Just imagine a camera that fuses the soul of vintage photography with a higher resolution sensor, and yes, we are talking about the possibility of Nikon Z FR. We are actually waiting for the Nikon Z7 Mark III, but photographers are quite a bit excited about the next possible variation of the ultra-popular Nikon Z F camera. Leading to the success of ZF, there is a high probability that a higher-end variant of the existing ZFwill be introduced.
The Nikon ZFR concept was not created by us; the credit goes to one of my favorite photographers, Matt Irwin. He is a Nikon Z system camera user as well as very close with Nikon, and just before this article, we had published his predictions related to the upcoming Nikon RED Raptor camera announcement, which was 100% true. So now, let’s discuss what he has said in the video related to the Nikon ZFR camera.
To me, the way that you make this a killer camera is you do something that Nikon has done already and has been greatly successful, and we’re also seeing other manufacturers do it. That is this—you put that more advanced, let’s say roughly 60-megapixel sensor, into a retro body, a ZF-style body, and we could call it the ZFR. – Matt Irwin
Nikon ZFR Specification
60MP sensor
Retro ZF-style body
Higher-quality sensor (possibly 16-bit or improved dynamic range)
Aimed at photographers who don’t need high speed
Could be called the “ZFR”
Let’s Discuss the Speculated Nikon ZFR Specs: What’s Under the Hood?
A 60-megapixel full-frame sensor is not new; it has been in the camera industry for approximately the past 5 years, starting from Sony A7R IV. Then we have it in the Sigma FP camera; we also have it in the Sony A7R Mark V, so it is quite a commonly used sensor by many, and it’s a decent upgrade from Nikon Z7 II. So yes, it’s a very good possibility that either the upcoming Z7 Mark III or the ZFR camera may use the same 60MP sensor.
Medium format cameras like Hasselblad X2D 100C and Fujifilm GFX 100 offer 16-bit RAW due to their larger sensor architecture. So at this point, I certainly disagree with Matt—16-bit color recording capability is only limited to medium-format sensors in the current generation. And if Matt is talking about utilizing the same 60MP sensor used in cameras like A7R IV or Sigma FP, it remains limited to 10-bit to 14-bit recording due to its semiconductor design, and there is no way to upscale it if Nikon uses the same variant of the 60MP sensor.
Now, there is a huge possibility, and if Matt is trying to hint that this camera can record 16-bitcolor depth, that indicates Nikon is working on a brand-new 60MP sensor, maybe with Towers Jazz or other semiconductor manufacturers. So there can be a possibility if it’s true. thenewcamera admin
Talking about the modest speed, 10 frames per second is more than enough for those who love to have a high-resolution body. And for those who need speed, yes, we do have cameras like Nikon Z8 and Z9. Without a doubt, they can go with these bodies.
8K video recording capability has now become the norm for professional full-frame mirrorless cameras.
Design is the main factor here. When you considerthe design, it is loved by many professional photographers, and it is one of the best-selling cameras from Nikon to date. The only thing that I would love is if Nikon’s Design Department is able to add a proper hand grip to the ZFdesign, since we currently have to buy one from SmallRig. If they are able to do so, that would be great.
Nikon ZFR Arrival Date
Now, here is the million-dollar question—when will the Nikon ZFRarrive? According to Matt, the camera is expected to arrive sometime in late 2026 or early 2027. That clearly indicates that the ZFR-style camera is still in the development phase, and a lot ofalpha and beta testing has to be done before it reaches a production model.
Final Thoughts: Is the Nikon ZFR Worth the Hype?
Nikon ZFR has a lot of potential just by its name alone. And once we heard about it, we thought, “Yeah, it is a huge possibility, and we have to cover this as soon as possible.”It actually shows Nikon’s vision of the future and how broad and versatile it is. And the good thing is, it’s not about replacing any existing prime cameras—it’s about creating a brand-new space for those who love to have a retro-style camera in their hands with a high-quality, full-frame sensor, which is still missing from the Fuji brand—either you have to pick anAPSC, or you have to jump into a medium-format zone.
Having said that, the camera world is evolving, and we would love to see the ZFR camera from Nikon.
Let us know what you think!Does the Nikon ZFR camera look attractive with these specs, or would you love to see a differentvariant with a higher-resolution sensor? Let us know in the comment section. Stay tuned to thenewcamera.com for the latest updates!
Article Update Log: The article “Nikon ZFR – Specification, Rumors, and Release Date” was first published by thenewcamera.com team on March 13th, 2025
Hasselblad X2D Mark II camera rumors started after the FCC registration HB 722, which has been surfaced by rumor mill in the past. Rumor mills suggest it is actually a potential upgrade or update to the existing flagship X2D 100C. The X2D 100C was released back in 2022, and it is due for an update.
