Nikon Z50 II setup guide with tips and tricks

Nikon Z50 II setup guide with tips and tricks

Introduction

The Nikon Z50 II camera is the 
Þ
rst Nikon hybrid equipped with an APS-C 
sensor. In a compact form factor, the Z50 II has the right to satisfy demanding 
photographers: 20.9MP APS-C DX sensor with enhanced autofocus, subject detection autofocus with 3D tracking and nine subject types, Expeed 6 
processor, 100-51200 Iso sensitivity, and oversampled 4K video at 30fps from 5.6K resolution.
.

Full Menu Overview and explanation

MENU 
!
!
Playback Menu
!


Delete

Here you can:

• delete all pictures on the memory card
• choose pictures to be deleted in a thumbnail preview
• delete pictures by shooting date.

Note the hints at the bottom of the monitor that tells you which keys have to be used.
Hack:</
span>
!
The main advantage of this menu is the option to delete by 
shooting date.

Playback Folder

If there are several folders on your memory card you can choose here from which 
folders images will be displayed in playback mode:

• only from the one that is currently used for new pictures (as de
Þ
ned in the 
shooting menu Storage Folder)
• from all folders, the Z50 II has created (default)
• from all folders on the memory card Ð possibly including pictures from other 
sources.

Hack:</
span>
!
Ignore. I would not exchange memory cards between 
cameras without formatting them to reduce the risk of write errors (=loss of 
pictures!).
That makes the last option unattractive and I do not see practical use in using 
several Storage Folders and consequently the other two choices.

Playback Display Options

You can add Focus point info to the playback display here as well as add additional 
photo info like
!
Exposure Info,
!
Highlights, RGB Histogram,
!
Shooting Data…

Image Review

If turn this on, each new image will appear automatically on the monitor just after 
shooting.
Hack:</
span>
!
I prefer to switch off this option because the regular 
ß
ickering of the monitor is annoying if you leave the camera close to the eye.

After Delete

Hack:</
span>
!
I prefer the last option because I delete images both while 
browsing forward or backward and then it is nice if the display adapts to the direction 
you are using.

After Burst, Show

Rotate All

If you switch on this option photos taken in upright format will be rotated during a 
preview.
If you switch on this option photos taken in upright format will be rotated during a 
preview.

Slide Show

View a slide show of the pictures in the current playback folder.
!
Hidden images are 
not displayed.
Options:

• Start:
!
Start slide show.
• Image type:
!
Choose the type of image displayed from
!
Still images and 
movies,
!
Still images only, and
!
Movies only.
• Frame interval: Choose how long each picture will be displayed.
• Skip back/skip ahead:
!
Press
!
left
!
to return 
to the previous frame, right
!
to skip to next frame.
• View additional photo info:
!
Press
!
up
!
or 
down
!
to change or hide photo info displayed (still images only).
• Pause:
!
Press OK
!
to pause the slide show. To restart, highlight
!
Restart
!
and 
press
!
OK.
• Adjust volume:
!
Press magni
Þ
er
!
during movie playback to increase volume, 
mag+
ß
ash
!
to decrease.
• Exit to playback menu:
!
Press Menu
!
to end the slide show and return to the 
playback menu.
• Exit to playback mode:
!
Press
!
Play
!
to end 
the slide show and exit to playback mode.
• Exit to shooting mode:
!
Press shutter-release button halfway to return to 
shooting mode.

Rating

Rate pictures or mark them as candidates for later deletion. Ratings can also be 
viewed in ViewNX-i and Capture NX-D. Rating is not available with protected 
images.
Procedure:

1. 1. Select an image:
!
Display the image or highlight it in the thumbnail list in 
thumbnail playback.
   2. Display playback options.
!
Press the
!
info</
span>
!
button to display playback options.
   3. Select
!
Rating:
!
Highlight
!
Rating
!
and press right.

1. Choose a rating. Press
!
left
!
or 
right
!
to choose a rating of from zero to 
Þ
ve stars, or select
!
trash can
!
to mark the picture as a candidate for later deletion. 
Press
!
OK
!
to complete the operation.

Hack:
!
If
!
Rating
!
is selected for Custom Setting f1 (Custom 
control assignment) >
!
Fn2 button, pictures can be rated by keeping the
!
Fn2
!
button 
pressed and pressing
!
left
!
or right.

MENU 
!
!
Photo Shooting Menu
!

!
 page 1

Reset Photo Shooting Menu

This menu resets all entries in the shooting menu back to the default values de
Þ
ned 
by Nikon, the only exception is the entry Storage Folder.
Hack:
!
This menu may be useful if you are new 
to the Z50 II and have played a lot with the settings in this menu.

Storage Folder

This menu de
Þ
nes the folder on the memory card in which new images are stored 
and allows to create new folders:

• Select folder by number:
!
You choose a three-digit number and the Z50 II will 
create a folder with this number at the beginning of its name if it does not exist yet. 
The following 
Þ
ve characters ãZ50 IIÒ cannot be altered.
When you see a folder symbol next to the selected number a folder exists already.</
li>
• Select folder from the list:
!
You choose a folder from a list of existing ones Ð 
without the possibility to create new ones.

File Naming

You can replace the three letters ãDSCÒ which are the default beginning of 
Þ
le names 
with your own individual combination.

• an underscore _ before or after these three letters, depending on which 
color space you use.
• a sequential four-digit number.

Choose Image Area

The Nikon Z50 II offers a choice of the following image areas:

• DX (24 
”
 16):
!
Images are recorded in DX format. To calculate the 
approximate focal length of the lens in 35 mm format, multiply by 1.5.
• 1:1 (24
”
24):
!
Pictures are recorded with an aspect ratio of 1:1
• 16:9 (36×20):
!
Pictures are recorded with a 16:9 image ratio.

Image Quality

The Nikon Z50 II supports the following image quality options:

• NEF (RAW):
!
RAW data from the image sensor are saved without additional 
processing. Settings such as white balance and contrast can be adjusted after 
shooting.
• NEF (RAW)+JPEG 
Þ
ne/NEF (RAW)+JPEG 
Þ
ne:
!
Two images are recorded, 
one NEF (RAW) image and one 
Þ
ne-quality JPEG image.
• NEF (RAW)+JPEG 
Þ
ne/NEF (RAW)+JPEG 
Þ
ne:
!
Two images are recorded, 
one NEF (RAW) image and one 
Þ
ne-quality JPEG image.
• NEF (RAW)+JPEG normal/NEF (RAW)+JPEG normal:
!
Two images are 
recorded, one NEF (RAW) image and one normal-quality JPEG image.
• NEF (RAW)+JPEG basic/NEF (RAW)+JPEG basic:
!
Two images are 
recorded, one NEF (RAW) image and one basic-quality JPEG image.
• JPEG 
Þ
ne/JPEG 
Þ
ne:
!
Record JPEG images at a compression ratio of 
roughly 1 : 4 (
Þ
ne quality).
• JPEG normal/JPEG normal:
!
Record JPEG images at a compression ratio of 
roughly 1 : 8 (normal quality).
• JPEG basic/JPEG basic:
!
Record JPEG images at a compression ratio of 
roughly 1 : 16 (basic quality).

Image Size

Image size is measured in pixels. Choose from
!
Large,
!
Medium, or
!
Small
!
(note that 
image size varies depending on the option selected for
!
Image area.

DX (24
”
16; DX format)

• Large: 5568 x3712
• Medium: 4176 x 2784
• Small: 2784 x 1856

1 : 1 (24
”
24)

• Large: 3712 x 3712
• Medium: 2784 x 2784
• Small: 1856 x 1856

16 : 9 (36×20)

• Large: 4468 x 37128
• Medium: 4176 x 2344
• Small: 2784 x 1560

NEF (RAW) Recording

ISO sensitively settings

If the Nikon Z50 II decides that it can’t properly expose the image at that
!
ISO
!
given 
your current aperture and shutter speed, it automatically adjusts
!
ISO
!
as necessary. 
Turn on the Auto
!
ISO Sensitivity option.
!
The camera will now override your ISO 
choice when it thinks a proper exposure is not possible with the settings youÕve 
speci
Þ
ed.

If On is selected, the camera will automatically adjust ISO 
sensitivity when optimal exposure cannot be achieved at the value selected for ISO 
sensitivity. The options listed below are available for 
Þ
ne-tuning auto ISO sensitivity 
control.

• Maximum sensitivity: Choose an upper limit for ISO sensitivity to prevent it 
from being raised too high.
• Maximum sensitivity with c: Choose the 
upper ISO sensitivity limit for photos taken using an optional 
ß
ash unit.
• Minimum shutter speed: Choose the shutter speed below which auto ISO 
sensitivity control will kick in to prevent underexposure in modes P and A. Options 
range from 1/4000 s to 30 s.

MENU 
!
!
Photo Shooting Menu
!

!
 page 2

White Balance

White balance ensures that colors are unaffected by the color of the light source. 
Auto white balance is recommended with most light sources. If the desired results 
cannot be achieved with auto white balance, choose an option from the list below or 
use preset white balance.

Auto

White balance is adjusted automatically for optimal results with most light sources. 
For best results, use type G, E , D or Z lens. If optional 
ß
ash 
Þ
res, results are 
adjusted appropriately. Color temperature can be viewed in the playback info display 
after shooting.
Options:

• Keep white (reduce warm colors; 3500Ð8000 K)
• Normal
!
(3500Ð8000 K)
• Keep warm lighting colors(3500Ð8000 K)

Natural light auto

White balance is adjusted for natural light, producing colors closer to those seen by 
the naked eye. (4500Ð8000 K)

Incandescent

Use under incandescent lighting. (3000K)

Fluorescent

• Sodium-vapor lamps
!
(2700 K):
!
Sodium-vapor lighting (found in sports 
venues).
• Warm-white 
ß
uorescent(3000 K):
!
Warm-white 
ß
uorescent lights.
• White 
ß
uorescent(3700 K):
!
White 
ß
uorescent lights.
• Cool-white 
ß
uorescent(4200 K):
!
Cool-white 
ß
uorescent lights
• Day white 
ß
uorescent(5000 K):
!
Daylight white 
ß
uorescent lights.
• Daylight 
ß
uorescent(6500 K):
!
Daylight 
ß
uorescent lights.
• High temp. mercury-vapor
!
(7200 K):
!
High color temperature light sources 
(e.g. mercury-vapor lamps).

Direct sunlight

Use with subjects lit by direct sunlight. (5200K)

Flash

Use with optional ßash units. (5400K)

Cloudy

Use in daylight under overcast skies. (6000 K)

Shade

Use in daylight with subjects in the shade. (8000 K)

Choose color temp.

Choose color temperature from list of values. (2500Ð10,000 K)

Preset manual

Use subject, light source, or existing photograph as reference for white balance.

Set Picture Control

Here you can change settings for the internal processing of picture data from the 
image sensor into 
Þ
nal JPG 
Þ
les.
It’s necessary to start with an existing con
Þ
guration or
!
set of settings that Nikon has 
prede
Þ
ned for a certain look of the 
Þ
nal image. You can choose between:

• Standard:
!
NikonÔs default for a neutral picture as the standard for most 
shooting situations.
• Neutral:
!
A processing with slightly less sharpening, contrast improvement, 
and saturation; for those who do these steps on their own later on.
• Vivid:
!
Higher color saturation, sharpening, and contrast.
• Monochrome:
!
Converts into black and white.
• Portrait:
!
Very similar to ãneutralÒ, slightly less sharpening, contrast and color 
saturation than ãstandardÒ.
• Landscape:
!
Higher contrast than ãstandardÒ.

You can modify any of these preset con
Þ
gurations by placing a yellow selection mark 
in it and use the
!
selector to the right.
The ãQuick adjustÒ increases or decreases all settings in the direction of the intended 
picture style and is available for all con
Þ
gurations except ãneutralÒ.
Alternatively, you can select and change all detail settings individually:

• Sharpening:
!
Increases contrasts at edges which improve the perceived 
sharpness.
• Contrast:
!
Increases or decreases the contrast between light and dark 
areas.
• Brightness:
!
Lightening or Darkening of the whole picture.
• Saturation:
!
Changes color saturation for more intense or fainter colors.
• Hue:
!
Changes the overall color tone in a slightly complicated manner.

And also two which are available only for the conÞguration ãmonochromeÒ:

• Filter effects:
!
Simulates the effect of color 
Þ
lters as they are used in black 
and white photography to adjust contrast.
• Toning:
!
Allows you to choose another dominating color tone than black and 
white.

Additionally, you can create your own con
Þ
gurations by copying, modifying and 
renaming an existing one.
To do so you need the next menu option Manage Picture Control.
When you change a conÞguration in the Picture Control and do a Reset
your last chosen conÞguration will stay selected but any changes in it will be reset.
Tips: An important menu with a visible impact on your photos! Only those who shoot 
in RAW format only and create JPG 
Þ
les on their own in the computer can ignore it.
The ãbestÒ settings are a matter of your personal preferences, in this menu, everyone 
has to 
Þ
nd his or her best settings by experience.
On the other hand, all of these settings can also be changed afterward in image 
processing on the computer, you really have to get them right in the camera if you 
want to have the best possible results straight out of your Nikon Z50 II.
The con
Þ
guration ãneutralÒ is very similar to ãstandardÒ with slightly less contrast and 
saturation, the difference is really small.
The sharpening chosen by Nikon is rather weak, I prefer a higher value of 5 or 6.
When looking at your images in the proper magni
Þ
cation (100% zoom on the 
computer monitor) you will see clearer edges.
ãVividÒ has visibly more intense color and more contrast. That can improve your 
image but also be too much of a good thing if you have already high contrast (e.g. 
direct sunlight) and make your picture look unnatural.
I would not set contrast and brightness here and switch on the Active D-Lighting.
Regarding the setting ãhueÒ: Ignore this setting, it is only a slight shift in color for 
which I do not see any practical relevance.
Result: All the above has brought me to the following settings that I use myself:
One own con
Þ
guration, created with the next menu option Manage Picture Control, 
called ãstandard+sharperÒ which is a copy of the con
Þ
guration ãstandardÒ with 
sharpening increased to 6.
Another con
Þ
guration called ãsharp+vividÒ which is the same as before plus a 
saturation increased by two steps.
I use the Þrst one most of the time and switch to the second one occasionally.
Last but not least: Do not overestimate the importance of this menu, most important 
is still a good subject, light, exposure and
white balance for cooler or warmer color rendition. After all that the ãPicture 
ControlÒ is for the 
Þ
nal touch.

