Houseofcamera– Sony A7 III mirrorless camera comes with a “Basic” model design from the Sony manufacturer, but this camera has the best capabilities of a full-frame sensor camera. Although the Sony A7 III is not equipped with the highest number of megapixels and the ability to shoot with the fastest burst, the resolution, Price, and speed, as well as the features in it, make the Sony A7 III the best recommendation for a handful of photographers and is suitable for use in various types. Photoshoot.
Sony A7 III’s main specs are
- 24MP. full-frame BSI CMOS sensor
- 93% autofocus coverage (693 phase-detection points, 425 for contrast detection)
- 4K/24p video sampled from 6K full width (5K cropped for 30p)
- In-body image stabilization
- Ten fps continuous shooting
- 2.36M-dot OLED viewfinder, 0.78x. magnification
- joystick AF
- Touch screen
- Larger ‘type Z’ battery (CIPA rated for up to 710 shots)
- Dual SD memory card slots
- USB 3.1 Type C
Compared to its predecessor, the Sony a7 III has been greatly updated in almost every aspect compared to other full-frame options at the same Price, the a7 III looks superior in many ways. For general photographers, wedding and event photographers, and even sports specialists, the a7 III gets many things right. But like Sony’s previous full-frame mirrorless cameras, this new model has some persistent flaws.
Body and controls
The A7 III has gained weight and width compared to the older a7 II, but it’s still a compact camera, especially considering it has a 35mm full-frame sensor inside. It also gets most of the ergonomic and control revisions we first saw on the a7R III, with a few exceptions.
Main takeaways:
- The a7 III’s larger grip is more comfortable than the previous generation a7 series cameras
- A bigger battery provides all-day shooting stamina
- Front and rear dials and rear jog dials are clearer and easier to use
- Some buttons, especially the new AF-ON and AEL buttons, could be bigger and offer more feedback
- Dual card slots (although only one is rated for faster UHS-II memory cards)
- The viewfinder has the same resolution as its predecessor but looks a bit low resolution
- Reduced maximum screen brightness compared to its predecessor
- Automatic ISO implementation is an industry best practice
- The customization options can be daunting but very useful
Improved compared to a7 II.
Like the a7R III, the a7 III’s deeper grip allows for more comfortable handling while making room for a larger battery. The larger battery offers 2.2 times the stamina of the previous model and will easily last a day for heavy shooting. Dual card slots hide behind locking doors, with one slot supporting higher-speed UHS-II class cards and the record movie button in a more suitable place. And like the Sony a9 and a7R III, when you flip the screen over to shoot from your hip, the eye sensor for the viewfinder is disabled, so you don’t trip over and miss a shot by accident.
There’s now a dedicated AF-On and AEL button instead of a toggle, though the buttons are a bit too mushy for our liking, and the joystick allows control over the position of the autofocus point. The front and rear control knobs and the rear jog dial are many clearers, and there’s an additional dedicated button that, by default, rates or ‘protects’ the image in playback mode.
Image quality
Our test scenes simulate the various textures, colors, and types of detail you’d encounter in the real world. It also has two illumination modes to see the effects of different lighting conditions.
Main takeaways:
- The A7 III is one of the best low-light cameras on the market
- Exceptional sharpness, at the expense of some moiré. patterns
- Excellent dynamic range
- Best JPEG noise reduction and sharpening on the market
- Improved colors, especially skin tones
In other words, the control layout will be a bit more familiar to mid or high-end DSLR users than previous Sony a7 series cameras; For us, the autofocus joystick is one of the most important and useful additions to the camera.
Raw catch
Raw detail capture is about as good as we’d expect given the 24MP sensor, with plenty of color aliasing on white-and-black text. Raw files are sharper than the Sony a9, which uses stronger AA filters in both directions. Elsewhere, the a7 III shows a lot of detail and aliasing to work with. At higher ISO values, the a7 III outperforms the D750 and tops the list with the best performing low-light camera in deep shadow noise, indicating an increased dynamic range at that ISO value.
This is partly due to the a7 III’s dual gain architecture, which switches the sensor to a higher sensitivity mode at the pixel level; see the jump in dynamic range at ISO 640 when compared to the D750 in Bill Claff’s quantitative measurements. The higher high ISO dynamic range gives the a7 III, and Sony’s latest sensor increased noise performance from boosted high ISO shadows compared to more traditional sensors.
In particular, the a7 III far outperforms its predecessor at high ISOs.
