Nikon Z5 II vs Nikon Z7 II: Budget Full-Frame Upstart Takes on the High-Res Heavyweight

Key Facts

Resolution & Sensor: The Nikon Z7 II boasts a 45.7MP full-frame sensor (BSI CMOS) with a base ISO of 64 for exceptional dynamic range. The newer Nikon Z5 II uses a 24.5MP BSI CMOS sensor (inherited from higher models) – half the resolution but still full-frame. Both sensors are stabilized with 5-axis in-body VR, but the Z5 II’s sensor is backside-illuminated, unlike the original Z5, giving it much improved low-light performance on par with Nikon’s pricier 24MP bodies.
Processor & Autofocus: The Z5 II is equipped with Nikon’s latest EXPEED 7 processor (same as in the Z9/Z8) versus the Z7 II’s older dual EXPEED 6 engines. This next-gen processing gives the Z5 II 3× faster autofocus and advanced subject detection (human/animal/vehicle) with 3D Tracking AF, as well as low-light AF down to an astounding –10 EV. The Z7 II’s AF, while reliable, is rated to only –3 EV (–4 EV in low-light mode) and lacks the latest AI-trained tracking modes. In short: Z5 II has a far more modern focusing system, borrowed from Nikon’s pro bodies, whereas Z7 II relies on the previous-gen AF (493 points, human/animal eye detect).
Continuous Shooting: Despite being “entry-level,” the Z5 II offers faster burst shooting – up to 14 fps (JPEG) or 11 fps (Raw) with the mechanical shutter, plus a pre-release capture that buffers shots 1 second before you fully press the shutter. The Z7 II tops out around 10 fps (in 12-bit mode). However, the Z7 II uses CFexpress for faster write speeds, so its buffer clears quicker, whereas the Z5 II’s dual SD cards may limit sustained burst length.
Video Capabilities: Nikon gave the Z5 II a major video upgrade. It records 4K UHD 30p with no crop (full sensor width) and 4K 60p with a 1.5× APS-C crop ^[1]. It can capture 10-bit H.265 internally and even 12-bit N-RAW video to SD card – the first camera to do so – as well as N-Log and HLG HDR profiles ^[2]. By contrast, the Z7 II offers 4K up to 60p with only a slight ~1.08× crop, but it had no internal 10-bit or RAW recording (only 8-bit internally, 10-bit via HDMI external recorder). In practice, the Z5 II’s video is more creator-friendly, supporting features like focus peaking, digital 120p slow-motion (1080p), a Product Review autofocus mode (auto focus shift to objects, great for YouTube), and UVC/UAC webcam support ^[3] – none of which the older Z7 II offered at launch. Both cameras have mic and headphone jacks for audio.
Display & EVF: The Z7 II has a tilting 3.2″ LCD (non-touch for menus) and a 3.69M-dot OLED EVF (0.8× magnification) with 60 Hz refresh. The Z5 II upgrades to a fully articulating 3.2″ vari-angle touchscreen and an ultra-bright EVF rated at 3000 nits (Nikon’s brightest ever). The Z5 II’s EVF is reportedly a 5.76M-dot panel (as used in the Z6 III) with a wide color gamut, making it sharper and far easier to see in sunlight than the Z7 II’s finder. However, the Z5 II lacks the Z7 II’s top-deck status LCD.
Build & Handling: Both bodies are magnesium-alloy, weather-sealed and share a similar size (the Z5 II is a few millimeters thicker). Each uses the EN-EL15c battery (with USB-C charging). The Z5 II is rated for ~470 shots(LCD) per charge, a bit more than the Z7 II’s 360-420 shots. The Z7 II is a more “pro” body in layout: it has a top info display and one CFexpress Type-B card slot (plus one SD UHS-II), whereas the Z5 II uses dual UHS-II SD slots (cheaper media, easier backup). Notably, the Z5 II adds compatibility with Nikon’s vertical battery grips (MB-N11, etc.) for extended shooting and portrait controls, which the original Z5 lacked – the Z7 II also supports the MB-N11 grip. Both cameras feel solid in hand; the Z5 II’s deeper grip and slightly higher weight (700g with battery) give it a comfortable, balanced feel even with long lenses.
Price & Positioning: The Nikon Z7 II launched at $2999 (body) as a high-resolution flagship and still costs around $2,299-$2,499 in 2025. The Nikon Z5 II debuted in April 2025 at $1,699 (body) – making it Nikon’s most affordable full-frame Z camera. Despite the lower price, the Z5 II “packs a ton of performance” for the money, inheriting many features from higher models. It’s an excellent value: “a fantastic all-rounder” with very little to dislike at this price point. The choice boils down to paying a premium for the Z7 II’s 45MP resolution and base ISO 64 image quality, versus getting the Z5 II’s cutting-edge processor, autofocus, and video capabilities for nearly $800 less.

Now, let’s dive deeper into each aspect of this matchup.

Sensor and Image Quality

Megapixels and Detail: The Nikon Z7 II’s 45.7MP FX sensor delivers extremely fine detail, suitable for large prints or heavy cropping. It was lauded as one of the best sensors for landscape and studio work – essentially matching the acclaimed Nikon D850’s image quality. Reviewers note the Z7 II’s files have “incredible detail and low base ISO noise,” calling it “the best landscape photography camera” of its time for its combination of resolution and dynamic range. By comparison, the 24.5MP Z5 II cannot natively resolve as much fine detail – but 24MP is still plenty for most purposes (you can comfortably make sharp 20×30″ prints). In fact, one user who switched from the Z7 II to the Z5 II observed “no noticeable difference in perceived sharpness” in real-world shots when using high-quality lenses. Unless you routinely print very large or do extreme crops, the resolution gap may not be critical.

To bridge that gap for specialized cases, the Z5 II even offers a Pixel Shift High-Res Shot mode that combines multiple exposures to create a 96MP image ^[4]. This requires a tripod and static scene, but it lets the Z5 II punch above its weight for architecture or product photography, producing stunningly detailed composites approaching the Z7’s native resolution.

Dynamic Range: Both cameras have excellent dynamic range (ability to pull detail from shadows and highlights in RAW files). The Z7 II’s big advantage is its base ISO 64 setting: at ISO 64, its dynamic range is “extraordinary,” allowing the camera to capture extreme highlight detail and ultra-clean shadows. This gives the Z7 II about a 1 stop DR edge over the Z5 II (which bottoms out at ISO 100) in the most demanding high-contrast scenes. As DPReview noted, “ISO 64 can give [the Z7 II] an IQ advantage over peers” – a boon for landscape photographers who shoot in bright light and want maximum highlight headroom. By ISO 100-200, however, the difference narrows. The Z5 II’s new BSI sensor delivers roughly 14 stops of dynamic range at base ISO (estimated), essentially matching what the 24MP Z6 II/Zf could do. In PhotonsToPhotos measurements, the Z5 II shows noticeably better shadow range than the old Z5, and comes very close to the Z6 II’s curves – a huge improvement over its predecessor.

