With a 45-megapixel stacked sensor and the latest Expeed 7 image processor, the Z8 can do everything from sports to wildlife to scenic photography. It’s also a powerful video camera, offering 8K RAW internal capture at up to 60 fps.

The only other model that can really compare in terms of speed, resolution and video is the Sony A1, but it costs a whopping $2,200 more. To find out how the Z8 stacks up against that model and others, I rented a Z8 and shot with it around Vancouver, Canada with my photographer cousin.

Body and handling

Design-wise, you can think of the Z8 as the Z9 with the battery grip chopped off. It’s still a chunky camera at 910 grams (2 pounds), though, compared to 737 grams for the Sony A1. That might suit pros or those who like a larger camera body, but the size and weight aren’t ideal for travel. By the way, a $346 battery grip (the MB-N12) with secondary controls is available for the Z8, effectively transforming it into a Z9 for far less money.

The Z8 has a nice big grip and all the controls you’d expect, including a joystick, D-Pad style menu control, switch for camera/video settings and front and rear dials. Nikon users will enjoy the layout as it’s largely similar to past models, but everything is just different enough that it may feel awkward for users coming from other brands.

Unlike the A1, the Z8 features a display on top that shows key settings like shutter, aperture and battery life. Although it takes up space that could be used by buttons or dials, it’s a handy way to see everything at a glance and I miss it now on models that don’t have it. If you do have to dive into the menus, they take a bit of getting used to, but work well once you’re over the learning curve.

One of the key negative points is the lack of a fully articulating display. Instead, the rear 3.2-inch 2.36-million dot screen only tilts up and down and to the left or right. That’s too bad, because the Z8 could be a powerful vlogging camera and a flip-out display is must for that type of work (especially as it makes solo shooting easier).

The 3.69 million-dot electronic viewfinder is a bit low-res for a camera in this price range, especially compared to the 9.4 million-dot display on the Sony A1. Even Canon’s cheaper R5 has a 5.76 million dot display that makes it substantially easier to check focus.

Battery life is on the weak side at 420 shots (one to two hours of video shooting depending on resolution), compared to 490 shots for the Canon R5 and 530 for the A1, according to CIPA ratings. Again, though, you can nearly double that with the battery grip. Other notable features include UHS-II and CFexpress B memory card slots, a full-sized HDMI port for external capture, as well as two separate USB-C ports for power delivery and data.

Performance

With the fastest high-resolution stacked sensor out there, the Z8 is unbelievably quick for a 45-megapixel camera. You can shoot RAW photos at 20 fps, a bit slower than the A1’s 30 fps RAW capability, but the Z8 can shoot 30 fps in JPEG mode. It can handle 40 uncompressed RAW frames before the buffer fills, but can store more compressed images if you have a fast CFexpress card.

The hybrid phase-detect autofocus is Nikon’s best to date due to the upgraded image processor, stacked sensor and huge number of AF tracking points. It offers reliable subject tracking, and the face, eye and animal detection is fast and accurate as well. In fact, the company has said it’s nearly identical to the far more expensive Z9 as of the latest firmware.

That said, the Z8’s AF isn’t quite as dependable as Sony’s A1 when shooting at the highest speeds. It occasionally had trouble tracking subjects, in particular those moving toward the camera, resulting in some out-of-focus shots. The Z8 (and Z9) is quite sensitive to setup, so it’s best to fine-tune the AF settings until it works the way you want.

There’s no mechanical shutter, but the Z8’s sensor is fast enough that rolling shutter isn’t an issue, even on fast-moving objects like airplane propellers. The 5-axis in-body stabilization reduces shake by six stops, enough to get sharp photos down to a quarter second or so. That’s superior to the A1, but falls way short of the EOS R5’s 8 stops.

Image quality

The Z8 has the same excellent sensor as the Z9, so of course image quality is identical in all respects. With 45.7 megapixels on tap, it delivers sharp photos on par with the 50-megapixel A1 and second only to Sony’s 60 MP A7R V in the full-frame realm. Dynamic range is also outstanding, arguably a touch better than the A1.

JPEG images are bright and punchy straight out of the camera, with the best results in terms of colors from the Natural Light Auto white balance setting. Colors are accurate, though skin-tones aren’t quite as warm as Canon’s R3 or R5.

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Nikon Z8 sample image gallery

Nikon Z8 sample image gallery

Meanwhile, the 14-bit RAW images hold plenty of detail that can be teased out in Lightroom or ON1, particularly in the highlights. Like the Z9, the Z8 no longer has an “uncompressed” option, but now offers “lossless compression” and two high-efficiency lossy modes. I typically used the RAW setting with the highest compression, because it’s super efficient and frankly, I can’t see any difference between that and lossless compressed RAW.

