The Focus, AF-area, and Release modes are active settings you’ll deal with each time you use your camera. Unlike adjusting settings in the menus, which you’ll do from time to time, you’ll use these modes every time you create a photo or movie. These critical functions affect how and where the camera focuses on your subject.
To take pictures and make movies, you need to be very familiar with these settings, so this is an important chapter for your mastery of the Nikon Z7. Grab your camera and let’s get started!
A mirrorless Nikon does not have a separate autofocus (AF) module. Instead, the sensor itself is used for autofocus. Here are the two types of autofocus built into the sensor:
Shutter-Release Button versus AF-ON Button for Autofocus
In this chapter, I will often mention pressing the Shutter-release button halfway down to start autofocus. However, for those who like to use back button focus, the AF-ON button is available. When I mention pressing the Shutter-release button for autofocus, please keep in mind that you can substitute the AF-ON button. The only difference in how the two work for initiating autofocus is that you press the Shutter-release button halfway down and you press the AF-ON button fully down.
If you prefer to disable the Shutter-release button for autofocus, simply set Custom Setting Menu > a Autofocus > a7 AF activation to AF-ON only (page 373). Then you can use the AF-ON button for back-button focus and the Shutter-release button will release the shutter but not initiate autofocus. If you leave the camera set to the default of Shutter/AF-ON in Custom setting a7, both the Shutter-release button and the AF-ON button will initiate autofocus. Use AF-ON only for back-button focus.
The camera has 13 configurable Custom settings, a1–a13, for autofocus. We will examine each of those Custom settings in the chapter titled Custom Setting Menu under the a Autofocus subheading (page 364). You may want to read over each of them after reading this chapter.
There are three specific mode groups that you should fully understand: Autofocus modes, AF-area modes, and Release modes.
Many people get these modes confused and incorrectly apply functions from one mode to a completely different mode. It is a bit confusing at times, but if you read this carefully and try to wrap your brain around the different functionalities provided, you’ll have much greater control of your camera later.
First let’s examine a list of settings in each of the three mode groups, and then we’ll look more closely at each setting.
Focus modes
AF-area modes
Release modes
What’s the difference between these mode groups? Think of them like this: The Focus modes control how the camera focuses, the AF-area modes control where it focuses, and the Release modes control when focus happens and how often a picture is taken.
With the controls built into the Z7 body, you’ll be able to select whether the camera uses just one or many of its 493 AF points to find your subject. You’ll also select whether the camera simply locks focus on a static subject or whether it continuously seeks a new focus when your subject is moving, and how fast (in frames per second) it captures the images.
Settings Recommendation: If you are having trouble remembering what all these modes do—join the club! I’ve written many books about Nikon cameras and I still sometimes forget what each mode does. I often refer back to my own books to remember all the details. In addition to the printed book, I have an e-book version on my iPad and iPhone.
You’ll become familiar with the modes you use most often, and that is usually sufficient. Try to associate the type of mode with its name, and that will make it easier. Learn the difference between a Focus mode (focus how), an AF-area mode (focus where), and a Release mode (focus when).
The Focus modes and AF-area modes are accessible via the i Menu; by assigning the Focus mode/AF-area mode function to one of the camera’s buttons; and by using the Photo and Movie Shooting Menus. The Release modes are available only by pressing the Release mode button. Let’s examine each access method, and then we will consider how each works.
To access the Focus and AF-area modes, you can use the i Menu, an assigned camera button, or the Photo and Movie Shooting Menus. First, let’s see how to access the modes from the i Menu.
Use the following steps to access the Focus and AF-area modes from the i Menu (I left the lens cap on for maximum contrast while examining control locations):
Next, let’s consider how to assign a button to Focus and AF-area modes, and then use the button to access the modes.
Use the following steps to assign Focus mode/AF-area mode to one of the camera’s buttons:
Now that you have assigned Focus mode/AF-area mode to one of the buttons, you can use that button at any time to access the Focus and AF-area modes. For more information on making button assignments in general, see Custom Setting f2: Custom Control Assignment on page 423.