At high ISO sensitivities, the Z5 II may actually hold a slight advantage per pixel. With larger pixels, a 24MP sensor gathers more light per photosite than a 45MP sensor, potentially yielding lower noise in low-light shooting. In practice, when the Z7 II’s 45MP images are downsampled to 24MP, the noise performance is similar – but if you’re viewing or editing at 100%, the Z7 II will show noise earlier due to the smaller pixel pitch. Photography Life found that beyond ISO 800, the 24MP sensors (Z6 series) have a tiny noise advantage, whereas the Z7 II shows more noise if pixel-peeping. Both cameras produce clean results up to ISO 3200-6400 in real-world use, especially with noise reduction. Nikon raised the Z5 II’s ISO ceiling to ISO 64,000 native (expandable to 204,800), matching the Z6 II – whereas the Z7 II tops out at ISO 25,600 (expandable 102,400). In other words, the Z5 II can be pushed further in extreme low-light, though images at those upper limits will be very grainy.

Color and “Look”: Both cameras produce the familiar Nikon color science and richly detailed NEF (RAW) files. Colors are natural yet punchy, and skin tones are pleasing. With the same Picture Controls and Nikon’s latest Creative Look presets, one isn’t inherently “better” than the other for color. However, the Z5 II benefits from Nikon’s new Imaging Suite support – e.g. it works with Nikon’s “Imaging Recipes” and has Flexible Photo Controls for dialing in custom looks in-camera. It also includes special portrait-oriented modes like “Rich Tone Portrait” and Skin Softening, which leverage that EXPEED 7 processing for more flattering people shots (features trickled down from the Z8/Z9) ^[5]. The Z7 II, being older, doesn’t have those newer JPEG processing options (though you can always edit RAWs on computer for similar effect).

Expert Tip: If maximum image quality (for, say, large fine art prints or commercial shoots) is your absolute priority, the Z7 II’s higher resolution and ISO 64 capability give it an edge. Reviewers say the Z7 II’s output is so good that it’s “almost taken for granted” in today’s market – meaning it’s among the best you can get from full-frame. But the Z5 II’s image quality is no slouch. In fact, Imaging Resource noted the Z5 II “offers the same ultra-high image quality as the more expensive models”, since it uses essentially the same sensor tech as Nikon’s pricier 24MP bodies. Many photographers will find 24MP more than sufficient. As one DPR editor put it, “The image quality of the two cameras is pretty similar, but the Z5 II is better in most other ways” – underscoring that beyond pure megapixels, the newer camera brings improvements that can impact your keeper rate and shooting experience (autofocus, etc., discussed next).

Autofocus and Low-Light Performance

Perhaps the biggest differentiator between these two cameras is the autofocus system. The Nikon Z7 II was a solid step up from the first-gen Z7, featuring 493 phase-detect AF points across ~90% of the frame and improved face/eye detection. It performs well for static subjects and moderate action, but by today’s standards its AF is considered “last generation.” The Nikon Z5 II, with the EXPEED 7, inherits the same AF algorithms and features as Nikon’s 2023 pro bodies (like the Z8/Z9 and Z6 III). In practical terms, that’s huge.

AF Modes: The Z5 II’s AF interface and modes are identical to Nikon’s top sports cameras. You get the new 3D Tracking AF mode that locks onto a subject and follows it around the frame (finally bringing DSLR-style 3D tracking to the Z series). You also have subject-specific detection: human eye/face, animal eye, vehicle detection – even a dedicated Bird detection mode for birds in flight ^[6]. There’s an Auto select setting that lets the camera decide which type of subject (people, animals, or vehicles) to detect on the fly. The Z7 II, in contrast, has human and animal detection (added via firmware) but it cannot do vehicle or bird AF, and it lacks the new 3D Tracking and Auto subject modes of the Z5 II. It relies on the older Wide-area modes for face detection. Both cameras offer pinpoint AF, dynamic area AF, etc., but overall the Z5 II provides a more versatile toolkit for focus.

Speed and Tracking: In use, the Z5 II’s autofocus is remarkably faster and stickier. Nikon claims subject acquisition is 3× quicker than the original Z5. Reviewers confirm the Z5 II is “a big step up from the previous generation of cameras”– even outperforming the higher-tier Z6 II that “used to sit further up the range”. In DPReview’s tests, the Z5 II proved “easier to use and more dependable” than the Z6 II, thanks to the new AF system. It confidently tracks moving subjects with far greater reliability than any of the EXPEED 6 models could. Richard Butler of DPReview noted, “turning subject recognition on boosted tracking reliability [on the Z5 II]… it’s light years ahead of any camera made more than a few years ago”. By comparison, the Z7 II (EXPEED 6) can struggle with fast or erratically moving subjects. It has decent continuous AF for slower action, but its subject tracking can lose focus more easily and it lacks the intelligent algorithmic assistance of the Z5 II. In challenging scenarios (e.g. a subject moving towards the camera or an obscured face), the Z7 II might require more user intervention, whereas the Z5 II is more likely to stay locked on.

Where the Z7 II’s 45MP sensor hinders AF is readout speed: the Z7 II’s sensor readout is relatively slow (since it wasn’t stacked), so its AF can’t be as responsive as the faster-reading 24MP sensor in the Z5 II. Nikon’s newer 24MP sensor combined with EXPEED 7 yields quicker data, enabling better autofocus calculations. TechRadar points out that high-resolution sensors “tend to struggle a bit more with autofocus” due to the data load, which is one reason we haven’t yet seen a –10 EV rating on a 45MP sensor. In fact, Nikon limited the Z7 II’s Low-Light AF sensitivity to –3 or –4 EV, whereas the Z5 II achieves an unprecedented –10 EV (with an f/1.4 lens). That means the Z5 II can literally autofocus in near darkness – about the light of a night sky with bright stars. Even Nikon’s $5,500 flagship Z9 is rated to –7 EV (–8.5 with starlight mode), so –10 EV in the Z5 II is incredible. A Digital Camera World editor (a pro wedding photographer) was amazed, stating “the Z5 II’s impressive –10 EV autofocus makes me hope the next Z7 will have similar low-light gains”. In dim receptions or dark scenes, the Z5 II simply focuses where the Z7 II would hunt. Nikon even added a special Starlight View mode on the Z5 II to aid composing and focusing on pitch-black nights (boosting the EVF brightness), acknowledging its appeal to astrophotographers.

Real-world AF examples: With the Z5 II, you can trust the AF to handle erratic subjects – pets running, sports, kids playing – far better than the Z7 II. For instance, capturing a dog sprinting across the frame: the Z7 II might miss focus or require using a smaller focus area and skill to track it. The Z5 II, on the other hand, could use Auto-area with animal detection and 3D tracking; it will recognize the dog and stick to it. In reviews, photographers noted “if your pet is a fast mover, the AF in the newer bodies is much improved over the Z7 II”. Bird-in-flight shooters also benefit: the Z5 II’s bird AF mode and faster tracking give it an edge for wildlife vs. the older system.

That said, the Z5 II is not infallible – it’s on par with mid/high-end cameras of its generation but not at the absolute level of, say, a Nikon Z8 or Sony A1. DPReview found the Z5 II’s tracking occasionally could grab the wrong subject if something passed in front, and that its performance, while excellent, was “not quite on the same level as [the] more expensive contemporary Nikons” with stacked sensors. The Z7 II, being older, falls even further behind those flagships. In summary: for critical or difficult AF scenarios, the Z5 II will give you a much higher hit rate. The Z7 II is fine for general use and slower subjects but isn’t as reliable for fast action or low light focus.

