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Sony a7C II review: small camera, little compromise
The Sony a7C II is the brand's second-generation compact rangefinder-style full-frame camera. Similar in design to Its predecessor, the a7C II uses the same fantastic 33MP BSI sensor from the larger Sony a7 IV and boasts impressive still, video and autofocus capabilities that should appeal to a wide range of users.
Key Specifications- 33MP BSI CMOS full-frame sensor
- Bionz XR processor and dedicated 'AI Processing Engine'
- AF tracking with subject recognition, 759 AF points with 94% coverage
- Up to 10 fps shooting with AF
- In-body stabilization rated up to 7EV
- 2.36M dot OLED viewfinder with 0.7x magnification
- Full-width oversampled UHD 4K/30p from 7K
- 4K/60p (from 4.6K capture) in Super35 / APS-C mode
- 10-bit video or HEIF stills capture
- S-Cinetone color mode
- No mechanical first curtain shutter
The Sony a7C II is priced at $2199 for the body only. A kit with the FE 28-60mm F4-5.6 lens will set you back $2499. The GP-X2 grip extension has an MSRP of $159.
Buy now:
$2198 at B&H Photo $2198 at Adorama $2198 at Amazon Index:- What is it, what's new?
- How it compares
- Body and controls
- Autofocus
- Image quality
- Video
- Conclusion
- Sample gallery
- Specifications
The Sony a7C II receives quite a few upgrades over its predecessor, including a new, higher-resolution sensor, updated processors, a higher magnification viewfinder, AI-enhanced autofocus, front and rear control dials, and oversampled 4K/60p video. This does come with a higher sticker price, though.
New sensor & processorsSporting the same 33MP BSI CMOS sensor and Bionz XR processor as 2021's Sony a7 IV, the a7C II also benefits from an additional 'AI' processing unit to assist with subject recognition and features such as Auto Framing. This secondary processor, dedicated to handling machine-learning-derived algorithms, first appeared in the a7R V (the a7 IV doesn't have one).
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });The additional processing power should give the a7C II an autofocus advantage over both its predecessor and the a7 IV, especially when it comes to face and eye detection and subject-specific tracking modes. The newer processor setup also brings the other features Sony has recently added, such as focus bracketing, in-camera timelapse creation, and a host of video improvements.
The updated 33MP sensor, on the other hand, isn't going to provide any sort of significant image quality advantage over the 24MP chip found in the original a7C. You may see a little more detail in low ISO shots, but it comes at the cost of some dynamic range and detail in high ISO ones. In return, it means slightly more rolling shutter in video. Still, our impressions of image quality performance are very positive.
Out of camera JPEG.
Sony 16-35mm f/2.8 GM II | ISO 100 | 1/1250 sec | f/2.8 | 35mm
Photo: Dan Bracaglia
Our number one design gripe with the original a7C was the lack of a front control dial. Our feeling was that for $1800, you should be able to adjust exposure settings with your thumb and index finger at the same time. And we still feel this way, which is why we are pleased to see that Sony took our feedback (and yours) to heart. Sometimes, it's the smallest things that make the biggest impact.
As a result of this new dial, the camera handles considerably better.
Another upgrade that improves usability is Sony's move from a 0.59x magnification electronic viewfinder to one that is 0.7x. The a7C II still uses a 2.36M dot panel, though, which is a bit underwhelming. With such thin margins differentiating various models in today's market, a 3.69M dot panel would've made this camera stand out more from the pack.
Oversampled 4K/60p & other video improvementsOn the internal video front, the a7C II is a match with the a7 IV in terms of output and capability. You get oversampled 4K/30p video from a 7K crop, 4K/60p video in Super 35 mode (APS-C crop), and Full HD capture at up to 120 fps. Notably, 4K/30p video is now 10-bit with 4:2:2 color sampling, a major step forward from the previous a7C, allowing more flexible Log and proper HLG HDR video capture.
For those confident in post-production, you also get S-Log3 and Sony's S-Cinetone, plus user-assignable LUTs. These LUTs can either be used to give a corrected preview, embedded alongside the footage for use when editing or burned into the footage directly as you shoot.
Other notable video features and upgrades include focus breathing compensation, improved video AF subject recognition/tracking, and Auto Framing mode. This feature uses AI-trained algorithms to mimic the way a camera operator might punch in on a subject while keeping them both framed and in focus, and is a handy way to get pro-looking shots of yourself without a camera operator behind the lens.
On the external video front, the a7C II can now stream 4K/30p via USB-C using the UVC/UAC protocols (meaning it just acts as a USB webcam: no need for drivers or specialist software).
Updated menus The main menu in stills mode The shooting tab in the menu. Note the two separate file format options at right.The A7C II offers the new and improved version of Sony's menu system. While it's still a very long list of options, not all of them are well-named, the hierarchy is improved, and you can race through items quickly. There are different options for stills and video modes, and both the main and function (shortcut) menus are designed specifically for photo or movie shooting, and everything is customizable. That goes for the camera controls on the whole, as well.
How it compares The a7C II has a lot going for it. But competition in the enthusiast full-frame mirrorless market is stiff.In a lot of ways, the a7C II overshadows both its predecessor, which should come as no surprise and the Sony a7 IV. In fact, the only notable advantages the a7 IV offers over its smaller, lower-priced cousin are a better EVF and dual card slots.
The Panasonic S5 II is another similarly priced body that gives the a7C II a real run for the money in almost every regard, except size, weight, and battery life.
Sony a7C II Sony a7C Sony a7 IV Canon R8 Panasonic S5 II Launch MSRP $2200 $1800 $2500 $1500 $2000 Pixel count 33MP 24MP 33MP 24MP 24MP Sensor size & typeBSI CMOS
Full-frame
Full-frame BSI CMOS
Full-frame CMOS Full-frame BSI CMOS
Full-frame Max burst w/ AF 10 fps 10 fps 10 fps 6 fps / 40 fps (e-shutter) 7 fps / 30 fps (e-shutter) IBIS rating 7.0EV 5.0EV 5.5EV Lens only 5.0EV EVF resolution & mag 2.36M dots 0.70x 2.36M dots 0.59x 3.69M dots 0.78x 2.36M dots 0.7x 3.68M dot 0.78x Video 4K/60p (1.5x crop)
10-bit 4K/30p
8-bit 4K/60p (1.5x crop)
10-bit 4K/60p
(full width)
10-bit 6K/30p
4K/60p (1.5x crop)
10-bit Rear screen 1.03M fully-articulated touchscreen 0.92M fully- articulated touchscreen 1.04M fully-articulated touchscreen 1.62M fully- articulated touchscreen 1.84M fully- articulated touchscreen Card slots 1x UHS-II SD 1x UHS-II SD
1x CFe Type A / UHS-II SD 1x UHS-II SD
1x UHS-II SD 2x UHS-II SDBattery life
(CIPA)
LCD & EVF
Another camera worth comparing the a7C II to – though pricier (and not in the table above) – is the Canon EOS R6 II, which has a faster burst rate (12 fps mechanical), higher-rated IBIS (8.0EV), full-width 4K/60p, a nicer viewfinder and dual card slots. That said, we expect the a7C II to outperform the Canon in the autofocus and subject tracking department by a decent margin, particularly in video mode.
Body & handling The new front dial is located just below the shutter release for easy access.The Sony a7C II looks a lot like an a7C with some minor modifications, the most notable being the inclusion of a front control dial. Size-wise, the a7C II is the same height and width as its predecessor, though it is 4mm (0.16") thicker and 5g (0.2oz) heavier (in other words, almost zero). And while it's certainly not the most inventive or exciting camera in terms of design, it does handle well. Then again, we've always felt that Sony is a little more focused on function than form.
The chassis is built of magnesium alloy, and Sony says the body is constructed in a manner that makes it resistant to both dust and moisture. In hand, the camera sits comfortably with a solid, reassuring feel to it. Also, the new front dial feels well-placed, just below the shutter release.
A fully articulated touchscreen allows for selfies and vlogging.The rear of the a7C II is also mostly unchanged from its predecessor, though you do get one additional custom function button between the lower rear control dial and the menu button. The rear display, at 1.04M dots, sounds like it's a slightly higher resolution than its predecessor (0.92M), but the difference is that it's a slightly wider screen with 720 x 480 pixel resolution, rather than 640 x 480. In use, the touch interface is very responsive.
The top of the camera also looks pretty similar to the a7C, but there are some small changes. What was once a dedicated exposure compensation dial is now a blank custom dial. Sony also added a three-way selector, similar to the one found on the a7 IV, that allows users to easily jump from stills to video to 'S&Q' (Slow & Quick) mode. You'll find it tucked just below the mode dial around the back.
The a7C II can be charged via USB-C. The port also allows for image and video transfer as well as live streaming.The EVF sees its magnification increased to 0.70x, but the panel remains a 2.36M dot affair, which some folks may find disappointing, with the individual pixels being visible. There's still no AF joystick, which may dissuade other users (though you can use the rear screen to gain touchpad AF, when the camera is held up to your eye). But those are our two most practical criticisms of the design, alongside what we see as a lack of charm.
Along the non-grip side of the a7C II, you'll find the lone UHS-II SD slot (the closed door in the image above). The hatch above it (opened) hides the microphone and USB-C port, while a lower hatch keeps the micro-HDMI and headphone ports safe. Note that both the headphone and microphone sockets are standard 3.5mm.
The camera uses Sony's highest-capacity Z-battery; battery life is satisfactory.The a7C II uses the Sony's "Z-battery," the NP-FZ100. However, battery life is rated noticeably lower than the a7C – 25% lower when using the viewfinder. This can likely be chalked up to the new secondary AI processor and higher resolution sensor.
According to CIPA standards, you can expect 510 shots per charge when using the rear display and 540 when using the EVF. Of course, those numbers are conservative, and achieving double the rated number is not uncommon depending on how you shoot and how often you review images. A rating north of 500 shots per charge is unlikely to present an inconvenience for multiple days of fairly frequent shooting (though video and Wi-Fi use will chip into this more aggressively).
AutofocusAnyone who has followed digital photography over the last decade knows that Sony has been at the forefront of autofocus tracking. The a7C II continues that tradition, and it feels like the company has made it a bit easier to get tracking up and running. Just throw the camera into AF-C mode (accessible via the Fn menu), point it at your subject, halfway-press the shutter release, and the camera will ensure that your subject stays in focus however it (or the camera) moves. If you want to choose your own target, switch to the aptly named 'Tracking: Spot' focus area, where you can select your target by point the AF point at your target, tapping on the screen or using the four-way controller.
The A7C II latched onto our subject's eye almost immediately and stuck to it as he crawled around the tunnel.
FE 20-70mm F4 G @ 70mm | ISO 6400 | 1/320 sec | F4
Photo: Jeff Keller
One feature that really impressed us is the a7C II's subject recognition. Choose from humans, animals, birds, animals and birds, insects, cars/trains, and aircraft. A detected person can look away, turn around, walk, or disappear for a moment; the camera rarely loses them (there's a tracking sensitivity setting in the menu if you want the camera to re-focus on other, nearer faces, rather than sticking to your original subject). If the camera has detected multiple faces, it'll focus on the one nearest your AF point, alternatively you can switch between them with the touchscreen or pressing a custom button and scrolling the control dial, if you have the time to spare.