Manage Picture Control

This menu allows you to copy existing
!
Picture Control con
Þ
gurations (see the 
previous menu) and save them with personal adjustments under a new name.
To create your own con
Þ
guration choose the entry ãSave/editÒ, pick an existing 
con
Þ
guration and press OK. Then you can assign one of nine places in the list of 
possible customized entries, edit it and choose your own name.
you do not really need your own con
Þ
guration and can ignore this menu. With the 
user settings also personal adjustments to a Picture Control will be saved.
If you do change the Picture Control settings regularly it is best to put the most 
commonly used settings into your own con
Þ
gurations.
Reset will put all Picture Control con
Þ
gurations back to their default settings and you 
need an own con
Þ
guration if you do not want to tweak Picture Control each time with 
your setting details.

• Save/edit:
!
Create a new custom Picture Control based on an existing preset 
or custom Picture Control, or edit existing custom Picture Controls.
• Rename:
!
Rename custom Picture Controls.
• Delete:
!
Delete custom Picture Controls.
• Load/save:
!
Use the following options to copy custom Picture Controls to 
and from the memory card. Once copied to the memory card, Picture Controls can 
be used with other cameras or compatible software. (Copy to the camera,
!
Delete 
from the card or Copy to the card.)

Color Space

You can either choose sRGB or Adobe RGB.

• sRGB
!
(default): This is the worldwide standard with 256 levels of brightness 
for each of the basic colors red, green, blue, for displaying images on computer 
monitors.
• Adobe RGB:
!
A color space developed by Adobe for a broader color range 
of printed images.

As for sRGB, all colors will be stored with shares of red, green and blue with 256 
levels of gradation, the difference is that the maximum saturations are higher.
The color space is relevant only for the creation of JPG-Þles, not for the RAW format.

Active D-Lighting

ãActive D-LightingÒ (ADL) is NikonÔs name for an additional step in the internal image 
processing that mainly lightens dark areas of the picture.
It is relevant only for JPG Þles, not for the RAW format.
You can set this to Auto, Extra High, High, Normal, Low or Off.
ADL can also darken too bright areas but lightening dark ones are more frequent and 
the improvements are more visible there.
You can choose an automatic adjustment that the Nikon Z50 II will set stronger or 
weaker depending on your subjectÔs contrast or four steps from low to extra high.
Hack: Turn this ON, set it to 
Normal, it really helps improve your images!

Long Exposure NR

If this menu option is switched on the Nikon Z50 II will use an extra step in internal 
image processing for noise reduction if the exposure time is longer than 1 second.
Hack: switch it Off, it’s 
better to use advanced image noise reduction on your Mac

High ISO NR

You can choose if an additional noise reduction shall be applied in the internal image 
processing for shots with high ISO sensitivity.

Vignette Control

Vignetting is a drop in brightness at the edges of a photograph.
!
Vignette 
control
!
reduces vignetting for type G, E, D and F lenses (PC lenses excluded). Its 
effects vary from lens to lens and are most noticeable at maximum aperture. Choose 
from
!
High,
!
Normal,
!
Low, and
!
Off.
Hack:
!
Depending on the 
scene, shooting conditions, and type of lens, TIFF and JPEG images may exhibit 
noise (fog) or variations in peripheral brightness, while custom Picture Controls and 
preset Picture Controls that have been modi
Þ
ed from default settings may not 
produce the desired effect. Take test shots and view the results in the monitor. 
Vignette control does not apply to movies or multiple exposures.

MENU 
!
!
Photo Shooting Menu
!

!
 page 3

Diffraction Compensation

With digital cameras, if you select a small aperture to increase depth of 
Þ
eld when 
shooting cityscapes or landscapes, it may cause a loss of sharpness across the 
image due to diffraction.
!
.
Thanks to the new and faster EXPEED 6 processor inside the Nikon Z50 II, there is a 
new
!
diffraction compensation function. This helps capture landscapes and 
cityscapes crisply even when small apertures are used(from f/11 onwards).

Auto Distortion Control

Select
!
On
!
to reduce barrel distortion when shooting with wide-angle lenses and to 
reduce pin-cushion distortion when shooting with long lenses (note that the edges of 
the area visible in the view
Þ
nder may be cropped out of the 
Þ
nal photograph and that 
the time needed to process photographs before recording begins may increase).

Flicker Reduction Shooting

Reduce banding or (in photos taken in continuous release modes) uneven exposure 
or coloration caused by the 
ß
icker of such light sources as 
ß
uorescent or mercury-
vapor lamps during view
Þ
nder photography.
Reduce banding or (in photos taken in continuous release modes) uneven exposure 
or coloration caused by the 
ß
icker of such light sources as 
ß
uorescent or mercury-
vapor lamps during view
Þ
nder photography.
Hack:
!
Take a test shot and 
view the results before taking additional photographs. Flicker reduction can detect 
ß
icker at 100 and 120 Hz (associated respectively with AC power supplies of 50 and 
60 Hz). Flicker may not be detected or the desired results may not be achieved with 
dark backgrounds, bright light sources, or decorative lighting displays and another 
non-standard lighting. Depending on the light source, there may be a slight delay 
before the shutter is released. During burst shooting, the frame rate may slow or 
become erratic; in addition, the desired results may not be achieved if the frequency 
of the power supply changes during shooting.
Flicker detection will not take effect at shutter speeds slower than 1/100 s (including 
Bulb and Time) or when
!
Mup
!
is selected for release mode or exposure delay mode is 
on.

Metering

Metering determines how the camera sets exposure. The following options are 
available:

1. Matrix: Produces natural results in most situations. 
Camera meters wide area of the frame and sets exposure according to tone 
distribution, color, composition, and, with type G, E, D or F lenses , distance 
information (3D color matrix metering III; with other CPU lenses, camera uses color 
matrix metering III, which does not include 3D distance information).
2. Center-weighted: Camera meters entire frame but 
assigns greatest weight to center area (if CPU lens is attached, size of area can be 
selected using Custom Setting b6,
!
Center-weighted area,
!
if non-CPU or AF-S 
Fisheye NIKKOR 8Ð15mm f/3.5Ð4.5E ED lens is attached, area is equivalent to 
circle 12 mm in diameter). Classic meter for portraits; recommended when using 
Þ
lters with an exposure factor (
Þ
lter factor) over 1
”
.
3. Spot: Camera meters circle 4 mm (0.16 in.) in diameter 
(approximately 1.5% of frame). The circle is centered on the current focus point, 
making it possible to meter off-center subjects (if non-CPU or AF-S Fisheye NIKKOR 
8Ð15mm f/3.5Ð4.5E ED lens is used or if auto-area AF is in effect, the camera will 
meter center focus point). Ensures that the subject will be correctly exposed, even 
when the background is much brighter or darker.
4. Highlight-weighted: Camera assigns the greatest weight 
to highlights. Use to reduce the loss of detail in highlights, for example when 
photographing spotlit performers on-stage.

Hack:
!
Specifying the focal 
length and maximum aperture of non-CPU lenses using the
!
Non-CPU lens 
data
!
option in the setup menu
!
allows the camera to use color matrix metering when 
the matrix is selected and improves the accuracy of center-weighted and spot 
metering.

Flash Control

Choose the 
ß
ash control mode for optional 
ß
ash units mounted on the camera 
accessory shoe and adjust settings for off-camera 
ß
ash photography.

Flash Control Mode

When an SB-5000, SB-500, SB-400, or SB-300 is mounted on the camera, the 
ß
ash 
control mode, 
ß
ash level, and other 
ß
ash settings can be adjusted using the
!
Flash 
control
!
>
!
Flash control mode
!
item in the photo shooting menu (in the case of the 
SB-5000, these settings can also be adjusted using the controls on the 
ß
ash unit). 
The options available vary with the 
ß
ash used, while the options displayed 
under
!
Flash control mode
!
vary with the mode selected. Settings for other 
ß
ash units 
can only be adjusted using 
ß
ash unit controls.

• TTL: i-TTL mode. In the cases of the SB-500, SB-400, and SB-300, 
ß
ash 
compensation can be adjusted using the
!
W
!
(M) button.
• Auto external 
ß
ash: In this mode, the output is adjusted automatically 
according to the amount of light re
ß
ected by the subject; 
ß
ash compensation is also 
available. Auto external 
ß
ash supports Òauto apertureÓ (q</
span>A) and Ònon-TTL autoÓ (A) modes; non-TTL auto is selected automatically if a 
non-CPU lens is attached without specifying the focal length and maximum aperture 
using the
!
Non-CPU lens data
!
option in the setup menu. See the 
ß
ash unit manual for 
details.
• Distance-priority manual: Choose the distance to the subject; 
ß
ash output 
will be adjusted automatically. Flash compensation is also available.
• Manual: Choose the 
ß
ash level manually.
• Repeating 
ß
ash: The 
ß
ash 
Þ
res repeatedly while the shutter is open, 
producing a multiple-exposure effect. Choose the 
ß
ash level (Output), the maximum 
number of times the unit 
Þ
res (Times), and the number of times the 
ß
ash 
Þ
res per 
second (Frequency, measured in Hertz). The options available for
!
Times
!
vary 
depending on the options selected for
!
Output
!
and
!
Frequency; see the documentation 
provided with the 
ß
ash unit for details.

Wireless Flash Options

Adjust settings for simultaneous wireless control of multiple remote 
ß
ash units. This 
option is available only when an SB-5000 or SB-500 
ß
ash unit or a WR-R10 wireless 
remote controller is mounted on the camera.

• Optical AWL:
!
The remote 
ß
ash units are controlled using low-intensity 
ß
ashes emitted by the master 
ß
ash. Available only with an SB-5000 or SB-500 
mounted on the camera accessory shoe.
• Optical/radio AWL:
!
This option is for 
ß
ash photography using both optically- 
and radio-controlled 
ß
ash units. Choose this option when using both a WR-R10 and 
an SB-500 mounted on the camera accessory shoe.
!
Remote 
ß
ash control
!
is 
automatically set to
!
Group 
ß
ash.
• Radio AWL:
!
The remote 
ß
ash units are controlled by radio signals emitted 
by a WR-R10 attached to the camera. Available only with the WR-R10 and remote 
ß
ash units that support radio AWL.
• Off:
!
Remote 
ß
ash photography disabled.

Remote Flash Control

Choose from the following remote ßash photography options:

• Group 
ß
ash:
!
hoose a separate 
ß
ash control mode and 
ß
ash level for each 
group of remote 
ß
ash units. If
!
Optical AWL
!
or
!
Optical/radio AWL
!
is selected 
for
!
Wireless 
ß
ash options you can choose the channel used by the master 
ß
ash to 
communicate with the remote 
ß
ash units.
• Group 
ß
ash:
!
hoose a separate 
ß
ash control mode and 
ß
ash level for each 
group of remote 
ß
ash units. If
!
Optical AWL
!
or
!
Optical/radio AWL
!
is selected 
for
!
Wireless 
ß
ash options you can choose the channel used by the master 
ß
ash to 
communicate with the remote 
ß
ash units.
• Quick wireless control:
!
Choose for control of the overall 
ß
ash output. 
Use
!
Quick wireless control options
!
to adjust the balance between groups A and B 
and set the output for group C manually (the master 
ß
ash does not 
Þ
re). You can 
also adjust 
ß
ash compensation for groups A and B and, if
!
Optical AWL
!
or
!
Optical/
radio AWL
!
is selected for
!
Wireless 
ß
ash options
!!
choose the channel used by the 
master 
ß
ash to communicate with the remote 
ß
ash units
• Remote repeating:
!
The 
ß
ash units 
Þ
re repeatedly while the shutter is open, 
producing a multiple-exposure effect. Choose the 
ß
ash level (Output), the maximum 
number of times the 
ß
ash units 
Þ
re (Times), the number of times the units 
Þ
re per 
second (Frequency), and, if
!
Optical AWL
!
or
!
Optical/radio AWL
!
is selected 
for
!
Wireless 
ß
ash options, the channel used by the master 
ß
ash to communicate with 
the remote 
ß
ash units. Note that the number of times the 
ß
ash units 
Þ
re in total may 
vary depending on the options selected for
!
Output
!
and
!
Frequency; see the 
documentation provided with the 
ß
ash unit for details.

Radio Remote Flash Info</
h6>

Flash Mode

Some of the 
ß
ash modes are set on the camera, rather than on the 
ß
ash. To set most 
of these modes on a Nikon Z50 II, you keep the 
ß
ash button depressed and rotate the 
main (rear) command wheel to cycle through the modes. The modes appear in the 
ß
ash frame in the top LCD panel on the camera.
To set Auto FP on a Nikon Z50 II, you need to go into this menu.

Fill Flash

The 
ß
ash 
Þ
res with every shot. In modes P and A, the shutter speed will 
automatically be set to values between 1/200 s (or 1/8000 s with Auto FP High-
Speed Sync) and 1/60 s.

Red-eye Reduction Mode

When this mode is activated (showed by an eye-symbol appearing on both the 
camera’s top LCD and the 
ß
ash’s rear LCD), the 
ß
ash 
Þ
res three 
ß
ashes at reduced 
output just before the picture is taken. This makes the iris of humans and animals 
contract which reduces the area where the red-eye effect can be seen. It also 
introduces a shutter delay to allow the subject’s irises time to react.
The red-effect only occurs when you use the 
ß
ash as key light pointing forwards and 
directly into the subject’s eyes.

Slow-sync Flash + red-eye

As for Red-eye reduction except that shutter speed slows automatically to capture 
background lighting at night or under low light. Use when you want to include 
background lighting in portraits. The use of a tripod is recommended to prevent 
blurring caused by camera shake.
As for Red-eye reduction except that shutter speed slows automatically to capture 
background lighting at night or under low light. Use when you want to include 
background lighting in portraits. The use of a tripod is recommended to prevent 
blurring caused by camera shake.