Autofocus Modes and Innovations: An interesting first in the Z5 II is the inclusion of AF-A mode (auto-switching AF single/continuous) – Nikon hasn’t offered AF-A on its full-frame mirrorless until now. This mode intelligently switches between single-shot and continuous AF as needed, which can simplify shooting unpredictable subjects. The Z7 II does not have AF-A; you must manually select AF-S or AF-C. Additionally, the Z5 II’s focus algorithms are augmented by deep learning AI, according to Nikon, which helps with subject recognition and predicting movement. It’s effectively Nikon’s newest AF logic distilled into a $1700 body.

To put it plainly, the Z5 II focuses like a 2025 camera; the Z7 II focuses like a 2018-2020 camera. This is one area where the five-year age gap really shows. For most casual shooting you might not notice a huge difference, but if you challenge the AF, the Z5 II will shine. As one Reddit user succinctly judged: “The Z5II has clearly better internals (autofocus, IBIS, and more), but the Z7II has the extra megapixels to make its case.”

Video Capabilities

On paper, the Z7 II and Z5 II both shoot 4K video, but the Z5 II is a far more capable hybrid video camera thanks to its updated hardware and features. Nikon really pushed the Z5 II to appeal to content creators, whereas the Z7 II was more stills-focused with “good enough” video for its time.

4K and HD Specs: The Nikon Z7 II can record 4K UHD up to 30p using the full sensor width, and up to 60p with a minor ~1.08× crop (essentially full-frame with a tiny crop). It outputs 8-bit video internally (H.264 codec) and can output 10-bit 4:2:2 (N-Log or HDR) to an external recorder via HDMI. Slow-motion required dropping to 1080p (up to 120 fps). It was a decent video spec in 2020, but not cutting-edge.

The Nikon Z5 II matches the 4K frame rates and then some: 4K at 30p with full-frame readout, and 4K 60p with a 1.5× APS-C crop ^[7]. So in 4K60, the Z5 II essentially uses an APS-C area (around 20MP crop region) – that’s a bit tighter field of view, whereas the Z7 II’s 4K60 crop is almost negligible. However, crucially, the Z5 II can record 10-bit video internally. It offers internal H.265 10-bit recording for both standard video and HLG (HDR), as well as N-Loggamma for flat footage ^[8]. Even more impressively, it is the first camera ever to record RAW video to an SD card: Nikon’s new N-RAW 12-bit format is supported on the Z5 II without an external recorder ^[9]. This gives tremendous post-production flexibility – essentially the ability to adjust exposure and color as if working with RAW stills, albeit with some caveats (N-RAW is compressed and not as detailed as ProRes RAW).

In essence, the Z5 II’s video toolkit is on par with prosumer video cameras. It’s the cheapest full-frame with internal RAW. It also has other bells and whistles: focus breathing compensation (via firmware update, likely), electronic VR(adds 1.25× crop for extra stabilization), and the aforementioned Product Review AF mode which smoothly shifts focus from face to object and back – perfect for YouTubers or product showcase videos ^[10] (this feature debuted on the Nikon Z30 vlogger camera). The Z7 II doesn’t have these niceties.

Quality and Rolling Shutter: Thanks to the oversampling, the Z5 II’s 4K30 is very detailed and sharp – it reads the full 6K width and downsamples. The Z7 II, with its higher pixel count, also oversamples (from ~8K down to 4K) in 30p, producing excellent detail. Both will give you crisp 4K footage in those modes. However, the Z7 II’s sensor has a slower readout, which means more rolling shutter (jello effect on quick pans). The Z5 II’s 24MP sensor, while not stacked, is faster; DPReview noted it still shows “a reasonable amount of rolling shutter if your camera or subject moves too quickly,” but it’s the same sensor that Panasonic used in the S1H/S5II for video, so “not a bad performer”. The Z7 II at 4K30 has slightly worse rolling shutter (due to scanning more pixels). In 4K60, the Z5 II’s 1.5× crop means it’s reading a smaller area, which actually reduces rolling shutter compared to full-frame – at the cost of field of view. So each has a trade-off: Z7 II gives nearly full sensor 4K60 but more rolling shutter; Z5 II gives Super35 crop 4K60 but likely less skew.

Low-light video performance will be similar for both at equivalent settings, though the Z5 II’s lower resolution sensor might maintain a cleaner image at very high ISOs in video (and its noise reduction and processing is newer). The Z5 II’s Hi-Res Zoom feature in 1080p is handy – it can punch in up to 2× digitally by using 4K worth of sensor data for 1080 output, effectively giving you a lossless zoom for creative effects ^[11].

Stabilization for video: Both cameras have sensor stabilization which is a big help for handheld shooting. The Z7 II’s IBIS is rated ~5 stops. The Z5 II, with EXPEED 7, achieves up to 7.5 stops of shake reduction (at the sensor center) when used with VR lenses. It also adds a new “Focus-Point VR” mode that concentrates the stabilization on the active focus area, enhancing stability when your subject is off-center. This could benefit video when composing with rule-of-thirds, etc. Additionally, the Z5 II offers electronic VR (digital stabilization) for video, which the Z7 II lacked at launch. The e-VR combined with IBIS can smooth out walking footage better (with a slight crop).

Audio and Monitoring: Both cameras have a mic input and headphone output – essential for serious videographers. No real difference here; Nikon didn’t cripple the cheaper body in that regard.

Verdict on video: The Z7 II can certainly produce beautiful video (it was even used to film some 8K timelapse sequences in 4K output). But its feature set now looks dated next to the Z5 II. The Z5 II is arguably the best video camera under $2000 in Nikon’s lineup until the Z6 III. PetaPixel’s hands-on praised that Nikon “redefined what a hybrid camera can offer” at this price, noting the Z5 II “packs a ton of performance… with internal RAW video and more”, making it “way beyond entry level.” For a creator who wants to vlog, shoot cinematic footage, or just have flexibility in editing, the Z5 II is the clear winner here. You get 10-bit log and HDR internally (no external recorder fuss), a fully articulating screen for framing yourself, and more advanced AF during video (the Z7 II’s eye AF in video was serviceable but not as dependable as the Z5 II’s improved system). The inclusion of N-RAW is especially remarkable; as Nikon says, “this is the first camera to be able to record N-RAW to an SD card”, allowing creators to experiment with RAW video without a bulky external setup ^[12].

In short, for video and hybrid shooting, the Z5 II wins decisively. The Z7 II is fine for occasional video use, but if video is a priority – or even a significant secondary use – the newer tech in the Z5 II will serve you much better.

Lens Compatibility and Ecosystem

Both the Z5 II and Z7 II share the same Nikon Z mount, meaning they have identical lens compatibility. You can use Nikon’s growing lineup of NIKKOR Z lenses – everything from ultra-wide 14-24mm f/2.8 S to telephoto 100-400mm, as well as the affordable primes and kit zooms. There’s no difference in what lenses they accept; any lens you’d put on a Z7 II will work on a Z5 II (and vice versa) with full functionality. Both can also use the FTZ adapter to mount Nikon F-mount DSLR lenses, retaining autofocus and VR (with some older lens limitations similarly affecting both bodies).

