Nikon Z8 Wildlife Photography Gear
The tools and software behind my photography
At Alan Young Photography (AYP), the gear I use is chosen around real field conditions rather than specifications alone.
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Every photograph begins long before the shutter clicks. My approach to photography is slow, patient and intentional, shaped by changing light, behaviour and the landscapes I work in. The equipment I use needs to support that approach by being reliable, predictable and capable of handling a wide range of situations in the field.
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The cameras, lenses and accessories listed on this page reflect the way I prefer to work. Each item is chosen for flexibility, ease of use and the consistency it brings to wildlife, macro, landscape and creative portrait projects. Rather than chasing technical novelty, I look for tools that allow me to focus fully on timing, composition and the natural behaviour of a subject.
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This page offers a behind-the-scenes look at the equipment and workflow that support my photography and printing.
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Everything is selected to maintain strong image quality from capture through to the final print. Whether I am preparing large-format wildlife prints or working on smaller creative projects, the aim is always to use tools that help produce honest and carefully crafted photographs.​
Cameras
Nikon Z8
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The Nikon Z8 sits at the core of my wildlife setup and is the camera I rely on most in demanding conditions. Its fast autofocus, reliable subject tracking and strong dynamic range make it well suited to birds in flight, fast behaviour and unpredictable moments in the field. The files are clean, detailed and flexible, which is especially valuable when cropping or preparing images for larger prints. It also performs consistently across changing light, allowing me to focus on timing, composition and fieldcraft rather than technical limitations.
Lenses
NIKKOR Z 180–600mm f/5.6–6.3
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My primary wildlife lens, offering the reach needed for distant subjects while remaining manageable during long sessions in the field. It is sharp, responsive and consistent in fast-moving situations, which makes it ideal for birds and elusive wildlife. The balance and handling remain comfortable even when used for extended periods. It is the lens I rely on most when photographing subjects at distance.
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NIKKOR Z 400mm f/4.5 VR S
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A compact super-telephoto prime designed for wildlife photography where reach, sharpness, and handling all matter. Despite its focal length, it balances well on the Z8 and is practical for extended sessions in the field or from hides. Autofocus is fast and reliable on moving subjects, while optical performance remains excellent even wide open.
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Effective VR supports confident handheld shooting, and the weather-sealed S-Line build inspires confidence in challenging conditions. This lens offers the discipline and consistency of a prime without the bulk of larger super-telephoto options.
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NIKKOR Z 14–24mm f/2.8 S​
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An ultra-wide lens used for landscapes, environmental scenes and architectural work. It delivers excellent sharpness across the frame, even in challenging light, making it dependable for early mornings and low-light locations. The compact size compared to earlier versions also makes it easier to carry on longer walks. I use it whenever I want to capture sweeping scenes with clean, accurate detail.
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NIKKOR Z 70–200mm f/2.8 S
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A versatile telephoto suited to wildlife, portraits and action photography. Fast autofocus and strong edge-to-edge clarity make it a dependable partner for the Z8 in a wide variety of settings. It performs well in changing conditions, from bright outdoor sessions to indoor events. When I need flexibility without compromising quality, this is the lens I reach for.
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NIKKOR Z 50mm f/1.8 S
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A compact prime lens for portraits, everyday shooting and low-light work. It offers a natural perspective, clean rendering and excellent sharpness for its size. The lightweight design makes it easy to keep in the bag and use in almost any environment. It is an uncomplicated but highly capable lens for simple, consistent results.
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Nikon Z MC 105mm f/2.8 VR S
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A professional S-line macro lens offering true 1:1 reproduction with exceptional sharpness across the frame. The 105mm focal length provides comfortable working distance for insects and other sensitive subjects, making it ideal for field macro photography. The optical design delivers outstanding detail rendering, smooth background separation, and excellent contrast, even at close focusing distances.
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Built-in vibration reduction supports handheld work when shooting in natural light, while the fast and precise autofocus system integrates seamlessly with the Nikon Z system’s subject detection capabilities. Weather sealing and robust construction make it dependable in outdoor conditions.