Hasselblad X2D II Coming in June 2025
The camera is expected to officially arrive in the month of June 2025. The camera was registered back in December 2024, and as per the FCC rules and regulations, the external photos and the manuals of the camera remain withheld for 180 days. So it suggests the public reveal will be done in June 2025. So that’s the month when Hasselblad will be obviously announcing the X2D Mark II Camera.
X2D 100C a Photographer’s Dream Camera
Now, what we have already seen in the predecessor, the X2D 100C, is a 100-megapixel BSI CMOS sensorpaired with 7 stops of built-in sensor-shift image stabilization and a 1 terabyte internal SSD drive, and it has been loved by professionals and Hasselblad users out there. But the autofocus speed and the video capabilities were the two major issues associated with the first generation of the X2D 100C camera.
Now, we expect the upcoming X2D Mark II camera will address those gaps and upsthe overall performance of the entire series to the next level.
Hasselblad X2D Mark II – The Next Evolution
The X2D Mark II is kind of the next evolution of the existing and popular X2D 100C. It has been loved by professionals. Now, Hasselblad is in the works to introduce a new camera. Let’s discuss the possible set of core specifications that we may see inside this camera.
What We Are Expecting in the Upcoming X2D II Camera
The camera is likely to use the same 100-megapixel sensor with 16-bit color depth and 15 stops of dynamic range.
Introduction of a new AI-based autofocus algorithm to upscale the overall tracking performance of the camera. The 294 autofocus zones are expected to remain the same.
Hasselblad will use the same image stabilization mechanism that we have already witnessed in the X2D. The five-axis 7 stops IBIS was a game changer in the X2D and loved by professionals. The same 7 stops of IBIS performance is expected in the upcoming X2D Mark II.
Image processor is the key, and we are expecting the introduction of a next-generation processor to boost the overall responsiveness of the camera, reduce lag (specifically visible in the EVF), and handle data transfer faster with the sensor. That will lead to a faster continuous shooting speed and the possibility to record 4K video from this camera. So if they introduce a new image processor, for sure, we will see a major improvement in the overall core specs of the camera.
We all know it is a Photographers camera, but due to the increasing demand for Videos among MF format users and to give a tough competition to GFX series cameras, the X200D Mark II is the best platform to introduce the Introduction of 4k 30 fps 10-bit Video, with H Log support.
The easiest upgrade they can do isto increase the storage from 1 terabyte to 2 terabytes SSD. So we are expecting a kind of a storage update in this camera too.
Body and Design: Iconic Scandinavian design needs minor tweaks. The introduction of a larger handgrip is much needed. Let’s hope for the best.
Conclusion
These Expected core specifications are more than enough to set the upcoming Hasselblad X2D Mark II camera apart from its predecessor.
One more thing I would love to add—Hasselblad users actually loved the Hasselblad Natural Colour Solution (HNCS) that decodes 16 BIT images perfectly with its true color tones, which was introduced in the original X2D 100C. And we would love to see it again in the upcoming X2D Mark II camera.
The X2D 100C was a masterpiece for still shooters, but it still has a lot of room for improvement, which includes the introduction of VIDEO mode, speed, autofocus performance, and overall versatility. The X2D Mark II camera could be Hasselblad’s answer to those critiques, blending its signature 16-bit image quality. We would love to witness how Hasselblad processes the upcoming medium-format camera’s specifications to the next level.
Article Update Log: The article “Hasselblad X2D II Coming on June 2025 – Latest Rumors and Updates” was first published by thenewcamera.com team on March 13th, 2025
If you’re into professional content creation or cinematography, then you have to take care of the Rolling shutter in your camera. Let’s talk about Panasonic’s Lumix S1R II, a camera packed with versatile modes and high-resolution potential. However, since the camera uses the 44.3MP Full-Frame CMOS Sensor, it’s a traditional sensor with a 25ms readout speed.
The question isn’t just “How bad is it?” but “How can you make it work for you?” In a recent hands-on test done by Tech Through the Lens channel and Gerlad Undone, they did a really extensive and very useful test, let’s find out the important details of the test
Beyond the Numbers: What Does Rolling Shutter Really Mean?
STacked vs Non-Stacked vs Global Shutter Sensor – We all know when we are working with stacked CMOS sensors we do not have to worry that much, that’s the reason why professional camera makers like RED mostly use Global shutter sensors. But, ARRI ALEXA cameras, including models like the ALEXA 35 and ALEXA Mini LF, primarily use rolling shutter technology, not global shutter. While ARRI is known for its high-quality image sensors, they currently lack a cinema camera with a global shutter, but thats a comletely different set of topic.
Average Sensor Readout Speed Table
Sensor Type
Typical Readout Speed Range
Notes & Examples
BSI CMOS
15–40 ms (1/50–1/25 sec)
Common in mid-tier cameras. Faster than traditional CMOS but slower than stacked designs. Sony A7 IV has a sensor readout speed of 26.8 milliseconds
Stacked CMOS
5–15 ms (1/200–1/66 sec)
Significantly faster due to integrated memory and processing. Example: Sony A1 (~4.8 ms at 50MP). Z9’s readout is 4ms.