It’s worth noting that because the Z5 II is marketed as an “enthusiast” model, Nikon often bundles it in kits with lenses like the Nikkor Z 24-50mm f/4-6.3 (compact kit zoom) or the 24-200mm f/4-6.3 VR superzoom. The Z7 II, being higher-end, was commonly bundled with the 24-70mm f/4 S lens, a higher-quality constant aperture zoom. However, this is just packaging – each body can use any Z lens.

One advantage of the Z5 II’s dual SD slots: if you have older lenses that require firmware updates (like some early Z lenses or the FTZ adapter), you can easily load firmware via SD card. The Z7 II’s use of one CFexpress card means if you don’t own a CFexpress reader or card, you might rely on the SD slot anyway for updates – not a big deal, but an anecdotal convenience (most will have both card types if using the Z7 II fully).

In terms of autofocus with lenses, both cameras use on-sensor phase detect. The Z5 II’s improved AF will benefit with fast lenses (like f/1.8 primes or f/2.8 zooms) for subject detection. If you adapt older DSLR lenses, the Z5 II might focus them a bit better in challenging conditions simply due to better AF algorithms, but the fundamental compatibility is the same.

The lens lineup for Nikon Z has matured a lot by 2025. Everything from budget primes (28mm, 40mm) to exotic glass (58mm Noct f/0.95) is available. Neither camera has an edge here, except the Z5 II’s IBIS is rated slightly higher, which could benefit non-VR lenses marginally. Also, if you use DX (APS-C) Z-mount lenses, both cameras will automatically switch to a cropped mode (about 10MP on the Z7 II, and ~11MP on the Z5 II). Not many would buy a full-frame camera to use crop lenses, but just know both bodies handle it similarly.

One difference: The Z7 II has a “sensor shield” (closing shutter) when powered off, introduced on some models? Actually, this feature debuted on the Z9; the Z7 II does not have a dust shield, nor does the Z5 II. Both rely on traditional sensor cleaning mechanisms. So no distinction there.

In summary, when it comes to lenses and system, it’s a tie – both benefit from Nikon’s excellent Z mount optics and both are part of the same ecosystem. If you’re invested in Nikon, choosing Z5 II vs Z7 II won’t affect your lens choices or future lens compatibility at all.

Design, Build Quality, and Handling

Nikon’s Z-series bodies all share a family resemblance, and at first glance the Z5 II and Z7 II look very similar: robust black magnesium shells, deep grips, and that big Z mount up front. There are, however, a few ergonomic and build differences worth noting:

Top Controls: The Z7 II has a top-panel LCD that displays settings (aperture, shutter, ISO, shots remaining, etc.) – a hallmark of higher-end bodies. The Z5 II omits the top LCD to save cost/space. Instead, you’ll rely on the rear screen or viewfinder to check settings. For some photographers, especially those coming from pro DSLRs, a top display is handy for glance-checking settings. If you’re used to it, you might miss it on the Z5 II. Otherwise, its absence is minor given the excellent EVF and info display on the rear.
Rear Screen: As mentioned, the Z5 II has a fully articulating (vari-angle) touchscreen, while the Z7 II’s rear LCD only tilts up/down. Articulation is fantastic for video (flipping out to face front) and useful for creative still angles (vertical shots from waist-level, etc.). The Z7 II’s tilt screen is great for landscape/horizontal shooting low to the ground or over crowds, but it doesn’t help for vertical orientation or self-facing needs. Both screens are 3.2″, but the Z5 II’s is higher resolution (2.1M dots vs 1.04M on original Z5; the Z7 II’s screen is ~2.1M dots as well, so likely similar resolution there). Both are touch-sensitive for menus, playback, and focus point selection, though Nikon’s menu cannot be fully operated by touch on the Z7 II (you can on the Z5 II with its newer firmware).
Viewfinder: Here the Z5 II clearly one-ups the older model – its EVF can hit 3000 cd/m² brightness, making it ~6× brighter than typical EVFs. Outdoor shooters will appreciate this in bright sun. Additionally, if indeed the Z5 II uses a 5.76M-dot panel, it offers a crisper view. The Z7 II’s 3.69M-dot EVF is not bad by any means; it’s the same resolution as in many Sony A7 models and has an ample 0.8× magnification. But by 2025, 3.69M dots is mid-level, whereas 5.76M is high-end. The Z5 II’s finder also has a refresh up to 120Hz (unclear in official specs, but likely given EXPEED7 like Z6III) – the Z7 II runs at 60Hz (with a 120Hz mode only in low-light preview). So the Z5 II’s viewfinder can be both brighter and potentially smoother.
Build and Weather Sealing: Both cameras have a tough magnesium alloy frame and are weather-sealed against dust and moisture. The Z7 II, being designed for pros, underwent extensive sealing – Nikon marketed it as on par with the D850’s ruggedness. The Z5 II appears to have similar sealing; early reports and Nikon’s statements indicate it is dust- and drip-resistant to a high degree. It’s safe to use either in light rain or dusty conditions with appropriate care. The Z5 II is manufactured in Thailand (as are all Z cameras now) and even faced a tariff issue shipping to the US – trivial trivia, but build quality doesn’t suffer for it.
Weight & Size: The Z7 II body weighs about 615g (body only, battery included ~705g), whereas the Z5 II is listed around 620g body only (and ~700g with battery). Essentially the same. Dimensions are also near identical: approximately 134 × 100.5 × 69.5 mm for Z5 II vs 134 × 100.5 × 67.5 mm for Z7 II – the Z5 II is a couple millimeters thicker due to possibly the vari-angle hinge and dual card slots. In hand, both feel like solid, dense cameras but not too heavy. They’re more compact than a DSLR like D750, yet substantial enough for good balance.
Controls: The button layout is very similar, aside from the top LCD difference. Both have twin command dials, joystick for AF point, i-Menu, etc. The Z5 II adds a dedicated Picture Control button on top (reprogrammable) which is a new control to quickly access Creative Picture Controls. The Z7 II lacks this specific button. Both have customizable function (Fn) buttons by the lens mount for quick settings. Overall handling is classic Nikon – comfortable grip, intuitive dials. One subtle difference: The Z5 II’s grip shape has been refined to reduce fatigue with heavy lenses. Reviewers noted Nikon shaped the grip to prevent arm tiredness even “when a heavy lens is used for extended periods”.
IBIS Performance: We touched on this – the Z5 II claims up to 7.5 stops (likely with a specific lens at 105mm per CIPA). The Z7 II was rated around 5 stops. In real shooting, you might get perhaps 1 stop better stabilization on Z5 II thanks to algorithm improvements in EXPEED7. Additionally, the Z5 II’s “Auto VR” mode can tailor IBIS for different focal lengths more effectively. Both will let you handhold shots at around 1/8 or 1/4 second with wide lenses if you’re steady, but Z5 II might push it to 1/2 second territory with some luck – impressive for static scenes.
Other features: Both cameras have similar optical viewfinder coverage (100%) and -4 to +? diopter adjustments. Both have the same shutter mechanism with 30s to 1/8000s range and flash sync ~1/200s. The Z5 II, interestingly, introduces extended shutter speeds up to 900 seconds (15 minutes) in manual/Bulb without needing an intervalometer. Great for astrophotography – the Z7 II maxes at 30s unless you use external triggers or hold bulb. The Z5 II also has that Warm Display mode to preserve night vision while shooting astrophotos. These are minor feature additions but reflect Nikon’s targeting of low-light shooters with the Z5 II.

