So you get substantially higher-quality images compared to conventional single-shot mode, with vastly improved tonality and fine detail when viewing your images at the pixel level. We’ll always tell you what we find. Presumably Sony assumes users will change these settings less often than on the action-focused A9. Otherwise, the A7 III has it all and is suitable for most users. It can even retain the dynamic range while in burst mode!
The A7R III also gains twin SD card slots, one of which is of the faster UHS-II type, and can automatically switch between them when one fills up.As usual from Sony you get an array of focus area modes to choose from. With most landscapes, you’ll see this kind of thing all over your images, and quickly realise just how rare it is for anything to stay absolutely still. Indeed in my couple of weeks shooting with the camera, it’s barely put a foot wrong.It’s now four years since Sony unveiled the world’s first full-frame mirrorless cameras, in the shape of the 24MP ISO 100-32000 (standard), ISO 50 – 102400 (extended)Like the A9, the A7R III employs a large, high-resolution 3.69-million-dot EVF, which provides a bright, detailed view that’s as large as any full-frame DSLR’s. But if you’re using these for event photography, you’ll definitely want a spare battery or two charged up and ready to go.The A9 has all of Sony’s bells and whistles, but it comes with a price tag to match.
Find out how the Full-Frame mirrorless camera performs. Again, though, these are irritations rather than deal-breakers.The A7R III is quick enough to focus on skittish wildlife, even using an adapted lens.
Nor is there a built-in intervalometer, and with Sony having apparently abandoned its downloadable PlayMemories camera apps, no option to add one. There’s a huge array of other video-specific features available too, including zebra pattern over-exposure warnings, a customisable peaking display for manual focus, and S-Log gamma for easier colour grading in post-processing. As a result it’s much easier to get consistently sharp images.Like its predecessor, the A7R III includes 5-axis in-body image stabilisation that works with practically any lens. You can chose to overlay a wide range of additional information, but in one of Sony’s on-going failings, it’s not possible to see a live histogram and electronic levels simultaneously. In the example above I exposed for the area around the light, and was able to shoot hand-held at 1/2sec, and therefore use ISO 100. To make 42MP stills and 4K video actually useful, the picture needs to be sharp. It’s a serious flaw and in real need of a firmware fix (which should be trivial for Sony to deliver).Join the resolution: Sony A7R IV is the world’s first 61MP full-frame cameraSony has introduced a new ‘Pixel Shift Multi Shooting’ mode that uses the IS system to take four frames of the same scene while shifting the sensor precisely one pixel between each, rather like we’ve previously seen on Pentax DSLRs. Even so, the EVF is so good that I used it for the mast majority of the images I shot.Recording is initiated using the red button beside the viewfinder, and there are dedicated video and S&Q positions on the mode dialHowever, this quality is maintained only if nothing moves between exposures; if it does, you end up with an unholy mess. Nothing else. Sadly though, Sony has insisted on sticking with its relatively inflexible tilt-only design. But Sony’s made it a bit tougher to distinguish between the newest A7 models, so I’ve put them head-to-head for this comparison.The A7 III is the more complete mirrorless camera package, with the latest Sony AF system in tow. Also, you can turn it off completely, or have it run automatically so you don’t have to worry about how to set it up. It’s genuinely fast, which means that unlike with the A7R II, you don’t find yourself constantly feeling just that little bit held up by the camera. These are certainly still professional level cameras — the A7 III runs for $1,999 without a lens, while the higher-resolution A7R III commands $3,199 — but the difference in price from the A9 leaves a lot of room for lenses or other necessary equipment.Both cameras have 3-inch touchscreens — the A7 III’s at 921,600 dot resolution while the A7R has a better 1,440,000 dot version — but that feature is only useful for tapping the screen to focus. This is a shame, as the autofocus is really very good indeed. It may not have the out-and-out speed of the Sony A7R III resolution, ISO 1600, raw + Capture OneWhile the A7R III uses essentially the same top-plate control layout as the previous model, on the back it resembles the A9. I’ve found these features to be particularly useful.The auto while balance produces attractive colours in JPEG mode. The A7 III fairs just as well with the different lenses, but the smallest of details aren’t as apparent. It’s different than other pixel shifting techniques, such as Hasselblad’s, which aim to increase the resolution output.Obviously, cost restraints are a factor but part of me also feels that if Sony included the new EVF in the A7, there’d be fewer reasons to consider the A7R III — and obviously you don’t alienate your own mid-range mirrorless camera. So if you want to shoot time-lapse, you’ll have to make use of an old-fashioned remote release or a third-party solution such as the Cascable 3 Wi-Fi app. Another neat touch is that bursts of images can be grouped together in playback, making it quicker to browse through your day’s shooting.
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