The a7C II continuously tracked Nala as she ran around the room without missing a beat. Even while continuing to chase her tail, Nala's face is still sharp.
FE 28-60mm F4-5.6 @ 60mm | ISO 800 | 1/60 sec | F5.6
Photo: Jeff Keller
We found that animal detection works just as well. One of our reviewer's cats decided to start running around, chasing her tail, as cats do. The a7C II had already locked onto her eye and stayed glued to her as she ran around like an uncontrolled missile, laid on her back trying to catch her tail, did a few rolls and then took a break for a bath.
You can drill down to this level of customization for each type of subject (animals and birds, in this case). Pressing the trash can button on the back of the camera gives a (very) brief explanation of what each option does.An entire section of this review could be written about the AF options for stills and video (many of which are kept separate from one another), but suffice to say that there are many. They include AF tracking sensitivity (persistence, basically), AF area registration, what eye the camera targets, and much more. You can even select what parts of a subject are recognized, as shown in the screenshot above.
Image quality Studio sceneOur test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
Note that the Sony a7 IV is serving as a proxy for the a7C II in this test. The two cameras share the same sensor and image processor, and we expect image quality to be nearly identical.
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-55085962","widgetId":893,"initialStateId":null}) })The A7C II captures plenty of detail$(document).ready(function() { $("#icl-5816-944758712").click(function() { ImageComparisonWidgetLink(5816); }); }), though it has a noticeable amount of moiré$(document).ready(function() { $("#icl-5815--1483316096").click(function() { ImageComparisonWidgetLink(5815); }); }), so one could infer that it has an anti-aliasing filter, it isn't terribly strong. When compared at the same image height, the a7C II's noise is comparable$(document).ready(function() { $("#icl-5817-707712268").click(function() { ImageComparisonWidgetLink(5817); }); }) to its peers (and the a7C) at mid-ISOs. At higher sensitivities$(document).ready(function() { $("#icl-5818--381885278").click(function() { ImageComparisonWidgetLink(5818); }); }) the a7C II is just a bit noisier than other cameras in its class, but not significantly so.
JPEG color$(document).ready(function() { $("#icl-5819-620068565").click(function() { ImageComparisonWidgetLink(5819); }); }) is appealing. The a7C II's colors are saturated but not too saturated, as is the case with the Canon EOS R8. The camera's sharpening algorithm does a nice job$(document).ready(function() { $("#icl-5820--1721649214").click(function() { ImageComparisonWidgetLink(5820); }); }), and moiré is mostly – but not completely – eliminated. At middle sensitivities$(document).ready(function() { $("#icl-5821-519944308").click(function() { ImageComparisonWidgetLink(5821); }); }) noise reduction is kept fairly low, leaving plenty of detail intact. The same is true when you cross into five-figure ISOs$(document).ready(function() { $("#icl-5822-510364809").click(function() { ImageComparisonWidgetLink(5822); }); }): there's plenty of detail to work with, and noise$(document).ready(function() { $("#icl-5823-82773412").click(function() { ImageComparisonWidgetLink(5823); }); }) is well-controlled.
Electronic shutterOne issue you'll run into in silent mode, or if you manually select to use fully electronic shutter is rolling shutter, the result of the camera ending its exposure by (relatively) slowly reading out its sensor. This causes some nasty distortion when panning the camera or if a fast-moving subject goes by, because the different parts of the photo were taken at slightly different times. Here's an example of panning in a high-speed burst:
A panning shot taken with electronic shutter shows rolling shutter in action.
Sony FE 28-60mm F4-5.6 | F5.6 | 1/125 sec | ISO 3200
Photo: Jeff Keller
You will also encounter this when capturing 4K video, so it's something to consider if you're moving the camera or capturing subjects that move rapidly across the frame. It's much more visible in stills mode, where the sensor is reading out its full 14-bit precision, which takes 67.6ms (around 1/15th of a second). Video is captured from a narrower region of the sensor and in 12-bit readout, so the effect is much less pronounced, but it's more likely that you'll be moving the camera as you shoot.
Electronic first curtain shutterAs with the a7C and Canon's EOS R8, the A7C II lacks a mechanical first curtain shutter, relying instead of an electronic first curtain (EFCS). This means the exposure is started electronically but finished with a mechanical shutter.
In almost all situations, the results are indistinguishable from using mechanical blades to start and end the exposure. The only downside is that if you use a very bright aperture lens and shoot at very high shutter speeds, the blurred 'bokeh' in the background will be less smooth than it should be. Point light sources that should be rendered as attractive circles will have their lower edge cut off. But this only happens in very specific circumstances.
VideoWe covered the a7C II's video specs earlier in the review and are going to focus on features and usability here. One thing's for sure: possible rolling shutter aside, 4K quality is excellent.
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-34244452","widgetId":894,"initialStateId":null}) })The a7 IV images were shot with a zoom, so doesn't appear as sharp as the other images within the test scene, but it's clear that there's plenty of detail to be had from the Sony. The same is true for the a7C II, which uses the same sensor and main processor. The 4K/30p and 4K/24p footage is take from the full-width of the sensor and uses all 7008 pixels to deliver its UHD (3840 x 2160) 4K footage. This delivers lots of detail but comes at a cost of rolling shutter: it takes around 27.4ms to read out each frame. This is enough to make sudden camera movements or fast movement across the scene distort in an off-putting way. This isn't a terrible result but it's over 20% worse than the camera's immediate peers and more than 60% slower readout than the best of its rivals.
Video autofocusThe a7C II focuses just as confidently in video as it does for stills. The subject recognition again shines, with both cats and aircraft reliably tracking subjects (even with planes in the background in the second situation). There are numerous AF-related settings, including transition speed, subject shift sensitivity, and many of the same subject recognition options that are available for stills.
Video toolsVideo is accessed using a shooting mode switch that sits under the exposure mode dial on the top of the camera. An option in the settings menu lets you decide which settings carry over from stills to video shooting and which don't. This way you can ensure that you don't accidentally shoot jerky video with very high shutter speeds or blurry photos with very low ones, as you jump between modes. It also lets you shoot different color profiles for each mode, as you deem appropriate.
The Focus Map shows the front (reds) and back (blues) focused areas around the watch at the center of the frame.There are a lot more settings on the a7C II besides video file format, bit depth, frame rate, and Log profile for capturing more dynamic range to preserve flexibility when editing the color and tone of the final footage. Like the a7 IV, the a7C II can capture Log footage in 10-bit color depth, which encodes more tonal information about the scene, providing much more malleable footage that's less likely so show banding if you make big color or brightness/contrast adjustments.
The camera displays audio recording levels, which are adjustable, and a software wind filter can be turned on manually or automatically. In addition to focus peaking and zebra pattern options, there's a handy 'focus map' that shows the areas around the focus point that are either front or back-focused.
Video stabilizationThe a7C II offers regular and "Active" SteadyShot stabilization in video mode, the latter of which adds digital stabilization. While standard mode is just okay, Active mode is very good. It's not quite gimbal quality, but it's a huge improvement. There is a 1.15x crop added when using active mode, so keep that in mind, especially if you're already dealing with the 1.5x crop when shooting 4K/60p footage.
ConclusionBy Jeff Keller
What we like What we don't- Excellent image quality
- Top-notch subject recognition and autofocus tracking
- In-body image stabilization
- Refined grip and second control dial are big improvements over original model
- High-quality oversampled 4K/60p video (cropped)
- Captures 10-bit 4:2:2 footage
- S-Log3 and S-Cinetone video profiles
- Very good battery life compared to peers
- Prone to rolling shutter when panning camera in video or with e-shutter
- No AF joystick
- 1.5x crop when capturing 4K/60p footage
- EVF and LCD resolution on the low side
- More expensive than peers
- Big drop in battery life compared to original model
Sony has taken the entry-level, full-frame a7C to new heights with the a7C II. Adding a second control dial, a larger EVF, and a higher resolution sensor places it amongst the best cameras in its class. It's expensive for its compared with its peers, but it has a lot to offer.
Converted to taste from Raw
FE 28-60mm F4-5.6 @ 40mm | ISO 100 | 1/200 sec | F8
Photo: Jeff Keller
Some of the biggest beefs we had with the original a7C was its tiny viewfinder, single control dial, and lack of an AF joystick. The Mark II addresses two out of the three, with no joystick in sight, though it's hard to image where it would go. While the EVF is larger, the resolution feels too low for a camera this expensive.
The a7C II now sports the same 33 Megapixel full-frame BSI CMOS sensor found in the a7 IV. Image quality is excellent, though there's some impossible-to-miss rolling shutter that shows up when you rapidly pan in the camera in bursts or 4K shooting.
Converted to taste from Raw
FE 28-60mm F4-5.6 @ 48mm | ISO 250 | 1/100 sec | F5.6
Photo: Jeff Keller
Sony has long been the leader in autofocus acquisition and tracking, and the a7C II is ridiculously good. Whether it's people, sprinting cats, or airplanes, the focus points stick to the subject like superglue. After tweaking a few settings to get everything set up, that excellent subject tracking becomes point-and-shoot.
FE 16-35mm F2.8 GM2 @ 29mm | ISO 160 | 1/1250 sec | F2.8
Photo: Dan Bracaglia
The a7C II is a capable moviemaker, as well. It captures 4K footage using the full width of the sensor (there's no crop at 30p and below), or 4K/60p with a 1.5x crop. Videophiles will appreciate the ability to capture 10-bit 4:2:2 footage using S-Log3 or S-Cinetone. Aside from the risk of rolling shutter, video quality is very impressive.
FE 16-35mm F2.8 GM2 @ 16mm | ISO 100 | 1/2000 sec | F2.8
Photo: Dan Bracaglia
At $2199 for the body only, the a7C II isn't a huge bargain compared to the likes Canon EOS R8, Nikon Z6 II, and Panasonic S5 II but part of what you're paying for is its compactness. And for that money, you are getting a camera that will remain competitive for years to come. Whether you're already in the Sony ecosystem or just looking for a compact, well-built full-frame camera, the a7C II is well worth your consideration.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Sony a7C IICategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe full-frame Sony a7C II may be small in size, but it offers a full suite of features for both still and video shooting. Image and video quality are excellent, and its autofocus system is one of the best on the market. The viewfinder resolution is low for a camera in this price range, and rolling shutter can be a real issue when capturing video.Good forTravelers who want high-end capabilities in a small package. Those shooting erratically moving subjects with point-and-shoot ease-of-use.Not so good forPhotographers shooting 4K video or high-speed bursts that involve panning the camera.87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sony_a7cii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peersThe EOS R8 is one of two Canons that compete with the a7C II. If you look at the specs, they're pretty similar; their EVFs have the same magnification and resolution, neither have AF joysticks, and each can record oversampled 4K/60p footage (uncropped in the case of the R8). Significantly, the R8 lacks image stabilization and its battery life is worst-in-class, whereas the Sony's is rather good. The Canon falls behind in build quality (it is significantly cheaper, though), and while autofocus tracking is very good, the a7C II's is better. The Canon's ergonomics are rather more comfortable but the Sony wins on lens choice.