Slow-sync Flash

The default shutter speed when using 
ß
ash is 1/60 second (you can change this 
default on a Nikon Z50 II with custom setting #24). The 
ß
ash will use a faster shutter 
speed if the ambient light requires it, but will not normally go below 1/60 second in 
the modes where the camera controls the shutter speed.
When slow-sync 
ß
ash is activated (on a Z50 II, you set this by pressing the 
ß
ash 
button and turning the main command wheel until the word ÒSLOWÓ appears on the 
camera’s top LCD), shutter speeds as low as 30 seconds may be used to obtain the 
correct exposure for both the main subject in the foreground lit by the 
ß
ash, and the 
background, in low-light situations or at night.
For slow shutter speeds, you may need to use a tripod to avoid camera shake.
In the
!
Night Portrait
!
scene mode, slow-sync 
ß
ash is automatically 
activated.

Rear-curtain Sync

Normally the 
ß
ash 
Þ
res at the same time the shutter curtain opens (i.e. front curtain 
sync). When the rear curtain is activated (indicated by the word ÒREARÓ on the 
camera’s top LCD), the 
ß
ash 
Þ
res just before the shutter curtain closes.
Rear-curtain sync may be selected when one is shooting fast-moving subjects at 
slow shutter speeds. With front curtain sync, unnatural-looking pictures can occur 
because the blurred movement appears to be
!
in front
!
of the subject frozen by 
the 
ß
ash. Rear-curtain sync creates a picture in which the blur of a moving subject 
(for example, the taillights of a speeding car) appears
!
behind
!
the frozen 
subject.
Rear-curtain sync automatically enables slow-sync mode, since the only time you 
should want to use rear sync, is when you also set slow shutter speed to capture 
blurred movement.
Using rear curtain sync with shutter speeds
!
faster
!
than 1/30 second is not 
recommended. Rear-curtain sync introduces a delay between the pre-
ß
ash and the 
main 
ß
ash lasting the length of the exposure. This delay gives most people just 
enough time to react to the pre-
ß
ash. Using rear sync for portraits is a sure way to 
make your subjects blink or squint.
Rear-curtain sync can not be combined with AWL, or with the FP or RPT modes.

Auto FP


(Focal Plane) is a sync mode that lets you synchronize 
ß
ash with higher shutter 
speeds than the camera’s normal maximum 
ß
ash synchronization shutter speed 
(often called Òx-sync speedÓ).
To use this mode on a Nikon Z50 II, you need to have a CLS-compatible 
ß
ash unit 
connected to the camera’s hot-shoe, and you must enable
!
Auto FP
!
on 
the camera. Without having
!
Auto FP
!
enabled, the camera will not let you 
set the shutter speed higher than the x-sync speed when you use a CLS-compatible 
ß
ash. With
!
Auto FP
!
enabled, you can use any shutter speed.
In
!
FP
!
mode the 
ß
ash will not 
Þ
re once, but many times at an extremely 
rapid rate (typically 50 kHz) which begins with the opening of front curtain of your 
camera’s focal plane shutter and ends with the closing of the rear curtain. This 
permits the correct exposure to be obtained as the traveling slit of a dual curtain 
shutter passes over the sensor at high-speed.
Note that using
!
FP
!
reduces the maximum power of the 
ß
ash. The only 
way to have FP is to illuminate the focal plane curtain, which, depending on the 
shutter speed, may cover a very large percentage of the focal plane. This means that 
the higher the shutter speed is above the shutter’s x-sync speed, the smaller the 
area of 
Þ
lm that gets illuminated by each 
ß
ash.
The table below shows approximately how much the maximum power expressed as 
guide number GN is reduced when an SB-900 is used in
!
FP
!
mode on a 
Nikon Z50 II. It has full power (GN 34, ISO 100/meter) at the X-sync speed (1/200 
second), is reduced by -1 EV (half power) at 1/250 second, and then by another -1 
EV for each doubling of shutter speed. At 1/4000 second it is reduced by -5 EV, or 
1/32 of full power.

Using
!
FP
!
will reduce the effective GN of the 
ß
ash when 
you
!
exceed
!
the x-sync speed. However, it has no effect at speeds lower 
than the x-sync. It does no harm to have
!
Auto FP
!
permanently enabled.
On a Nikon Speedlight, the
!
FP
!
mode can be activated in the following 
ß
ash modes:
!
TTL, TTL BL, AA, M, and
!
GN. On the Nissin 
Di866, the
!
FP
!
mode only works in
!
TTL
!
mode.
Note: The
!
FP
!
mode is mainly useful when you want to use large 
apertures when doing
!

Þ
ll-
ß
ash
!
in bright daylight. The FP mode 
does
!
not
!
help you freeze motion. Normal 
ß
ash photography is very good 
at freezing motion since a burst of electronic 
ß
ash is so incredibly brief. When the 
dominant light on a scene is a very short 
ß
ash of light it is almost as if you used a 
very high shutter speed in the thousandths of a second. However, when you use FP 
mode 
ß
ash, the 
ß
ash unit pulses the light output over a
!
longer
!
period of 
time in order to simulate a light being lit for the entire time the shutter travels across 
the focal plane. Since the 
ß
ash burst is no longer very short, it becomes more dif
Þ
cult 
to freeze motion, even with high shutter speeds. And because the FP mode makes 
you lose so much of the power of the 
ß
ash, it is not very useful when you want the 
ß
ash to be the dominant light. For high-speed 
ß
ash photography, you instead 
use
!
manual
!
mode and adjust the power ratio to make sure that the 
ß
ash 
burst is short enough to ÒfreezeÓ movement.

High-Speed Sync Without Auto FP mode

The Nikon Z50 II will sync with most 
ß
ash units at any shutter speed (i.e. up to 1/4000 
second). This is because these models use a CCD sensor that works as an 
electronic shutter at high shutter speed. A conventional mechanical shutter is only 
used at shutter speeds below 1/125 second.
For some reason, Nikon has put in a program limitation that will not let you set faster 
shutter speed than 1/500 second in these models if you mount a
!!
ß
ash unit in the 
camera’s hot-shoe. You can get around this limitation by taping over the two metal 
contacts on the back of the Speedlight.

Flash Compensation

Flash compensation can be used to adjust the level of the master and remote 
ß
ash 
units by from 
#
3 to +1 EV in steps of 1/3 EV. To choose a value for 
ß
ash 
compensation, press the magnifying
!
button and rotate the sub-command dial until 
the desired value is displayed in the control panel.
Flash compensation can be used to adjust the level of the master and remote 
ß
ash 
units by from 
#
3 to +1 EV in steps of 1/3 EV. To choose a value for 
ß
ash 
compensation, press the magnifying
!
button and rotate the sub-command dial until 
the desired value is displayed in the control panel.
When the master 
ß
ash or a remote 
ß
ash is set to TTL or Auto
!
and 
ß
ash 
compensation to a value other than ±0.0, an
!
icon will be displayed in the control 
panel and view
Þ
nder and the current value for 
ß
ash compensation can be viewed by 
pressing mag. Normal 
ß
ash output can be restored by setting 
ß
ash compensation to 
±0.0. Flash compensation is not reset when the camera is turned off.

Release Mode

Choose the operation performed when the shutter-release button is pressed all the 
way down.

• Single frame: The Nikon Z50 II takes one photograph each time the shutter-
release button is pressed.
• Continuous L: While the shutter-release button is held down, the camera 
records 1Ð4 frames per second. The frame rate can be chosen by rotating the sub-
command dial when Continuous L is highlighted in the release-mode menu.
• Continuous H: While the shutter-release button is held down, the camera 
records up to about 5 frames per second.
• Continuous H (extended): While the shutter-release button is held down, 
the camera records up to about 11 frames per second. The built-in 
ß
ash and optional 
ß
ash units cannot be used. Flicker reduction has no effect.
• Self-timer: Take pictures with the self-timer.

MENU 
!
!
Photo Shooting Menu
!

!
 page 4

Focus Mode

AF-S (single AF):

Designed for shooting stationary subjects, this mode locks focus when you depress 
the shutter button halfway. (Think
!
S
!
for
!
still, stationary.)
!
In 
AF-S mode, the camera insists on achieving focus before it releases the shutter.
If this behavior annoys you, open the Custom Setting menu, choose Autofocus, and 
then choose AF-S Priority Selection. If you change the setting to Release, the picture 
is then recorded when you fully depress the shutter button even if focus isnÕt yet 
achieved.

AF-C (continuous AF):

Geared to capturing moving targets, AF-C mode adjusts focus as needed as long as 
the shutter button is pressed halfway. (Think
!
C
!
for
!
continuous 
motion.) Remember that a focus-adjustment occurs only if the subject moves 
closer to or farther from the camera.
If the subject is moving but only shifts a short distance in a horizontal direction, no 
adjustment is needed because the focusing distance remains the same.
If the subject is moving but only shifts a short distance in a horizontal direction, no 
adjustment is needed because the focusing distance remains the same.

AF-F

The camera adjusts focus continuously in response to subject movement or changes 
in composition. Focus locks when the shutter-release button is pressed halfway. This 
option is only available in movie mode.

MF (Manual Focus)

To focus manually, adjust the lens focus ring until the image displayed on the clear 
matte 
Þ
eld in the view
Þ
nder is in focus. Photographs can be taken at any time, even 
when the image is not in focus.
Hack:
!
To decide which 
shutter-release option is right for you, consider whether youÕd rather have any shot, 
even if itÕs out of focus, or capture only those that are in focus. I prefer the latter, so I 
set both AF-S and AF-C modes to Focus. Why waste battery power, memory card 
space, and inevitable time deleting out-of-focus pictures? Yes, if youÕre shooting 
rapid action, you may miss a few shots waiting for the focus to occur Ñ but if theyÕre 
going to be lousy shots, who cares? Sports shooters who 
Þ
re off hundreds of shots 
while covering an event, though, may want to unlock shutter release for both AF-C 
and AF-S modes. Again, you may wind up with lots of wasted shots, but you increase 
the odds that youÕll capture that split-second Òhighlight reelÓ moment.

AF Area Mode

Choose how the focus point for autofocus is selected.

• Pinpoint AF:
!
Use for pinpoint focus on a selected spot in the frame. This 
option is only available when photo mode is selected and Single AF is chosen for 
Focus mode. Focusing may be slower than with single-point AF.

• Single-point AF: Select the focus point; the camera will focus on the subject 
in the selected focus point only. Use with stationary subjects.
!
the ability to limit point 
selection to every other point
!
allows you to quickly use the joystick, or 
touchscreen, to position the AF point.

• Dynamic-area AF:
!
The camera focuses on a point selected by the 
user. If the subject brie
ß
y leaves the selected point, the camera will focus based on 
information from surrounding focus points, letting you concentrate on composition in 
shots of moving subjects. This option is only available when photo mode is selected 
and Continuous AF is chosen for Focus mode.

• Wide-area AF (S) and (L):
!
As for Single-point AF except that wider focus 
points are used. The focus points for Wide-area AF (L) are wider than those for 
Wide-area AF (S).
• Auto-area AF:
!
The camera automatically detects the subject and selects the 
focus area. At default settings, the camera gives priority to portrait subjects; if a 
portrait subject is detected, the selected subject will be indicated by a yellow border 
(if multiple faces are detected, you can choose your subject using the multi-selector). 
Subject tracking can be activated by pressing the OK 
button.

A word on Subject tracking:
When Auto-area AF is selected for AF-area mode, pressing OK enables focus tracking. The focus point will change to a targeting 
reticule; position the reticule over the target and either press OK again or press the AF-ON
!
button to start tracking. The focus point 
will track the selected subject as it moves through the frame (in the case of portrait 
subjects, the focus will track the subjectÕs face). To end tracking, press OK a third time. To exit the subject-tracking mode, press the 
magni
Þ
er/question
!
button.
A word on Quick Focus-Point Selection:
or quicker focus-point selection, choose Every other point for Custom Setting a5 
(Focus points used) to use only a quarter of the available focus points (the number of 
points available for Wide-area AF (L) does not change). If you prefer to use the sub-
selector for focus-point selection, you can choose the Select center focus point for 
Custom Setting f2 (Custom control assignment)
!
> Sub-selector center to allow the 
center of the sub-selector to be used to quickly select the center focus point.

The Touch Shutter:
!
</
strong>Touch controls can be used to focus and release the shutter. Touch the 
display to focus and lift your 
Þ
nger to release the shutter.

Tap the icon shown in the illustration to choose the operation performed by tapping 
the display in shooting mode. Choose from the following options:

• Touch: Touch the display to position the 
focus point and focus (autofocus only; the touch shutter cannot be used to focus in 
manual focus mode). Focus locks while your 
Þ
nger remains on the display; lift your 
Þ
nger to release the shutter. Available only in photo mode.
• Touch AF: As above, except that lifting your 
Þ
nger from the display does not release the shutter. If auto-area AF is selected for 
AF-area mode, the camera will track the selected subject as it moves through the 
frame; to switch to a different subject, tap it in the display.
• Off: Touch shutter disabled.

Optical VR

Enable or disable de optical vibration reduction function of your lens, if the lens has 
this functionality.

Auto Bracketing

Vary exposure, 
ß
ash level, Active D-Lighting (ADL), or white balance slightly with 
each shot, ÒbracketingÓ the current value. Bracketing can be used in situations in 
which getting the right settings is dif
Þ
cult and there is not time to check results and 
adjust settings with each shot, or to experiment with different settings for the same 
subject. The following options are available:

• Auto bracketing set: Choose the setting or settings bracketed when auto 
bracketing is in effect. Choose AE & 
ß
ash bracketing to perform both exposure 
and 
ß
ash-level bracketing, AE bracketing
!
to bracket only exposure, Flash bracketing 
to perform only 
ß
ash-level bracketing, WB bracketing
!
to perform white-balance 
bracketing, or ADL bracketing to perform bracketing using Active D-Lighting.
• Auto bracketing set: Choose the setting or settings bracketed when auto 
bracketing is in effect. Choose AE & 
ß
ash bracketing to perform both exposure 
and 
ß
ash-level bracketing, AE bracketing
!
to bracket only exposure, Flash bracketing 
to perform only 
ß
ash-level bracketing, WB bracketing
!
to perform white-balance 
bracketing, or ADL bracketing to perform bracketing using Active D-Lighting.
• Number of shots: Choose the number of shots in the bracketing 
sequence.
• Increment: Choose the amount the selected settings vary with each shot 
(ADL bracketing excluded).
• Amount: Choose how Active D-Lighting varies with each shot (ADL 
bracketing only).

