔ Used frequently
Adjustment target	Metering system itself	Current photo
Display	❌ Not shown on EV scale	✔ Has EV value

4.15. Shutter-Release Button AE-L

This is a switch that binds exposure lock to half-pressing the shutter.

4.16. Shutter Speed and Aperture Lock

I. What Does It Control?

Whether the dials are allowed to change:

Shutter speed
Aperture

II. Two States

1️⃣ Off (default)

👉 Normal state:

Dials can adjust:

Shutter
Aperture

👉 Daily shooting must be like this.

2️⃣ On

👉 After locking:

The dials cannot change shutter/aperture.
The parameters are fixed.

4.17. Release Button to Use Dial

I. What Does It Control?

When adjusting certain parameters, whether the corresponding button must be held down for the dial to take effect.

II. Two Modes

1️⃣ Off (default, safer)

👉 Standard operation:

Hold button (such as ISO / ± / WB) + turn dial → adjust parameter.

Characteristics:

Less likely to trigger accidentally.
Operation is more “controlled.”

2️⃣ On

👉 Simplified operation:

Press button once → release → directly use dial to adjust.

Characteristics:

Faster.
Less hand effort.

4.18. Reverse Indicators

I. What Does It Control?

The display direction of “+” / “–” on the exposure indicator (EV scale).

II. Two Modes

1️⃣ Default (not reversed)

👉 Common logic:

← Negative (-) 0 Positive (+) →
Underexposed Overexposed

2️⃣ Reversed (enabled)

👉 Directions swap:

← Positive (+) 0 Negative (-) →
Overexposed Underexposed

III. Conclusion (Directly)

👉 Recommend: Off (not reversed, default).

4.19. Synchronized Release Mode Options

Allows multiple cameras to take pictures at the same time through a wireless connection.

4.20. Exposure Delay Mode

After pressing the shutter, the camera waits a short period before actually exposing.

Typical delay:

About 0.2s / 0.5s / 1s (depending on setting)

II. Core Purpose

Reduce vibration created at the instant of pressing the shutter.

👉 Suitable for:

High-resolution shooting
Long exposure
Tripod shooting

III. Conclusion (Directly)

👉 Default: Off
👉 Tripod shooting: On

4.21. Shutter Type

I. Two Core Types

1️⃣ Mechanical Shutter ✅ Recommended by default

👉 Exposure is completed by physical shutter curtains.

Characteristics:

✔ Best compatibility for most subjects; compared with a fully electronic shutter, less likely to show obvious rolling-shutter distortion
✔ Suitable for most scenes
❗ Has slight mechanical vibration and sound

2️⃣ Electronic Shutter (Electronic / Silent Photography)

👉 Exposure is completed by line-by-line sensor readout.

Characteristics:

✔ Completely silent
✔ No mechanical vibration
❗ May produce “jello effect” (rolling shutter)
❗ May show flicker bands under artificial light

II. Conclusion (Based on Your Use Cases)

👉 Default: mechanical shutter
👉 Switch to electronic shutter only for specific scenes

4.22. File Number Sequence

On the Nikon Z5, “File Number Sequence” controls how photo filenames increment.

I. What Does It Control?

Photo filenames are generally:

DSC_0001.JPG
DSC_0002.JPG
…

This setting determines:

Whether numbering keeps accumulating or resets.

4.23. Apply Settings to Live View

I. What Does It Control?

Whether the image seen on the screen/viewfinder reflects the current exposure settings in real time.

II. Two Modes

1️⃣ On ✅ Recommended

👉 What you see is what you get (WYSIWYG).

Effect:

You make it darker → image immediately becomes darker.
You make it brighter → image immediately becomes brighter.

👉 What you see ≈ what you shoot.

2️⃣ Off

👉 Display is “standardized.”

Effect:

No matter how you adjust exposure,
the displayed image looks about equally bright.

👉 The actual photo may be completely different.

4.24. Framing Grid Display

I. What Does It Do?

Displays grid lines on the shooting view (usually a 3×3 grid).

👉 They do not appear in the final photo; they only help composition.

II. Conclusion (Directly)

👉 Recommend: On.

4.25. Focus Peaking Highlight Display

I. What Does It Do?

Highlights “areas that are already in sharp focus” with color.

Appearance:

Sharp edges in the image show colored outlines (red/yellow/white, etc.).

II. Conclusion (Directly)

👉 Recommend: On.

4.26. View All in Continuous Release Mode

When you use Burst/Continuous shooting to take a group of photos, whether playback shows every photo one by one.

II. Two Modes

1️⃣ On

👉 During playback:

Every photo in the burst is displayed.
You flip through them one by one.

Effect:

Take 10 photos → see 10 photos in playback.

2️⃣ Off ✅ Commonly used

👉 During playback:

Only a “key frame” from the burst is shown (usually the first frame or a representative for the group).
The playback interface organizes continuously shot photos as a group. Do not interpret this option as meaning “the other photos do not exist”; the exact expansion behavior depends on the playback interface in the current firmware.