Gear of the Month | April 2025

The Nikon Z5 II raises the bar – and we’re here for it. So, what’s new? First off, there's a “new” sensor. It’s actually the same sensor found in cameras like the Z6 II. While not brand-new, it’s a huge step up from the original Z5’s ageing chip (which dates back over a decade). It’s significantly faster and delivers much better performance across the board.

Processing gets a serious upgrade too, with Nikon’s latest EXPEED processor – the same one used in the Z8 and Z6 III. That means much-improved autofocus, both in speed and subject recognition. You also get a JPEG burst speed boost: up to 30fps with pre-burst capture, or a staggering 60fps at full resolution and 120fps in APS-C crop mode.

Where the Z5 II really shines is in its hybrid capabilities. Thanks to that updated sensor and processing power, it now shoots full-width 4K up to 30fps and 1080p at 120fps for smooth slow motion – double the frame rate of the original Z5. It also adds product-priority AF, electronic stabilisation, 10-bit N-Log, waveform monitoring and even N-RAW, each previously reserved for higher-end models. If you’re after a true stills/video hybrid, this is a serious contender.

Physically, the design remains familiar, but with a few welcome updates: two custom function buttons and a second control dial on the top plate for faster exposure adjustments. The EVF now reaches a peak brightness of 3000 nits – a huge help in bright conditions.

There are a couple of quirks, though. Nikon has dropped the dedicated MH-25a battery charger – you’ll need to charge via USB-C unless you buy the charger separately. Not a dealbreaker, but a bit of a sting. And unlike the original Z5, this version combines the 3.5mm headphone and remote inputs into one socket, so you can’t monitor audio while using a remote release. Not ideal, but manageable.

Sony’s FE 50-150mm f2 G Master lens is built with hybrid creators in mind, with a combination of versatility, speed and clarity across a zoom range that’s perfect for portraits, events, fashion and even fast-paced sports. It delivers consistent performance with the kind of image quality you'd expect from Sony’s flagship G Master series.

The constant f2 aperture gives excellent low-light capability and control over depth of field, paired with an 11-blade circular diaphragm for smooth, natural bokeh. Inside, the optical construction features 19 elements in 17 groups – including XA, ED and Super ED glass – designed to minimise aberrations and maintain sharpness from edge to edge. Its focus is fast and accurate thanks to four XD Linear Motors arranged in two focus groups, making it responsive enough for 4K 120p tracking and reliable eye detection.

One less inviting aspect is that it is notably large and heavy. In fairness, this is due to the optical elements and its internal zoom, so it’s a trade-off between weight and the images it produces. It’s also a hefty investment, but considering what it can do, it’s probably worth it!

As third-party lenses go, Samyang is certainly a brand that delivers impressive image quality and performance that, in some cases, rivals native lenses. They’ve really come into their own over the time I have been writing for Wex, especially since adding auto focusing to their recent lenses, which was often commented on back in the day. 

The new Samyang AF 14-24mm f2.8 Super Wide Zoom lens is another lens in their lineup that is lightweight yet powerful. Weighing just 445g, it delivers sharp, edge-to-edge clarity thanks to a 15-element optical design, while the fast f2.8 aperture makes it a strong choice for landscapes, interiors, and astrophotography, not to mention its 114.2° field of view at 14mm. But, it also has a 0.18m minimum focus distance, allowing for dramatic wide-angle close-ups.

It's also weather sealed for outdoor shooting, and takes standard 77mm filters, meaning it’s a practical, travel-friendly option. And yes, autofocus - A linear STM motor keeps autofocus quick and quiet. It’s a solid lens and one we’d wholeheartedly recommend. 

How else can they improve on their 360-degree cameras? Well, the main points here are that this model has a bigger sensor, offers better low-light, and, most intriguingly, swappable lenses.

But the X5 also features a built-in windscreen, which is designed to reduce wind noise and improve audio quality. And, the camera has improved battery life, with the ability to film for up to 83 minutes on a single charge in 8K 30fps. Speaking of video, the new PureVideo mode is designed to reduce noise and enhance low-light footage, and supports filming in LOG, which allows for more control over the colour grading process in post-production.

Slight drawbacks include a slightly larger and heavier design, and it costs more than the X4, and while it isn’t an enormous amount, it’s kind of frustrating, but not unexpected considering the world we live in.  

You might think we’d be over Instax and the news of another version would bore us… but you’d be wrong. We love Instax. Has there ever been anyone who doesn't love a nostalgic photo of themselves on holiday or at a party in the form of a credit card-sized instant print they can hold in their hand? No, that person doesn’t exist. 

We all know about Instax cameras, so it’s best to cover what’s new. Design-wise, it’s had another facelift that is styled to look like a vintage film camera, fit with a sleek grey finish with old-school diamond-knurled finish around the lens and most of the body. This not only looks great but also offers some grip. 

This version offers an improved close-up mode with parallax correction. In English, this correction is about making sure what you see in the viewfinder or screen lines up exactly with what the lens sees. If it's not corrected, the subject might appear to shift slightly when you move your eye or change your angle. This means you ensure accurate framing and focus when you use this mode. 

It’s compatible with all Fujifilm Instax Mini film and is powered by AA batteries. It really is a simple but highly effective system!

Also available in EF and PL mounts 

Finally, we have the Blackmagic PYXIS 12K. This is a professional digital film camera built for serious filmmakers. It features a full-frame 36 x 24mm sensor capable of capturing stunning 12K resolution (12288 x 8040) with 16 stops of dynamic range, which is ideal for cinematic productions and high-end commercial work. It records internally in Blackmagic RAW, with support for high frame rates up to 112fps at 8K, and offers dual CFexpress slots, USB-C recording, and built-in live streaming.

All of this is housed in a rugged aluminium chassis, which also includes a 4-inch HDR touchscreen, pro audio inputs, 12 G-SDI out, and full DaVinci Resolve Studio. If you’re a professional filmmaker, you’ll know how significant and powerful this all-in-one production solution is.