Multiple Exposure

Record two to ten NEF (RAW) exposures as a single photograph.
Multiple exposure mode

• On (series): Take a series of multiple exposures. Select
!
Off
!
to resume 
normal shooting.
• On (single photo): Take one multiple exposure.
• Off: Exit without creating additional multiple exposures.

Number of shotsChoose the number of exposures that will be combined to form a 
single photograph.Overlay mode

• Add: The exposures are overlaid without modi
Þ
cation; gain is not 
adjusted.
• Average: Before the exposures are overlaid, the gain for each is divided by 
the total number of exposures taken (gain for each exposure is set to 1/2 for 2 
exposures, 1/3 for 3 exposures, etc).
• Lighten: The camera compares the pixels in each exposure and uses only 
the brightest.

HDR (High Dynamic Range)

Used with high contrast subjects, High Dynamic Range (HDR) preserves details in 
highlights and shadows by combining two shots taken at different exposures.

HDR mode:

• On (series): Take a series of HDR photographs. Select
!
Off
!
to resume 
normal shooting.
• On (single photo): Take one HDR photograph.
• Off: Exit without taking additional HDR photographs.

Exposure differential:
!
Choose the difference in exposure between the two 
shots that are combined to make an HDR photograph. Choose larger values for 
high-contrast subjects, or select
!
Auto
!
to let the camera adjust the exposure 
differential according to the scene.

Smoothing:
!
Choose how much to smooth the boundaries between the 
shots that make up each HDR photograph.

Interval Timer Shooting

Take photographs at the selected interval until the speci
Þ
ed number of shots has 
been recorded. Select a release mode other than self-timer (E) when using the interval timer.

• Start:
!
Start interval timer shooting, either after 3 s (Now
!
selected for
!
Choose 
start day/time) or at a selected date and time (Choose day/time). Shooting will 
continue at the selected interval until all shots have been taken.
• Choose start day/time:
!
Choose a start option. To start shooting immediately, 
select
!
Now. To start shooting at a chosen date and time, select
!
Choose day/time.</
li>
• Interval:
!
Choose the interval (hours, minutes, and seconds) between 
shots.
• Intervals
”
shots/interval:
!
Choose the number of intervals and the number of 
shots per interval.
• Exposure smoothing:
!
Selecting
!
On
!
allows the camera to adjust exposure to 
match previous shot in exposure modes other than
!
M
!
(note that exposure smoothing 
only takes effect in mode
!
M
!
if auto ISO sensitivity control is on). Large changes in 
subject brightness during shooting may result in apparent variations in exposure, in 
which case it may be necessary to shorten the interval between shots.
• Silent photography:
!
Select
!
On
!
to silence the shutter during shooting.
• Interval priority:
!
Choose whether the camera gives priority to exposure time 
or interval timing in exposure modes
!
P
!
and
!
A. Select
!
On
!
to ensure photos are taken 
at the chosen interval,
!
Off
!
to ensure that photos are correctly exposed. If
!
On
!
is 
selected, be sure the
!
Minimum shutter speed
!
chosen for
!
ISO sensitivity 
settings
!!
>
!
Auto ISO sensitivity control
!
in the photo shooting menu is faster than 
the interval. You should also focus using manual focus or, if you are using autofocus, 
choose
!
Release
!
for Custom Setting a1 (AF-C priority selection) or Custom Setting a2 
(AF-S priority selection)
!
according to whether
!
AF-C
!
or
!
AF-S
!
is selected.
• Starting storage folder:
!
Highlight either of the following options and 
press
!
2
!
to select or deselect:
!
New folder: A new 
folder is created for each new sequence or
!
Reset 
Þ
le numbering: File numbering is 
reset to 0001 whenever a new folder is created.

Time-Lapse Movie

The camera automatically takes photos at selected intervals to create a silent time-
lapse movie.

• Start:
!
Start time-lapse recording. Shooting starts after about 3 s and 
continues at the selected interval for the selected shooting time.
• Interval:
!
Choose the interval between shots in minutes and seconds.
• Shooting time:
!
Choose the shooting time (hours and minutes).
• Exposure smoothing:
!
Selecting
!
On
!
smooths abrupt changes in exposure in 
exposure modes other than
!
M
!
(note that exposure smoothing only takes effect in 
mode
!
M
!
if auto ISO sensitivity control is on). Large changes in subject brightness 
during shooting may result in apparent variations in exposure, in which case it may 
be necessary to shorten the interval between shots.
• Silent photography:
!
Select
!
On
!
to silence the shutter during shooting.
• Image area:
!
Choose an image area for time-lapse recording. The options 
are those for the
!
Image area
!
item in the movie shooting menu.
• Image area:
!
Choose an image area for time-lapse recording. The options 
are those for the
!
Image area
!
item in the movie shooting menu.
• Frame size/frame rate:
!
Choose the frame size and rate for the 
Þ
nal movie. 
The options are those for the
!
Frame size/frame rate
!
item in the movie shooting 
menu.
• Interval priority:
!
Choose whether the camera gives priority to exposure time 
or interval timing in exposure modes
!
P
!
and
!
A. Select
!
On
!
to ensure frames are taken 
at the chosen interval,
!
Off
!
to ensure that frames are correctly exposed. If
!
On
!
is 
selected, be sure the
!
Minimum shutter speed
!
chosen for
!
ISO sensitivity 
settings
!
>
!
Auto ISO sensitivity control
!
in the photo shooting menu is faster than 
the interval. You should also focus using manual focus or, if you are using autofocus, 
choose
!
Release
!
for Custom Setting a1 (AF-C priority selection,) or Custom Setting 
a2 (AF-S priority selection) according to whether
!
AF-C
!
or
!
AF-S
!
is selected.

MENU 
!
!
Photo Shooting Menu
!

!
 page 5

Silent Photography

Select On to reduce vibrations caused by the shutter when shooting landscapes and 
other static subjects. Use of a tripod is recommended. The 
ß
ash and long exposure 
noise reduction are disabled, as are the electronic front-curtain shutter and beep 
speaker, regardless of the options selected for Custom Setting d5 (Shutter type) and 
for Beep options in the setup menu. In continuous release modes, the frame 
advance rate will change.
Enabling silent photography changes the frame advance rates for continuous release 
modes
!
and disables some features, including the 
ß
ash, beep speaker, long exposure 
noise reduction, and the electronic front-curtain shutter.
Although the noise of the mechanical shutter is muted, other sounds may still be 
audible, for example during autofocus or if the Menu 
or Play button is pressed when an option other than 
Off is selected for Vibration reduction. During silent photography, 
ß
icker, banding, or 
distortion may be visible in the display and in the 
Þ
nal picture under 
ß
uorescent, 
mercury vapor, or sodium lamps or with subjects that are in motion, particularly if the 
camera is panned horizontally or an object moves horizontally at high speed through 
the frame. Jagged edges, color fringing, moir”, and bright spots may 
also appear. Bright regions or bands may appear in some areas of the frame with 
ß
ashing signs and other intermittent light sources or if the subject is brie
ß
y 
illuminated by a strobe or other bright, momentary light source.

MENU 
!
!
Movie Shooting Menu
!

!
 page 1

Reset Movie Shooting Menu

In case of trouble or unexpected behaviour,
!
highlight
!
Yes
!
and press
!
OK
!
to restore movie shooting menu options to their default 
values.

File Naming

Choose the three-letter pre
Þ
x used in naming the image 
Þ
les in which movies are 
stored. The default pre
Þ
x is ÒDSCÓ.
Choose the three-letter pre
Þ
x used in naming the image 
Þ
les in which movies are 
stored. The default pre
Þ
x is ÒDSCÓ.

Frame Size/Frame Rate

Choose the movie frame size (in pixels) and frame rate.

4K UHD (max 29 minutes 59 seconds recording time)

• 2160 30p: 3840 
”
 2160 (4K UHD); 30p 
!
144 Mbps
• 2160 25p: 3840 
”
 2160 (4K UHD); 25p
!
144 Mbps
• 2160 24p: 3840 
”
 2160 (4K UHD); 24p 144 Mbps

HD (max 29 minutes 59 seconds recording time)

• 1080 120p: 1920 x 1080 120p; 144 Mbps
• 1080 100p:
!
1920 x 1080 100p;
!
144 Mbps
• 1080 60p:
!
1920 x 1080 60p; 56 Mbps
• 1080 50p:
!
1920 x 1080 50p;
!
56 Mbps
• 
!
1080 25p:
!
1920 x 1080 25p;
!
28 Mbps
• 
!
1080 24p:
!
1920 x 1080 24p;
!
28 Mbps

Slow-Mo (max 3 minute recording time)

• 1080 30p x 4: 1920 x 1080; 30p x 4 (slow-mo) 36 Mbps
• 1080 25p x 4: 1920 x 1080; 25p x 4 (slow-mo) 36 Mbps
• 1080 24p x 4: 1920 x 1080; 24p x 5 (slow-mo) 29 Mbps

Movie Quality

You can choose from High quality and Normal.

Movie File Type

Choose the Þle format for movies from MOV and MP4.
Hack: MP4 is superior!

ISO Sensitivity Settings

You can adjust the following ISO sensitivity settings:

• Maximum sensitivity: Choose the upper limit for auto ISO sensitivity control 
from values between ISO 200 and Hi 2. Auto ISO sensitivity control is used in 
exposure modes
!
P,
!
S, and
!
Aand when
!
On
!
is selected for
!
Auto ISO control (mode 
M)
!
in exposure mode
!
M.
• Auto ISO control (mode M): Select
!
On
!
for auto ISO sensitivity control in 
exposure mode
!
M,
!
Off
!
to use the value selected for
!
ISO sensitivity (mode M).
• ISO sensitivity (mode M): Choose the ISO sensitivity for exposure 
mode
!
M
!
from values between ISO 64 and Hi 2. Auto ISO sensitivity control is used in 
other exposure modes.

Hack: At high ISO sensitivities, the camera 
may have dif
Þ
culty focusing and noise (randomly-spaced bright pixels, fog, or lines) 
may increase. This can be prevented by choosing a lower value for the ISO 
Maximum sensitivity.

White Balance

Choose the white balance for movies (same choices as for the Photo Settings)

Set Picture Control

Choose a Picture Control for movies. You’ll also 
Þ
nd the Creative Picture Control 
settings here. You can 
Þ
nd presets like Dream, Morning, Pop, Sunday, Sober, 
Dramatic, Silence, Bleached, Melancholic, Pure, Denim, Toy, Sepia, Blue, Red, Pink, 
Charcoal, Graphite, Binary and Carbon. These can off course be edited too

MENU 
!
!
Movie Shooting Menu
!

!
 page 2

Manage Picture Control

You can create custom Picture Controls here. (again same procedure as for photos)

Active D-Lighting

Preserve details in highlights and shadows, creating movies with natural contrast. 
Select
!
Same as photo settings
!
to use the option currently selected for photos.
Options are Auto, Extra High, High, Normal, Low or Off.

High ISO NR

Reduce ÒnoiseÓ (what Nikon calls randomly-spaced bright pixels) in movies recorded 
at high ISO sensitivities

Vignette Control

reduce shading or lens vignetting automatically using this function.

Diffraction Compensation

Same as for stills, the Nikon Z50 II can automatically reduce the loss of sharpness due 
to diffraction when lenses are used with an aperture above f/11.

Auto Distortion Control

Automatically corrects for peripheral distortion (requires a lens with a CPU chip with 
distortion control support.)

Flicker Reduction

Reduce 
ß
icker and banding when shooting movies under 
ß
uorescent or mercury-
vapor lighting. Choose Auto to allow the camera to automatically choose the correct 
frequency, or manually match the frequency to that of the local AC power supply.
If Auto fails to produce the desired results and you are unsure as to the frequency of 
the local power supply, test both the 50 and 60
!
Hz options and choose the one that 
produces the best results. Flicker reduction may not produce the desired results if 
the subject is very bright, in which case you should try choosing a smaller aperture 
(higher f-number). To prevent 
ß
icker, select mode M and choose a shutter speed 
adapted to the frequency of the local power supply: 1/125 s, 1/60 s, or 1/30 s for 60 
Hz; 1/100 s, 1/50 s, or 1/25 s for 50 Hz.

Metering

Metering determines how the camera sets exposure. The same options as in the 
Photo Menu are available.

• Matrix metering:
!
The camera meters a wide area of the frame and sets 
exposure according to tone distribution, color, composition, and distance for results 
close to those seen by the naked eye.
• Center-weighted metering:
!
The camera meters the entire frame but assigns 
the greatest weight to an area in the center of the frame, the size of which can be 
chosen using Custom Setting b3 (Center-weighted area). This is the classic meter 
for portraits and is also recommended when using 
Þ
lters with an exposure factor 
(
Þ
lter factor) over 1
”
.
• Spot metering:
!
The camera meters a 
!
4
!
mm circle (equivalent to 
approximately 1.5% of the frame) centered on the current focus point, making it 
possible to meter off-center subjects (if auto-area AF is in effect, the camera will 
instead meter the center focus point). Spot metering ensures that the subject will be 
correctly exposed, even when the background is much brighter or darker.
• Highlight-weighted metering:
!
The camera assigns the greatest weight to 
highlights. Use this option to reduce loss of detail in highlights, for example when 
photographing spotlit performers on-stage.

MENU 
!
!
Movie Shooting Menu
!