The other Canon model is the EOS R6 Mark II, a larger camera with much better build quality. Like the R8, it has a 24MP full-frame sensor and Canon's Dual Pixel AF system, but it also has in-body image stabilization. With a claimed 8 stops of shake reduction, it's a little better than Sony's 7 stops. The R6 II offers uncropped 4K/60p video, super-fast burst shooting, dual card slots, and a larger and higher resolution EVF. Battery life is competitive when shooting with the viewfinder (but not the EVF) but the big difference is that we prefer the Canon's ergonomics.
The Nikon Z6 II is another less expensive option. This 24MP camera offers faster burst speeds and dual card slots, and the viewfinder is considerably larger and more detailed. It has in-body image stabilization, but it's only rated at 5 stops. Like the a7C II, it can capture 4K/60p with a 1.5x crop, with support for Nikon's N-Log format. The Z6 II's autofocus tracking lags significantly behind Sony's, and battery life is about 20% lower than the a7C II. Again, it has the ergonomic edge over the Sony, and not just because of the provision of an AF joystick.
Last but not least is the Panasonic Lumix DC-S5 II, a much larger camera with in-body image stabilization (rated to 6.5 stops) and a 24MP sensor. The S5 II is a little stronger at video; it can capture 4K/60p footage with no overheat limit, which is accomplished with the help of a built-in cooling fan, it also exhibits less rolling shutter. It has a large, high res EVF, dual SD card slots, a handheld high-res shooting mode, and Panasonic's first hybrid AF system, bringing it closer in performance to the Sony.
Buy now:
$2198 at B&H Photo $2198 at Adorama $2198 at Amazon Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
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Updated Nov 13, 2023
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });Once you venture above $2500, you gain access to some extremely capable cameras. These are the models that deliver the highest levels of detail, some of the most sophisticated video features, high burst rates or a combination of all three.
For most applications, the cameras around $2000 are excellent, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.
It's notable that there's no such thing as a bad camera at this level, so if you have any investment at all in the lens system of one company (or plan to adapt DSLR-era lenses from them), this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.
Our recommendations:- Best high-end camera: Nikon Z8
- The compact option: Sony a7CR
- A capable Canon: Canon EOS R5
- High-spec high res: Sony a7R V
- IQ above all else: Fujifilm GFX 50S II
- Best for video: Sony FX3
46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video
The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.
Photo: Richard Butler
Buy now:
$3997 at B&H Photo $3997 at Adorama $3997 at Amazon What we like:- Superb autofocus
- Fast shooting
- Excellent video
- Large, heavy body
- Relatively low-res (though fast) viewfinder
- Not all subject detection modes equally good
The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor.
The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. The Z8 can be set to track whatever's under the AF point and does so dependably. It can also prioritize recognized subjects near the AF point if you prefer. 20fps Raw shooting or 30fps full-res JPEG capture (with pre-burst option) make the Z8 very rapid. "The Nikon Z8 is one of the best cameras we've yet tested, combining fast shooting, great AF, strong video and top-notch IQ" Image quality is excellent, with high detail levels maintained into fairly low light. JPEG color is attractive and the there's no sign of degradation if you use the more compressed Raw options. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and solid AF make it easier to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"6045530466","isMobile":false}) }) The compact option: Sony a7CR61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.
Photo: Richard Butler
Buy now:
$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- Small, low-res viewfinder
- No joystick control
- No fully mechanical shutter
The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.
The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a bit noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.Read our Sony a7CR initial review
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) A capable Canon: Canon EOS R545MP full-frame sensor | Dual Pixel AF | Up to 8K full-width Raw video
Canon's EOS R5 is a very capable all-rounder, despite being the oldest camera in this group
Photo: Dan Bracaglia
Buy now:
$3399 at B&H Photo $3399 at Adorama $3399 at Amazon What we like:- Impressive image quality
- Excellent ergonomics, usability
- Impressive AF with 100% coverage
- Internal HDR or 10-bit 4:2:2 video capture
- Great in-body stabilization
- Overheating looks to be a problem in video
- So-so battery life with EVF at 120 fps
- HDR stills options a bit buried, internal displays not HDR capable
The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.
The Canon EOS R5 offers great image quality and very solid AF but the arrival of the Nikon Z8 starts to show the weaker points in its spec: its 20fps mode uses electronic shutter which isn't especially fast to read out, risking rolling shutter. Likewise the video looks great but the HQ 4K mode, taken from 8K capture, and 8K itself can prompt the camera to overheat fairly readily, and it can't shoot either at 60p as the Nikon can.
Its high degree of backward compatibility is a major factor in its appeal, even if it's a little behind its rivals in some respects. If you have any significant committment to high-end Canon EF DSLR lenses, the EOS R5 will offer the most consistent performance with them.
The EOS R5 could easily find a home with landscape, wedding, event and even sports photographers Although heat build-up limits how long you can shoot super high-quality video, the EOS R5 remains an excellent all-around option for photographers of all kinds. The EOS R5 could easily find a home among landscape, wedding, event and even sports photographers that are looking for a well-built, do-it-all mirrorless camera.See the Canon EOS R5 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7757595702","isMobile":false}) }) High-spec high res: Sony a7R V61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF
Photo: Richard ButlerBuy now:
$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:- Very detailed Raw files with excellent dynamic range
- Tilt/articulating display suits both photo and video
- Very reliable autofocus, especially for human subjects
- Pixel shift high res and focus stacking require desktop s/w
- Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 (and, to a lesser extent, the Canon EOS R5) offers. It can shoot 8K video but only with a major crop and significant rolling shutter.
The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.
See the Sony a7RV studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0641980724","isMobile":false}) }) Should I still buy a Sony a7R IV?The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so is still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which makes the V's footage much more flexible in the edit.
For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.
The a7R IV's fiercest competition comes from the Sony a7C R, though. It too lacks the a7R V's more effective image stabilization but in most other respects more than matches the IV in a more convenient package.
IQ above all else: Fujifilm GFX 50S II51MP BSI-CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p
Photo: Richard ButlerBuy now:
$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:- The most affordable medium-format ILC yet
- Photographer-friendly ergonomics, with lots of customization
- Effective in-body stabilization
- Contrast-detect AF is slower than its peers
- Image quality not signficantly better than the best full-frame
- Eye-detection AF isn't as dependable as rival systems
- Unimpressive video specifications (HD only)
The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.
Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.
Read our Fujifilm GFX 50S II review
See the Fujifilm GFX 50S II studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1563449385","isMobile":false}) }) Best for video: Sony FX312MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture
Buy now:
$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:- Excellent video quality
- XLR top-handle included
- Fan for extended recording
- No DCI video options
- No viewfinder for stills shooters
- No shutter angle option
The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.
The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.
It's worth being aware that Canon also makes a video-focused version of the EOS R5. The EOS R5C gains a fan but omits an image stabilization mechanism. Its price takes it beyond the scope of this guide but we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.
Why you should trust usThis buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
New: Best high-end cameras
Updated Nov 13, 2023
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });Once you venture above $2500, you gain access to some extremely capable cameras. These are the models that deliver the highest levels of detail, some of the most sophisticated video features, high burst rates or a combination of all three.
For most applications, the cameras around $2000 are excellent, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.
It's notable that there's no such thing as a bad camera at this level, so if you have any investment at all in the lens system of one company (or plan to adapt DSLR-era lenses from them), this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.
Our recommendations:- Best high-end camera: Nikon Z8
- The compact option: Sony a7CR
- A capable Canon: Canon EOS R5
- High-spec high res: Sony a7R V
- IQ above all else: Fujifilm GFX 50S II
- Best for video: Sony FX3
46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video
The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.
Photo: Richard Butler
Buy now:
$3997 at B&H Photo $3997 at Adorama $3997 at Amazon What we like:- Superb autofocus
- Fast shooting
- Excellent video
- Large, heavy body
- Relatively low-res (though fast) viewfinder
- Not all subject detection modes equally good
The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor.
The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. The Z8 can be set to track whatever's under the AF point and does so dependably. It can also prioritize recognized subjects near the AF point if you prefer. 20fps Raw shooting or 30fps full-res JPEG capture (with pre-burst option) make the Z8 very rapid. "The Nikon Z8 is one of the best cameras we've yet tested, combining fast shooting, great AF, strong video and top-notch IQ" Image quality is excellent, with high detail levels maintained into fairly low light. JPEG color is attractive and the there's no sign of degradation if you use the more compressed Raw options. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and solid AF make it easier to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it. $(document).ready(function() { SampleGalleryStripV2({"galleryId":"6045530466","isMobile":false}) }) The compact option: Sony a7CR61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.
Photo: Richard Butler
Buy now:
$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- Small, low-res viewfinder
- No joystick control
- No fully mechanical shutter
The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.
The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a bit noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.Read our Sony a7CR initial review
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) A capable Canon: Canon EOS R545MP full-frame sensor | Dual Pixel AF | Up to 8K full-width Raw video
Canon's EOS R5 is a very capable all-rounder, despite being the oldest camera in this group
Photo: Dan Bracaglia
Buy now:
$3399 at B&H Photo $3399 at Adorama What we like:- Impressive image quality
- Excellent ergonomics, usability
- Impressive AF with 100% coverage
- Internal HDR or 10-bit 4:2:2 video capture
- Great in-body stabilization
- Overheating looks to be a problem in video
- So-so battery life with EVF at 120 fps
- HDR stills options a bit buried, internal displays not HDR capable
The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.
The Canon EOS R5 offers great image quality and very solid AF but the arrival of the Nikon Z8 starts to show the weaker points in its spec: its 20fps mode uses electronic shutter which isn't especially fast to read out, risking rolling shutter. Likewise the video looks great but the HQ 4K mode, taken from 8K capture, and 8K itself can prompt the camera to overheat fairly readily, and it can't shoot either at 60p as the Nikon can.
Its high degree of backward compatibility is a major factor in its appeal, even if it's a little behind its rivals in some respects. If you have any significant committment to high-end Canon EF DSLR lenses, the EOS R5 will offer the most consistent performance with them.
The EOS R5 could easily find a home with landscape, wedding, event and even sports photographers Although heat build-up limits how long you can shoot super high-quality video, the EOS R5 remains an excellent all-around option for photographers of all kinds. The EOS R5 could easily find a home among landscape, wedding, event and even sports photographers that are looking for a well-built, do-it-all mirrorless camera.See the Canon EOS R5 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7757595702","isMobile":false}) }) High-spec high res: Sony a7R V61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF
Photo: Richard ButlerBuy now:
$3898 at B&H Photo $3898 at Adorama What we like:- Very detailed Raw files with excellent dynamic range
- Tilt/articulating display suits both photo and video
- Very reliable autofocus, especially for human subjects
- Pixel shift high res and focus stacking require desktop s/w
- Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 (and, to a lesser extent, the Canon EOS R5) offers. It can shoot 8K video but only with a major crop and significant rolling shutter.
The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.
See the Sony a7RV studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0641980724","isMobile":false}) }) Should I still buy a Sony a7R IV?The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so is still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which makes the V's footage much more flexible in the edit.
For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.
The a7R IV's fiercest competition comes from the Sony a7C R, though. It too lacks the a7R V's more effective image stabilization but in most other respects more than matches the IV in a more convenient package.