Now let’s see how to use the Fn2 button we just assigned to access the Focus and AF-area modes.
Use the following steps to choose a Focus mode with external camera controls:
Use the following steps to choose a Focus mode with external camera controls:
Next, let’s consider how to access the Focus and AF-area modes from the Photo Shooting Menu and Movie Shooting Menu.
Use the following steps to choose a Focus mode and an AF-Area mode from the camera’s Photo Shooting Menu:
Use the following steps to choose a Focus mode and an AF-Area mode from the camera’s Movie Shooting Menu:
Note: Selecting the Manual focus (MF) Focus mode disables the AF-area modes and they become grayed out and unavailable on the camera’s various menus. The camera expects that you will be manually focusing when you are using MF mode, using something like focus Peaking (page 409) to help you get good focus. Keep that in mind as you examine how to use the Focus and AF-area modes in this chapter.
Now let’s consider how to select a Release mode, first for still photography and then for video.
Use the following steps to select a Release mode for still photography:
Use the following steps to select a Release mode for video capture:
Now let’s look more closely at each Focus, AF-area, and Release mode.
The Focus modes allow you to control how the autofocus works with static and moving subjects in Photo and Movie modes. They allow your camera to lock focus on a subject that is not moving or is moving very slowly (AF-S). They also allow your camera to update focus continuously on a moving subject (AF-C) as long as you hold the Shutter-release button halfway down or the AF-ON button all the way down.
In Movie mode only, you can use full-time autofocus (AF-F), where the camera updates the focus constantly without you holding down any buttons. The Nikon Z7 has Nikon’s best-ever AF-F mode, recognized for its continuous-focus capability when making videos.
You can also make use of Manual focus (MF) mode. Plan on using focus Peaking and on-screen symbols, which we will discuss, to assist you in finding the best focus.
Let’s consider each of the Focus modes to see when and how you might use them best. I will use the i Menu access method for our example screens in the following subsections because I like it best. Just remember that you can also access the Focus modes by using an assigned button (e.g., Fn2) or the Photo and Movie Shooting Menus, as described in the previous Accessing the Individual Mode Groups section (page 77).
Single AF (AF-S) mode (figure 4.2A) works best when your subject is stationary—like a house or landscape. You can use AF-S on slowly moving subjects if you’d like, but you must be careful to keep autofocus adjusted as the subject moves. The two scenarios listed next may help you decide:
Continuous AF (AF-C) mode (figure 4.2B) continuously updates the focus while you hold the Shutter-release button halfway down, or the AF-ON button fully down. The slightest camera or subject movement causes the Z7 to refocus. Read these three scenarios carefully:
Full-time AF (AF-F) mode (figure 4.2C) is available in Movie mode only. It is designed to automatically maintain good focus on a detected subject without you pressing any buttons (i.e., Shutter-release or AF-ON). This mode provides constantly updating autofocus that is tempered by the AF-area mode you have selected. The size and shape of the focus square (AF point) changes with the AF-area mode (page 89) you have selected.
In all AF-area modes, except Auto-area AF, you will need to keep the focus square (AF point) on your subject to have accurate focus. Many videographers will use AF-F mode along with Auto-area AF mode, so that the camera will not only constantly update focus, but it will also track the subject, keeping it in good focus.
When using the AF-F Focus mode, the focus doesn’t lock on the subject; it updates continuously unless you press the Shutter-release button halfway down or AF-ON button fully down, at which time the camera locks focus only while you hold the button down. If you release pressure from the Shutter-release or AF-ON button, the camera unlocks the focus and instantly resumes continuous autofocus.
In other words, the camera acts as if it is in AF-S mode when you have pressure on the Shutter-release button and AF-C mode when you remove pressure. You really don’t need to press the Shutter-release button or AF-ON button, except to force a refocus. The camera will maintain focus on your subject automatically.
Again, your primary job with the AF-F Focus mode is to keep the focus square on your subject (except in Auto-area AF AF-area mode, where the camera automatically tracks your subject).