!
 page 3

Release Mode

Focus Mode

• AF-S:
!
For stationary subjects. Press the shutter-release button halfway to 
focus. If the camera is able to focus, the focus point will be displayed in green; focus 
will lock while the shutter-release button is pressed halfway. If the camera fails to 
focus, the focus point will 
ß
ash red. At default settings, the shutter can only be 
released if the camera is able to focus (focus priority).
• AF-C:
!
For moving subjects. The camera focuses continuously while the 
shutter-release button is pressed halfway; if the subject moves, the camera will 
predict the 
Þ
nal distance to the subject and adjust focus as necessary. At default 
settings, the shutter can be released whether or not the subject is in focus (release 
priority).
• AF-F:
!
The camera adjusts focus continuously in response to subject 
movement or changes in composition. Focus locks when the shutter-release button 
is pressed halfway. This option is only available in movie mode.
• Manual focus:
!
The shutter can be released whether or not the subject is in 
focus.

AF-Area Mode

AF-area mode controls how the camera selects the focus-point for autofocus.

• Pinpoint AF:
!
Use for pinpoint focus on a selected spot in the frame. This 
option is only available when photo mode is selected and Single AF is chosen for 
Focus mode. Focusing may be slower than with single-point AF.
• Pinpoint AF:
!
Use for pinpoint focus on a selected spot in the frame. This 
option is only available when photo mode is selected and Single AF is chosen for 
Focus mode. Focusing may be slower than with single-point AF.
• Single-point AF:
!
The camera focuses on a point selected by the user. Use 
with stationary subjects.
• Dynamic-area AF:
!
The camera focuses on a point selected by the user. If 
the subject brie
ß
y leaves the selected point, the camera will focus based on 
information from surrounding focus points, letting you concentrate on composition in 
shots of moving subjects. This option is only available when photo mode is selected 
and Continuous AF is chosen for Focus mode.
• Wide-area AF (S or L):
!
As for Single-point AF except that wider focus points 
are used. The focus points for Wide-area AF (L) are wider than those for Wide-area 
AF (S).
• Auto-area AF:
!
The camera automatically detects the subject and selects the 
focus area. At default settings, the camera gives priority to portrait subjects; if a 
portrait subject is detected, the selected subject will be indicated by a yellow border 
(if multiple faces are detected, you can choose your subject using the multi 
selector).
!
Subject tracking
!
can be activated by pressing the OK button.

Hack:
!
For quicker focus-point selection, 
choose Every other point for Custom Setting a5 (Focus points used) to use only a 
quarter of the available focus points (the number of points available for Wide-area AF 
(L) does not change). If you prefer to use the sub-selector for focus-point selection, 
you can choose Select center focus point for Custom Setting f2 (Custom control 
assignment)
!
> Sub-selector center to allow the center of the sub-selector to be 
used to quickly select the center focus point.

Subject Tracking</
strong>:
!
When Auto-area AF is selected for AF-area mode, pressing OK
!
enables 
focus tracking. The focus point will change to a targeting reticule; position the reticule 
over the target and either press OK again or press 
the AF-ON
!
button to start tracking. The focus point will track the selected subject as 
it moves through the frame (in the case of portrait subjects, focus will track the 
subjectÕs face). To end tracking, press J a third time. 
To exit subject-tracking mode, press the mag/question
!
button.

Optical VR

Identical to the Photo Menu again. Only needed when your lens does not have a VR 
switch. If your lens does have a VR switch, turning it of will turn off both lens and 
sensor stabilisation.

Electronic VR

Choose whether to enable electronic vibration reduction in movie mode.

Microphone Sensitivity

Turn the built-in or external microphones on or off or adjust microphone sensitivity. 
Choose
!
Auto sensitivity
!
to adjust sensitivity automatically,
!
Microphone off
!
to turn 
sound recording off; to select microphone sensitivity manually, select
!
Manual 
sensitivity
!
and choose a sensitivity.

Attenuator

Select
!
Enable
!
to reduce microphone gain and prevent audio distortion when 
recording movies in loud environments.

Frequency Response

If
!
S
!
Wide range
!
is selected, the built-in and external 
microphones will respond to a wide range of frequencies, from music to the bustling 
hum of a city street. Choose
!
T
!
Vocal range
!
to bring 
out human voices.

MENU 
!
!
Movie Shooting Menu
!

!
 page 4

Wind Noise Reduction

Select
!
On
!
to enable the low-cut 
Þ
lter for the built-in microphone (optional stereo 
microphones are unaffected), reducing noise produced by wind blowing over the 
microphone (note that other sounds may also be affected). Wind-noise reduction for 
optional stereo microphones that support this feature can be enabled or disabled 
using microphone controls.

MENU 
!
!
Custom Setting Menu
!

!
 page 1

Reset Custom Settings

Resets all Custom settings to the factory settings.

Autofocus Settings

a1 AF-C Priority Selection

When
!
AF-C
!
is selected for photography, this option controls whether photographs 
can be taken whenever the shutter-release button is pressed (release priority</
em>) or only when the camera is in focus (focus priority).


• Release:
!
Photos can be taken whenever the shutter-release button is 
pressed.
• Focus: Photos can be taken only when the camera is in focus.

Regardless of the option selected, focus will not lock when
!
AF-C
!
is selected for 
autofocus mode. The camera will continue to adjust focus until the shutter is 
released.

a2 Auto-area AF face/Eye detection

When photographing portrait subjectswith Auto-area AF, use Custom Setting a2 
(Auto-area AF face/eye detection) to choose whether the camera detects both faces 
and eyes (face/eye-detection AF) or only faces (face-detection AF). If Face and eye 
detection on is selected and a portrait subject is detected, an amber border 
indicating the focus point will appear around the subjectÕs face or, if the camera 
detects the subjectÕs eyes, one or the other of their eyes (face/eye-detection AF).
Faces detected when Face detection on is selected are similarly indicated by an 
amber border. If AF-S is selected for focus mode, or if the camera is shooting using 
AF-S when AF-A is selected for focus mode, the focus point will turn green when the 
camera focuses.
If more than one portrait subject or more than one eye is detected, left arrow and 
right arrow icons will appear on the focus point, and you will be able to position the 
focus point over a different face or eye by pressing LEFT or RIGHT cursor. If the 
subject looks away after their face is detected, the focus point will move to track their 
motion. During playback, you can zoom in on the face or eye used for focus by 
pressing OK.
If more than one portrait subject or more than one eye is detected, left arrow and 
right arrow icons will appear on the focus point, and you will be able to position the 
focus point over a different face or eye by pressing LEFT or RIGHT cursor. If the 
subject looks away after their face is detected, the focus point will move to track their 
motion. During playback, you can zoom in on the face or eye used for focus by 
pressing OK.

a3 Focus points used

a4 AF activation

Choose whether the shutter-release button can be used to focus (Shutter/AF-ON) or 
if focus can only be adjusted using the AF-ON button or other controls to which AF-
ON has been assigned (AF-ON only).

a5 Focus Points wrap-around

Choose whether focus-point selection Òwraps aroundÓ from one edge of the 
view
Þ
nder to another

• Wrap: Focus-point selection Òwraps aroundÓ from top to bottom, bottom to 
top, right to left, and left to right, so that, for example, pressing
!
2
!
when a focus point at the right edge of the view
Þ
nder 
display is highlighted (1)
!
selects the corresponding focus point at the left edge of the 
display (2):
• No wrap:
!
The focus-point display is bounded by the outermost focus points 
so that, for example, pressing
!
2
!
when a focus point 
at the right edge of the display is selected has no effect.

a6 Focus Point options

a7 Low Light AF

Autofocus is achievable with the Nikon Z50 II down to -4EV provided low-light 
autofocus is activated. only works in Single AF!!!
Choose On for more accurate focus under low-light conditions when AF-S is selected 
for focus mode, but note that camera may require more time to focus. This option 
takes effect only in photo mode when a setting other than Auto is chosen with the mode dial. While low-light AF is in effect, 
ÒLow-lightÓ will appear in the display and the display refresh rate may drop.
Hack: This slows down autofocus for general 
photography, so it should be disabled except for focussing in really low light.

a8 Built-In AF-Assist Illuminator

Choose whether the built-in AF-assist illuminator lights to assist the focus 
operation when lighting is poor.

• On: The illuminator lights as required (AF-S focus mode only).
• Off: The illuminator does not light to assist the focus operation. The camera 
may not be able to focus when lighting is poor.

The AF-assist illuminator has a range of about 1Ð3 m (3 ft 4 in.Ð9 ft 10 in.); when 
using the illuminator, remove the lens hood. Do not obstruct the AF-assist illuminator 
while it is lit.

Metering/Exposure Settings

b1 EV steps for exposure cntrl

Select the increments used when making adjustments to shutter speed, aperture, 
and bracketing.

b2 Easy exposure compensation

This option controls whether the
!
plus/minus
!
button is 
needed to set exposure compensation. If
!
On (Auto reset)
!
or
!
On
!
is selected, the 0 at 
the center of the exposure display will 
ß
ash even when exposure compensation is 
set to ±0.
This option controls whether the
!
plus/minus
!
button is 
needed to set exposure compensation. If
!
On (Auto reset)
!
or
!
On
!
is selected, the 0 at 
the center of the exposure display will 
ß
ash even when exposure compensation is 
set to ±0.

• On (Auto reset):
!
Exposure compensation is set by rotating one of the 
command dials (see note below). The setting selected using the command dial is 
reset when the camera turns off or the standby timer expires (exposure 
compensation settings selected using the
!
E
!
button 
are not reset).
• On:
!
As above, except that the exposure compensation value selected using 
the command dial is not reset when the camera turns off or the standby timer 
expires.
• Off:
!
Exposure compensation is set by pressing the
!
E
!
button and rotating the main command dial.

b3 Center-weighted area

Choose the size of the area given the most weight in center-weighted metering. If a 
non-CPU lens is attached, the size of the area is 
Þ
xed at 12 mm.
Remember that the exposure compensation
!
icon is not displayed when exposure 
Þ
ne-tuning is in effect. The only way to determine how much exposure has been 
altered is to view the amount in the 
Þ
ne-tuning menu.

b4 Fine-Tune optimal exposure

Use this option to 
Þ
ne-tune the exposure value selected by the camera. Exposure 
can be 
Þ
ne-tuned separately for each metering method by from +1 to Ð1 EV in steps 
of 1/6 EV.

Timers/AE Lock Settings

c1 Shutter-release button AE-L

Choose whether exposure locks when the shutter-release button is pressed.

• On (half press):
!
Pressing the shutter-release button halfway locks 
exposure.
• On (burst mode):
!
Exposure only locks while the shutter-release button is 
pressed all the way down.
• Off:
!
Pressing the shutter-release button does not lock exposure.

c2 Self-timer

Choose the length of the shutter release delay, the number of shots 
taken, and the interval between shots in self-timer mode.

• Self-timer delay: Choose the length of the shutter-release delay.
• Number of shots: Press
!
1
!
and
!
3
!
to choose the number of shots taken each time the 
shutter-release button is pressed.
• Interval between shots: Choose the interval between shots when 
the
!
Number of shots
!
is more than 1.

c3 Power off delay

Choose how long the monitor remains on when no operations are performed during 
playback (Playback; defaults to 10 seconds) and image review (Image review; 
defaults to 4 seconds), when menus (Menus; defaults to 1 minute) or information 
(Information display; defaults to 10 s) are displayed, or during live view and movie 
recording (Live view; defaults to 10 minutes). Choose a shorter monitor-off delay for 
longer battery life.
Choose how long the monitor remains on when no operations are performed during 
playback (Playback; defaults to 10 seconds) and image review (Image review; 
defaults to 4 seconds), when menus (Menus; defaults to 1 minute) or information 
(Information display; defaults to 10 s) are displayed, or during live view and movie 
recording (Live view; defaults to 10 minutes). Choose a shorter monitor-off delay for 
longer battery life.

Shooting/display Settings

d1 CL mode shooting speed

Choose the frame advance rate for low-speed continuous release mode.

d2 Max. continuous release

he maximum number of shots that can be taken in a single burst 
in continuous release modes can be set to any value between 1 and 200. Note that 
regardless of the option selected, there is no limit to the number of photos that can 
be taken in a single burst when a shutter speed of 4
!
s or slower is selected in mode 
S or M.

Regardless of the option selected for Custom Setting d2, shooting will slow when the 
memory buffer 
Þ
lls.

d3 Exposure delay mode

In situations where the slightest camera movement can blur pictures, shutter release 
can be delayed by from about 0.2 to 3 seconds after the shutter is engaged.

d4 Limit selectable image area

Choose the options available when image-area selection is assigned to the i menu or to the command dials and a camera control. 
Highlight the desired options and press the
!
right arrow
!
</
span>to select or deselect. Press OK to save 
changes when settings are complete.


d5 Limit selectable image area

DX: (24×16)
1:1: (16×16)
16:9 (24×14

d6 File number sequence

When a picture is taken, the camera names the 
Þ
le by adding one to the last 
Þ
le 
number used. This option controls whether 
Þ
le numbering continues from the last 
number used when a new folder is created, the memory card is formatted, or a new 
memory card is inserted in the camera.

• On:
!
When a new folder is created, the memory card formatted, or a new 
memory card inserted in the camera, 
Þ
le numbering continues from the last number 
used or from the largest 
Þ
le number in the current folder, whichever is higher. If a 
photograph is taken when the current folder contains a photograph numbered 9999, 
a new folder will be created automatically and 
Þ
le numbering will begin again from 
0001.
• Off:
!
File numbering is reset to 0001 when a new folder is created, the 
memory card is formatted, or a new memory card is inserted in the camera. Note 
that a new folder is created automatically if a picture is taken when the current folder 
contains 5000 pictures.
• Reset: Same as for
!
On, except that the next picture taken is assigned a 
Þ
le 
number by adding one to the largest 
Þ
le number in the current folder. If the folder is 
empty, 
Þ
le numbering is reset to 0001.

d7 Apply settings to live view

Choose On to preview how changes to such settings as white balance, Picture 
Controls, and exposure compensation affect color and brightness in photo mode, or 
select Off to adjust brightness and hue for ease of viewing (regardless of the option 
selected, the effects of the aforementioned settings are always visible in movie 
mode).

d8 Framing grid display

Choose
!
On
!
to display on-demand grid lines in the view
Þ
nder for reference when 
composing photos.

d9 Peaking highlights

When focus peaking is enabled in manual focus mode, objects that are in focus are 
indicated by colored outlines in the display. Choose the peaking level and outline 
color.