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This lens forms the foundation of my macro and close-up work, where fine detail, texture and natural behaviour are central to the image.
NIKKOR Z 24-70mm f/2.8 S II
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The NIKKOR Z 24-70mm f/2.8 S II is my general-purpose standard zoom, covering everything from wider environmental photographs and landscapes to travel, events and everyday photography. The constant f/2.8 aperture gives me plenty of flexibility in changing light while also allowing good control over depth of field.
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The second-generation design is lighter and more compact than its predecessor, with fast autofocus and improved close-focusing capability. Its 24-70mm range makes it particularly useful when I want to travel with a single high-quality lens rather than carry several primes.
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Although wildlife remains the main focus of my photography, this is the lens I reach for when the longer telephotos simply aren't appropriate. It complements the specialist wildlife and macro lenses in my kit by covering the much wider range of photography beyond them.
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Nikon Z 1.4x Teleconverter
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A compact teleconverter designed for Nikon Z-mount telephoto lenses, extending focal length by 1.4× while maintaining excellent optical quality. It provides additional reach without significantly increasing weight or bulk, making it particularly useful for wildlife photography where subject distance cannot be controlled.
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The teleconverter maintains full communication between lens and camera, supporting autofocus, vibration reduction and exposure metering. With only a one-stop reduction in maximum aperture, it offers a balanced compromise between reach and performance.
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This extender adds flexibility to my longer telephoto lenses, allowing tighter framing of distant subjects while preserving image quality and field reliability.
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Paired with the NIKKOR Z 180-600mm, the Nikon Z 1.4x Teleconverter extends the effective focal range to 252-840mm, providing additional reach when photographing distant birds or cautious wildlife. This added flexibility is particularly valuable when working from hides or along open landscapes where repositioning is not possible. The modest one-stop light reduction remains manageable on the Nikon Z8, and autofocus performance remains dependable in good light.
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The teleconverter allows tighter framing in-camera, reducing the need for heavy cropping while maintaining strong detail, making it a practical addition to my longer telephoto workflow.
Flash and Macro Lighting
Flash forms an important part of my macro photography setup, particularly when working at close distances where available light can become limiting. At higher magnifications, smaller apertures are often needed to gain usable depth of field, while subject movement and camera movement become increasingly apparent.
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Rather than using flash simply to overpower the available light, I generally aim to balance flash with the ambient exposure. The objective is controlled illumination, good colour and fine detail while retaining natural-looking backgrounds and avoiding the obvious appearance of direct flash.
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Godox MF12 Macro Flash
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I use a pair of Godox MF12 Macro Flash units as my principal lighting system for close-up and macro photography.
The individual flash heads are compact and can be positioned independently around the lens. This gives considerably more control over the direction of light than a conventional ring flash and allows me to alter the balance between the two sides of the subject.
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Using two independently controlled lights also means they do not have to contribute equally to the exposure. One can act as the principal light while the second provides lower-powered fill, helping retain modelling and texture rather than completely eliminating shadows.
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The MF12 units also incorporate LED modelling lights, which can be useful when positioning the flashes at close working distances and assessing how the light will fall on the subject.
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For much of my macro work I favour manual flash power. Once magnification and working distance are reasonably consistent, manual output provides predictable exposure from frame to frame and gives me direct control over the balance between flash and ambient light.
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Godox XProII-N Wireless Trigger
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I control the MF12 units using the Godox XProII-N, the Nikon-compatible 2.4 GHz wireless radio trigger.
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This allows the flash units to be assigned to groups and their output adjusted independently from the camera. In practice, this is particularly useful in the field because I can alter the lighting ratio without touching or repositioning the flash heads close to a subject.
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Independent control also allows relatively subtle adjustments to shadow depth and highlight intensity, which can make a considerable difference when photographing small, reflective subjects.
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Godox V860III-N
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The Godox V860III-N provides a more powerful and conventional speedlight option when the small MF12 units are not appropriate.