In sum, handling differences boil down to personal preference: Do you value the top LCD (Z7 II) or a fully articulating screen (Z5 II)? Do you prefer dual identical card slots (Z5 II’s 2× SD) or the speed of CFexpress (Z7 II)? The Z5 II feels a tad more “new school” with its vari-angle screen and advanced EVF, whereas the Z7 II is a bit more “old school pro”with the top panel and fixed screen. Both are comfortable and robust. Many enthusiasts actually prefer dual SD cards, as praised by PetaPixel: having two UHS-II slots on the Z5 II is “typically a pro-level feature” brought down to this price. On the flip side, some pros might miss the secondary display or desire CFexpress for faster workflow. Neither will disappoint in build – both cameras are built to a high standard and can handle the rigors of travel or professional use.

Battery Life and Storage

As mentioned, both the Z5 II and Z7 II use the EN-EL15c rechargeable lithium-ion battery ( Nikon’s common battery across many models). In addition, they are compatible with older EN-EL15b/a batteries (with slightly reduced runtime). Real-world battery life is fairly similar, but let’s compare:

CIPA Ratings: The official CIPA test ratings (which tend to be conservative) gave the Z7 II about 360 shots per charge (EVF use) or up to 420 shots with the rear LCD. The original Z5 was rated ~390 EVF / 470 LCD. Nikon hasn’t published a separate CIPA figure for Z5 II (the spec sheet listed the same numbers as Z5, possibly awaiting official test). We can safely assume the Z5 II will get around 380-400 shots EVF and 450-470 with LCD, in line with its predecessor. In practice, these cameras can exceed those numbers depending on usage (burst shooting can yield thousands on one charge, whereas extensive chimping or video will shorten life). Users have reported getting 600+ shots on Z7 II in real events by being power-savvy. The Z5 II’s EXPEED 7 is more power-hungry than EXPEED 6, but also the new processor may have better power management; the higher-res EVF could draw more power too. So any advantage the Z5 II has in battery rating is marginal.
Battery Saving: Both bodies support USB-C power delivery and charging, so you can run them off a power bank or plug, which is great for long video shoots or timelapses. They also have an Eco mode (turning on energy savings can stretch shots by maybe 10-15%). The Z7 II specifically could extend to ~380 shots with energy save on.
Memory Cards: This is a more significant difference: Z7 II has dual card slots: 1× CFexpress Type B (or XQD) + 1× SD (UHS-II). Z5 II has dual SD (UHS-II). The presence of CFexpress on the Z7 II means it can write very fast – beneficial for clearing large RAW bursts or recording high bitrate video externally. But note, since the Z7 II didn’t record RAW internally, the advantage was mainly for burst photography; the Z7 II’s buffer could handle ~ ~50 RAW shots before slowing, and with a fast CFexpress, you’d be back shooting quicker. The Z5 II, with two SD slots, might have a buffer around a similar count (we don’t have exact numbers yet, but likely ~40-50 RAW at 14-bit). The latest UHS-II SD cards can be pretty fast (300 MB/s read, ~250 MB/s write in best cases), but that’s still half the speed of CFexpress (which can exceed 500 MB/s). For most users, dual SD is actually an advantage: SD cards are cheaper and ubiquitous, and you can use the two slots for backup (instant photo mirroring to avoid card failure loss) or RAW+JPEG separation, etc. The Fred Miranda forum folks noted they prefer the convenience of dual SD on Z5 II, saying Nikon “cluster-bombed” Sony/Canon by giving the budget model pro-style dual slots and other perks at this price.

Professionals who shoot high burst rates (sports, wildlife) might lean toward CFexpress for its speed – that’s one reason the Z7 II (and Z6 II) had that design. But with the Z5 II offering 14 fps JPEG, it shows SD cards are fast enough to handle a lot. For video, the 10-bit 4K and N-RAW on Z5 II needed very fast SD cards (V90 rated SD cards are recommended for N-RAW). CFexpress would have had more headroom, but Nikon managed to get N-RAW working on SD – a testament to how efficient N-RAW compression is ^[13]. If you do plan on shooting RAW video or lots of 4K60, invest in top-quality SD cards to avoid dropped frames.

Battery Grips: Both cameras can be extended with a battery grip. The Z7 II’s official grip is the MB-N11, which adds duplicate vertical controls and holds two batteries. The Z5 II did not get a model-specific grip, but Nikon confirmed it’s compatible with both the MB-N11 and the MB-N14 (the latter is a grip for Z8) for power supply. However, since the Z5 II is essentially the same shape as Z6 II/Z7 II, the MB-N11 should physically fit and function. Using a grip can double battery life (two batteries) and improve ergonomics for portrait orientation. It’s an optional accessory both can leverage.

In summary, battery life is a draw (slight edge to Z5 II on paper, but not game-changing). Storage comes down to speed vs cost: The Z7 II’s CFexpress slot offers blazing speed and future-proofing for high-res workflows; the Z5 II’s dual SD slots offer affordability and redundancy. Neither approach is categorically “better” – it depends on your priorities. Many photographers actually favor the Z5 II’s approach: “I prefer dual UHS-II SD for backup. XQD/CFexpress are faster, but two SD slots is what we wanted in the Z6/Z7 originally,” as was a common refrain. Nikon listened and delivered that in the Z5 series.

Pricing, Value, and Availability

When considering these two cameras, cost is a major factor. The Nikon Z7 II launched at a high-end price of $2999 (body only). Over time, its price has come down somewhat – by 2025 you’ll often find it on sale around $2499 new, and on the used market for ~$1800-$2000 depending on condition. It’s still a substantial investment, reflecting its pro-level status.

The Nikon Z5 II, on the other hand, hit the market at $1699.95 (body), which is significantly more affordable for a full-frame camera loaded with modern tech. Nikon did price it a bit higher than the original Z5 (which was $1399 launch), but as Digital Camera World analyzed, after inflation adjustment the Z5 II’s price is actually quite reasonable – “the Nikon Z5 II’s price increase from the original Z5 is justified” given how much more it offers. In fact, adjusting the 2020 Z5’s $1399 for inflation gives about $1725, so at $1699 Nikon essentially kept the “entry full-frame” price steady. That’s impressive considering the upgrades.

Value Proposition: Simply put, the Z5 II offers tremendous bang for the buck. It has been described as “a fantastic balance between price and performance” and “the entry-level full-frame model to beat”. Amateur Photographer’s review even stated, “I might just have to buy this excellently priced full-frame camera”, awarding it high praise for packing so much at that price. Pros like the DPReview team went so far as to say they’d choose the $1699 Z5 II over the more expensive Sony A7 IV in a head-to-head, because “the Nikon comfortably out-points it in just about every respect… We’d probably choose the Z5II over the more expensive a7 IV, if it came down to it.” ^[14] That shows how competitive Nikon made this camera.

The Z7 II, in contrast, now sits in an odd place: it’s no longer the top dog (the Z8 and Z9 have overtaken it), and the Z5 II and Z6 II/III undercut it with newer features. If you must have 45MP resolution, the Z7 II is still the cheaper route compared to a Z8 ($4000) or Z9. And for certain uses like landscape, the Z7 II is a bargain high-resolution platform in 2025. But its value has eroded a bit as technology marched on. One could argue the Z5 II gives most users more useful features for everyday photography at a much lower cost, whereas the Z7 II now appeals mainly to those who specifically need the high pixel count.