Manual focus (MF) mode (figure 4.2D) allows you to fully control the focus by turning the focus ring on the lens. You can use your eyes or various focus assistance aids to focus. Let’s examine how to enable or disable a couple of important features for using MF.
In Manual Focus mode, you can leave the AF point visible in the Viewfinder (figure 4.2E, image 1), as seen between model Lilly Mae’s eyes, or you can turn the AF point off (image 2).
The red AF point can be positioned over an area and will turn green when you have turned the focus ring and the area under the focus point has good focus. If you choose not to use the AF point square, the EVF and Monitor will show no AF points at all and you must manually focus by eyesight or use other Manual focus assistance tools, which will we discuss shortly.
Settings Recommendation: Most will leave the AF point enabled.
Use the following steps to enable or disable the onscreen AF point for Manual focus (MF) mode:
Peaking highlights (focus peaking) is a function that you can use to help you find the best Manual focus. This feature surrounds the edges of your subject with one of four colors to help you see exactly where the best focus is on your subject. You can see the red Peaking highlights on model Lilly Mae in figure 4.2G, image 2. In image 1, there are no Peaking highlights. In image 2 you can see the highlights in her pupils, eyebrows, and the front of her hairline. Areas highlighted in red are in good focus.
If you use Manual focus, you really should be using Peaking highlights. Let’s see how to enable it.
Use the following steps to choose a Peaking level and enable focus peaking:
Settings Recommendation: I generally choose the Red setting for the Peaking highlight color because red seems to contrast well with most other colors. Of course, some subjects (especially red subjects) will do better with other colors; therefore, you have a choice of three more when needed.
Now let’s examine the use of all of the camera’s focusing assistance functions.
There are multiple focus aids available to you if you decide to use MF. Figure 4.2I shows model Lilly Mae in various states of focus (or lack thereof). Images 1 and 2 are out of focus, and image 3 is in focus. In image 1, the focus is in front of her face. In image 2, the focus is behind her face. In image 3, good focus is on the pupil of model Lilly Mae’s left eye (right side of picture). Let’s discuss each image and what the Focus assistance functions are indicating:
Using a combination of all these Manual focus assistance functions makes it fairly easy to get good focus when using MF. Learn to use each of them if you plan on using MF often.
Note: For more information on the Focus modes, see the Photo Shooting Menu (page 261) and Movie Shooting Menu (page 344) chapters.
Settings Recommendation: I leave my camera’s Autofocus mode set to AF-S most of the time because I shoot a lot of static nature images and portraits.
If I am shooting sports, though, I switch to AF-C mode so that the camera will keep updating its autofocus as the subject moves very quickly. Wildlife photography is another type of imaging that begs for AF-C, which updates AF continuously when you hold down the Shutter-release button halfway or the AF-ON button all the way.
I am very happy with the AF-F mode when I am capturing video. The camera does a good job keeping the focus continuously on my subject when using AF-F. This is the first Nikon I have ever used that can truly maintain good focus on a subject when using its Live view in video recording, unlike Nikon DSLRs.
The AF-area modes are designed to let you control the size of the AF point that shows where the camera is currently focusing. The larger the AF point, the larger the area of the subject that is taken into consideration for what is in good focus.
In this section we will again use the i Menu to access the AF-area modes (figure 4.3A). To access the i Menu, press the i button. Of course, you can also use the Photo and Movie Shooting Menus or an assigned button to access the modes (see pages 78–81 in this chapter).
Be sure that the Photo/movie selector lever is set to the appropriate Photo or Movie mode when you make adjustments. The camera maintains separate settings for the Photo and Movie modes.
When you are using the upcoming AF-area modes to focus on your subject, you can zoom in to pixel-peeping level to check how well the focus is working and to fine-tune it if necessary (figure 4.3B). Simply press the Zoom in button to zoom in and the Zoom out button to zoom back out.
Let’s examine each of the AF-area modes and discuss what each does.