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Designed for the Nikon system, it supports i-TTL, manual flash control and High-Speed Sync, as well as Godox's integrated 2.4 GHz wireless system. Its rechargeable lithium-ion battery also provides good capacity and fast recycling for repeated use in the field.
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Although TTL can be useful when subject distance is changing quickly, I generally favour manual flash where conditions allow because the output remains consistent and can be adjusted deliberately to suit the subject and ambient exposure.
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With the Nikon Z8 I commonly work at around 1/200 second without Auto FP when I do not require a faster shutter speed. Staying within normal flash synchronisation allows efficient use of the available flash output. If a faster shutter speed is required, High-Speed Sync provides another option, although with reduced effective flash output.
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AK Diffusers
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I use AK Diffusers as an important part of the flash system rather than treating diffusion as an optional accessory.
At macro distances, a small undiffused flash source can produce hard shadows and intense specular highlights, particularly on insects with glossy or reflective surfaces. Increasing the apparent size of the light source relative to the subject produces softer transitions between highlights and shadows.
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The diffusers spread and soften the light from the flash units, helping preserve surface texture and fine detail while reducing the harsh appearance that direct flash can produce.
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Diffusion inevitably absorbs some of the flash output, so power, aperture or ISO may need to be adjusted accordingly. For my photography, that small loss of efficiency is a worthwhile trade-off for the more controlled and natural quality of light.
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The overall aim is simple: the flash should help reveal the subject, not announce that flash was used.
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Supports
iFootage Gazelle TC7 Tripod
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A lightweight carbon-fibre tripod that provides stability without unnecessary weight, making it suitable for wildlife, landscape and macro work. The build quality offers strong support for heavier lenses while remaining comfortable to carry on longer walks. Its locking system is quick to use in the field, which helps when working with fast-changing wildlife behaviour. It has become my most dependable support system for outdoor sessions.
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Gitzo GM4552L Series 4 5S L Carbon Monopod
A strong, lightweight carbon monopod that gives me extra stability with longer lenses while remaining quick to position and easy to carry in the field.
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Acratech 1165 Geared Head
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Used when precise composition is required, particularly in landscape and macro photography. The geared controls allow for smooth, incremental adjustments that make fine framing much easier in difficult conditions. Its lightweight construction keeps the setup manageable in the field while still offering solid stability. It is a reliable tool whenever careful positioning is essential.
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Acratech Levelling Base Standard 60 mm
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This levelling base sits between my tripod and head and is used whenever I need fast, precise horizon alignment without adjusting individual tripod legs. The 60 mm platform provides enough adjustment to level the head quickly on uneven ground, which is particularly useful for wildlife work in hides, on banks, or when working on slopes.
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It is compact, rigid, and very well engineered, adding minimal height or weight to the setup while maintaining excellent stability. Once set, it stays locked with no creep or play, even when supporting heavier lenses. It has become a small but essential part of my field setup, saving time and reducing frustration when working quickly or in changing conditions.
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Wimberley WH-200 Gimbal Head
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Designed for tracking fast-moving subjects, this gimbal provides smooth and controlled movement with large telephoto lenses. It is especially valuable when photographing birds in flight or other dynamic wildlife behaviour where fluid motion is critical. The balanced design reduces strain during long sessions and improves responsiveness. It is a central part of my wildlife setup when working with heavier glass.
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Wimberley MH-100 Monogimbal Head
The MH-100 sits on the monopod and allows the lens to remain balanced while tilting smoothly, reducing the effort needed to hold position and making it easier to track birds and other moving wildlife.
Field Accessories
A selection of practical tools supports my workflow in the field, including filters, memory cards, cleaning equipment and protective carrying solutions. Each item is chosen for reliability and ease of use rather than novelty, ensuring that everything serves a clear purpose in demanding conditions. These accessories help maintain efficiency when moving between locations or working in changeable weather. The aim is to keep the kit streamlined while still covering the essentials needed for a productive shoot.
Editing and Workflow
Adobe Software
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My editing process is centred on maintaining a natural, balanced look while allowing each image to reach its full potential. The goal is consistency, control and restraint, ensuring that the final result reflects the conditions and character of the scene. I build my workflow around careful adjustments rather than aggressive processing, aiming for a clean and timeless finish. Every tool and step is selected to support this measured approach.