• Peaking level: Choose from 3 (high sensitivity), 2 (standard), 1 (low 
sensitivity), and Off; the higher the value, the greater the depth that will be shown as 
being in focus.
• Peaking highlight color: Choose the highlight color.

d10 View all in continuous mode

Choose whether image review is available during burst shooting. If
!
Off
!
is selected, 
not only the monitor but also the monitor backlight will turn off during exposures.

Bracketing/Flash Settings

e1 Flash Sync Speed

This option controls ßash sync speed.

• 1/250 s (Auto FP):
!
Auto FP high-speed sync is used when a compatible 
ß
ash unit is attached. If other 
ß
ash units are used, shutter speed is set to 1/250 s. 
When the camera shows a shutter speed of 1/250 s in exposure mode
!
P
!
or
!
A, auto 
FP high-speed sync will be activated if the actual shutter speed is faster than 1/250 
s. If the 
ß
ash unit supports auto FP high-speed sync, shutter speeds as fast as 
1/8000 s can be selected by the camera (modes
!
P
!
and
!
A) or by the user 
(modes
!
S
!
and
!
M).
• 1/250 sÐ1/60 s:
!
Flash sync speed set to selected value.

Hack:
!
Fixing Shutter Speed at the Flash Sync 
Speed Limit: To 
Þ
x shutter speed at the sync speed limit in shutter-priority auto or 
manual exposure modes, select the next shutter speed after the slowest possible 
shutter speed (30 sec ort longer). An X (
ß
ash sync indicator) will be displayed in the 
view
Þ
nder and control panel together with the 
ß
ash sync speed.

Hack: Auto FP High-Speed Sync:
!
Auto FP high-speed sync allows 
the 
ß
ash to be used at the highest shutter speed supported by the camera, making it 
possible to choose the maximum aperture for reduced depth of 
Þ
eld even when the 
subject is backlit in bright sunlight. The information display 
ß
ash mode indicator 
shows ÒFPÓ when auto FP high-speed sync is active.

e2 Flash Shutter Speed

Choose the slowest shutter speed available when front- or rear-curtain sync or red-
eye reduction is used in mode P or A (regardless of the setting chosen, shutter 
speeds can be as slow as 30 s in modes S and M or at 
ß
ash settings of slow sync, 
slow rear-curtain sync, or red-eye reduction with slow sync).
Choose the slowest shutter speed available when front- or rear-curtain sync or red-
eye reduction is used in mode P or A (regardless of the setting chosen, shutter 
speeds can be as slow as 30 s in modes S and M or at 
ß
ash settings of slow sync, 
slow rear-curtain sync, or red-eye reduction with slow sync).

e3 Exposure comp. for ßash

Choose how the camera adjusts ßash level when exposure compensation is used.

• Entire frame:
!
Both 
ß
ash level and exposure compensation are adjusted to 
modify exposure over the entire frame.
• Background only:
!
Exposure compensation applies to background only.

e4 Auto ISO sensitivity control (with ßash)

Choose the reference used to set exposure when a 
ß
ash is used with auto ISO 
sensitivity control.

• Subject and background:
!
The camera takes both the main subject and 
background lighting into account when adjusting ISO sensitivity.
• Subject only:
!
ISO sensitivity is adjusted only to ensure that the main subject 
is correctly exposed.

e5 Bracketing order

At the default setting of
!
MTR > under > over, exposure, 
ß
ash, and white 
balance bracketing are performed in the following order: the unmodi
Þ
ed shot is taken 
Þ
rst, followed by the shot with the lowest value, followed by the shot with the highest 
value. If
!
Under > MTR > over
!
(plus to minus) is 
selected, shooting will proceed in order from the lowest to the highest value. This 
setting has no effect on ADL bracketing.

Controls Settings

f1 Customize i menu

Customise the appearance of the i Menu. What’s included and what not.
Split-Screen Display Zoom:
!
When assigned to the i 
menu, Split-screen display zoom can be used to split the display into two boxes 
showing separate areas of the frame side-by-side at a high zoom ratio. The positions 
of the magni
Þ
ed areas are shown in the navigation window, making it easier to check 
focus at two different locations when photographing a building or other wide object 
situated at right angles to the camera.

f2 Custom control assignment

Choose the functions assigned to camera controls, whether used individually or in 
combination with the command dials.

f3 Custom controls (playback)

AE-L/AF-L button and OK button.

f4 Customize command dials

This option controls the operation of the main and sub-command dials.

• Reverse rotation: Reverse the direction of rotation of the command dials for 
selected operations. Highlight options and press right</
span> to select or deselect, and then press OK to 
save changes and exit.

• Change main/sub: Choose the roles played by the command dials 
for exposure and focus operations.

  Change main/sub: Choose the roles played by the command dials 
for exposure and focus operations.

  • Exposure setting: If On is selected, the main command dial will control 
aperture and the sub-command dial shutter speed. If On (Mode A) is selected, the 
main command dial will be used to set aperture in mode A only.
  • Autofocus setting: This option applies to the control assigned Focus mode/
AF-area mode using Custom Setting f2 (Custom control assignment). If On is 
selected, the focus mode can be chosen by keeping the control pressed and rotating 
the sub-command dial, AF-area mode by keeping the AF-mode button pressed and 
rotating the main command dial.
• Menus and playback: Select Off to use the multi selector for menus and 
playback. If On or On (image review excluded) is selected, the main command dial 
can be used to choose the picture displayed during full-frame playback and to 
highlight thumbnails and menu items. The sub-command dial is used in full-frame 
playback to skip forward or back according to the option selected for Sub-dial frame 
advance and in thumbnail playback to page up or down. While menus are displayed, 
rotating the sub-command dial right displays the sub-menu for the highlighted option, 
while rotating it left displays the previous menu. To make a selection, press 2 or J. Select On (image 
review excluded) to prevent the command dials from being used for playback during 
image review.
• Sub-dial frame advance: When On or On (image review excluded) is 
selected for Menus and playback, the sub-command dial can be rotated during full-
frame playback to select a folder, to skip forward or back 10 or 50 frames at a time, 
or to skip to the next or previous protected picture, the next or previous photo, the 
next or previous movie, or the next or previous picture with a selected rating (to 
choose the rating, highlight Rating and press right).

f5 Release Button to use dial

Selecting Yes allows adjustments that are normally made by holding a button and 
rotating a command dial to be made by rotating the command dial after the button is 
released. This setting applies to the plus/minus, ISO, and timer
!
buttons and also to 
controls to which the following roles have been assigned using Custom Settings f2 or 
g2 (Custom control assignment): Choose image area, Image quality/size, White 
balance, Set Picture Control, Active D-Lighting, Metering, Flash mode/compensation, 
Focus mode/AF-area mode, Auto bracketing, Multiple exposure, HDR (high dynamic 
range), Exposure delay mode, Shutter spd & aperture lock, Peaking highlights, 
Choose non-CPU lens number, and Microphone sensitivity.

f6 Reverse indicators

If minus plus bar is selected, the exposure indicators in the control panel, view
Þ
nder, 
and information display are displayed with negative values on the left and positive 
values on the right. Selectplus minus bar to display positive values on the left and 
negative values on the right.

Movie Settings

g1 Customize i Menu

Choose the functions assigned to camera controls, whether used individually or in 
combination with the command dials, when you press i.

g2 Custom controls

Assign the custom controls for operation when in movie mode.
!
Power aperture is 
available only in modes A and M. The display may 
ß
icker while aperture is adjusted.

g3 AF Speed

Change the speed of the autofocus for movie mode.
!
o choose when the selected 
option applies, highlight When to apply and press right. Choose from Always (the 
selected option applies whenever the camera is in movie mode) and Only while 
recording (the selected option applies only while recording is in progress; at other 
times, the focus speed is Ò+5Ó, or in other words as fast possible).

g4 AF tracking sensitivity

Choose how quickly focus responds when your subject leaves the focus point or 
something passes between the subject and the camera in movie mode. Choose from 
values between 7 (Low) and 1 (High). The higher the value, the slower the response 
and the less likely you are to lose focus on your original subject when something 
passes between the subject and the camera. The lower the value, the quicker the 
camera is to respond to the subject leaving the focus area by shifting focus to a new 
subject in the same area.

g5 Highlight display

Choose whether shading is used to indicate highlights (bright areas of the frame) 
and select the level of brightness needed to trigger the highlight display.

• Display pattern: To enable the highlight display, select Pattern 1 or Pattern 
2.
• Highlight display threshold: Choose the brightness needed to trigger the 
movie highlight display. The lower the value, the greater the range of brightnesses 
that will be shown as highlights. If 255 is selected, the highlight display will show only 
areas that are potentially overexposed.

MENU 
!
!
Setup Menu
!

!
 page 1

Format Memory Card

To begin formatting, choose a memory card slot and select
!
Yes.
!
Note that 
formatting permanently deletes all pictures and other data on the card in the selected 
slot.
!
Before formatting, be sure to make backup copies as required.

Save User Settings

Frequently-used combinations of settings can be assigned to the U1, U2, and U3 
positions on the mode dial.
Follow the steps below to save settings:

1. 1. Select a mode.

      
Rotate the mode dial to the desired mode.

1. 1. Adjust settings.

      
Choose a focus point and make the desired adjustments to 
ß
exible program (mode 
P), shutter speed (modes S and M), exposure and 
ß
ash compensation, aperture 
(modes A and M), and settings in the photo shooting, movie shooting, and Custom 
Settings menus.

1. 1. Select Save user settings.

      
Highlight Save user settings in the setup menu and press 2.

1. 1. Select a position.

      
Highlight Save to U1, Save to U2, or Save to U3 and press 2.

1. Save user settings.

   
Highlight Save settings and press J to assign the 
settings selected in Steps 1 and 2 to the mode dial position selected in Step 4.

Reset User Settings

Reset settings for U1, U2, and U3 to default values.

Language

Choose a language for camera menus and messages.

Time Zone And Date

Change time zones, set the camera clock, synchronize the clock with the clock on a 
smart device, choose the date display order, and turn daylight saving time on or off.

• Time zone:
!
Choose a time zone. The camera clock is automatically set to 
the time in the new time zone.
• Date and time:
!
Set the camera clock.
• Date format:
!
Choose the order in which the day, month, and year are 
displayed.
• Daylight saving time:
!
Turn daylight saving time on or off. The camera clock 
will automatically be advanced or set back one hour. The default setting is
!
Off.

Monitor Brightness

Press the up or down arrow
!
to adjust monitor brightness. Choose 
higher values for increased brightness, lower values for reduced brightness.

Note that monitor brightness can only be adjusted when the monitor is the active 
display; it cannot be adjusted in the Òview
Þ
nder onlyÓ monitor mode or when your eye 
is to the view
Þ
nder.

ViewÞnder Brightness

Adjust view
Þ
nder brightness. If Auto is selected, view
Þ
nder brightness will be 
adjusted automatically in response to lighting conditions; to adjust brightness 
manually, select Manual and press up or down
!
(choose higher values for increased 
brightness, lower values for reduced brightness). Note that view
Þ
nder brightness can 
only be adjusted when the view
Þ
nder is the active display; it cannot be adjusted 
when the view
Þ
nder is off or in the Òmonitor onlyÓ monitor mode.

ViewÞnder Color Balance

Use the multi selector to adjust view
Þ
nder color balance as described in Monitor 
Color Balance.

MENU 
!
!
Setup Menu
!

!
 page 2

Information Display

If
!
Auto
!
(AUTO) is selected, the color of the lettering in the information display will 
automatically change from black to white or white to black to maintain contrast with 
the background. To always use the same color lettering, select
!
Manual
!
and 
choose
!
Dark on light
!
(B; black lettering) or
!
Light on dark
!
(W; white lettering). Monitor 
brightness will automatically be adjusted for maximum contrast with the selected text 
color.

AF Þne-tune

Fine-tune focus for up to 20 lens types. Use only as required; AF tuning is not 
recommended in most situations and may interfere with normal focus. Auto 
Þ
ne-
tuning is available in live view.
!
We recommend that you perform 
Þ
ne-tuning at a 
focus distance you use frequently; if you perform focus-tuning at a short focus 
distance, for example, you may 
Þ
nd it less effective at longer distances.

AF 
Þ
ne-tune (On/Off): Choose On to turn AF tuning on, Off to 
turn it off.

Image Dust Off ref Photo

This setting requires reference data for the Image Dust Off option in Capture NX-D 
(for more information, refer to Capture NX-D online help). Image Dust Off cannot be 
used with small or medium-sized NEF (RAW) images.
A lens with a focal length of at least 50 mm is recommended when recording Image 
Dust Off reference data. When using a zoom lens, zoom all the way in.

Acquire dust off reference data.


Press the shutter-release button the rest of the way down to acquire Image Dust Off 
reference data. The monitor turns off when the shutter-release button is pressed.

Image Comment

Add a comment to new photographs as they are taken. Comments 
can be viewed as metadata in ViewNX-i or Capture NX-D. The comment is also 
visible on the shooting data page in the photo information display. The following 
options are available:

• Input comment: Input a comment as described in ÒText 
EntryÓ.
!
Comments can be up to 36 characters long.
• Attach comment: Select this option to attach the comment to all subsequent 
photographs.
!
Attach comment
!
can be turned on and off by highlighting it and 
pressing
!
2. After choosing the desired setting, 
press
!
OK
!
to exit.

Copyright Information

Add copyright information to new photographs as they are taken. 
Copyright information is included in the shooting data shown in the photo information 
display and can be viewed as metadata in ViewNX-i or in Capture NX-D. The 
following options are available:

• • Artist: Enter a photographer name as described in ÒText 
EntryÓ.
!
Photographer names can be up to 36 characters long.
  • Copyright: Enter the name of the copyright holder as described in ÒText 
EntryÓ. Copyright holder names can be up to 54 characters long.
  • Attach copyright information: Select this option to attach copyright 
information to all subsequent photographs.
!
Attach copyright information
!
can be 
turned on and off by highlighting it and pressing
!
2. 
After choosing the desired setting, press
!
J
!
to exit.</
li>

Beep Options

Choose the pitch and volume of the beep that sounds when:

• The self-timer is in operation
• Time-lapse recording ends
• The camera focuses in photo mode (AF-S selected for focus mode; Focus 
selected for Custom Setting a2, AF-S priority selection; and Off selected for Silent 
photography)
• The touch screen is used for keyboard entry

The Beep options menu contains the following items:

• Beep on/off: Turn the beep speaker on or off, or select Off (touch controls 
only) to disable the beep during keyboard entry while enabling it for other 
purposes.
• Volume: Adjust beep volume.
• Pitch: Choose the pitch of the beep from High and Low.