In figure 4.3C, you can see the red Pinpoint AF point square on model Lilly Mae’s left eye (right side of picture). This mode allows you to choose a very small area of your subject for autofocus. You can move the AF point to the pupil of an eye or a drop of water on a leaf. It is made to give you precise autofocus so that you can focus on specific areas. This mode does not use phase-detection (PDAF) autofocus; instead, it uses contrast-detection (CDAF) only, which is slower to focus, yet very accurate.
The Pinpoint AF square can be moved around within the 493 AF points in the EVF or on the Monitor by using the Sub-selector joystick or Multi selector pad. When the camera has achieved good focus, the Pinpoint AF square will change from red to green.
Pinpoint AF AF-area mode is available only when you are using the Single AF (AF-S) Focus mode. It is grayed out on the Photo Shooting Menu and not available on the i Menu if the camera is using Continuous AF (AF-C). Pinpoint AF is not available in Movie mode.
In figure 4.3D, you can see the Single-point AF point square on model Lilly Mae’s left eye (right side of picture). Single-point AF is the preferred mode for many photographers. It has an AF point frame that is larger than the Pinpoint AF frame. Single-point AF is faster than Pinpoint AF and still allows precise location of focus within the 493 AF points in the frame. This mode uses PDAF initially and, according to Nikon, tops off the focus by using CDAF for focus verification.
The Single-point AF square can be moved around within the 493 AF points in the EVF or on the Monitor by using the Sub-selector joystick or Multi selector pad. When the camera has achieved good focus, the square will change from red to green if you are using Single AF (AF-S) Focus mode. If you are using Continuous AF (AF-C) Focus mode, the AF square will stay red because the camera does not stop seeking active focus with AF-C Focus mode.
Single-point AF AF-area mode is available in both AF-S and AF-C Focus modes. It is also available in both Photo and Movie modes.
In figure 4.3E, you can see the center Dynamic-area AF point square—with its surrounding dots representing additional active AF points—on model Lilly Mae’s left eye (right side of picture). Dynamic-area AF uses a center active AF point, like Single-point AF, but it surrounds that AF point with eight additional points that are on high alert. If you or the subject moves and the active center AF point loses the subject, one of the surrounding AF points can recapture the subject. All of the AF points within the red AF point frame are actively seeking focus.
The Dynamic-area AF frame can be moved around within the 493 AF points in the EVF or on the Monitor by using the Sub-selector joystick or Multi selector pad. The color of the frame does not change from red to green when focus is acquired; rather, it stays red because all the AF points are continuously seeking focus.
Dynamic-area AF is available for Photo mode only, not Movie mode. This AF-area mode is not available when you have the camera set to Single AF (AF-S) Focus mode. You must use Continuous AF (AF-C) Focus mode or Dynamic-area AF will be grayed out on the Photo Shooting Menu and not available on the i Menu.
In figure 4.3F, you can see the Wide-area AF (S) focus frame on model Lilly Mae’s left eye (right side of picture). This mode works in a similar manner to Single-point AF, except that it has a wider group of AF points in its frame. The Wide-area AF (S) frame is significantly larger than the Single-point AF frame. All of the invisible focus points within the red focus frame are active.
The Wide-area AF (S) frame can be moved around within the 493 AF points in the EVF or on the Monitor by using the Sub-selector joystick or Multi selector pad. When the camera has achieved good focus, the frame will change from red to green when you are using Single AF (AF-S) Focus mode. If you are using Continuous AF (AF-C) Focus mode, the frame will stay red because the camera does not stop seeking active focus with AF-C Focus mode.
Wide-area AF (S) AF-area mode is available in both AF-S and AF-C Focus modes. It is also available in Photo and Movie modes.
In figure 4.3G, you can see the Wide-area AF (L) focus frame surrounding most of the left side of model Lilly Mae’s face (right side of picture). This mode works in a similar manner to Wide-area AF (S), except that it has a significantly larger group of AF points within its frame. The Wide-area AF (L) frame is much larger than the Wide-area AF (S) frame, and all of the invisible focus points within the red focus frame are active.