Current Availability: The Nikon Z7 II is widely available at all major retailers and has been on the market since late 2020. It’s a mature product, often bundled with a lens at a discount or found in Nikon’s refurbished store for even less. The Nikon Z5 II was officially announced on April 3, 2025 and began shipping by late April 2025. Initial demand was strong – NikonRumors noted that it “could be in short supply” at first, but by end of April “the Nikon Z5II is now in stock” at various stores. As of mid-2025, you should be able to purchase it new without issue. Its kits (with 24-50mm or 24-200mm lenses) are also available, priced at $1999 and $2499 respectively.

Notably, the Z5 II has proven popular: Nikon cited that in April 2025, with the Z5 II’s release, they “achieved the top market share in Japan for the first time in full-frame mirrorless sales”. That indicates the Z5 II struck a chord in the market, driving a sales surge (likely due to its value proposition).

If you’re comparing the two to buy now, consider that the Z7 II is approaching 5 years old and rumors swirl about a successor (a Z7 III). In fact, many expect a Nikon Z7 III or similar high-res model to be announced in late 2025 or 2026. So investing $2500 in a Z7 II today, you have to know it might be superseded relatively soon. The Z5 II, being brand new, will remain current for a few years and likely get firmware support and possibly even feature updates (Nikon sometimes enables new tweaks via firmware on Expeed7 cameras).

From a budget standpoint, if $1700 is your max, the Z7 II isn’t even in consideration – you’d go Z5 II. If you have ~$2500 to spend, you could almost buy two Z5 II bodies for the price of one Z7 II (especially on sale) – food for thought for event shooters who like a dual-camera setup. Or get a Z5 II plus a nice lens, versus just a Z7 II body. That being said, if you know you need the resolution, the Z7 II is still one of the most affordable 45+ MP cameras on the market (much cheaper than a 60MP Sony A7R IV new, for example).

Nikon has positioned the Z5 II as the “level-up” camera for those entering full-frame, while the Z7 II was the “mini-flagship” for resolution junkies. As Nikon’s lineup evolves, the Z5 II gives a taste of flagship performance to budget buyers. Or as one reviewer quipped, “I’d argue it’s fair to think of the Z5 II as an upgrade to older models like the Z6 II or even the original Z7 (if you don’t need high pixel count) – thanks to better subject recognition, faster focusing, and that articulating screen.” In other words, it outclasses the Z7 II in many day-to-day aspects except sheer image size.

To summarize on value: the Z5 II is the better value for most people, offering ~90% of what you’d want at a fraction of the cost, whereas the Z7 II asks you to pay a premium for its high megapixel sensor and pro body features.

Comparing to Other Cameras (Nikon and Competitors)

The full-frame mirrorless market in 2025 is very competitive. Both the Nikon Z5 II and Z7 II face pressure not only from each other but from other Nikon models and rival brands. Here’s how they stack up in context:

Within Nikon’s Lineup:

Nikon Z6 II / Z6 III: The Z6 II (2020) sits between Z5 and Z7 in specs: 24MP, better video than Z7 II, but older AF system. The Z5 II actually leapfrogs the Z6 II in many ways (same resolution but newer processor, better AF, etc.). Nikon released the Z6 III in late 2024 with a 24.5MP stacked sensor and EXPEED 7. That camera is like a big brother to the Z5 II, offering even faster performance (20fps bursts, 6K video) at ~$2500. It’s a direct competitor to the Z7 II for price, but with a different philosophy (lower res, higher speed). According to one showdown, “the Z6 III is the most all-round capable camera in its class”, whereas the Z7 II “leads for resolution and base ISO dynamic range”. The Z5 II is described as the “value-oriented” option among Nikon’s full-frames. So if you consider Nikon’s 2025 trio: Z7 II vs Z6 III vs Z5 II, each has its niche. The Z7 II wins on megapixels, the Z6 III on speed and hybrid prowess, and the Z5 II on delivering most features at a low price. Many enthusiasts are “torn between the Nikon Z5 II and the Nikon Z6 III” since they share so much tech – one DCW article even tackled which to choose. If video and a slight spec bump are worth $700 more, the Z6 III is there; if not, the Z5 II covers a lot of ground for less.
Nikon Z8 and Z9: These are Nikon’s high-end beasts – the Z8 (2023) is 45.7MP stacked, essentially a mini Z9, and the Z9 (2021) is the flagship 45MP sports camera. They’re in a different league (and price bracket: $4000+). A landscape or wildlife pro considering a Z7 II might also weigh the Z8, which costs roughly 60% more but offers much faster burst (20fps RAW, no blackout EVF) and cutting-edge AF. The Z5 II isn’t trying to compete there; it’s an entry/mid-level. But interestingly, the Z5 II shares the same processor as those flagships, which is partly why its performance is so good in AF and video. It’s like getting a taste of Z9 power for a fraction of the cost. Still, if you truly need flagship performance and high resolution, a Z8/Z9 is the way to go, not a Z7 II (the Z7 II lacks the speed) or Z5 II (lacks the MP and robustness for heavy pro use).
Nikon Zf (Retro model): Nikon introduced a retro-styled full-frame, the Nikon Zf, in late 2023 with a 24MP sensor (basically a Z6 II tech in a vintage body). It’s similar in image quality to Z5 II (same sensor) but has old-school dials and came at ~$2000. The Z5 II vs Zf: internally, the Z5 II has newer AF and processor, so it’s actually more advanced, while the Zf has the cool factor and slightly different feature mix (it was the first Expeed 7 full-frame with 24MP, pre-dating Z6III, but it has single card slot, etc.). NikonRumors did a spec compare of Z5II vs Zf vs Z6III, showing the Z5 II holds its own and even surpasses the Zf in burst and card slots. The choice there is more about style – if you love retro controls, the Zf is unique; otherwise the Z5 II gives the same or better performance for less money.
Upcoming Nikon models: The Nikon Z7 III is anticipated (though as of Sep 2025 not yet announced). We expect it to carry EXPEED 7, possibly a new 45+ MP sensor, and all the AF/video improvements. If that arrives, it will likely make the Z7 II obsolete for new buyers – but also probably launch at ~$3000 again. Nikon also might update the Z5 line in a few years (Z5 III?), but right now the Z5 II is new. There’s chatter of an EOS R5 II from Canon and Sony A7R V is already out (61MP), so Nikon will likely respond in the high-res segment.