IQ above all else: Fujifilm GFX 50S II51MP BSI-CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p
Photo: Richard ButlerBuy now:
$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:- The most affordable medium-format ILC yet
- Photographer-friendly ergonomics, with lots of customization
- Effective in-body stabilization
- Contrast-detect AF is slower than its peers
- Image quality not signficantly better than the best full-frame
- Eye-detection AF isn't as dependable as rival systems
- Unimpressive video specifications (HD only)
The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.
Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.
Read our Fujifilm GFX 50S II review
See the Fujifilm GFX 50S II studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1563449385","isMobile":false}) }) Best for video: Sony FX312MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture
Buy now:
$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:- Excellent video quality
- XLR top-handle included
- Fan for extended recording
- No DCI video options
- No viewfinder for stills shooters
- No shutter angle option
The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.
The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.
It's worth being aware that Canon also makes a video-focused version of the EOS R5. The EOS R5C gains a fan but omits an image stabilization mechanism. Its price takes it beyond the scope of this guide but we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.
Why you should trust usThis buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
iPhone 15 Pro sample gallery: Do its high-res photos measure up?
The question around each iPhone release is not whether Apple has improved the cameras – the answer is always yes – but where those improvements lie. Last year's iPhone 14 Pro brought a 48MP sensor to the iPhone lineup for the first time, but you had to capture in Raw format to get the full resolution. In non-Raw shooting, photos were a more modest 12MP resolution.
The iPhone 15 Pro and iPhone 15 Pro Max use the same sensor for the primary camera, but the default capture resolution is now 24MP in most situations, with the option to capture 48MP (8064x6048) HEIC files to take advantage of the full resolution. (See Apple's iPhone 15 and 15 Pro: Imaging tech examined for more details.)
Buy Now:
$999 at Apple $999 at Best BuyThis gallery includes images from the iPhone 15 Pro, which shares the same cameras and sensors as the iPhone 15 Pro Max except for the telephoto camera, which provides a 5x (120mm equivalent) zoom option and a 12MP sensor. The iPhone 15 Pro shares the same 3x (77mm equivalent) telephoto camera as its predecessor. When we get our hands on the iPhone 15 Pro Max, we'll update this gallery with images from its new tetraprism telephoto design.
What is global shutter: 3 ways it can change photography
A global shutter lets you use flash at a much wider range of shutter speeds: so you can use a short exposure to prevent a sunset blowing out, but still light your subject with a strobe.
Sony FE 135mm F1.8 | 1/4000 sec | F2.8 | ISO 400
Photo: Richard Butler
The Sony a9 III is the first full-frame mirrorless camera to be built around a global shutter CMOS sensor, and we doubt it'll be the last. So what is global shutter and what does it mean for photographers?
Progressive shuttersA global shutter is one that captures all its pixels simultaneously. To understand the potential benefits this brings, it's worth understanding the alternative: the progressive shutters used in the majority of large sensor cameras.
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });Most cameras use a mechanical shutter mechanism to end their exposures, and the majority use one to start them, too. Mechanical shutters are typically a series of thin blades that cover the sensor to prevent it from receiving any additional light, outside the time you want to capture an image. But, while they move very quickly to start and end the exposure, they're not instant. This means that the top of the photo is captured a fraction of a second before the end of the photo. In most instances, this makes little or no difference, but there are circumstances in which it affects the image, and this is where global shutters have an advantage.
Global shutters The Sony a9 III is the first ILC to utilize a Stacked CMOS sensor with a global shutter.There are three main benefits to global shutter, all of which relate to situations where the scene changes incredibly quickly.
The most obvious of these is flash photography, where the flash itself lights up the scene for only a tiny fraction of a second. Even the fastest mechanical shutter will take around 1/250th of a second to travel across the sensor, so any exposure shorter than this requires the second curtain of the shutter to start closing before the first one has fully opened. This means there’s no point in time where the entire sensor is exposed, so a single flash of light can’t light up the whole image. This is the flash sync speed.
With a global shutter this isn’t a problem: the whole sensor is captured at exactly the same time, so the whole image will be illuminated by the flash, even for the shortest exposure. This means you can use strobes in their most powerful, single flash mode, rather than having to resort to high-speed sync, which tries to pulse or extend the duration of the flash.
In practice, this means a global shutter camera can use the shutter speed to adjust the background brightness of a flash image, even if with short exposures. The flash level and aperture will control the exposure of the foreground, but you can darken everything else in the image, or prevent the background from blowing out using the shutter speed.
Interestingly though, at very short exposures you risk the opposite of the problem progressive shutters have: instead of having to extend the duration of the flash to accommodate a slow shutter, you risk the exposure being too short to capture all of the flash's output.
BandingEven with the fastest of progressive shutters, there's a risk of banding appearing if you shoot an image with a flickering LED panel in it. This banding is harder-edged and therefore more prominent with a fully electronic shutter, such as the one in the Nikon Z9, shown here. Though, as professional sports shooter Mark Pain highlights: "99% of viewers don’t notice [it] anyway."
Photo: Mark Pain
The second situation where a global shutter comes in handy is another one where you have short pulses of light such as in LED lighting and displays. LED lights often turn on and off very quickly to control their perceived brightness, while LED displays flicker to show different colors or brightnesses, or refresh to display a different image. With a progressive shutter it’s possible to accidentally capture this flickering pattern because each part of the image is capturing a slightly different slice of time. This doesn’t happen with a global shutter because it captures a single instant. There’s still a risk of the exposure changing, shot-to-shot as the LEDs flicker on and off, but you won’t get distracting bands in your images.
With very short exposures there’s a chance that LED display panels will appear the wrong color though. LED displays control which color they appear by making their different colored elements flicker at different rates, so there’s a chance you’ll capture an image at a moment when some of the elements aren’t illuminated, or where you only captured a part of their flicker pattern.
DistortionRolling shutter distortion is rarely a problem in stills photography but can result in slightly misshapen objects if they move across the frame quickly enough. It's video where distorted motion tends to be more of a distraction.
Photo: Dale Baskin
The third benefit of a global shutter is that you can’t get distorted images because your subject has moved while the shutter was opening and closing. You’ll still get motion blur if your exposure is too long, but there's no risk of movement occurring during the start and end of the exposure. This is rarely a problem with mechanical shutters: in principle, a global shutter will avoid distortion with even the faster moving subjects such as moving rotor blades or a golf swing, but it’s pretty uncommon to take a photo with a mechanical shutter and see noticeably distorted movement.
It matters much more in video, where cameras typically use electronic shutters that read out progressively. Some of the latest cameras are very fast, but there are plenty of 4K-capable cameras where each frame’s exposure takes more than five times longer to start and end than with a good mechanical shutter. This means there are more types of subject motion or camera movement that generate visible distortion. So it’s video shooters who are most likely to appreciate the elimination of the rolling shutter effect that an instantaneous global shutter brings.
Sony a9 III sample gallery: Global shutter has arrived
Earlier this week, Sony announced the a9 III mirrorless camera, the first full-frame camera to feature a global shutter, which can capture images at up to 120 fps with no blackout at a maximum shutter speed of 1/80,000 sec. We had an opportunity to shoot with a pre-production a9 III for a few hours following the announcement, including indoor sports and outdoor portraits along the High Line in New York's Hudson Yards neighborhood.
A few of the photos in this gallery were captured with Sony's new 300mm F2.8 GM OSS lens, and we also took advantage of the global shutter to take some flash photos at high shutter speeds. Since we were shooting an early pre-production unit, we were asked not to publish Raw files from the camera.
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$5998 at B&H $5998 at AdoramaWe're a long way from being able to review a production model of the a9 III, but our first impressions of the camera's handling were generally positive. The updated grip represents a noticeable improvement compared to previous Sony models, and the custom function buttons on the camera's top plate have more contour, making them easier to find quickly without looking.
Additionally, the new C5 custom function button on the front of the camera, set by default to activate the a9 III's Boost Mode, is relatively easy to reach while shooting. I found it helpful when photographing sports, shooting at one of the camera's standard burst rates, then mashing the C5 button just as I sensed a decisive moment of action.
We look forward to getting our hands on a production a9 III as soon as possible to test it thoroughly. For now, look through the gallery and let us know what you think of the image quality.
Sony a9 III: what you need to know
The Sony a9 III is the latest in the series of high-speed cameras that was the first to bring Stacked CMOS technology to the mirrorless camera market. The new model is the first full-frame mirrorless camera to offer a truly global shutter: one where all its pixels are read out simultaneously.
This means the a9 III doesn't need a mechanical shutter, since the sensor can do everything a mechanical shutter can do, and more. While this isn't everything the a9 III offers, it underpins much of what sets it apart from the other sports cameras on the market, so that's where we'll start.
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$5998 at B&H $5998 at Adorama Global shutter - No distortion, 120 fpsThe most obvious benefit of using a global shutter is that there's no risk of distortion if the subject moves quickly across the frame. This is true in both stills and video, meaning the a9 III can shoot very fast-moving subjects with no risk of distorted verticals.
This makes sense for a camera that can shoot at 120 frames per second and pre-buffer to capture action. A camera designed for capturing very fast bursts of motion wouldn't work if it warped and distorted that motion.
Sony clearly recognizes that 120fps isn't the right mode for most shooting, so has added a custom button option that lets you engage up to 120fps shooting while the button is held down, allowing you to focus your bursts just on the critical moments. This 'Continuous Shooting Speed Burst' button can be set to invoke anything from 5fps to 120fps, depending on your needs.
Global shutter - sync at any speedThe benefit of the global shutter that more users are likely to experience is the ability to flash sync at any speed. Progressive shutters (whether electronic or mechanical) take a certain amount of time to start or end an exposure, and the camera's sync speed is typically defined by this rate. The rate at which exposure can be started and stopped defines the maximum amount of time the whole sensor can be fully exposed before the second curtain has to begin the process of ending the exposure. To use flash beyond this point requires the use of high-speed sync: pulsing the flash to ensure even exposure with the sensor only partially exposed.
Global shutter entirely eliminates this problem: all pixels are captured simultaneously, so the only challenge comes if the burst of flash itself lasts longer than the exposure. The camera will try to sync at shutter speeds up to 1/80,000 sec. This ability to use short exposures means that, as with leaf-shutter systems, you can control the background exposure even in bright light, while still using flash to illuminate your subject.
Sony's own F46RM and F60RM2 flashes can sync up to the maximum shutter speed (albeit with reduced power). Third-party flashes may see reduced brightness if you use a shutter speed shorter than the duration of their flash burst. If this occurs, you can adjust the tiny delay that occurs before the flash is fired, to help increase the overlap between the flash's peak output and the exposure.
Global shutter - no bandingThe other problem global shutter overcomes is that there's no risk of capturing different parts of an LED advertising panel's flick in different parts of your image. This could cause banding which is particularly pronounced when using an all-electronic progressive shutter. The a9 III captures the entire scene as a single moment in time, so there's a risk of shooting an LED panel part of its way through refreshing, but not of capturing multiple points in that refresh, and hence no banding.
When working under LED illumination, there's a risk of varying exposure, shot-to-shot, as the light flickers, but the a9 III has an Anti-Flicker mode that measures the flicker of the lights, then syncs the taking of photos with the brightest point in the flicker cycle, meaning you don't get dark or miscolored images during bursts, even under flickering lights.
The challenge of global shutterGlobal shutter CMOS designs have existed for a number of years but none of them have appeared in stills cameras. The main challenge has been that the additional circuitry required for instant readout has taken up room in each pixel, limiting its dynamic range.