This AF point frame can be moved around within the 493 AF points in the EVF or on the Monitor by using the Sub-selector joystick or Multi selector pad. When the camera has achieved good focus, the Wide-area AF (L) frame will change from red to green when you are using Single AF (AF-S) Focus mode. If you are using Continuous AF (AF-C) Focus mode, the frame will stay red because the camera does not stop seeking active focus with AF-C Focus mode.
Wide-area AF (L) AF-area mode is available in both AF-S and AF-C Focus modes. It is also available in Photo and Movie modes.
You can see the Auto-area AF yellow focus frame surrounding most of model Lilly Mae’s face in figure 4.3H, image 1, and the young woman on the left in image 2. The yellow frame can surround only one face at a time and that face provides the most important autofocus point.
Note: Eye AF was added with the firmware 2.0 update. See document Eye-AF in Auto-Area AF at http://rockynook.com/NikonZ7.
When there are multiple faces in the frame, the camera allows you to choose which face you want to focus on. Notice in image 2 that the yellow focus frame has a small yellow pointer on the right side (red arrow). This pointer means that you can select the other face(s) in the frame by scrolling in the direction of the pointer with the Multi selector pad, or by touching a different face on the Monitor.
This mode is a clearly a bit more complex than the other AF-area modes. When you are using different Focus modes, the yellow focus frame will do different things:
If there are no people in the frame, the camera uses a different focus frame entirely. Let’s see how a non-person Auto-area AF focus frame looks and works.
Auto-area AF gives full control of the AF system to the camera. You cannot manually move a focus point around the screen. Focus works only if you keep your subject within the red frame markers near the four corners of the screen (figure 4.3I). The camera will choose a combination of AF points within the frame to achieve the best focus on your subject. You will see a group of green rectangles marking the areas the camera is using for autofocus.
Similar to how the person-based Auto-area AF yellow focus frame works, these non-person AF points have several ways to indicate good AF, according to which Focus mode you have selected:
The focus tracking system in the Z7 is a little different than what you are used to with your Nikon DSLRs (firmware C1.02). This will change as Nikon updates the autofocus system with firmware updates. Please check the downloadable resources website (http://rockynook.com/NikonZ7) for updates as Nikon modifies the current system.
Figure 4.3J, images 1–3, show the Auto-area AF screens for a human subject. Images 3–6 show the Auto-area AF screens for a non-human subject.
To track a subject, you can press or touch OK (figure 4.3J, images 2 and 5, bottom red arrows) and a small, white, square targeting reticle will appear on the screen (images 2 and 5, top red arrows). The targeting reticle has small pointers on all four sides, which signify that you can move this tracking frame around the screen with the Sub-selector joystick (or Multi selector pad) until it is over the area you want to track.
Once the white targeting reticle is located exactly on the point of your subject you want to track, you can execute one of four actions to cause the camera to track the subject:
When you have done one of the four initiating actions from the list, the camera will activate Subject tracking and will attempt to track a moving subject. The white targeting reticle will change to a yellow tracking frame and the pointers around its four edges will disappear (figure 4.3J, images 3 and 6, top red arrow). As you move the camera or the subject moves, the Z7 will try to keep the area under the tracking frame in focus.
To stop tracking your subject, you can execute one of three actions:
Special considerations: There are several things you need to consider when using Auto-area AF, as follows:
For more information on the AF-area modes, see the Photo Shooting Menu (page 264) and Movie Shooting Menu (page 345) chapters.
Settings Recommendation: For static or slowly moving subjects, such as landscapes, nature, and outdoors, I use Single AF (AF-S) Focus mode (page 262), Single-point AF AF-area mode (page 264), and Single frame (S) Release mode (page 97) almost exclusively.
If I’m shooting a wedding where the bride and her father are walking slowly down the aisle, Single AF (AF-S) Focus mode (page 262), Wide-area AF (S) AF-area mode (page 265), and Continuous L (L) Release mode (page 97) seem to work well for me, although recently, I have been successfully experimenting with Continuous AF (AF-C) Focus mode (page 262), Auto-area AF mode (page 265), and Continuous H (H) Release mode (page 97).