Global Shutter CMOS
<1–5 ms (1/1000–1/200 sec)
Captures all pixels simultaneously, eliminating rolling shutter. Example: RED raptor, komodo, Sony A9 III (~1 ms or less, estimated), industrial sensors like Sony Pregius (~2–3 ms).
Lumix S1R II Sensor Readout speed
The Lumix S1R II’s wide range of shooting modes enables variable writing speed in the camera, the best part is now we have detailed information of the readout speed of each mode summarized in the table below
Panasonic S1R II Sensor Readout Speed Table
Mode/Resolution
Estimated Readout Speed
Notes
Open Gate (6.4K, DRE On)
~23 ms (1/43 sec)
“sloppy” at 23 ms, typical for high-res BSI CMOS mode.
4K 48p
~15 ms (1/66 sec)
significant jump to 15 ms with an 11% crop, faster readout mode. Since the readout pattern changed due to crop
4K 24p
~23–25 ms (1/43–1/40 sec)
Estimated based on slower baseline BSI CMOS performance (similar to Open Gate without crop trick).
4K 120p
~10–12 ms (1/100–1/83 sec)
Estimated as the fastest rolling shutter mode, but subsampled with trade-offs in quality.
8K 30p
~25–30 ms (1/40–1/33 sec)
Estimated for full-sensor 8K; slower due to higher data load, aligned with BSI CMOS limits.
Open Gate (8.1K, Future)
~25–30 ms (1/40–1/33 sec)
Projected based on 8K performance; firmware update expected to maintain similar readout.
Stills (44.3MP, Electronic)
~20–25 ms (1/50–1/40 sec)
(~1/50 sec) and typical BSI CMOS behavior for high-res stills.
The S1R II’s rolling shutter varies wildly depending on how you configure it, with this table we wanted to give shooters a practical sense of what’s usable—and what’s not.
The 48p Hack: Speed Without Sacrifice
That’s the best part of the test, during the test while Shooting in 4K or 5.9K at 48p (with the intention of dropping it onto a 24p timeline) unlocks a hidden gem. Yes, The camera does an 11% Crop in 16:9 recoding mode due to the crop, when the sensor readout area becomes less and maybe the camera is using slightly different readout pattern, a read speed that goes from 23ms to mind whopping 15ms. And there is no compromise with the AF system of the S1R Mark II camera in 4k 48p mode.
The camera is still able to deliver 11.9 stops of dynamic range in 4k 48p mode, don’t forget to keep on the Dynamic Range Expansion (DRE) while recording.
Use a 360-degree shutter, cut half the frames in editing, and you get a fast mode that avoids rolling shutter problems without ruining the picture. For filmmakers who care more about smooth motion than a full frame, this trick could be a big win.
Panasonic S1R II – 8k & 4k 120fps mode
The Panasonic S1R Mark II camera records 8K video recording internally at up to 30fps in 10-bit H.265 with 14 stops of dynamic range, well I think Camera processing power touches its limit while shooting 8K and that’s why subject detection of the camera gets disabled, A firmware update (expected later in 2025) that will address several issues regarding performance update. BTW, in almost the same price range we have Nikon Z8, was released back in May 2023, can record 8K 60fps internally with full-time AI AF in 12-bit N-RAW at a data rate of 722.5 MB/s.
Meanwhile, 4K 120p mode of the Camera doesn’t show any rolling shutter issues while recording high-speed videos due to its linked skipping readout mode that enables faster readout at a Higher Frame rate, but exposure isn’t proper, a significant amount of 1.5x crop, and since the processor is soaked up in processing 4k 120fps video the AF performance degrade. We are very sure in the upcoming Nov 2025 update Panasonic will fix most of the issues.
The Verdict: A Camera of Choices
The Panasonic S1R Mark II detailed test showed us how we can use this camera to its maximum potential, and during the entire test, the Camera never shut down due to overheating issues. but if you are confused between the Nikon Z8 OR Panasonic S1R II, we have done a short comparison that will help u decide which camera u should get between the two. So, overall the camera is made for professionals, kudos to Panasonic for putting their best innovation in the S line of Full-frame cameras.
Canon just dropped a bombshell—they have clearly said no to a pixel-packed version of the Canon R1 camera. In an interview at CP+ in Yokohama, Japan, with the PetaPixel team, a Canon representative clearly said a big NO to a higher-resolution variant of the Canon R1 camera.
So, what do you think? Is it a misstep or a masterstroke? Let’s discuss further.
Canon EOS R1: A Flagship Built for Speed, Not Pixels
Canon R1 is a camera made for speed and not pixels. It’s a custom-tailored camera specifically made for sports shooters and wildlife photographers—those who need lightning-fast performance from their camera.