The a9 III uses a Stacked CMOS design which allows the circuitry and the photodiode to be moved into separate layers, alleviating some of this fight for space. However, it's worth noting that the a9 III has a base ISO of 250, which suggests it has a lower full well capacity (less capacity for storing the charge generated during exposure). This reduced capacity for charge would mean the pixel clips earlier than conventional designs and hence is rated as having a higher base ISO.
However, if the higher base ISO is a result of reduced well capacity, rather than a major change in read noise, it won't necessarily have any negative impact on high ISO performance. The added circuitry needed to provide a global shutter is also likely to mean this isn't a dual gain sensor, since such designs also add to the circuit complexity. Sony Semiconductor has already introduced small sensors that separate the photodiode, the transistor and the readout circuitry, helping to further ease this DR restriction, but that doesn't appear to be the case here.
The downside is the need to utilize a Stacked CMOS manufacturing process to make global shutter practicable. At present, the least expensive APS-C camera with a Stacked CMOS sensor is Fujifilm's $2500 X-H2S, and the least expensive full-framer is Nikon's $4000 Z8, so don't expect this tech to trickle down to more modest models soon.
Bursts at up to 120fpsThe a9 III's most eye-catching spec is its ability to shoot at up to 120fps, and to pre-buffer up to one second's worth of images from before you fully press the shutter. You can fine-tune how much of a pre-burst you want, from 1 second down to 0.1 seconds in 0.1 second increments, then down to 0.01 seconds in 0.01 second steps. There's also a 0.05 second pre-burst option if you think you're only missing your shot by the slightest fraction of a second.
If you prefer to use initiate AF with something other than the shutter button, you can choose whether to use this, a half-press of the shutter or both to start the pre-burst recording.
We're told it can do this for 1.6 seconds even in 14-bit Raw, requiring a throughput of 6GB/s
Noticeably this is far beyond the maximum write rate of the CFexpress Type A cards used by the camera, so there's clearly a large buffer within the camera. All modes are available with both CFe and SD cards, with different card types affecting how long the buffer takes to clear. It would seem to follow that the camera could clear its buffer twice as fast if Sony had used the more common CFexpress Type B cards, which have twice the read/write channels of Type A cards.
Video with zero distortionThe a9 III can shoot 4K at up to 120p without a crop. It doesn't have enough pixels to capture 8K but will use all 6000 horizontal pixels for its 60p or slower footage.
As with stills, there will be no rolling shutter distortion or banding risk with the a9 III, making it ideal for shooting scenes with lots of movement. As with recent Sony models, it can capture 10-bit footage with up to 4:2:2 color subsampling.
Unlike the existing a9 models, the Mark III offers S-Log3 capture. As usual, the S-Log3 tone curve, designed to accommodate three additional stops of highlight capture, compared with standard color modes, means the base ISO jumps 3EV from 250 to 2000. The a9 III also offers the attractive S-Cinetone color mode (base ISO 320).
Improved ergonomicsErgonomics has long been an area of criticism of Sony, with the company generally making improvements, generation on generation. The a9 III continues this pattern with a significantly reworked hand grip. There's a more pronounced bump at the top of the camera and a grip that encourages a slightly curved-in hand-hold, pushing your finger back towards the shutter button. The two custom buttons behind the shutter release are now raised, making them easier to reach.
We used the camera with the new 300mm F2.8 and other sizable lenses for several hours and found it to be the most comfortable Sony camera yet.
EVFThe a9 III uses the same 9.44M dot (2048 x 1536 pixel) viewfinder as the Sony a7R V, which offers a massive 0.9x magnification. By default, the screen refreshes at 120fps with no blackout during burst shooting. There's also a 240fps refresh mode, but the resolution of the panel is reduced in this mode.
Interestingly, because the viewfinder and rear screen are still refreshed progressively, it can appear that the camera is exhibiting rolling shutter in some extreme conditions. If you examine the individual frames, all the verticals are straight: it's just the refresh speed of the display panels (the rear LCD in particular) that gives the impression of slight distortion.
Advanced AFAs you might expect, the a9 III includes all the subject recognition AF modes Sony has been developing in recent years. This means it has the ability to recognize humans, animals and birds, just animals, just birds, insects, cars and trains, and airplanes. You can limit which of these modes is available, just as you can limit the camera to just showing the AF area modes you like to use, and you get a choice over whether the camera highlights the recognized subjects it's found in the scene.
The use of the latest Bionz XR processors and a dedicated chip for crunching the complex machine-learning-derived algorithms means the a9 III should outperform even the a1 in terms of subject tracking. Sony says the a9 III can recognize subjects when they're half the size in the frame that the a9 II required.
Sony also says that because the a9 III provides such frequent updates of information to the processor, it represents the most effective instance of its subject recognition AF tracking yet.
Battery gripAs you might expect for a pro-targeted sports camera, Sony offers a battery grip for the a9 III. The VG-C5 displaces the battery in the camera body and has space for two NP-FZ100 batteries. It offers vertical orientation duplicates of the camera's main controls, including a second C5 button, in reach of the middle finger as you operate the camera.
There are twin dials on the rear shoulder of the unit, with AF-On and AEL buttons and an AF joystick, all with the same layout and relative position to one another as on the camera's body. Sony says the two batteries are treated as a single unit, used simultaneously, rather than individual batteries that are discharged in turn, which it says has allowed it to squeeze an additional 15% endurance out of the grip.
SummaryThe a9 III is a fairly significant step forward for the a9 series: it brings all the upgrades we'd expect (the latest processing and high-res viewfinder from the a7R V) with one we didn't: the adoption of a truly global shutter for the first time in a full-frame stills ILC.
The camera itself won't be available for several months, yet, so we've been restricted to publishing JPEG images for now, but we'll be looking at the camera's image quality in more detail, the moment we can get a final production sample. In the meantime, we'll be trying to work out all the things that a camera with no need for a progressive shutter (electronic or mechanical) will allow us to do.
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$5998 at B&H $5998 at AdoramaDream of shooting fashion shows? Here's how to start your runway journey.
Photographing Fashion Week isn't for the faint-hearted but anyone who is up for the challenge will have an amazing time and leave with some incredible photos.
Photo: Theano Nikitas
Every spring and fall, designers present their new collections to buyers and fashion editors/writers. Although New York, London, Milan and Paris Fashion Weeks are the gold standard, the number of fashion events has expanded far beyond the core four. Many cities in the U.S. and around the world host their own version of Fashion Week, so there is likely an opportunity for you to shoot locally whether you live in Philadelphia, Copenhagen, Tokyo and beyond.
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });The majority of fashion shows present women's ready-to-wear (and, on occasion, some men's clothing, too). However, other shows revolve around a variety of genres specializing in swimwear, bridal, menswear, designer collectives representing a specific country or region, kids and even pets. Understanding these options and thinking about the direction you want to follow will help you move forward when applying for press credentials.
Beyond the traditional fashion show, there are opportunities to photograph more specialized events such as Bridal Fashion Week. Rather than a standard venue, one year designer Ines Di Santo presented her bridal collection at a beautiful location with large windows looking out over Manhattan's Columbus Circle. I was able to position myself to the side, away from the group of photographers gathered at center stage and was rewarded with this lovely profile shot.
Photo: Theano Nikitas
I've been been shooting New York Fashion Week since 2005. Here's what I've learned in the past 18 years.
Gaining AccessThe first Fashion Week challenge is getting access to the shows. While there are some fashion events that sell tickets to the general public, there's no guarantee that you'll have a good enough spot to take decent pictures so your best bet is to pursue official credentials. Generally, each designer's PR agency holds the keys to press passes. Alternatively, some organizations act as an umbrella for multiple designers and have a single press contact.
This was one of my first Fashion Week photos from 2005. Olympus was the title sponsor and invited photo industry editors and writers/photographers to attend and shoot a show from their reserved seats in the audience, which is the angle from which this was shot. I later volunteered to shoot from the "pit" (which then held about 300 photographers) and was hooked.
Photo: Theano Nikitas
One of the most basic requirements for press access is affiliation with an outlet that will publish your images such as newspapers, magazines, wire services and blogs. Higher circulation and more targeted publications usually get preference. An assignment letter from an editor adds credibility to your request and is often key (although no guarantee) for a positive response. If you're working with an accredited writer, they may be able to facilitate a photo pass for you.
Press information can usually be found on each Fashion Week's site. Once you find the appropriate contact, keep your email brief and to the point. Include your affiliation, the type of access you're requesting (photo riser, backstage, or both) and, if available, send a link to relevant clips/portfolios. If your application is accepted, you may not hear back until a week or even a few days before the show. Not ideal for planning ahead but that's how it works.
Hair and make-up are integral parts of any fashion show and shooting backstage provides a glimpse into preparations – a must if your client is providing these services or products to a show.
Photo: Theano Nikitas
If you don't already have a working relationship with a publication, get creative and approach outlets for an assignment. Remember, hair and make-up are an integral part of fashion. Consumer and trade magazines (such as those subscribed to by salons) often report on the latest beauty trends and may need photos from backstage hair and make-up preparations as well as the final beauty looks on the runway.
Another road to fashion show access is via companies that sponsor or partner with designers. In addition to those that supply hair and make-up services and products, vendors that provide shoes, jewelry and other accessories for a specific designer may also need photos of their products on the runway.
"The bottom line is that you need to pull out all the stops and network like crazy to gain access."The bottom line is that you need to pull out all the stops and network like crazy to gain access. Let everyone know that you're interested in shooting Fashion Week. You may be surprised at how easily a friend-of-a-friend-of-a-friend with connections may be willing to help you out. The power of networking cannot be underestimated, especially in the fashion industry.
Don't lose heart if your initial queries are met with silence. Seek out local opportunities that may be a little easier to access. High schools and universities may have small runway shows that need photographers. Boutiques and some department stores offer trunk shows to present designers' collections. Build up experience and your portfolio, develop contacts and, if you're persistent, you'll likely be on the photo riser sooner than you think.
The GearAs New York's Fashion Week shows have spread out over the city, venues (and photo risers) have become smaller than when NYFW was held at Bryant Park. If you shoot backstage, you generally have early access to the riser and a chance at getting a decent spot. Right before the show starts, this space will grow by about 2/3 with every square inch occupied by a photographer or videographer.
Photo: Theano Nikitas
Even before you apply for credentials, check your gear to make sure you have what you need for a successful Fashion Week shoot and that everything is in good working order. We've put together some general suggestions that should cover most, if not all, scenarios. I've found the best approach to shooting Fashion Week is to keep it simple (and lightweight). Even if you're not running up and down NYC subway stairs rushing from one show to the next, the photo riser is always crowded with very little room to stow camera bags or cases. Room to move backstage and at presentations is also limited. and there is generally nowhere secure to leave your camera bag.
More important than the type of camera in your bag is knowing how to use it. Seems obvious, right? But if your exposure or white balance or shutter speed is off, there's no time to look at buttons and dials or delve into menus to adjust settings. You have only a split second to make changes or you'll likely miss some shots.