The Z7 can be accurate at finding and tracking human faces in Auto-area AF mode with reasonable lighting. You must use Auto-area AF mode to let the camera track a face (firmware C1.02). At the time this book was being written, Nikon was about to release a firmware update adding Eye AF to make face tracking even more effective. Please check the downloadable resources website (http://rockynook.com/NikonZ7) for updates to this book as Nikon modifies the current system.
I suggest experimentation with all these modes. You will need to use them all for different types of photography, so take the time necessary to learn how each mode functions for your style of shooting.
In the good old film days, the Release modes would have been called motor-drive settings because they are concerned with how often and how fast the camera is capable of taking pictures.
The Release modes are for still photography, not video capture. The five main release modes are available when your camera is in Photo mode:
However, since you can take low-res 16x9 pictures in Movie mode, either before or during a video capture session, there are also two Release modes for Movie mode:
The Z7’s Release modes are available for selection by pressing the Release mode button (figure 4.4A, image 1)—which will open the Release mode selection screen (image 2; Photo mode shown)—and turning the rear Main command dial (image 3). Any subsettings are changed by turning the front Sub-command dial (image 4). Remember these controls because we will refer to them as we discuss the individual Release modes.
To access the Release modes, make sure the camera’s Photo/movie selector lever (surrounding the DISP button) is set to the correct position (Photo or Movie mode), and then press the Release mode button (figure 4.4A, image 1).
You can see which Release mode (e.g., S, L, H, H*) you currently have selected without opening the camera’s menus by glancing at the lower-left corner of the Control panel on top of the camera.
Now let’s look more deeply at each of them to see how they can help you capture your subject well. The Release mode screens are presented with the lens cap on for maximum contrast.
Single frame Release mode (figure 4.4B) is the simplest mode. It takes a single picture each time you fully press the Shutter-release button.
There are five modes available in Photo mode, and two modes available in Movie mode, of which Single frame (S) is the first. Open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1). Turn the rear Main command dial until Single frame is highlighted, then press the OK button to lock in the mode.
There is no speed in this mode! This is for photographers shooting one picture at a time in Photo mode, or for those capturing one 16x9 picture at a time in Movie mode.
Nature shooters often use this mode because they are more concerned with correct depth of field and excellent composition than blazing speed. This mode also works well for portraits, graduation, weddings, and event shooting. One picture per Shutter-release button press!
When the camera is in Movie mode, Single frame Release mode allows the camera to take one 16x9 picture based on the Frame size/frame rate (page 316) currently configured for Movie mode. You can take one picture at a time when you are not recording a video. When you are recording a video, you can press the Shutter-release button all the way down and the camera will capture one frame from the video as a still picture, without stopping or harming the video recording in progress. You can capture up to 50 still pictures maximum per video recording.
The Continuous Release mode (figure 4.4C) is available in Movie mode only. This mode is not the same as the Continuous L or Continuous H modes in Photo mode. When you are not recording a video, it allows you to take a large number of 16x9 frames in a burst up to three seconds (3 s) long when you hold the Shutter-release button down. When you are recording a video, you can take only one 16x9 frame at a time for each single press of the Shutter-release button.
To access Continuous mode, make sure the camera is in Movie mode (with the Photo/movie selector lever in the lower position) and open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1). Turn the rear Main command dial until Continuous is highlighted (figure 4.4C), then press the OK button to lock in the mode.
Warning: Be very careful with the Movie mode’s Continuous mode (not the Photo mode’s Continuous L or H). As previously mentioned, when you are not capturing video, you can take pictures with Single frame (one picture at a time) or Continuous (many pictures in a burst). When I say “many pictures,” I’m not kidding you. The camera can take literally hundreds of 16x9 images in a few seconds—using the silent electronic shutter—if you hold the Shutter-release button down. Basically, using the Continuous mode while not recording a video is like capturing a manual, three-second-long movie, and having each frame of that movie appear as a single image on your camera’s memory card.