As we all know, the Canon R1 camera features a 24.2MP sensor with a continuous shooting speed of 40 FPS in RAW, as well as Canon’s latest generation of AI autofocus. In fact, it’s a dream camera for many photographers out there.
But here’s the kicker—some photographers, or maybe even YOU, would love to have, or at least the option of, a higher-resolution Canon R1—something that uses a 45-megapixel stacked sensor and directly competes against the Nikon Z9 or Sony’s 50-megapixel monster, the Alpha 1 Mark II.
But it’s Canon’s decision, and the team led by Go Tokura, Executive Vice President and Head of the Imaging Group, has closed the doors on all possibilities of a high-resolution flagship camera.
“We consider the flagship to be at the pinnacle of our lineup, which means we’re not going to have two flagship models,” Tokura told PetaPixel. “We’ve put everything—the best performance and trust—into the EOS R1.”
Translation?
Canon is very clear about its flagship strategy. Right now, they believe speed doesn’t require high resolution. And if you want to shoot landscapes, architecture, or anything that demands a super high-resolution sensor, they have a clear message:
You can go for the R5 series. If you need more than that, you’re free to look elsewhere.
But I need your feedback—do you think Canon is right in their decision, or are they actually missing the mark? Drop your thoughts in the comments below.
Why No High-Res R1? The Science Behind the Decision
Let’s break it down and understand why Canon is thinking this way. First, we need to understand that Canon isn’t just being stubborn—it’s physics.
If you go for a higher-resolution sensor, it means smaller photodiodes, resulting in lower sensitivity, more noise at higher ISOs, and compromises in dynamic range. For a camera like the Canon R1, which is built to excel in both image quality and performance, Canon has to maintain a balance.
We also have to remember a key part of the interview, where Tokura said: “If we focus on just one aspect of performance—like resolution—it would destroy the balance. Our 5-series handles high resolution instead.”
So, we have to understand that the Canon R5 Mark II, with its 45MP sensor, is Canon’s answer for pixel lovers out there.
But here’s the catch—the Canon R5 Mark II lacks the R1’s rugged build, integrated grip, and flagship-level ergonomics that professionals love to have in a high-resolution camera. So Canon is very clear: you should either pick speed or resolution.
If you pick speed, you get the Canon R1. If you want a high-resolution sensor, you get the R5 II.
What do you think? Does this decision sit right with you, or does it feel outdated in 2025? Should Canon have at least considered a flagship-level solution with a high-resolution sensor, just like other camera makers have?
Back in the DSLR Days, They Had Two Flagships—Why Not Now?
Back in the DSLR days, Canon did split its flagship lineup into two flavors: the speed-focused 1D and the resolution-heavy 1Ds.
Canon has been making their 1-series cameras for decades—it’s nothing new. In the DSLR era, their research and development team was smart enough to offer two flagship models based on market demand and technological limitations at the time. They had the speed-focused 1D and the resolution-focused 1Ds.
So, if they already did it in the past—why not now?
Tokura’s take is clear: “We would probably never consider developing another model using the same body as the EOS R1.”
But let’s be real—times have changed. Technology now allows for a high-resolution flagship camera, just like the Nikon Z9 and the Sony Alpha 1 Mark II. And as I mentioned, Canon already had two different flagship models in the DSLR era—so why not now?
Yes, we do have alternatives like the R5 II, but that’s not a real solution for professionals who need a unified body like the R1.
The Bottom Line: Love It or Leave It
For professional photojournalists, wildlife photographers, and sports shooters who need a low-resolution, high-speed camera, the Canon R1 is a match made in heaven.
But for those who were craving a high-resolution flagship, sorry folks—Canon is not in the mood to create a high-res R1 or its equivalent anytime soon.
Yes, we do have the R5 II, at least in that series, but for now, a high-resolution flagship remains off the table
Best Budget Wildlife Lenses for Sony E-Mount in 2025: Native and Third-Party Options: Sony mirrorless cameras have actually revolutionized wildlife photography with their innovation, specifically in autofocus mechanisms, as well as lightweight design and the most important and expensive lens ecosystem, which is continuously expanding. So, if you shoot with full-frame cameras like the Sony Alpha A1, it’s kind of a powerhouse, or an APS-C camera like the Sony A6700, finding the right lens on a budget is really a tough job. Breaking a bank account while buying your favorite lenses is not always a good idea. So, we have selected the best budget wildlife lenses for Sony E-Mount that include Sony native offerings as well as the best third-party lens options for Sony E-Mount from Sigma, Tamron, and more. All these are updated for 2025. The lenses that we have selected are the best in their focal length and give you the maximum reach possible.