Suggested basic gear list:- 1-2 camera bodies
- 24-70mm lens, f/2.8 or f/4 (best for backstage, presentations and very short runways)
- 70-200mm lens f/2.8 or f/4 (possibly longer, depending on venue/position on the riser)
- Extra batteries (fully charged)
- Extra media cards (formatted)
- Lens pen or microfiber cloth
- Monopod
- Small flashlight for finding things in your bag
- External flash (backstage/presentations but optional; never for runway)
- A turtle (small folding stool for sitting or standing on the riser; optional)
- Business cards
- Snacks and water
Feel free to use flash backstage or doing a presentation where models remain in static poses, as shown above, but never use flash on the runway.
Photo: Theano Nikitas
My Fashion Week set-up changes according to the show venue. I try to travel with the least amount of gear as possible. My kit most often includes a Nikon D850 with the Nikon D500 as backup. Lenses include the AF-S Nikkor 24-70mm f/2.8G ED, 70-200mm f/2.8 GII ED VR or the 300mm f/4E PF ED VR. When shooting backstage, I'll bring a Profoto A1. For the runway I'll sometimes use a Gitzo monopod with an Acratech ballhead and I always carry extra batteries and a variety of media cards from SanDisk, ProGrade Digital and Lexar. Images are downloaded to SanDisk SSD drives, edited in Adobe Photoshop and prepped for upload to a wire service with Photo Mechanic software.
Suggested camera settingsI prefer to shoot on manual so I can adjust shutter speed or aperture as needed since lighting may be uneven with hotspots and deep shadows along the length of the runway. A perfect exposure when the model is halfway down the runway may be a couple of stops slower than the bright spot in front of the riser where the model stops to pose so you may need to make split-second adjustments. Alternatively, some shows, as seen below, have a fixed spotlight that perfectly illuminates the model.
For most runway shows I've found that a good starting point is F4 with a shutter speed between 1/250 – 1/400th second with an ISO that delivers the best exposure at those settings. It's unlikely that you'll have to venture into noisy ISO territory with those aperture/shutter speed settings but it's something to keep in mind. Get to know your camera's ability to handle high ISO ahead of time.
Shooting JPEG and Raw (or, just Raw) is ideal as is utilizing dual card slots with the second slot set as backup. I once had a card failure in the middle of a show and having that second card was a lifesaver.
Occasionally, a show will create its own dramatic lighting that works perfectly once the model hits their spot.
Photo: Theano Nikitas
White balance is often a challenge especially when lighting is a mix of artificial and window light or the runway is spattered with moving colored spots or other gelled lights. If you're on the riser early enough to watch the rehearsal, take some shots to gauge the white balance. Very occasionally, the show producer will visit the riser with color temperature information or the house videographer will share their readings. But when you don't have a Kelvin reference, go with auto white balance and Raw.
"I once had a card failure in the middle of a show and having that second card was a lifesaver."Continuous AF works well and while low continuous shooting can be helpful, take care to not go overboard – remember, you have to download, review and edit all those files, often on a very tight deadline. Additionally, center-weighted metering often delivers good results at shows.
These are just suggestions to get you started. Every show is different so what works for one show might not work for the next. Be prepared to prep your camera each time.
Shooting tipsThe "standard" runway photo is a vertical shot of the model including full-length, 3/4 and a close-up head/shoulders shots directly in front of the riser. While there's heavy competition for the center position, those best spots are usually reserved for the house photographer and videographer. If you have a backstage pass, you can usually get on the riser before it's overcrowded and get a decent spot.
Other factors, such as the models walking up and down the sides of the runway or a unique runway layout, also affect the angle at which you're shooting so you may need to get creative when composing your shots.
If you get on the riser early enough, you may be able to snag one of the coveted center positions and get the perfect straight-on view of the models.
Photo: Theano Nikitas
As you're shooting, keep an eye on the model's feet. Ideally, both (or at the least the forward foot) should be flat – or close to flat – on the floor. The best way to achieve this is to pace your shutter clicks to the beat of the music since that's how the models (generally) time their steps.
At the same time, both arms should be visible whenever possible and the model's eyes should be open and looking straight ahead. If and when models need to turn – let's say, to go back up the runway – they will look down at the floor, so avoid shooting at that time.
Typically, images are shot vertically and as centered to the runway as possible. Be sure to time your shutter clicks with the beat of the music so the model's front foot is flat on the floor. Make sure the model's eyes are open and both arms are visible.
Photo: Theano Nikitas
Don't forget to include the backs of particularly interesting designs. It's your job to show off the best of the look and that includes the full 360°.
Pay attention to the backs of the looks. The ideal shot is when the model pauses at the foot of the runway and looks over their shoulder.
Photo: Theano Nikitas
Frankly, I've found that shooting a little off-center provides a unique point-of-view and a more interesting photo. Including the audience in the shot (which is sometimes inevitable), gives a better sense of the fashion show experience as well. And don't be afraid to shoot wide to give your images a more expansive overview of the scene.
Don't be afraid to shoot wide and tweak your exposure to darken the audience.
Photo: Theano Nikitas
When the scene allows, I like to tweak exposure in order to darken the audience to achieve a more dramatic look. This works best when the runway is well-lit or the model hits their spot with brighter lighting.
At the end of the show, all the models will walk the runway. The finale is also a good opportunity to shoot any looks you might have missed earlier.
Photo: Theano Nikitas
For the finale, the models walk the runway together, generally in a straight line so you can play with composition or grab a photo of a look you might have missed the first time. Once the models have exited the runway, the designer will usually come out for a bow so don't put your camera away until the very end.
Keep your camera pointed at the runway after the models' final walk to capture the designer when they take a bow.
Photo: Theano Nikitas
Once the show ends, make sure you have all your belongings before you join the crowds exiting the venue. If you have more than one show scheduled for the day, allow plenty of time to get from one location to the next keeping in mind that once you get to the venue, you'll need to check in, pick up credentials for that show and make your way to the riser – which almost always takes longer than anticipated. Maybe slot in a little break to grab a bite to eat, too.
"Sometimes, at the end of a season I'll say, "that's it, I'm done, it's too exhausting." But...about six months later, I'm back on the riser as excited to shoot as I was the first time I pointed my lens at a runway."Shooting Fashion Week can be physically taxing, especially when you've scheduled back-to-back shows over the course of a few days combined with the nightly task of editing and submitting images. Sometimes, at the end of a season I'll say, "That's it, I'm done, it's too exhausting." But the Fashion Week force is too strong and about six months later, I'm back on the riser as excited to shoot as I was the first time I pointed my lens at a runway.
Sony announces a9 III: World's first full-frame global shutter camera
Sony has announced the Alpha 9 Mark III, the world's first full-frame camera with a global shutter. It can shoot at 120 fps with no blackout and a maximum shutter speed of 1/80,000 sec.
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });It's a 24.6MP camera that Sony says doesn't compromise on ISO performance or dynamic range. The camera has a base ISO of 250 though, which is likely to mean that its DR is comparable to existing cameras at that sensitivity setting. The global shutter means photos with zero distortion of movement. It promises 8EV of in-body stabilization.
The a9 III is built around the latest Bionz XR processors, giving eight times as much processing power as was present in the a9 II.
The a9 III can shoot 120 fps with full AF conducting calculations between each shot. It can continue this for 1.6secs of 14-bit Raw files: 192 frames and 6Gb/s. It can pre-buffer for up to 1 sec, giving a preemptive 120 frames of pre-capture. The camera includes a 'Speed Boost' custom button to prompt the camera to jump from a slower rate up to 120 fps.
Sony has published a list of lenses able to shoot at 120fps with full AE and AF in AF-C mode.
CMOS sensors with a global shutter have been available for several years but haven't been able to offer as much dynamic range as conventional, progressive-scan designs. The emergence of Stacked CMOS technology allows the photo diode and readout circuitry to be built as separate layers, providing more space for the readout circuitry without cutting so much into the sensor's capacity to store electrons (which can limit dynamic range).
Sony isn't giving detail of the sensor but it appears to be a two-layer design, not the three-layer approach being used for some smartphone sensors. This might explain the base ISO of 250, which will ultimately limit the camera's maximum dynamic range. Sony isn't quoting a DR figure for the camera. Unlike the original a9, the a9 III includes the ability to shoot in S-Log3, with base ISO jumping by 3 stops to ISO 2000, to facilitate its greater degree of highlight capture.
The global shutter means the a9 III can sync at up to 1/80,000 sec and eliminates the need for High Speed Sync, and allows this feature with third-party flashes. It also means there's no risk of banding from artificial lights, but the camera has an 'Anti-Flicker' mode that syncs the shutter with the bright point in the light's cycle, to avoid inconsistent exposure.
It's rated to focus down to -5EV with an F1.8 aperture lens. It adds smaller AF points, alongside Sony's subject recognition modes.
On the video side, it can shoot 4K/60p taken from 6K capture and 4K/120p without any crop. It includes options such as 10-bit 4:2:2 capture, the S-Cinetone profile and '16-bit' Raw video output over HDMI.
The a9 III has a 2M-dot 3.2" rear screen with full articulation and a tilt-out cradle. It's the same setup as the a7R V and includes an LCD panel which covers the DCI P3 color gamut. It features a 9.44M dot OLED viewfinder with 0.9x magnification. It can run at full resolution at 120fps or with a reduced resolution at 240fps.
Sony says it's moved the shutter button to improve ergonomics, as well as adding a fifth function button to the front of the camera. The difference is immediately apparent when you pick the camera up: the grip tilts your hand backwards slightly, giving a comfortable grip and putting the shutter button immediately under your finger.
The optional battery grip's ergonomics have also been reworked and the battery performance boosted by 15% by treating the two included batteries as a single entity, rather than discharging one and then the other.
The a9 III will be available from Spring 2024 at a recommended price of $5999.
What is a global shutter?Global shutter is a method of ending an exposure where all the image data is captured simultaneously. This is distinct from most existing shutter systems (electronic and mechanical) that start and end progressively: working their way across the sensor.
There are multiple benefits to such a system, with the most obvious being the elimination of the rolling shutter distortion effect often seen on video and with slow electronic (progressive) shutters.
But another major benefit is that a global shutter can sync with flash at almost any shutter speed. With global shutter it's the duration of the flash burst that becomes the limitation, rather than the length of time it takes to close the shutter (which in turn dictates the shortest period where the whole sensor is exposed). Sony says the a9 III can sync at all shutter speed (all the way up to 1/80,000 sec).
A global shutter also eliminates the banding that can occur with progressive shutters under flickering lights. Because the image is all captured at exactly the same moment, you don't capture different parts of a light's flicker cycle in different parts of the image. You might capture an image of an LED sign board refreshing, if you use a very high shutter speed, but that's an issue with the LEDs, not the camera, which is accurately capturing a single moment in time.
It also says it will be introducing firmware updates to the a7S III and the a1, adding features such as breathing compensation. The a7S III will also gain DCI 4K capture. Sony says there will also be a firmware update for the a9 III, adding the ability to continuously shoot with shutter speeds at up to 1/80,000 sec.
All three cameras will also add C2PA authentication metadata. C2PA is a combination of the efforts of the Content Authentication Initiative and the separate Project Origin initiative.
As part of the launch, Sony has announced the FE 300mm F2.8 GM OSS. It weighs 1470g (51.9oz), making it the lightest in its class, the company says. This is the same weight as the original 70-200mm F2.8 GM. The company also says it's designed to be balanced with the camera attached.