Touch Controls

Adjust monitor touch control settings.

• Enable/Disable Touch Controls:
!
Select
!
Disable
!
to prevent accidental use of 
touch-screen controls, or
!
Playback only
!
to enable touch-screen controls in playback 
mode only.
• Full-Frame Playback Flicks:
!
Choose the gesture used to display the next 
image in full-frame playback: a 
ß
ick from right to left or a 
ß
ick from left to right.

Self-portrait Mode

MENU 
!
!
Setup Menu
!

!
 page 3

HDMI

Adjust settings for connection to HDMI devices.
!
The camera can record video 
directly to connected HDMI recorders. Some recorders will even start and stop 
recording in response to camera controls. Use the HDMI
!
option in the setup menu to 
adjust settings for HDMI output.

• Output Resolution: Choose the format for images output to the HDMI 
device. If Auto is selected, the camera will automatically select the appropriate 
format.

• Advanced: Adjust the settings below.

  • Output range: Auto is recommended in most situations. If the camera is 
unable to determine the correct RGB video signal output range for the HDMI device, 
you can choose Limited range for devices with an RGB video signal input range of 
16 to 235 or Full range for devices with an RGB video signal input range of 0 to 255. 
Choose Limited range if you notice a loss of detail in shadows, Full range if shadows 
are Òwashed outÓ or too bright.
  • External recording control: Enabling external recording control allows 
camera controls to be used to start and stop recording when the camera is 
connected via HDMI to a third-party recorder that supports the Atomos Open 
Protocol (Atomos SHOGUN, NINJA, or SUMO-series Monitor recorders). An icon will 
be displayed in the camera monitor: A is displayed in 
movie live view, while B is displayed during movie 
recording. During recording, check the recorder and recorder display to ensure that 
footage is being saved to the device (note that the footage output to the device may 
be disrupted while external recording control is in effect). The camera display will 
turn off automatically when the standby timer expires, ending HDMI output; when 
recording movies to an external device, select Standby timer for Custom Setting c3 
(Power off delay) and choose No limit or a time longer than the anticipated recording 
time. See the manual provided with the recorder for more information on device 
features and operation.
  • Output data depth: Choose from 8 bit and 10 bit.
  • N-Log setting: Select On (cannot record to card) to preserve details in 
highlights and shadows and avoid over-saturated colors when recording movies. 
Choose this option (available only when 10 bit is selected for Output data depth) 
when recording footage that will later be color-corrected. The footage will be 
recorded directly to the external device and cannot be saved to the camera memory 
card. The ISO sensitivity settings > Maximum sensitivity and ISO sensitivity (Mode 
M) options in the movie shooting menu can be set to values of from ISO 1600 to 
25600 and ISO 800 to 25600, respectively.
  • View assist: Choose On for a live preview of video footage recorded with 
On (cannot record to card) selected for N-Log setting. The colors in the preview will 
differ from those of the 
Þ
nal movie, but this has no effect on the footage actually 
recorded.

HDMI Output:
HDMI output is not available at movie frame sizes of 1920 
”
 1080 120p, 1920 
”
 1080 
100p, or 1920 
”
 1080 slow-mo or when the camera is connected to a device running 
SnapBridge or Camera Control Pro 2.
10-Bit Output Data Depth:

10 bit can be used only with compatible recorders. Regardless of 
the display mode selected, the camera monitor will turn on and the view
Þ
nder will 
remain blank. No photos can be taken; during movie recording, the following 
additional restrictions apply when 3840 
”
 2160 is selected for frame size:

• Movies are not recorded to memory cards inserted in the camera.
• Icons and characters in the monitor will display at low resolution.
• Selecting the DX image area reduces the angle of view to about 90%.

Zoom

Movies 
Þ
lmed at a frame size of 3840 
”
 2160 are displayed at a 
size of 1920 
”
 1080 when zoomed in.

Location Data display

Adjust settings for use when the camera is connected to a device that provides 
location data, namely a GPS receiver or a smart device running the SnapBridge app 
(for more information on SnapBridge, see the appÕs online help).

• Standby timer: If Enable is selected when a GPS receiver is connected, the 
exposure meters will turn off automatically if no operations are performed for the 
period speci
Þ
ed Custom Setting c3 (Power off delay)
!
> Standby timer, reducing 
the drain on the battery.
• Position: View the location data supplied by the GPS receiver or smart 
device (the items displayed vary with the source).
• Set clock from satellite: Select Yes to synchronize the camera clock with the 
time reported by the GPS device.

Airplane Mode

Select
!
Enable
!
to disable the wireless features of Eye-Fi cards and Bluetooth and Wi-
Fi connections to smart devices. Connections to other devices using a wireless 
transmitter can only be disabled by removing the transmitter from the camera.

Connect To Smart Device

Adjust settings for connection to smart devices.

• Start:
!
Follow on-screen instructions to connect to the smart device.
• Password protection:
!
Choose a password for smart device connections and 
turn password protection on or off.

Use SnapBridge to control the camera remotely from a smart device and download 
pictures from the camera.
!
SnapBridge is available free-of-charge from the Apple App 
Store and on Google Play.

Connect To PC

If On is selected, new photos will automatically be uploaded to the PC.

Connecting via USB:


If the supplied USB cable is used to connect the camera to a computer running 
ViewNX-i, you can copy pictures to the computer, where they can be viewed, edited, 
and organized.

Installing ViewNX-i:

Download the ViewNX-i installer from the following website and 
follow the on-screen instructions to complete installation (existing users should be 
sure to download the latest version, as earlier versions may not support the camera). 
An Internet connection is required. For system requirements and other information, 
see the Nikon website for your region.

Copying 
Pictures to the Computer

Connect the USB cable.


After turning the camera off and ensuring that a memory card is inserted, connect 
the supplied USB cable.

Turn the camera on.


The Nikon Transfer 2 component of ViewNX-i will start (if a message is displayed 
prompting you to choose a program, select Nikon Transfer 2).

Wireless Remote (ML-L7) Options

Adjust settings for optional WR-R10 wireless remote controllers and for optional 
radio-controlled 
ß
ash units that support Advanced Wireless Lighting.

LED Lamp:


Enable or disable the status LEDs on a WR-R10 wireless remote controller mounted 
on the camera. For more information, see the documentation supplied with the 
wireless remote controller.
Link Mode:
Choose a link mode for WR-R10 wireless remote controllers mounted on other 
cameras or radio-controlled 
ß
ash units that support Advanced Wireless Lighting. Be 
sure that the same mode is selected for the other devices.

Pairing: To pair the camera with a WR-R10, mount the WR-
R10 on the camera and press the pairing button.

Regardless of the option selected for Link mode, signals from paired wireless remote 
controllers will always be received by the WR-R10. Users of the WR-1 wireless 
remote controller will need to select pairing as the WR-1 link mode.

Assign remote (WR) Fn Button

Choose the role played by the Fn button on optional wireless remote controllers.

Conformity Marking

View a selection of the standards with which the camera complies.

Energy saving

turn on the energy saving function.
MENU 
!
!
Setup Menu
!

!
 page 4

Slot Empty Release Lock

Selecting
!
Enable release
!
allows the shutter to be released when no memory card is 
inserted, although no pictures will be recorded (they will however be displayed in the 
monitor in demo mode). If
!
Release locked
!
is selected, the shutter-release button is 
only enabled when a memory card is inserted in the camera.

Reset All Settings

Reset all settings except Language and Time zone and date to their default values. 
Copyright information and other user-generated entries are also reset. We 
recommend that you save settings using the Save/load settings option in the setup 
menu before performing a reset.

Firmware Version

View the current camera Þrmware version of your Nikon Z50 II and attached lens.
MENU 
!
!
Retouch Menu
!

!
 page 1

NEF (RAW) Processing

Create JPEG copies of NEF (RAW) photographs. If you displayed the retouch menu 
by pressing the
!
G
!
button, you can use this option to 
copy multiple images.

1. 1. Select NEF (RAW) processing.

      
Highlight NEF (RAW) processing in the retouch menu and press 2.

1. 1. Choose how images are selected.

      Choose from the following options:

      • Select image(s): Select one or more images manually.
      • Select date: Create JPEG copies of all the NEF (RAW) images taken on 
selected dates.
      • Select all images: Create JPEG copies of all the NEF (RAW) images on the 
memory card (proceed to Step 4).

1. 1. Select photographs.

      
If you chose Select image(s) in Step 2, a picture selection dialog will be displayed 
listing only NEF (RAW) images created with this camera. Highlight images using the 
multi selector and press the W (Q) button to select or deselect; selected images are indicated by a 
Licon. To view the highlighted image full screen, 
press and hold the X button. Press J to proceed to Step 4 when your selection is complete.

      If you chose Select date in Step 2, a list of dates will be displayed. Highlight dates 
using the multi selector and press 2 to select or 
deselect. Press J to select all NEF (RAW) pictures 
taken on the chosen dates and proceed to Step 4.

1. 1. Choose settings for the JPEG copies.

      
Adjust the settings listed below, or select Original to use the setting in effect when 
the photograph was taken (the original settings are listed below the preview). Note 
that exposure compensation can only be set to values between 
#
2 and +2 EV.

      1	Image quality
      2	Image size
      3	White balance
      4	Exposure compensation
      5	Set Picture Control

      6	High ISO NR
      7	Color space
      8	Vignette control
      9	Active D-Lighting
      10	Diffraction compensation

2. Copy the photographs.

   
Highlight EXE and press J to create a JPEG copy of 
the selected photograph (if multiple photos are selected, a con
Þ
rmation dialog will be 
displayed; highlight Yes and press J to create JPEG 
copies of the selected photos). To exit without copying the photographs, press the 
Gbutton.

Trim

Create a cropped copy of the selected photograph. The selected photograph is 
displayed with the selected crop shown in yellow; create a cropped copy as 
described below.
Create a cropped copy of the selected photograph. The selected photograph is 
displayed with the selected crop shown in yellow; create a cropped copy as 
described below.

To reduce size of the crop: Press mag/
question button.

To increase size of the crop: Press magni
Þ
er.

To change the crop aspect ratio: Rotate the main command 
dial.

To change the crop aspect ratio: Rotate the main command 
dial.

To position the crop: Use the multi selector. Keep the multi 
selector pressed to move the crop rapidly to the desired position.

Resize

Create small copies of selected photographs.

1. 1. Select Resize.

      
Highlight Resize in the N tab and press 2.

      2. Choose a size.

      
Highlight Choose size and press 2.

      
Highlight the desired size and press J.

1. 1. Choose pictures.

      
Highlight Select image(s) and press 2.

      
Highlight pictures and press W (Q) to select or deselect (to view the highlighted picture full screen, 
press and hold the X button). Selected pictures are 
marked by a 8 icon. Press J</
span> when the selection is complete. Note that photographs taken at an image-
area setting of 5 : 4 (30
”
24), 1 : 1 (24
”
24), or 16 : 9 (36
”
20) cannot be resized.


2. Save the resized copies.

   
A con
Þ
rmation dialog will be displayed. Highlight Yesand press J to save the resized copies.

D-Lighting

D-Lighting brightens shadows, making it ideal for dark or backlit photos.
D-Lighting brightens shadows, making it ideal for dark or backlit photographs.

Quick retouch

Create copies with enhanced saturation and contrast. D-Lighting is applied as 
required to brighten dark or backlit subjects.

Red-Eye Correction

This option is used to correct Òred-eyeÓ caused by the 
ß
ash, and is available only 
with photographs taken using the 
ß
ash. The photograph selected for red-eye 
correction can be previewed in the edit display. Con
Þ
rm the effects of red-eye 
correction and press OK
!
to create a copy. Note that red-eye correction may not 
always produce the expected results and may in very rare circumstances be applied 
to portions of the image that are not affected by red-eye; check the preview 
thoroughly before proceeding.
This option is used to correct Òred-eyeÓ caused by the 
ß
ash, and is available only 
with photographs taken using the 
ß
ash. The photograph selected for red-eye 
correction can be previewed in the edit display. Con
Þ
rm the effects of red-eye 
correction and press OK
!
to create a copy. Note that red-eye correction may not 
always produce the expected results and may in very rare circumstances be applied 
to portions of the image that are not affected by red-eye; check the preview 
thoroughly before proceeding.

Straighten

Create a straightened copy of the selected image. Press
!
2
!
to rotate the image clockwise by up to 
Þ
ve degrees in 
increments of approximately 0.25 degrees,
!
4
!
to 
rotate it counterclockwise (the effect can be previewed in the edit display; note that 
edges of the image will be trimmed to create a square copy). Press
!
OK
!
to save the retouched copy.

Distortion Control

Create copies with reduced peripheral distortion. Select
!
Auto
!
to let the camera 
correct distortion automatically and then make 
Þ
ne adjustments using the multi 
selector, or select
!
Manual
!
to reduce distortion manually. Note that
!
Auto
!
is not 
available with photos taken using auto distortion control; see ÒAuto Distortion 
ControlÓ. Press
!
2
!
to reduce barrel distortion,
!
4
!
to reduce pincushion distortion (the effect can be 
previewed in the edit display; note that greater amounts of distortion control result in 
more of the edges being cropped out). Press
!
J
!
to 
save the retouched copy. Note that distortion control may heavily crop or distort the 
edges of copies created from photographs taken with DX lenses at image areas 
other than
!
DX (24
”
16).

MENU 
!
!
Retouch Menu
!