Wildlife photography generally demands longer focal length lenses. If you own a 300mm lens, then you can shoot sunset, sunrise, and big animals like elephants or hippopotamuses perfectly. But if you want to shoot birds or small animals, then either they have to be very close to you, or you have to buy lenses like 500mm or more. However, you don’t need to spend $10,000 on getting a Sony FE 600mm F4 GM lens to get professional-level results. What we have done is prioritized affordability as well as the performance of a lens, starting with lightweight options that fit the budget, like the Tamron 70-300mm F4.5-6.3 RXD, the lightest telephoto lens under $600. So, that’s just one example. Let’s dive into the top and best lenses for 2025, covering both full-frame and APS-C mounts.
Why Choose a Budget Wildlife Lens for Sony E-Mount?
Sony E-Mount system is heaven for wildlife photographers, thanks to the introduction of camera bodies with AI autofocus systems, starting from base models like the Sony A6700. Cameras with a 1.5x crop factor are perfectly fit for wildlife photography as well as bird photography since they give you extra reach. These lenses strike a balance between cost and capability, making them ideal for beginners or anyone looking to upgrade from the standard kit lens. So, here’s what to look for before picking your next lens:
Focal Length: 300mm+ for capturing large animals, and 500mm+ for bird photography.
Aperture: A wider aperture is always better (f/2.8–f/6.3) for low-light shooting, though budget options often lean toward f/5.6–f/6.7.
Stabilization: Always look for Optical SteadyShot (OSS) or in-body stabilization (IBIS) helps with handheld shots.
Weather Sealing: Essential for outdoor shoots in unpredictable conditions.
Price: Pocket-friendly
1. Top Budget Wildlife Lenses for Sony E-Mount – Sony FE 200-600mm F5.6-6.3 G OSS
Sony FE 200-600mm F5.6-6.3 G OSS is the gold standard for budget-conscious Sony wildlife photography shooters. This lens offers an impressive 200 to 600mm zoom range, which makes it perfect for large animals like elephants and hippopotamuses. If you are using APS-C cameras like the Sony a6700, you can also do bird photography flawlessly since the equivalent focal length you will be getting is approximately 900mm.
And since it’s a Sony lens, it also supports teleconverters like 1.4x and 2x. So, if you are using a 1.4x teleconverter on your APS-C camera, and since it’s a full-frame lens, the quality will remain the same, and you will get additional reach up to 1260mm while using the 1.4x teleconverter.
Now, let’s talk about the lens. At $1,998, it’s a steal deal compared to Sony’s other G Master prime lenses. Its internal zooming mechanism and very effective stabilization help you shoot handheld images perfectly. Although it’s not that lightweight to carry all day, you should keep a hybrid monopod along with you.
Pros:
Exceptional reach with teleconverter compatibility (1.4x or 2.0x).
Fast, silent autofocus powered by Sony’s Direct Drive SSM.
Optical SteadyShot with three modes for static or panning shots.
Weather-sealed for rugged outdoor use.
Cons:
Variable aperture narrows to f/6.3 at 600mm, limiting low-light performance.
Heavy for all-day carry without a tripod.
Why It’s Great:
With bodies like the Sony a6700, you get a built-in IBIS mechanism, and when paired with this lens, you get very smooth and stable footage and snaps, even when shooting handheld. At the same time, the focal length jumps to 300 to 900mm, which is an insane focal length for an under-$2000 price range.
2. Sigma 150-600mm F5-6.3 DG DN OS Sports: Best Affordable Zoom Lens for Wildlife & Sports Photography
Sigma 150-600mm F5-6.3 DG DN OS Sports Price: ~$1,499 [ B&H Store and Amazon.com ] Focal Length: 150-600mm Aperture: f/5–6.3 Weight: 2,100g (74.1 oz) Best For: Maximum reach on a budget
Sigma 150-600 is a third-party powerhouse lens that has been considered a direct competitor to the Sony FE 200-600mm at a lower price. Technically, it’s one of the best third-party lenses available to date. If you use it on your APS-C body, the equivalent focal length that you will be getting is 225 to 900mm.
Pros:
Longest 600mm reach with robust image stabilization
Fast autofocus and four stops of optical image stabilization even at the tele end
Durable, weather-sealed build
Very sharp at the center throughout the zoom range when used on an APS-C body
Cons:
We are not able to use teleconverters with third party lenses
Heavy and bulky for handheld use
Softer edges at 600mm when used with a full-frame sensor
Why It’s Great:
For just $1,499, you are getting an amazing lens at this price point, and literally, there is no competition for the Sigma 150-600mm at this price with its optical performance, making it a top-budget choice for distant subjects like raptors or safari animals.