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Adobe Lightroom Classic
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Lightroom forms the foundation of my workflow. It is used for organising, processing and preparing images, with careful control over colour, contrast and tonal balance across a body of work. The cataloguing tools allow me to manage large collections efficiently, particularly after extended wildlife sessions. It remains the most reliable environment for initial adjustments and global refinements.
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Adobe Photoshop
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Photoshop is used when additional refinement is required, particularly for detailed adjustments and local corrections. It plays a key role in preparing images for print, ensuring files meet a consistent professional standard. The precision tools allow for careful retouching without altering the natural feel of the image. Alongside these capabilities, I use a small number of specialist applications at specific stages of the workflow, chosen for their strengths rather than as automatic steps.
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DxO Software
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DxO software has become an important part of my wildlife photography workflow, particularly where image quality, optical correction and natural detail retention are critical. Each application has a specific purpose, allowing me to choose the right tool for the task while maintaining a consistent and efficient workflow.
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DxO PhotoLab 9 Elite
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My primary RAW processing application when I require maximum control over image quality. PhotoLab combines advanced optical corrections, DeepPRIME XD noise reduction and refined tonal adjustments, making it particularly valuable for demanding wildlife images captured in challenging light.
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DxO PureRAW 6
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Used as the first stage of my workflow when I want to prepare RAW files before editing in Adobe Lightroom Classic. PureRAW applies industry-leading lens corrections, AI-powered noise reduction and optical sharpening while preserving the flexibility of the original RAW file. It is especially useful for high ISO wildlife photography and low-light conditions.
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DxO FilmPack 8
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Used selectively to introduce subtle film-inspired tonal characteristics where appropriate. I favour a natural look, so FilmPack is applied with restraint to enhance atmosphere without overpowering the original scene.
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DxO Nik Collection 9
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A suite of specialist creative tools that complement the rest of my workflow. I primarily use Nik Color Efex for selective tonal refinement, local contrast and finishing touches that help guide the viewer's eye while preserving the natural character of the photograph.
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DxO ViewPoint 5
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Used when precise geometric correction is required. Although perspective correction is less common in wildlife photography, ViewPoint is invaluable for landscapes, architecture and images where accurate horizons, verticals and lens distortion correction are important.​
Exclusive Reader Offer
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I'm pleased to be able to offer readers of Alan Young Photography an exclusive 15% discount on DxO software.
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If you're purchasing DxO software for the first time, simply enter the code AYP15 at checkout at shop.dxo.com to receive your 15% discount.
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Thank you to DxO for extending this offer to the Alan Young Photography community.
Print and Paper
Printing is the final stage of my photographic workflow, so the choice of printer, paper and colour management matters just as much as the camera equipment used in the field.
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Printer
My prints are produced in-house, giving me control over colour, contrast, sharpening and final presentation from the edited file through to the finished print. I use a Canon imagePROGRAF PRO-1100.
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Paper
For my current fine-art wildlife prints I use Fotospeed Signature Platinum Baryta 300. Its weight, surface and tonal response suit the natural detail and restrained processing I prefer in wildlife photography.
Colour Management
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My editing and print workflow is colour-managed using an EIZO CG2420 monitor, helping maintain consistent colour and tonal control from editing through to the finished print.
Why This Gear Works for Me
Every camera, lens and software application listed on this page has earned its place through practical use in the field.
Whether I'm photographing birds in flight with the Nikon Z8, exploring the intricate world of macro photography, or preparing a fine art print, my aim is always the same. To use reliable tools that support a thoughtful, consistent and enjoyable workflow from capture to finished image.
The technology is important, but it should never become the focus. The photograph always comes first.
See the Results
Equipment only proves its value through the photographs it helps create. If you'd like to see how this workflow comes together, explore the links below.
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Video Gear
Video is now an integrated part of my wildlife work alongside still photography. An overview of the equipment and monitoring setup I use can be found below:
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