Versus Canon:

Canon EOS R8: Canon’s closest analogue to the Z5 II is the EOS R8. Launched in early 2023 for $1499, the R8 is a 24.2MP full-frame mirrorless that essentially puts a Canon R6 Mark II sensor (24MP, excellent dual-pixel AF) into a smaller, entry-level body. The R8 is about $200 cheaper than the Z5 II. It’s lighter (461g) and very compact, making it great for travel. It also excels in video: it can do full-frame 4K up to 60p (oversampled from 6K) without a sensor crop, and has Canon’s renowned Dual Pixel CMOS AF II which is superb at tracking subjects. However, Canon did strip features to hit that price: no in-body stabilization (IBIS) at all, a single UHS-II card slot, a very small battery (less shots per charge, ~220 CIPA), and no AF joystick (you use the screen to position AF). Essentially, the R8 sacrifices some build and features for pure image-making capability. In use, the R8’s autofocus is extremely good – arguably even a tad better than Nikon’s in some scenarios, as Canon has nailed face/eye detection. It’s been said “the R8 has faster AF and better video specs, but the Z5 II feels more rugged and professional in-hand”. That sums it up well: the R8 is like a sports car engine in an economy car chassis, whereas the Z5 II is a well-rounded vehicle. If you shoot a lot of action and video on a budget (and don’t mind lack of IBIS), the R8 is a compelling alternative. But if you value stabilization, battery life, dual cards, and a heftier build, the Z5 II wins. Image quality between them is a wash (both 24MP full-frame, similar high ISO performance). Canon has fewer affordable RF lenses than Nikon does for Z, ironically (Canon locked out third-party AF lenses, whereas Nikon Z has third-party options from Tamron, Viltrox, etc.). So lens ecosystem for an entry user might actually be friendlier on Nikon’s side now. Overall, R8 vs Z5 II: R8 for ultimate portability and Canon’s AF; Z5 II for feature-rich reliability. At launch, DCW noted both are “fantastic entry points into full-frame mirrorless”, essentially acknowledging they target the same crowd.
Canon EOS R6 Mark II: The R6 II is a step up – 24MP, $2499 body, with IBIS, dual card slots, 12 fps mechanical/40 fps electronic, and excellent 4K60 video (no crop, 10-bit internal). It’s a closer competitor to Nikon’s Z6 II/III, but it’s worth mentioning because someone cross-shopping Z7 II or higher-end might consider R6 II. The R6 II’s sensor performance is great (perhaps slightly better low-light than Nikon’s 24MP according to reviews), and its autofocus is class-leading (Canon’s subject detection for animals, vehicles, people is top-notch). If we compare R6 II to Z7 II: the R6 II has far superior AF and video, but only 24MP vs 45MP. So similar to Z5 II vs Z7 II, it’s resolution vs newer features. Canon also has the EOS R5 at 45MP (the real Z7 II competitor), but that’s $3800 and more comparable to Z8. Between R6 II and Z5 II: the R6 II costs much more, but you get a more polished camera (higher burst, advanced AF, etc.). However, the Z5 II narrows that gap with EXPEED7. A photographer quoted on Reddit summed up the mid-tier competition: “Z5ii seems more useful than Z7ii… better ergonomics than Zf… [and] cluster-bombs Sony and Canon (R6II, R8, A7IV, A7CII)” in value. While a bit exaggerated, it shows Nikon came out swinging on price – to get similar performance from Canon, you’d spend more (R6 II), or if you spend similar (R8), you give up features.

Versus Sony:

Sony A7 IV: Sony’s A7 IV (released late 2021, ~$2500) is a 33MP all-rounder. It’s a direct competitor to the Z6 II / Z6 III and R6 II. It offers excellent image quality, slightly higher resolution than Nikon’s 24MP, and very good video (4K60 with a 1.5x crop, 4K30 full). Its autofocus is very good (though Sony’s subject detection circa 2021 wasn’t as advanced as 2023 standards – A7 IV has human/animal but not the AI chip of newer Sonys). In reviews, the Nikon Z5 II actually fared well against A7 IV: DPReview said “the Nikon comfortably out-points it in just about every respect: video quality, AF, viewfinder and screen, card slot consistency, feature set.” ^[15]They even preferred the Z5 II over the pricier A7 IV for those reasons. That’s high praise. The Z7 II vs A7 IV: the Z7 II beats it in megapixels (45 vs 33) and perhaps base ISO dynamic range; the A7 IV beats Z7 II in autofocus and video (A7 IV has real-time tracking AF and 10-bit video). So interestingly, the Z5 II is more a threat to A7 IV in some ways than the older Z7 II is. Sony also has the high-res A7R series (A7R IV 61MP, A7R V 61MP with AI AF), which outresolve the Z7 II but again are more money ($3500 for RV). Unless resolution is all you care about, the Z5 II at $1699 is stealing some thunder by offering a comparable experience to $2500 peers. Sony’s A7 III from 2018 (24MP) used to dominate the “budget full-frame” segment at ~$2000 – but now cameras like the Z5 II and R8 have leapfrogged it in tech. “The Sony a7 III was the camera to beat in 2018… [but now] the Nikon Z5II comfortably out-points it in just about every other respect,” writes DPReview ^[16], pointing to how far things have come. Indeed, by 2025 the A7 III is outdated.
Sony A7C II: Sony introduced the A7C II in 2023 as a compact full-frame (rangefinder-style) with the guts of the A7 IV. It’s 33MP, in-body IS, and very small/light. Price $2199. Versus Z5 II: the A7C II gives you more resolution and Sony’s lens ecosystem (which is vast), but it also has compromises like a small EVF (since it’s compact) and only one card slot (like the R8, it’s size-driven). The A7C II’s autofocus is excellent with Sony’s latest AI chip (it’s basically an A7R V’s AF system in a 33MP body). It’s a bit pricier than Z5 II. So a travel shooter might like A7C II for its form factor – but if you want a traditional body with dual slots and big EVF, Z5 II is better. Sony also released an A7C R (compact 61MP) – in case someone cross-shops with Z7 II, that’s another option for high res in a small package (but at $2999).

In summary for Sony: Nikon has closed the gap significantly. The Z5 II offers comparable or better features at a lower price in many cases. However, Sony still has some advantages: a more established lens lineup (especially third-party support and many APS-C lenses if needed), and extremely refined eye-AF (though Nikon’s latest is basically on par for humans). If one already has Sony lenses, A7 IV or A7CII remain obvious choices. But for a newcomer, the Z5 II is arguably a sweeter deal than the aging A7 IV or pricey compacts, provided you’re okay with 24MP vs 33MP difference.

Versus Panasonic:

Panasonic Lumix S5 II: Panasonic shook things up in 2023 by releasing the S5 II at ~$1999, finally adding phase-detect AF (a first for Panasonic). It’s a 24MP full-frame that directly competes with the mid-range hybrids. The S5 II is known for fantastic video capabilities – 6K open-gate recording, unlimited recording times with active cooling, internal 10-bit 4:2:2, and a very robust build. It also has a class-leading EVF (5.76M-dot, 120Hz) and great IBIS. Comparing S5 II to Nikon Z5 II: the S5 II is more video-centric (if you’re primarily a videographer, an S5II might be more appealing for its advanced codecs and anamorphic options). Its new phase-detect AF is good, but in independent tests it’s still a hair behind Canon/Sony, and Nikon’s latest AF is probably similar or slightly better in subject recognition. For pure stills, Nikon’s color and glass selection might edge out Panasonic (L-mount has many lenses too, but mostly larger since they’re Leica/Sigma designs). The S5II’s strength is being a true hybrid workhorse – arguably more so than the Z5 II because of features like waveform monitors, shutter angle, etc., that video folks love. But if you’re mainly taking photos with occasional video, the Z5 II’s AF and overall system might suit you more. One spec note: the S5 II shoots 9 fps burst (mechanical) compared to Z5 II’s 14 fps – Nikon wins in speed. Also, S5II has dual SD slots like Z5II. So they share some philosophy. It might come down to whether you prefer Nikon’s user experience or Panasonic’s. Imaging Resource in their first look said the Z5 II at $1699 is $1000 less than a Z6 III, highlighting it as a budget powerhouse – similarly, the S5II at $1999 was highlighted as a great value alternative to Sony/Canon. If video is life, lean S5II; if stills and balanced use, Z5 II might be better (and has far better continuous AF for things like sports than previous Panasonic – though with phase detect, the S5II is finally usable for action, just not class-leading).