3. Tamron 150-500mm F5-6.7 : Best Budget Super-Telephoto Lens by Tamron for Sony E-Mount
Tamron 150-500mm F5-6.7 Di III VC VXD Price: ~$1,199 [ B&H Store and Amazon.com ] Focal Length: 150-500mm Aperture: f/5–6.7 Weight: 1,725g (60.8 oz) Best For: Lightweight full-frame option, budget buyers
Tamron’s 150-500mm F5-6.7 Di III VC VXD, I think this is the best lens available at this focal length and at this price point, which is approximately $1,200 or less sometimes during deals and offers. This is one of the most reasonably priced super telephoto zoom lenses for the Sony mount, and it is more compact and easy to carry compared to the Sony 200-600mm. Although Sony is always number one with its native lenses, specifically when we are talking about lenses like the 200-600mm that support teleconverters, as well as its OIS being very, very effective. So, if you are not able to spend $2,000 on buying the Sony 200-600mm lens, then the next best investment in the low-budget range is the Tamron 150-500mm.
Pros:
It’s the lightest super telephoto lens with a very effective optical image stabilizer
Newly developed VXD autofocus motors act very fast
Sharp across the zoom range with pleasing bokeh
Weather-sealed with a zoom lock for travel
Cons:
No teleconverter support (Sony restriction on third-party lenses)
Slightly softer edges at 500mm compared to Sony G lenses
Why It’s Great:
For under $1,200, you get 150-500mm (225-750mm on APS-C), making it a fantastic budget pick for wildlife enthusiasts who prioritize portability over absolute reach.
4. Best Budget 300mm Lens? Tamron 70-300mm F4.5-6.3 for Sony APS-C & Full-Frame
Best For: Lightest full-frame telephoto under $600, budget portability
This is the cheapest third-party 300mm zoom lens available for Sony E-mount. The RXD motors offer fast autofocus, and while using an APS-C sensor-based camera, you get a range of up to 450mm. It’s a very good lens for wildlife photography, especially considering the price we have to pay and the focal range that we are getting with this lens. But at the same time, there is no optical image stabilization. If we are using this lens with an a6700 camera, then there is no need to worry. Although, for wildlife photography, I always recommend having a hybrid monopod with you to get super stable and sharp shots.
Pros:
Featherlight at 545g—ideal for handheld shooting with IBIS bodies
Affordable at $550, often dipping lower during sales
Weather-sealed for outdoor reliability
Sharp center performance with fast RXD autofocus
Cons:
No optical stabilization (relies on IBIS)
Softer edges at 300mm when used with full-frame sensors
Why It’s Great:
Wildlife shooters who are looking for great reach on a budget with their APS-C or full-frame bodies will find this the best budget wildlife photography lens made by Tamron for Sony E-mount. On APS-C, its 450mm equivalent rivals pricier lenses, making it a top budget pick for casual wildlife photography.
5. Cheapest Wildlife Lens for Sony APS-C? Sony E 55-210mm
The cheapest lens for Sony E-mount, designed for entry-level APS-C users. This lens typically comes with the camera as part of a dual kit lens setup, but yes, you can also use this lens for shooting sunsets, sunrises, and birds sitting next to your window in a tree, provided they are in a location that allows for this. The lens is the cheapest wildlife photography lens available for Sony E-mount, offering a maximum equivalent reach of up to 315mm and is designed for APS-C sensors only. It’s an ideal deal for entry-level wildlife photography users.
Pros:
Dirt-cheap price under $300
Lightweight and portable
OIS SteadyShot for steady shots
Decent sharpness in good light
Cons:
Narrow aperture limits low-light use
Incompatible with full-frame bodies
Why It’s Great:
Pair it with an APS-C body for a 315mm reach—perfect for backyard birds or local parks on a shoestring budget.
Sony Native vs.Third-Party: Which Should You Choose?
Sony mid-range lenses are, of course, of superior quality, specifically the G-series lenses, which are custom-tailored for performing seamlessly with Sony’s autofocus system. All these lenses support teleconverters, which is highly essential for wildlife photography. Other than that, basic lenses also offer OIS integration and fast AF motors. If your pocket allows, always go with the Sony native lenses.
Third-party lenses are wonderful if you see their price tag. They are sometimes almost half the price of Sony lenses of the same focal length, and in wildlife photography, the most important thing is the reach—aka the range you are getting from your telephoto lens. Yes, there are some performance limitations, like not being able to use teleconverters, and some telephoto lenses exhibit soft corners at the tele-end when used with a full-frame sensor. But again, if you are limited to a certain budget, the best option is to buy third-party lens options and use an APS-C body like the Sony a6700 camera.
Verdict: If you prioritize autofocus speed and teleconverter options, go native. For budget savings and portability—like the Tamron 70-300mm’s lightweight edge—third-party lenses are unbeatable.
Budget Wildlife Photography Tips for Sony E-Mount Users
Use of an APS-C body is highly recommended if you are into wildlife photography. It will not only boost your focal length by 1.5x but also reduce soft corner issues to a great extent by using the sharper center portion of the lens.