JPEG
In terms of JPEG color, the red patch looks very similar to the Canon EOS 6D Mark II (which itself looks very similar to the Canon EOS 5D Mark III, still one of our color benchmarks). It has a tremendous impact on skin tone, which looks more traditionally ‘Canon-like’ on the a7 III than Canon’s 5D Mark IV. However, green in particular continues to show more of a bluish cast from Sony, and yellow is leaning a bit more green than we’d like to see.
When we switched to low light and auto white balance, the scene generally kept the tones warm, including the greens. It’s worth noting that there’s an additional automatic white balance setting that makes warm tones warmer (first seen on the Sony a9) if you will.
Sony’s context-sensitive noise reduction is better than ever, meaning it’s probably the best on the market today, made even more impressive than Raw images. Even in areas of low contrast detail, the a7 III excels. Sharpening is well rated with no noticeable halos around the edges due to the large sharpening radius, and areas of fine detail are well brought out.
Auto Focus Overview
Compared to its predecessor, the Sony a7 III gets a new autofocus system that is one of the most capable in today’s mirrorless cameras. We know autofocus can be a complex matter, so we’ve detailed the essentials you need to know about the Sony a7 III’s autofocus system. You will find more details at the bottom of this page.
Main takeaways:
There’s a total of 693 phase-detection autofocus points covering nearly all of the frame – that’s the most we’ve seen on any camera. Using the camera in Continuous Autofocus (AF-C) will give you the fastest performance over time (see stop-down focusing below). We like the ‘Wide’ autofocus area for general shooting, ‘Flexible Spot’ for selecting a more specific area with the joystick, Eye AF for portraits, and Lock-On AF – Flexible Point to allow the camera to track moving subjects.
We found the a7 III more reliable than the a7R III in Lock-On AF mode. If you’re shooting video, the ‘Wide’ autofocus area does a good job of focusing you. Selecting your subject using Sony’s ‘tap to track’ implementation isn’t as easy as its competitors. AF Area Mode and Lock-On improvements
Like the a7R III and a9, the a7 III offers the following autofocus area modes.
- Wide*
- Area
- Middle*
- Flexible Places (Large, Medium, Small)*
- Expanded Flexible Place
- Lock On Area Mode (Tracking versions of each of the above modes)
eye AF
The A7 III now includes Sony’s impressive Eye AF feature. Used in Continuous Auto Focus, Eye AF will reliably track your subject’s eyes closest to the camera, ensuring sharp shots even at F1.4.
If you have multiple subjects in the frame and use an AF area other than ‘Wide,’ you can place that AF area over one of the subjects, and if you start Eye AF, it will track the eyes of that particular subject; to change the subject, release the Eye AF button, place your AF area over another subject, and restart.
The A7 III will continue to track your subject’s eyes, even when shooting at 10fps, so it’s a great choice for capturing the right expression. Like the a9 and a7R III, it’s sticky to the person you’re starting with, rarely jumping on anyone else on the scene.
What’s more, Eye AF is available with adjustable lenses, even in AF-C with bursts of up to 3 fps.
Video quality
The Sony a7 III’s video feature set is extensive, giving users a wide variety of tools to aid exposure, focus, and more. This is what we think is the main point to pay attention to.
Main takeaways:
- The a7 III’s 4K/24p footage is oversampled from 6K capture without cropping the field of view, resulting in incredibly detailed footage.
- 4K/30p footage is oversampled from 5K video capture with 1.2x field of view cropping, only slightly less detailed than 4K/24p
- The rolling shutter is well controlled for all but the fastest pans and moving subjects.
- Option for 1080/120p playback at normal speed and 120p capture slowed down in-camera to 30p or 24p for ready-to-use slow motion footage (S&Q mode)
- Includes image profile for capturing Log and HLG recordings
- Includes zebra warning and peaking for exposure and focus aids
- Autofocus during video works well with isolated subjects but is unpredictable and tap-to-track autofocus requires ergonomics.
Price
The Sony a7iii is now available on the Amazon website for US$1,798.00
Like most other Sony cameras today, the a7 III can record high-quality 4K video (the a7 II was previously only capable of Full HD). But it has a unique combination of features that make it one of Sony’s best interchangeable-lens cameras for video.
The newly redesigned sensor enables fast reads. For 4K/24p, the camera captures 6K footage using every pixel on the sensor and then downsamples that internally to 4K footage; this process provides incredible detail. Switch to 4K/30p, and you’ll get 1.2x crop, but the camera is still oversampling, reading off 5K footage before downsampling to 4K. It’s a little lacking in detail, but you’d be hard-pressed to notice in the real world.