Each of these pictures is the equivalent of one 16x9 video frame. Each1080p picture is about 2 MP in size, while each 4K picture is about 8 MP in size. Even though the camera has a limited buffer, the XQD card’s transfer rate is so fast that it almost instantly clears the buffer, meaning you can virtually take as many pictures as you want—or should I say many more than you thought you wanted! The camera attempts to limit your massive individual image intake by stopping the capture at the end of three seconds. However, in those three seconds, you can take hundreds of images. I’m not going to tell you how I discovered this, but I bet you can imagine.
On the other hand, when you are recording a video and press the Shutter-release button, regardless of whether you have Single frame or Continuous Release mode selected, the camera will take just one 16x9 photo for each Shutter-release button press, without interrupting the video capture in any way.
Continuous L Release mode (figure 4.4D) allows you to select a frame rate between one and five frames per second (fps). This mode is limited to the Photo mode (see the previous subsection for the Movie mode’s form of Continuous release).
To access the mode, open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1), then turn the rear Main command dial until Continuous L is highlighted (figure 4.4D). Now turn the front Sub-command dial and select a frames-per-second rate, from 1 to 5 fps, for shooting with the camera’s mechanical shutter. Press the OK button to lock in the mode.
If you are shooting in Silent photography mode (Electronic shutter, page 307), the frame rate will drop to a maximum of 4.5 fps for JPEG, TIFF, 12-bit NEF (RAW), or 12-bit NEF (RAW) + JPEG modes; 14-bit NEF (RAW) mode limits the camera to 3.5 fps.
You will see a brief blackout of the EVF or Monitor as each picture is taken when you are using the camera’s mechanical shutter.
The camera will provide autofocus (AF) and autoexposure (AE) for every frame when shooting in this mode.
Continuous high speed Release mode (figure 4.4E) is designed for when you want to shoot at the highest frame rate the camera can manage. This mode is not available in Movie mode.
To access the mode, open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1), then turn the rear Main command dial until Continuous H is highlighted (figure 4.4E). Press the OK button to lock in the mode.
The normal frame rate with the camera’s mechanical shutter is 5.5 fps for JPEG, TIFF, 12-bit NEF (RAW), or 12-bit NEF (RAW) + JPEG modes. When shooting in 14-bit NEF (RAW) or 14-bit NEF (RAW) + JPEG modes, the camera is limited to 5 fps when shooting with the mechanical shutter. You will see a brief blackout of the EVF or Monitor as each picture is taken when you are using the camera’s mechanical shutter.
If you are shooting in Silent photography mode (Electronic shutter, page 307), the frame rate will drop to a maximum of 4.5 fps for JPEG, TIFF, 12-bit NEF (RAW), or 12-bit NEF (RAW) + JPEG modes. You are limited to 3.5 fps in 14-bit NEF (RAW) or 14-bit NEF (RAW) + JPEG modes.
The camera will provide autofocus (AF) and autoexposure (AE) for every frame when shooting in this mode.
Continuous H (extended) Release mode (figure 4.4F) is an especially high-speed mode that has no EVF or Monitor blackout when shooting at its maximum rate of 9 frames per second. This mode is not available in Movie mode.
To access the mode, open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1), then turn the rear Main command dial until Continuous H (extended) is highlighted (figure 4.4F). Press the OK button to lock in the mode.
As mentioned, the camera is limited to a maximum of 9 frames per second in JPEG, TIFF, 12-bit NEF (RAW), or 12-bit NEF (RAW) + JPEG modes. When shooting in 14-bit NEF (RAW) or 14-bit NEF (RAW) + JPEG modes, the camera is limited to 8 fps when shooting with the mechanical shutter.
If you are shooting in Silent photography mode (Electronic shutter, page 307), the frame rate will drop to a maximum of 8 fps for JPEG, TIFF, 12-bit NEF (RAW), or 12-bit NEF (RAW) + JPEG modes. You are limited to 6.5 fps in 14-bit NEF (RAW) or 14-bit NEF (RAW) + JPEG modes.
The camera will autofocus for every frame at 9 fps. However, for firmware versions prior to version 2.0, the Z7 cannot meter any frame other than the first one. With firmware 2.0 this limitation was removed and the camera will meter all frames. Be sure to upgrade the firmware!