FE 300mm F2.8 GM OSSThe 300mm F2.8 GM OSS has two XD linear motors to allow it to focus fast enough to work with the a9 III.
The 300mm F2.8 will also cost $5999 and will also be available in Spring 2024.
Sony event video: Sony Electronics Releases the Alpha 9 III; the World's First Full-Frame Camera with a Global Shutter SystemiThe next-generation Alpha 9 III captures all decisive moments with up to 120 frames per second high-speed shooting, distortion-free and blackout-free images, and flash sync at all shooting speeds
SAN DIEGO- Nov. 7, 2023 – Sony Electronics today introduced the Alpha 9 III camera equipped with the world's firsti full-frame global shutter image sensor.
The newly developed global shutter image sensor exposes and reads all pixels simultaneously, unlike a rolling shutter sensor that records images sequentially from the top row of pixels to the bottom. The impressive global shutter full-frame image sensor enables the camera to shoot at burst speeds up to 120 frames per second with no rolling shutter distortion or camera blackout. This innovative sensor is combined with Sony’s most advanced AF (autofocus) system to date - boasting AI autofocus with up to 120 times AF/AE focus calculations per second. With the added ability to sync flash at all shooting speeds, the Alpha 9 III opens up a new world of possibilities for professional photographers to capture every decisive moment.
“The Alpha 9 III full-frame camera is a landmark achievement for the industry,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics. “Designed with the needs and demands of professional photographers in mind, every single update to this camera – from the sensor to even the size to the button layouts and menu functions – has been made to address specific input and feedback from our community. We have listened and are thrilled to bring the new capabilities of the Alpha 9 III to market---capabilities which allow photographers to capture things they’ve never been able to capture before.” Cheng continued, “For professionals everywhere, they can achieve even more dynamic expressions when the Alpha 9 III is combined with our rich lineup of lenses, in particular with the new 300mm F2.8 G Master OSS – the world’s lightestii large-aperture telephoto lens.”
Features of the Alpha 9 III Full-Frame Camera A New Dimension of Still Image Performance Created by the World's Firsti Global Shutter Image SensorThe Alpha 9 III is equipped with the newly developed, world's firsti global shutter full frame stacked CMOS image sensor with approximately 24.6 effective megapixelsiii and built-in memory. Combined with the latest image processing engine BIONZ XR®, the Alpha 9 III achieves blackout-free Continuous Shooting Speed with AF/AE trackingiv of up to approximately 120 fpsiv. The Alpha 9 III is supplied with high-density focal plane phase detection AF. A designated AI processing unit uses Real-time Recognition AF to recognize a wide variety of subjects with high precision. By combining high-speed performance of up to 120 fps with highly accurate subject recognition performance, it is possible to easily photograph scenes and moments that cannot be seen with the naked eyeiv. The AI processing unit in the Alpha 9 III supports movies as well as still photography with accurate subject form and movement recognition. The Real-time Recognition AF and Real-time Tracking provide a significant improvement in human eye recognition performance, allowing the camera to automatically recognize, track, and focus on the eyes of a specified subjectv. The Alpha 9 III is equipped with 8.0 stopsvi of optical 5-axis in-body image stabilization, allowing for high-quality image rendering.
Shutter speed is freed from the limitations of conventional mechanical shutter image sensors and achieves a maximum shutter speed of 1/80,000 second (1/16,000 second during continuous shooting)vii, making it possible to capture at high speed without any distortion. When a compatible Sony flashviii is attached, such as the HVL-F60RM2 and HVL-F46RM (sold separately), it is possible to synchronize the flash and take pictures at all shutter speeds up to 1/80,000 secondvii. Previously, if the user released the shutter at a speed faster than the flash's synchronization speed, the amount of light would drop sharply, but with the full-speed flash synchronization function, it’s now possible to photograph scenes that could not be easily captured with conventional technology. Also, when shooting stills or movies under LED lighting, the Hi Frequency Flicker function can significantly reduce high-frequency flicker problems by allowing the shutter speed to be finely adjusted to match the flicker frequency while viewing the monitor.
The Alpha 9 III features selectable release lag modes which allows the user to prioritize release lag or viewfinder/monitor displayix. The newly developed Pre-Capture function allows the camera to continuously record up to one second before the shutter is released, making it easy to capture moments that would otherwise be missed. When selected, the Continuous Shooting Speed Boostx function allows for the user to change to a faster, preset speed set by the user at any time during shooting, and enhanced burst stamina ensures that important moments are reliably captured due to a large buffer memory and increased overall system speed allow up to approximately 390 Fine JPEG imagesxi to be captured in one continuous 30 fpsxii burst.
Customizable focus areas have been expanded to include from XS to XL in addition to the previous S, M, and L sizes. The Preset Focus/Zoom function allows preset focus and zoom settings to be memorized in the camera for quick recall when neededxiii. In addition to the existing custom white balance frame size, the user can now select other sizes as needed which allows for fine white balance adjustment after an image has been composed. The Alpha 9 III has upgraded features such as the latest AF algorithms to achieve high AF precision down to light levels as low as EV-5 in AF-S mode (ISO 100 equivalent, F2.0 lens), AF tracking for continuous shooting at F22xiv and a composite RAW shooting function that gives the ability to combine multiple consecutive images into a high-quality composite.
Advanced Video Performance Without DistortionThe global shutter image sensor provides distortion-free image expression for videos as well as still images. For example, the user can shoot images of nearby scenery from a fast-moving vehicle such as a car or fast-moving subjects with ease. This camera is the first in the Alpha™ series to be able to record 4K 120p high-frame-rate video without cropping, allowing the user to shoot at the angle of view intended. It is also possible to shoot high-resolution 4K 60p videos with 6K oversampling.
The Alpha 9 III has S-Cinetone™, a unique Sony feature which can create a cinematic look straight out of the camera without post-processing. S-Cinetone was created through the development of the VENICE high-end cinema camera and makes human skin tones and subjects stand out beautifully, creating natural highlights. The Alpha 9 III has the latest video performance including rich gradation performance and S-Log3, and when in Log shooting mode, it can reflect and display the user's favorite imported LUT (lookup table). The Alpha 9 III is compatible with the mobile app "Monitor & Control" for video creators.
Operability and Reliability for ProfessionalsSony has listened to the voices of professional photographers and created operability and reliability that supports professional users. The shape of the grip is improved and ergonomically designed so that it can be easily held in the palm of the hand to avoid straining the user even when wearing a telephoto lens or using it for long periods of time.
The VG-C5 vertical grip (sold separately), provides the same operability and versatility as when shooting horizontally; the user can comfortably support long shooting sessions. The grip and shutter button area share the same design as the main body, allowing image capture without feeling uncomfortable, with the same operability as the camera. The Alpha 9 III is equipped with a 4-axis multi-angle LCD monitor that can be operated by touch, allowing for intuitive operation using the latest touch menu. The electronic viewfinder uses a 9.44 million-dot Quad XGA OLED and achieves high visibility with the same brightness as the Alpha 7R V and a magnification of approximately 0.90x. Also, a custom button is placed on the front of the camera, and the continuous shooting speed can be changed by operating the custom button assigned with Continuous Shooting Speed Boost with the finger holding the grip, allowing for highly immediate operations. It supports professional photographers when shooting in all environments.
High-Speed Workflow and Scalability to Support Immediate DeliveryNew features for the Alpha 9 III include a playback image filter that allows the user to efficiently select a large number of images using high-speed continuous shooting, and a function menu that can be used even during image playback, strongly supporting professional workflows from shooting to delivery.
The "Playback Function Menu" can be assigned in advance, so the user can perform protection, smartphone transfer, File transfer protocol, etc. during image playback. The user can select images narrowed down with a playback filter and play them from the function menu, allowing for quick delivery of specific images. The camera has a dedicated microphone for voice memos on the back, and by positioning the built-in microphone near the user’s mouth allows clear recording of audio even in noisy environments. The recorded audio data can be transferred via FTP along with the images. The camera allows the user to set up to 20 presets from the International Press Telecommunications Council (IPTC), an international consultative body in which news organizations from various countries participate.
The Alpha 9 III can transfer data up to twice as fast as the Alpha 9 II. 5 GHz communication offers maximum speed and stability for news and sports shooters who need to deliver immediately via FTP, as well as for studio environments. The Alpha 9 III allows stills and movies to be recorded to memory media in numerous ways including the two media slots that support CFexpress Type A cards as well as UHS-I and UHS-II SD cards.
It is compatible with the professional mobile application "Transfer & Tagging" which speeds up the image delivery workflow, and the application "Remote Camera Tool" which allows remote shooting of PCs using wired LAN. Also, Sony plans to support a new version of Camera Remote SDK, a software development kit that allows remote camera operation and changing shooting settings, in Spring 2024.
In addition, the Alpha 9 III is scheduled to support functional enhancements such as FTP operability, relay playback, and C2PAxv format support xvi through a camera software updatexvii.
Firmware Updates for the Alpha 1 and Alpha 7S III ModelsIn addition to the release of Alpha 9 III, Sony has announced new firmware updates for the Alpha 1 and Alpha 7S III full-frame mirrorless cameras xvii. The new software will provide both models with some of Sony’s latest imaging technologies including the highly requested Focus Breathing Compensation feature, IPTC and FTP workflow enhancement, and C2PA format support. The firmware will also update the Alpha 1 with Relay Playback, and the Alpha 7S III with DCI 4K 24.00P shooting format. The camera software update will be available in Spring 2024.
Pricing and AvailabilityThe Alpha 9 III camera is available for pre-order Nov. 8, 2023, at a variety of Sony's authorized dealers, for a suggested retail price of $5,999.99 USD and $8,299.99 CAN.
The VG-C5 vertical grip is available for pre-order Nov. 8, 2023, at a variety of Sony’s authorized dealers, for a suggested retail price of $399.99 USD and $549.99 CAN.