Always have a hybrid monopod with you. Heavy lenses like the Sigma 150-600mm or Sony 200-600mm need the support of a very strong body or a hybrid monopod/tripod, so decide accordingly.
Budget wildlife photography generally involves lenses with an aperture range of around f/5.6 to f/6.3, so try to position your subjects in direct sunlight.
We now have software like Gigapixel AI at our disposal, along with significant advancements in recent Photoshop and Lightroom editions. So, try to learn the latest editing techniques to stay updated with the times.
Final Thoughts: The Best Budget Wildlife Lens for You
Sony FE 200-600mm F5.6-6.3 G OSS is our top budget pick for its amazing reach, versatility, native performance, and the ability to use a teleconverter—all these features under $2000. Now, the next best lens on our list is the Tamron 150-500mm F5-6.7 Di III VC VXD at $1,199 due to its portability and price, although it has 100mm less reach than the Sony 200-600mm and is not compatible with teleconverters.
And finally, the best entry-level lens, the Tamron 70-300mm F4.5-6.3 Di III RXD, steals the show as the lightest full-frame telephoto under $600. Now, if you are looking for some kind of super budget lens, then yes, you can start with the Sony E 55-210mm F4.5-6.3 OSS at $298.
So, from this article, it is very clear that no matter what your budget is or which camera body you are using, the lenses we have selected prove that you don’t need to spend a fortune or break your bank to capture breathtaking wildlife shots. Also, let me know which one is your favorite—drop a comment, share this article with your wildlife photography friends, and share your journey with us!
If you are searching for the best budget wildlife lenses for Nikon Z1 in 2025, you have reached the right place, and believe me, you don’t need a fat wallet to capture amazing or jaw-dropping shots of a deer or an elephant with your Z camera.
See, it doesn’t actually depend on whether you are using a Nikon Z50 camera or even a Nikon Z30 or maybe a Z6 Mark II or Z9 camera. The affordable telephoto lenses that we have listed in this guide can deliver the reach as well as the sharpness you crave without paying the premium price tag.
This guide was updated on March 10, 2025, and carries all the best top budget-friendly Nikon Z-mount lenses for wildlife photography, which also includes the ultra-popular entry-level DX 50-250mm lens. It also includes the native Tamron 70-300mm lens and the long-reaching Tamron 150-500mm, plus a bonus spotlight for the Nikon 180-600mm. This is the ultimate guide for the Nikon Z wildlife lens lineup.
1. Best Budget Native Zoom Lens: Nikkor Z DX 50-250mm f/4.5-6.3 VR
Focal Length: 50-250mm (75-375mm equivalent on APS-C)
Aperture: f/4.5-6.3
Weight: 405g (14.3 oz)
Why It’s the Top Budget Pick:The Nikkor DX 50-250mm f/4.5-6.3 VR is the king of budget wildlife photography lenses for the Nikon Z-mount APS-C cameras like the Nikon Z30, Z50 Mark II, or even the Zfc. The lens costs only $350, which is a steal, stretching to an effective focal length of 75-375mm when the 1.5x crop factor is applied. So with this budget lens over the Z50 body or the Zfc body, you are getting a 400mm equivalent reach of a full-frame camera.
This lens also features 5 stops of vibration reduction (VR) to ensure that the images you capture are tack-sharp even when shot while holding the camera in your hand. The overall handling experience is great since the weight of the lens is only 400 grams, helping you shoot for longer hours without experiencing physical strain.
However, after using it for a while, I can say that you may get soft corners at 250mm, but apart from that, its performance is outstanding. So, for beginner APS-C shooters who are seeking the best budget wildlife lens for Z-mount cameras, this is an unbeatable choice.
2. Best Budget Mid-Tier Native Lens: 70-300mm f/4.5-6.3 Di III RXD
Focal Length: 70-300mm (105-450mm equivalent on APS-C)
Aperture: f/4.5-6.3
Weight: 545g (19.2 oz)
Why It’s a Steal Deal for You: The Tamron 70-300mm f/4.5-6.3 Di III RXD brings the benefits of a native Z-mount brilliance to wildlife photography for under $700.
We all know Tamron makes Nikkor-branded lenses, including the 28-75mm f/2.8 RXD, the ultra-popular lens for wedding photographers. That said, the 70-300mm lens operates very similarly to a native mount lens.
With a 70-300mm range, you are effectively getting a 105-450mm equivalent focal length on a DX-format body, making it ideal for capturing large animals and sometimes birds when they are close to you. The lens is weather-resistant but lacks inbuilt optical image stabilization. The overall weight of the lens is 545 grams, making it very portable.
If you are using this lens with your DX-format body, it’s highly recommended to have a hybrid monopod with you to get stable and clear shots. The biggest advantages of this lens are its minimal fringing and compatibility with full-frame cameras, making it a top contender among affordable Nikon Z wildlife lenses for both full-frame and APS-C cameras.