Versus Fujifilm:

Fujifilm X-T5 (and X-H2): These are not full-frame, but high-end APS-C. The Fuji X-T5 (2022) is 40MP APS-C ($1699) – same price as Z5 II – and the X-H2 is 40MP in a more pro body ($1999). These cameras offer high resolution on a smaller sensor. The X-T5 is beloved for its retro controls and compact form. It has IBIS, 15 fps mechanical shutter, 6.2K video (cropped), and Fuji’s renowned film simulations. How does that compare? Well, the X-T5’s 40MP APS-C sensor can resolve a lot of detail, but it can’t match the light-gathering of a full-frame in low light. So at base ISO in good light, X-T5 might rival Z7 II’s detail (45 vs 40MP isn’t huge difference), but at high ISO the Z7 II will pull ahead, and the Z5 II definitely has better high ISO (24MP FF vs 40MP APS). The Fuji system appeals to those who prioritize smaller lenses and the Fuji color science/experience. A Fuji X-T5 with a couple of Fuji primes makes a very lightweight high-quality kit. In contrast, a Nikon Z5 II with equivalent focal lengths will be larger/heavier but give better shallow depth of field and low-light versatility. If someone is debating “full-frame vs APS-C”, it often comes down to needs: If you want that full-frame look (bokeh, wide-angle capabilities, etc.), the Z5 II is the clear choice. If you want maximum resolution per dollar and smaller kit, an X-T5 is intriguing. But one DPReview forum comment cut to the chase: “The Z5 is probably the best entry-level full-frame camera out there, but let’s not pretend it’s really competing with the X-T5.” The context was that they serve different preferences – full-frame versus Fuji’s ecosystem and style. Also, note Fuji’s autofocus, while improved, isn’t as foolproof as Nikon’s for tricky moving subjects. The Z5 II will track a moving person or animal more reliably than an X-T5 would in many cases. On the flip side, Fuji offers things like a stacked sensor variant (X-H2S) for speed, and of course Fuji’s unique approach to color and JPEGs.

So, who wins in the broader competition? The Nikon Z5 II has essentially reset the benchmark for entry full-frame in 2025. It combines features in a way that few single models from competitors do: you get robust build and dual cards (Canon R8 lacks those, Sony A7CII lacks dual slot), you get class-leading low-light focus (beating even some flagships at EV -10), and very strong video (challenging Panasonic and Sony). For ~$1700, it’s arguably the best value full-frame on the market as of now. TechRadar called cameras like the Z5 II, R8, A7C “fantastic entry points” but pondered if “they ain’t cheap… or are they?” in the current climate. Considering inflation and feature sets, they concluded these new cameras are justified in price.

For Nikon specifically, the Z5 II ensures Nikon has an answer to Canon and Sony at the lower price tier – something the original Z5 struggled with due to its limited video and older AF. Now Nikon’s mirrorless lineup covers everything from budget to flagship nicely, and the Z5 II is the keystone at the base.

One more competitor to mention: Sony A7 II and Canon EOS RP – these were older generation “budget” full-frames that linger at low prices (often under $1000 used). They are not really in the same league technologically (e.g., EOS RP has very poor dynamic range and no IBIS; A7II has outdated AF). The Z5 II (and R8, etc.) essentially render those obsolete unless budget is extremely tight.

Final Thoughts

The Nikon Z5 II and Z7 II may target different segments, but it’s illuminating to compare them head-to-head. The Z7 IIremains a high-resolution specialist – if you need 45MP files and maximum dynamic range at base ISO for landscapes, studio, or fine art, it’s still a powerful tool. Its image quality is stellar, and for those use cases, the advanced AF and video of the Z5 II might not be as important. However, the Z5 II demonstrates just how far camera tech has advanced in five years. It offers flagship-grade processing and autofocus in a camera priced for enthusiasts, making it arguably the better choice for the majority of photographers who want a well-rounded camera. As one expert review put it, “the Z5 II’s specs blast the original out of the water” and it “redefines what users can expect in this category”. It brings many Z9-level features down to $1700 – something unthinkable a few years ago.

In practical day-to-day use, the Z5 II will simply make shooting easier: you won’t fight the autofocus in low light, you won’t be as limited in video projects, and you get modern conveniences (flip screen, better EVF, etc.) that make photography more enjoyable. The Z7 II demands a bit more deliberate approach (focus-recompose or manual select AF points for moving subjects, maybe using a tripod to get the most of 45MP, etc.), but rewards you with those gorgeous high-detail files.

With Nikon expected to refresh the high-res line (Z7 III) in the not-too-distant future, the Z7 II is kind of the last of the “first-gen” tech meeting second-gen tweaks. The Z5 II, conversely, is firmly next-gen in its guts.

For someone deciding between them:

Choose the Nikon Z7 II if you absolutely need 45.7MP resolution, love shooting at ISO 64 for ultimate image quality, or perhaps if you find a great deal and mostly shoot landscapes/architecture, where its older AF is no issue. It’s also a good option if you already have a Z6/Z7 series and want a second body with similar controls and don’t want to jump to the new system yet.
Choose the Nikon Z5 II if you want the best overall performance per dollar. It’s ideal for events, travel, wildlife on a budget, or as an upgrade from APS-C/DX to full-frame. Its 24.5MP is enough for weddings, journalism, everyday photography, and even prints up to A2 size or so. You’ll gain the benefits of Nikon’s latest tech and still have money left for good glass. As Amateur Photographer concluded in their review, “a great spec sheet and very little to dislike, plus a tempting price point makes the Z5 II a fantastic all-rounder”.

In the end, these two cameras reflect a trade-off between sheer resolution and modern versatility. Nikon has ensured that whichever you pick, you’re getting a capable imaging machine. And with the Z5 II’s arrival, full-frame photography is more accessible than ever without sacrificing quality or features – a win for consumers and a challenge laid down to Canon, Sony, and others in this fiercely contested arena.

Sources:

Nikon Z5 II Official Announcement – Nikon Rumors (Apr 2025)
DPReview Nikon Z5 II Review (2025) – Richard Butler’s analysis of AF and usability
PetaPixel News: “The Nikon Z5 II Packs a Ton of Performance into a $1,700 Camera” – Jaron Schneider (Apr 2025)
Digital Camera World – Z7 II vs Z5 II low-light AF commentary by Hillary Grigonis (Apr 2025)
Imaging Resource First Look: “Z5 II Brings Pro-Level Processing to Entry-Level” – David Schloss
TechRadar / DigitalCameraWorld features on entry-level full-frame trends (2025)
NikonRumors coverage (Apr-May 2025) on Z5 II specs, market impact, and PhotonsToPhotos data
Amateur Photographer – Nikon Z5 II Review by Amy Davies (Apr 2025)
TS2 Tech “Battle of Nikon’s Full-Frame Mirrorless 2025” comparison (for cross-reference of spec differences)
Fred Miranda Forum discussions on Z5 II vs Z7 II user impressions.