!
 page 2

Perspective Control

Image Overlay

Image overlay combines two existing NEF (RAW) photographs to create a single 
picture that is saved separately from the originals; the results, which make use of 
RAW data from the camera image sensor, are noticeably better than photographs 
combined in an imaging application. The new picture is saved at current image 
quality and size settings; before creating an overlay, set image quality and size.
!
To 
create a NEF (RAW) copy, choose an image quality of
!
NEF (RAW)
!
and an image 
size of
!
Large
!
(the overlay will be saved as a large NEF/RAW image even 
if
!
Small
!
or
!
Medium
!
is selected).

1. 1. Select Image overlay.

      
Highlight Image overlay in the retouch menu and press 2</
span>. Image overlay options will be displayed, with Image 1highlighted; press 
J to display a picture selection dialog listing only 
large NEF (RAW) images created with this camera (small and medium NEF/RAW 
images cannot be selected).


1. 1. Select the Þrst image.

      
Use the multi selector to highlight the 
Þ
rst photograph in the overlay. To view the 
highlighted photograph full frame, press and hold the mag</
span> button. Press OK to select the highlighted 
photograph and return to the preview display.


1. 1. Select the second image.

      
The selected image will appear as Image 1. Highlight Image 2 and press OK, then 
select the second photo as described in Step 2.

1. 1. Adjust gain.

      
Highlight Image 1 or Image 2 and optimize exposure for the overlay by pressing 
1 or 3 to select 
the gain from values between 0.1 and 2.0. Repeat for the second image. The default 
value is 1.0; select 0.5 to halve gain or 2.0 to double it. The effects of gain are visible 
in the Preview column.
      Highlight Image 1 or Image 2 and optimize exposure for the overlay by pressing 
1 or 3 to select 
the gain from values between 0.1 and 2.0. Repeat for the second image. The default 
value is 1.0; select 0.5 to halve gain or 2.0 to double it. The effects of gain are visible 
in the Preview column.

1. 1. Preview the overlay.

      
To preview the composition, press 4 or 2 to place the cursor in the Preview column, then press 
up
!
or down to highlight Overlay and press OK (note that colors and brightness in the preview may 
differ from the 
Þ
nal image). To save the overlay without displaying a preview, select 
Save. To return to Step 4 and select new photos or adjust gain, press mag/question button.

2. Save the overlay.

   
Press OK while the preview is displayed to save the 
overlay. After an overlay is created, the resulting image will be displayed full-frame.

Trim Movie

Create a copy from which unwanted footage has been removed.

Choose Start/End Point</
h6>
Follow the steps below to create trimmed copies of movies.

1. 1. Display a movie full frame.

1. 1. Pause the movie on the new opening frame.

      
Play the movie back as described in ÒViewing MoviesÓ, pressing OK to start and resume playback and down to pause, and pressing left
!
or right or rotating the main or sub-command dial to locate 
the desired frame. Your approximate position in the movie can be ascertained from 
the movie progress bar. Pause playback when you reach the new opening frame.

      Movie progress bar

1. 1. Select Choose start/end point.

      
Press the i button to display the i menu, then highlight Choose start/end point and press OK.

1. 1. Select Start point.

      
To create a copy that begins from the current frame, highlight Start point and press 
OK. The frames before the current frame will be 
removed when you save the copy in Step 9.
      To create a copy that begins from the current frame, highlight Start point and press 
OK. The frames before the current frame will be 
removed when you save the copy in Step 9.

      Start point

1. 1. ConÞrm the new start point.

      
If the desired frame is not currently displayed, press 4</
span>or 2 to advance or rewind (to skip to 10 s 
ahead or back, rotate the main command dial; to skip to the 
Þ
rst or last frame, rotate 
the sub-command dial).


1. 1. Choose the end point.

      
Press the center of the sub-selector to switch from the start point (w) to the end point (x) selection tool 
and then select the closing frame as described in Step 5. The frames after the 
selected frame will be removed when you save the copy in Step 9.

      Sub-selector

      End point

1. 1. Create the copy.

      
Once the desired frame is displayed, press 1.

1. 1. Preview the movie.

      
To preview the copy, highlight Preview and press OK 
(to interrupt the preview and return to the save options menu, press 1). To abandon the current copy and select a new start 
point or end point as described above, highlight Cancel and press J; to save the copy, proceed to Step 9.

2. Save the copy.

   
Highlight Save as new 
Þ
le and press J to save the 
copy to a new 
Þ
le. To replace the original movie 
Þ
le with the edited copy, highlight 
Overwrite existing 
Þ
le and press OK.

Trim Movie

Create a copy from which unwanted footage has been removed.

MENU 
!
 My Menu

T
he
!
MY MENU
!
option can be used to create and edit a customized 
list of options from the playback, photo shooting, movie shooting, Custom Settings, 
setup, and retouch menus for quick access (up to 20 items). If desired, recent 
settings can be displayed in place of My Menu.

Add Items

Add items to My Menu

Rewove Items

Remove Items from my menu.

Rank Items

change the ranking of your added items.

Choose Tab

Choose a tab for your added item.

The i Menu

The most used functions in the main Menu can also be easily accessed by pressing 
the “I” on the back plate of the camera. This will bring you too the i Menu. This menu 
is completely customisable for both Photo and Movie mode
!
(</
strong>Controls Settings
!
f1 – Customize i menu). We’ll have a quick look at the 
functionality added to this Menu as factory settings.
Here you can change settings for the internal processing of picture data from the 
image sensor into 
Þ
nal JPG 
Þ
les.
It’s necessary to start with an existing con
Þ
guration or
!
set of settings that Nikon has 
prede
Þ
ned for a certain look of the 
Þ
nal image. You can choose between:


• Auto: Your Nikon Z50 II automatically detects the type of scene.
• Standard:
!
NikonÔs default for a neutral picture as the standard for most 
shooting situations.
• Neutral:
!
A processing with slightly less sharpening, contrast improvement 
and saturation; for those who do these steps on their own later on.
• Vivid:
!
Higher color saturation, sharpening and contrast.
• Monochrome:
!
Converts into black and white.
• Portrait:
!
Very similar to ãneutralÒ, slightly less sharpening, contrast and color 
saturation than ãstandardÒ.
• Landscape:
!
Higher contrast than ãstandardÒ.

You can also choose between a range of
!
picture presets like Dream, Morning, Pop, 
Sunday, Sober, Dramatic, Silence, Bleached, Melancholic, Pure, Denim, Toy, Sepia, 
Blue, Red, Pink, Charcoal, Graphite, Binary and Carbon.

Image Quality

• NEF (RAW):
!
RAW data from the image sensor are saved without additional 
processing. Settings such as white balance and contrast can be adjusted after 
shooting.
• NEF (RAW)+JPEG 
Þ
ne/NEF (RAW)+JPEG 
Þ
ne:
!
Two images are recorded, 
one NEF (RAW) image and one 
Þ
ne-quality JPEG image.
• NEF (RAW)+JPEG normal/NEF (RAW)+JPEG normal:
!
Two images are 
recorded, one NEF (RAW) image and one normal-quality JPEG image.
• NEF (RAW)+JPEG basic/NEF (RAW)+JPEG basic:
!
Two images are 
recorded, one NEF (RAW) image and one basic-quality JPEG image.
• JPEG 
Þ
ne/JPEG 
Þ
ne:
!
Record JPEG images at a compression ratio of 
roughly 1 : 4 (
Þ
ne quality).
• JPEG normal/JPEG normal:
!
Record JPEG images at a compression ratio of 
roughly 1 : 8 (normal quality).
• JPEG basic/JPEG basic:
!
Record JPEG images at a compression ratio of 
roughly 1 : 16 (basic quality).
• TIFF (RGB):
!
Record uncompressed TIFF-RGB images at a bit depth of 8 
bits per channel (24-bit color). TIFF is supported by a wide variety of imaging 
applications.

Flash Control

Choose the 
ß
ash control mode for optional 
ß
ash units mounted on the camera 
accessory shoe and adjust settings for off-camera 
ß
ash photography. See the 
ß
ash 
control settings in the menu for more info.

WiFi connection

Turn On/Off the WiFi connection.

Release Mode

• Single frame: The camera takes one photograph each time the shutter-
release button is pressed.
• Continuous low speed: While shutter-release button is held down, camera 
takes photographs at frame rate selected for Custom Setting d1 (CL mode shooting 
speed)
• Continuous high speed: While shutter-release button is held down, camera 
takes photographs at frame rate given in ÒPower Source and Frame RateÓ Use for 
active subjects.
• Continuous high speed plus: only with jpeg.
• Self-timer: Take pictures with the self-timer.

AF Area Mode

Choose how the focus point for autofocus is selected.

• Pinpoint AF:
!
Use for pinpoint focus on a selected spot in the frame. This 
option is only available when photo mode is selected and Single AF is chosen for 
Focus mode. Focusing may be slower than with single-point AF.
• Single-point AF: Select the focus point; the camera will focus on the subject 
in the selected focus point only. Use with stationary subjects.
!
the ability to limit point 
selection to every other point
!
allows you to quickly use the joystick, or 
touchscreen, to position the AF point.
• Dynamic-area AF:
!
The camera focuses on a point selected by the user. If 
the subject brie
ß
y leaves the selected point, the camera will focus based on 
information from surrounding focus points, letting you concentrate on composition in 
shots of moving subjects. This option is only available when photo mode is selected 
and Continuous AF is chosen for Focus mode.
• Wide-area AF (S) and (L):
!
As for Single-point AF except that wider focus 
points are used. The focus points for Wide-area AF (L) are wider than those for 
Wide-area AF (S).
• Wide-area AF (S) and (L):
!
As for Single-point AF except that wider focus 
points are used. The focus points for Wide-area AF (L) are wider than those for 
Wide-area AF (S).
• Auto-area AF:
!
The camera automatically detects the subject and selects the 
focus area. At default settings, the camera gives priority to portrait subjects; if a 
portrait subject is detected, the selected subject will be indicated by a yellow border 
(if multiple faces are detected, you can choose your subject using the multi selector). 
Subject tracking 
!
can be activated by pressing the OK</
span> button.

Image Size

Image size is measured in pixels. Choose from
!
Large,
!
Medium, or
!
Small
!
(note that 
image size varies depending on the option selected for
!
Image area.

White Balance

White balance ensures that colors are unaffected by the color of the light source. 
Auto white balance is recommended with most light sources. If the desired results 
cannot be achieved with auto white balance, choose an option from the list below or 
use preset white balance.

Metering

Metering determines how the camera sets exposure. The following options are 
available:

• Matrix metering:
!
The camera meters a wide area of the frame and sets 
exposure according to tone distribution, color, composition, and distance for results 
close to those seen by the naked eye.
• Center-weighted metering:
!
The camera meters the entire frame but assigns 
the greatest weight to an area in the center of the frame, the size of which can be 
chosen using Custom Setting b3 (Center-weighted area). This is the classic meter 
for portraits and is also recommended when using 
Þ
lters with an exposure factor 
(
Þ
lter factor) over 1
”
.
• Spot metering:
!
The camera meters a 
!
4
!
mm circle (equivalent to 
approximately 1.5% of the frame) centered on the current focus point, making it 
possible to meter off-center subjects (if auto-area AF is in effect, the camera will 
instead meter the center focus point). Spot metering ensures that the subject will be 
correctly exposed, even when the background is much brighter or darker.
• Highlight-weighted metering:
!
The camera assigns the greatest weight to 
highlights. Use this option to reduce loss of detail in highlights, for example when 
photographing spotlit performers on-stage.

Face Tracking

Turn on face tracking, or automatic face detection and autofocus tracking.

Vibration Reduction

The Nikon Z50 II is equipped with in-camera vibration reduction (VR), other 
manufacturers call this sensor stabilisation. The VR unit provides compensation for 
movement along 
Þ
ve axes. The effects of vibration reduction are equivalent to a 
shutter speed up to approximately 5.0 stops. This function can also be used 
effectively with NIKKOR F lenses, including those not equipped with a VR function, 
with the Mount Adapter FTZ . ).
There is an ON (normal) and SPT (Sport) preset.

Focus Mode

1. AF-S:
!
For stationary subjects. Press the shutter-release button halfway to 
focus. If the camera is able to focus, the focus point will be displayed in green; focus 
will lock while the shutter-release button is pressed halfway. If the camera fails to 
focus, the focus point will 
ß
ash red. At default settings, the shutter can only be 
released if the camera is able to focus (focus priority).
2. AF-C:
!
For moving subjects. The camera focuses continuously while the 
shutter-release button is pressed halfway; if the subject moves, the camera will 
predict the 
Þ
nal distance to the subject and adjust focus as necessary. At default 
settings, the shutter can be released whether or not the subject is in focus (release 
priority).
3. AF-F:
!
The camera adjusts focus continuously in response to subject 
movement or changes in composition. Focus locks when the shutter-release button 
is pressed halfway. This option is only available in movie mode.
4. Manual focus:
!
The shutter can be released whether or not the subject is in 
focus.

Quick how-to Nikon Z50 II settings

How to set-up back button focussing

Back button focussing is a focussing and composition method where you disconnect 
the autofocus engine from the standard shutter button half-press. This enables you 
to engage the autofocus system only with the AF-ON button on the backplate.

Now your autofocus and shutter are disconnected, enabling you to acquire autofocus 
independently from the shutter button action. This method is often used to 
recompose your shot after autofocus is acquired, the so-called focus and recompose 
method.
This is very easy the set up with the Nikon Z50 II:

Conclusion

There is always a learning curve with every new camera you purchase. Luckily, 
Nikon decided to keep the hierarchy and the logic of their DSLR series cameras in 
the new Nikon Z50 II. This makes art easier to navigate at least for photographers 
experienced with those cameras. The Nikon Z50 II is fairly new so I’ll add more tips 
and tricks to this post as I get more and more familiar with it. If you have any 
comments or questions, or just want to write about your experience with the Z50 II, 
!
feel free to post them in the comment section below.
There is always a learning curve with every new camera you purchase. Luckily, 
Nikon decided to keep the hierarchy and the logic of their DSLR series cameras in 
the new Nikon Z50 II. This makes art easier to navigate at least for photographers 
experienced with those cameras. The Nikon Z50 II is fairly new so I’ll add more tips 
and tricks to this post as I get more and more familiar with it. If you have any 
comments or questions, or just want to write about your experience with the Z50 II, 
!
feel free to post them in the comment section below.