3. Best Budget 3rd Party Telephoto Lens: Tamron 150-500mm f/5-6.7 Di III VC VXD
Focal Length: 150-500mm (225-750mm equivalent on APS-C)
Aperture: f/5-6.7
Weight: 1,725g (60.8 oz)
Why It’s the Reach King: We have termed this lens as the “Reach King” since the Tamron 150-500mm f/5-6.7 Di III VC VXD is the best budget 3rd-party lens for Nikon Z-mount wildlife shooters who really need serious telephoto capability.
Just imagine—if you put this lens on a DX body, which costs approximately $1,200, it will give you an equivalent focal length of somewhere around 225-750mm. So, if you are into bird photography, this lens on a DX body will deliver phenomenal results.
The VXD autofocus locks on very fast, and the lens features 4 stops of vibration compensation, allowing you to take handheld shots at 500mm. In terms of sharpness, it is quite sharp throughout the zoom range, but the aperture demands a good low-light body, which we already have in the Z-mount lineup, starting from the Z50 to the Zfc.
Due to its construction, made for full-frame mounts, you can also use this lens on Nikon Z6II, Z7II, and Z8 bodies. The weather-sealed, tripod-ready lens weighs approximately 1.7 kg, making it a game-changing budget wildlife lens for Nikon Z-mount enthusiasts craving pro-level reach.
4. Bonus Budget Mega Zoom: Nikkor Z 180-600mm f/5.6-6.3 VR
Focal Length: 180-600mm (270-900mm equivalent on APS-C)
Aperture: f/5.6-6.3
Weight: 1,955g (69 oz)
Why It’s Worth the Extra Cash?: If you want to stretch the budget, then we have an amazing option for you—the Nikkor Z 180-600mm f/5.6-6.3 VR, the ultimate wildlife lens for Z-mount in 2025. At $1,700, its price is higher, but still a steal compared to $3,000 lenses offering the same focal length.
Since we are making a budget guide, we are keeping the best possible lenses with a reasonable price tag and maximum focal length. When used with a DX crop body, this lens provides an effective focal length of 270-900mm.
The lens also features 5.5 stops of optical image stabilization, allowing you to take some handheld shots. Although the lens is quite heavy, it’s always recommended to have a tripod or monopod with you. The STM motors inside this lens work very fast and deliver blazing-fast autofocus.
The sharpness of this lens is excellent from end to end, and it is a weather-sealed internal zoom lens built for professional use. For Nikon Z shooters who are ready to invest in this lens, it truly redefines affordable wildlife photography with unmatched versatility.
Budget Nikon Z Wildlife Lens Comparison Table
Lens
Price
Focal Length (APS-C)
Weight
Best For
Nikon Z DX 50-250mm VR
$350
75-375mm
405g
APS-C, Beginners
Tamron 70-300mm RXD
$700
105-450mm
545g
Full-Frame, Mid-Tier
Tamron 150-500mm VC VXD
$1,200
225-750mm
1,725g
Long Reach, Hybrid
Nikon Z 180-600mm VR (Bonus)
$1,700
270-900mm
1,955g
Serious Enthusiasts
Why These Are the Best Wildlife Lenses for Nikon Z-Mount
Unlike the costly options flooding list of other lists or websites, these handpicked lenses prioritize affordability without compromising on wildlife-ready features.
Native Z-Mount Advantage: With all the lenses I have recommended here, no adapters are needed. These lenses, including the Tamron—are built for Z-mount, ensuring seamless integration with the mount and flawless autofocus with the camera.
Reach Meets Value: Now, we have lenses ranging from 375mm to 900mm in full-frame equivalence, giving you incredible reach without breaking the bank.
Real-World Tested: Each handpicked lens balances cost, portability, optical quality, and all the possible setup features that a user can get within this specific price range.
Which Budget Nikon Z Lens Should You Pick?
Nikon Z DX 50-250mm f/4.5-6.3 VR ($350): This is best for APS-C beginners who need a cheap, lightweight starter.
Tamron 70-300mm f/4.5-6.3 Di III RXD ($700): Perfect for full-frame as well as APS-C users wanting native versatility.
Tamron 150-500mm f/5-6.7 Di III VC VXD ($1,200): Ideal for long-reach shooters / birdographers on a budget.
Nikon Z 180-600mm f/5.6-6.3 VR ($1,700): The splurge for pros on a (relative) budget.
Beat the Premium Price Trap in 2025
Why spend $3,000 when these budget wildlife lenses for Nikon Z-mount are available and even deliver excellent results? You can pair these lenses with the Nikon Z50, the recently announced Nikon Z63, or the Z8 camera and shoot nature’s wonders flawlessly – without any major financial trouble.
This guide is updated for March 2025, and this list outshines broader guides by focusing on your wallet and wildlife goals.
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