Note: Flicker reduction (page 234) is disabled when shooting in this mode.
Memory Buffer Information
When you hold down the Shutter-release button in the Continuous Release modes, the camera will fire at the chosen frame rate continuously until you let up on the button or the internal memory buffer gets full.
A chart on page 229 of the Z7 user’s manual displays the number of frames you can expect the buffer to hold before the camera’s frame rate slows down. You can also see how many frames (approximately) the buffer will hold in your camera’s current configuration by holding down the Shutter-release button halfway. In the bottom-right corner of all the camera’s screens you will see an “r” number (e.g., r16) where the frame counter is normally displayed. Whatever number follows the “r” is the number of images your camera’s buffer can hold.
Fortunately, the buffer is extended somewhat by having a fast XQD memory card in the camera. The XQD card (and future CFexpress cards, after an upcoming firmware update) allows images to be written so quickly that often the buffer will hold more images than you would expect because one picture is being written to the memory card while one is being taken. The camera may slow down in maximum frame rate, but it will not stop accepting images in Continuous L mode.
If you don’t hold the Shutter-release button down continuously and fill up the buffer, you can often shoot a burst of images, hesitate a moment for some images to be written to the card, and then fire off another burst. You may be able to do this until you fill up the memory card!
Use the Self-timer Release mode (figure 4.4G) to cause your camera to take pictures a few seconds after you press the Shutter-release button. The camera will autofocus when you press the Shutter-release button halfway down and start the Self-timer when you press it all the way down. This mode is not available in Movie mode.
To access this mode, open the Release mode screen by pressing the Release mode button (figure 4.4A, image 1), then turn the rear Main command dial until Self-timer is highlighted (figure 4.4G). Now turn the front Sub-command dial and select a delay timeout (i.e., 2s, 5s, 10s, or 20s). Press the OK button to lock in the mode. The factory default timeout for the Self-timer is 10 seconds.
You can also use Custom Setting Menu > c Timers/AE lock > c3 Self-timer to set the timeout to 2, 5, 10, or 20 seconds. And you can use c2 Self-timer to control the number of shots taken for each self-timer cycle (up to 9 shots), and the interval between each shot (from 0.5 to 3 seconds).
If you like to hear that little beep beep beep when the Self-timer is counting down the seconds before firing the shutter, you can control that sound with Setup Menu > Beep options.
After you press the Shutter-release button in Self-timer mode, the Self-timer lamp will blink about twice per second and the beeping will start (if enabled). When the last two seconds arrive, the Self-timer lamp will shine continuously, and the beeping will double in speed. You are out of time when the beeping speeds up! The image is taken at about the time the beeping stops.
If you want to stop the self-timer, all you have to do is press the MENU or Playback button.
The Nikon Z7 allows you to take pictures and/or autofocus by merely touching your subject on the camera’s Monitor. Nikon calls it Tap shooting and it comes in two parts, Touch shutter/AF and Touch AF.
Use the following steps to enable one or both of the Tap shooting methods:
Settings Recommendation: Keep this functionality in mind for when you want to fire the shutter with little vibration. Sometimes it will shake the camera less if you lightly touch the Monitor rather than press the Shutter-release or AF-ON button. Could Tap shooting help you when you have accidentally left your electronic shutter release cable at home? This may well be a very convenient function for your photography. I find myself using Tap shooting quite often!
I’ve followed the development of Nikon autofocus systems since the late 1980s. Autofocus with the Nikon Z7 is a real pleasure. It has a more powerful AF system than many cameras before it, and yet it is somewhat simplified in its operation by comparison. The system can still seem complex, but if you spend some time with this chapter, you should come away with a much greater understanding of the Z7’s AF module. You’ll better understand how you can adapt your camera to work best for your style of photography. Enjoy your Z7’s excellent autofocus system.
Next let’s examine the camera’s White balance system in detail. White balance is very important for JPEG shooters in particular. It is important to understand how White balance works, even if you shoot only in NEF (RAW) mode. White balance is the base for having good color in your images. Learn to use it well!
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