Notes:
i Compared to interchangeable-lens digital cameras. As of the November 2023 product announcement. Sony survey.
ii As of the November 2023 product announcement. Sony survey of interchangeable 300mm F2.8 lenses for full-frame digital cameras.
iii Approximate, effective.
iv Sony test conditions. Maximum continuous frame rate may be lower in some shooting conditions. Continuous shooting speed may vary depending on the lens used in AF-C focus modes. Visit Sony’s support web page for lens compatibility information. https://www.sony.net/dics/ilce9m3cnlns/ A software update for the lens itself is also required. The software is scheduled to be released after December 2023.
v When subject recognition is ON during AF shooting. Face, eye, etc. recognition status can be monitored when subject recognition frame display is ON.
vi CIPA standards. Pitch/yaw shake only. FE 50mm F1.2 GM lens. Long exposure NR off.
vii Maximum shutter speed is 1/16000 second when F1.8 or larger aperture is used. 1/80,000 second speed not available when shooting movies, when using the Var. Shutter function, or when no lens is mounted.
viii A software update is required. The software update will be released simultaneously with the Alpha 9 III. Some variation in brightness and color may occur between shots when using shutter speeds higher than 1/10000 second. Light level may not reach the manual light output level setting at some shutter speeds, resulting in insufficient light level. Refer to the support page at https://www.sony.net/dics/ilce9m3fl/ for details.
ix With the default [Auto/Off] setting no blackout occurs when shooting is started, and release time is controlled for optimum display latency. The [Fast Release/On] setting provides the shortest possible release time lag with blackout occurring on only the first image in a continuous burst. The [Stable Release/On] setting minimizes variations in release lag with blackout occurring on only the first image in a continuous burst, making it easier to release the shutter at the intended moment.
x Continuous shooting may be interrupted when Continuous Shooting Speed Boost is used to switch from a low shooting speed to a shooting speed higher than 60 fps, or when switching from a high shooting speed to a shooting speed lower than 30 fps.
xi With Sony CEA-G160T CFexpress Type A memory cards (sold separately). Sony test conditions.
xii Sony test conditions. Maximum continuous frame rate may be lower in some shooting conditions. Continuous shooting speed may vary depending on the lens used in AF-C focus modes. Visit Sony’s support web page for lens compatibility information.
xiii Preset focus works with compatible lenses such as the FE 300mm F2.8 G Master OSS lens. Preset Focus/Zoom settings cannot be recalled while the shutter button is half-pressed. Only focus can be preset for prime lenses. If a zoom lens without power zoom is attached, the focus position/zoom positions can only be registered and recalled via remote operation using the computer software Remote Camera Tool. For details, refer to the following website. https://support.d-imaging.sony.co.jp/app/remotecameratool/l/index.php Preset Focus/Zoom can only be recalled when the lens that was mounted when the settings were registered is used. Not all lenses are compatible.
xiv When [Aperture Drive in AF] is set to [Focus Priority], the aperture size can be smaller than F22. Results may vary depending on shooting conditions and the lens used.
xv A standards organization that develops open standards and technical specifications for the origin and authenticity of digital content.
xvi Will be available in select countries and regions.
xvii Software update available by Spring 2024
Best cameras under $1500
Updated: Nov 6, 2023
Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false'; t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645'; cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });Spending $1500 – or the equivalent amount in your local currency – on a camera can seem like a daunting prospect, but this is the price bracket where the cameras start to get really good. The past few years have seen great advances in the power and simplicity of autofocus, and the cost of full-frame cameras has dropped, meaning there are some really capable options at this price.
The $1500 price bracket includes the more affordable full-frame cameras – so-called because their sensors are the same size as a piece of 35mm film – or some of the higher-end APS-C models.
With the right lenses full-frame can offer better image quality than an APS-C camera. But choosing a sensor size is a balance between size, price and image quality. An APS-C camera can be smaller, especially once you factor the lenses in, and one in the $1500 price range is likely to shoot faster and may have more sophisticated features than a full-frame model at the same price. After extensive use, the following cameras would be our picks, in this price range:
Our picks:- Best camera for under $1500: Canon EOS R8
- Enjoyable to shoot with: Nikon Z5
- Most versatile option: Sony a6700
- The creative choice: Fujifilm X-S20
- The affordable kit: Fujifilm X-S10 with 18-55mm F2.8-4.0 OIS
- The compact option: OM System OM-5
24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting
The EOS R8 is one of the most affordable way to gain the image quality benefits of a full-frame sensor. Lens availability is a concern, but it's a capable and enjoyable camera to use.
Photo: Richard Butler
Buy now:
$1399 at B&H Photo $1399 at Adorama $1399 at Amazon What we like:- Great image quality
- Very good AF subject detection and tracking
- Good starting price
- No in-body image stabilization
- Short battery life
- No AF joystick
The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.
The EOS R8 has a comfortable grip and twin dials, giving a good level of direct control. There aren't many buttons so more committed users may want to move up to the EOS R6 II, rather than rely on the quick menu for changing settings. Autofocus is the R8's strong suit: tracking and subject detection are simple to use and very effective. There's no AF joystick, so you'll have to use the touchscreen or select a subject and recompose. Battery life is very limited for an entry-level full-frame camera, though it can charge over USB, at least. "If you're partial to Canon and are new to full-frame mirrorless, the EOS R8 is a great place to start your photographic journey." The R8 shoots attractive video, including 4K footage at up to 60p. The lack of in-body stabilization means you'll need a stabilized lens or a tripod to get the best results. Photos are on par with more expensive full-frame cameras, with great high ISO performance, detail-preserving noise reduction, and Canon's pleasing JPEG colors. The 40 fps burst mode is prone to rolling shutter distortion, reducing its usefulness for capturing action. The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life and viewfinder resolution are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.Read our full review of the Canon EOS R8
See the Canon EOS R8 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1916332853","isMobile":false}) }) Enjoyable to shoot with: Nikon Z524MP full-frame sensor | In-body image stabilization | 4K/30p video
The Nikon Z5's view and autofocus aren't as good as those of the Canon EOS R8 but it can be nicer to use in some regards, not least thanks to its larger battery and high-res viewfinder.
Photo: Dan Bracaglia
Buy now:
$1097 at B&H Photo $1097 at Adorama $1097 at Amazon What we like:- Excellent image quality
- Superb build quality
- Effective image stabilization
- 4K video has heavy crop
- Heavy-handed high ISO noise reduction
- Noticeable rolling shutter
We also really liked the Nikon Z5, which sells for around the same price as the Canon.
The Nikon Z5 is among the most affordable entry-level full-framer cameras ever released. It sports a stabilized 24MP CMOS chip with on-sensor phase detect AF, packed inside a robust, best-in-class body. "The Z5 is good for anyone seeking a well-priced, stills-oriented full-frame mirrorless camera"Its autofocus isn't quite as reliable as the R8's and its video is nowhere near as good, but if anything we find it a slightly more enjoyable camera to actually use and it offers in-body image stabilization, which the Canon lacks. It has a higher resolution viewfinder and a joystick for positioning its autofocus point, which makes a surprisingly big difference to usability. It also offers significantly better battery life than the Canon, which is another nice-to-have feature.
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"4324192573","isMobile":false}) }) Other full-frame cameras we consideredWe also considered the Sony a7 II, which is still available at some very tempting looking prices. This isn't the bargain it might seem. The a7 II was launched in late 2014 and cameras have come a long way since then. Sony has updated the autofocus, menus and ergonomics of the a7 series significantly since the launch of the a7 II, and has adopted a much larger battery, all of which are worth spending more money to gain. Sony's E-mount has the widest selection of lenses of any mirrorless system, but we'd recommend saving for an a7 III instead of buying the a7 II at this point.
It's a similar story with the Sony a7C, at this point. The a7C includes many of the features of the a7 III in a smaller body, but its small, low resolution viewfinder and lack of a front command dial mean you pay a significant cost in terms of usability in that downsizing.
Most versatile option: Sony a670026MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen
The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though.
Photo: Richard Butler
Buy now:
$1398 at B&H Photo $1398 at Adorama $1398 at Amazon What we like:- Front and rear command dials
- Excellent AF in stills and video
- 4K/120p capture (with crop)
- No AF joystick
- JPEG sharpening can be aggressive
The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.
The a6700 has a twin-dial interface missing from less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class. Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate. "Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." Image quality is very good in JPEG or Raw. JPEG colors are pleasing to the eye, though sharpening can be a bit aggressive. Base ISO noise levels are consistent with other modern APS-C models but in low light it exhibits a little more noise. The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.Read our full Sony a6700 review
See the Sony a6700 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The creative choice: Fujifilm X-S2026MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization
We found the X-S20 to be a capable stills and video all-rounder, though the autofocus tracking isn't quite as reliable as its rivals'.
Photo: Brendan Nystedt
Buy now:
$1399 w/ 15-45mm at B&H Photo $1399 w/ 15-45mm at Adorama $1699 w/ 18-55mm at Amazon What we like:- Excellent still and video quality
- Long battery life
- Comfortable, simple ergonomics
- AF tracking still lags behind peers
- Small electronic viewfinder
- Micro HDMI instead of full-size
The Fujifilm X-S20 is a compact 26MP APS-C mirrorless camera with image stabilization that takes features of the company's higher-end models and puts them into a DSLR-styled body with a large grip.
In most respects the Sony a6700 has the edge over the X-S20, particularly in terms of autofocus performance. But what the Fujifilm offers is a wide selection of photographer-friendly prime lenses, both from Fujifilm itself and companies such as Sigma and Viltrox. This, and the attractive Film Simulation modes, make it worth considering.
"The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.Read our Fujifilm X-S20 initial review
See the Fujifilm X-S20 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The affordable kit: Fujifilm X-S10 with 18-55mm F2.8-4.0 OIS lens26MP X-Trans CMOS sensor | In-body image stabilization | 4K/30p video capture
The X-S10 isn't as sophisticated as the X-S20, particularly in terms of video capture, but the 18-55mm F2.8-4.0 OIS lens (pictured) is a really good lens, whereas some of the lenses included with other cameras are not.Buy now:
$1299 with 18-55mm at B&H Photo $1299 with 18-55mm at Adorama $999 body only at AmazonThe older Fujifilm X-S10 is also worth considering. It's a little less sophisticated than the X-S20, with less reliable autofocus, less effective image stabilization, lower video spec and a smaller battery all making the newer model a better choice. Our reason for including it comes down to what you can get with it if you have a strict $1500 budget: a good lens. The other cameras here are typically only fit within the price range when bought body-only or with a rather basic zoom.
For less than $1500 you can buy the X-S10 with the 18-55mm F2.8-4.0 OIS lens. This is one of the best 'kit' zooms on the market: covering a useful range, offering good optical performance and letting in more light than is typical, which helps you access more of the camera's image quality potential. An X-S20 with the 18-55mm is an even better choice, but it strays over this guide's headline target price.
Read our Fujifilm X-S10 review
See the Fujifilm X-S10 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"9392296020","isMobile":false}) }) Other APS-C cameras we consideredAlso available in this price range is the Canon EOS R7. It's a very capable camera with impressive specs and the same highly effective autofocus system as the EOS R8. However, at present there are relatively few lenses available for it, and most of them are fairly slow aperture zooms or prime lenses with focal lengths that make more sense on full-frame cameras, effectively reducing the options further.
You can adapt Canon's EF-mount DSLR lenses, but the extra depth of the adapter makes this rather unweildy. If you're happy to stick with one of the rather pedestrian RF-S kit zooms, the EOS R7 is a lovely camera, but the Fujifilm and Sony currently offer so much more room to grow.
The compact option: OM System OM-520MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)
The OM-5 offers a smaller, more rugged alternative to APS-C or full-frame cameras.
Photo: Shaminder Dulai
Buy now:
$999 at B&H Photo $999 at Adorama $999 at AmazonThere's a third option when it comes to striking the size/price/image quality balance of sensor sizes: Four Thirds. The Micro Four Thirds system uses a sensor one quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though is a significantly smaller system for which some of the lenses are much less expensive.
What we like:- Attractive JPEG output
- Selection of clever photo features
- Excellent image stabilization
- IP53 rating supports claims of weather sealing
- AF tracking is disappointing
- Image quality is behind larger sensor cameras
The OM System OM-5 is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera.
The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" Image quality is good for its sensor size, with attractive JPEGs and flexible Raw files. A 12-shot handheld high-res mode lets it punch above its weight if your scene has relatively little movement. Excellent image stabilization expands the camera's working range, and unique features like Live ND mean you rarely need a tripod. The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.Read our OM System OM-5 review
See the OM System OM-5 studio scene
$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) Why you should trust usThis buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.