The Z8 performs reasonably well in low-light, too. Grain is well-controlled up to about ISO 6400, and shots are usable at ISO 12800. Beyond that, noise can become distracting. That lines up with Canon’s R5, but Sony’s A1 performs a bit better in dim lighting.

Video

The Z8’s video specs are pretty mind-blowing for a non-cinema camera and exceed the A1’s capabilities. You can shoot RAW video at up to 8K 60p in Nikon’s 12-bit N-RAW or 8K 30p with 12-bit ProRes RAW HQ internally, to CFexpress cards only, of course. It also captures 4K video oversampled from the full width of the sensor at up to 60p, and full-width 4K up to 120p — again, all in RAW.

It’s worth noting that Nikon recently purchased RED cameras, so it now owns the RED RAW video patent that stymied so many other companies, including Apple. It’ll be interesting to see if Nikon loosens up that enforcement, and if the acquisition impacts the tech in its own future models.

As with photos, video autofocus is fast and reliable, while doing a good job tracking subjects, faces and animals. It can handle challenging situations like subjects moving toward the camera, though again, not quite as well as the A1.

8K and 4K oversampled video is extremely sharp. Colors are accurate, but again, skin tones aren’t quite as pretty as on Canon’s latest models. Dynamic range is top-notch, particularly in the ISO 400-800 level in ProRes mode, making it easy to adjust shadows and highlights in post. If you love shooting ProRes footage, be sure to get some high-capacity CFexpress cards, because the files can get huge.

One area where the Z9 bests the Z8 in video is with thermal performance, as the Z9’s larger body allows for 125 minutes of 8K 60p recording compared to 90 for the Z8 before overheating. There are very few content creators that will need to continuously shoot 8K video for that long, however.

Wrap-up

Nikon’s Z8 is an extremely capable camera and shows that the company should offer as much speed and power as possible if it wants to catch up to Canon and Sony. For many hybrid shooters, the Z8 is a better option than Sony’s A1, particularly when it comes to video.

While it does out-spec the Sony in a number of areas, the Z8’s autofocus isn’t quite as good — and that’s arguably the most important feature on any camera. Shooters who require a mechanical shutter (for flash photography, etc.) will also need to look elsewhere. Another 8K-capable full-frame mirrorless model is Canon’s R5 that falls short of both models in many regards, but is cheaper at $3,200.

A decision to buy this camera might be based on what system and lenses you’re already into. However, if I was starting from scratch, I’d go for the Z8 over Sony’s A1, as you get the camera plus a very good lens for the same amount of money.

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Sony A7C R

We’ll start with the A7C R, since it’s an all-new model. It features a softer, grippier material along with a deeper handle. It also comes with an add-on grip that extends the length, giving you a place to put your pinky finger — a nice addition that unfortunately also makes the camera less compact.

Still, those are key improvements that address ergonomic issues I’ve noticed on past Sony models — particularly when using them for a long day of shooting. Sony also added a front dial so you can more easily adjust aperture/shutter speed/exposure compensation, along with a dedicated video/photo/S&Q dial. And of course, the A7C R weighs just 515 grams (18.2 ounces) compared to the A7R V’s 723 grams (25.5 ounces) and is nearly half the size. That makes it a better choice for street photography and more.

It has a flip-out one-million dot display and 2.36-million dot OLED electronic viewfinder with slightly improved .70X magnification over the A7C II. It also offers full in-body stabilization with 7.0 stops of compensation (depending on the lens) — a nice feature in such a small camera. Other features include mic/headphone ports, USB-C 3.2, a micro HDMI connector a and single UHS-II card slot. The latter feature is a show-stopper for many pros, as there’s no backup for potentially priceless photos.

In terms of photo specs, it’s close to the A7R V with a few notable differences. You can shoot 61-megapixel RAW images at up to 8fps, compared to 10fps on the A7R V. The A7C R has a smaller buffer, though, and that single lower-speed SD UHS-II card slot (the A7R V has dual high-speed CFexpress Type A and SD UHS II slots), so you won’t be able to capture nearly as many photos in a burst. Like the A7R V, the A7C R has 693 autofocus points and 79 percent coverage. It uses the same processor, so should offer roughly the same AF performance in terms of burst shooting, AI tracking and more.

Most importantly, you can expect identical image quality to the A7R V. As I said in my review of the latter, with the very high resolution and the lack of an anti-aliasing filter, only Hasselblad and Fuji’s 100-megapixel medium format cameras offer greater detail. It also offers Sony’s Pixel Shift Multi-Shot that can quadruple resolution to 240.8 megapixels.

The A7C R can’t shoot 8K video like the A7R V, likely due to heating issues with the smaller body. However, it still offers 4K 60p full-frame video (with pixel binning) and 6.2K oversampled 1.5x cropped 4K 60p video. It comes with S-Log3, S-Cinetone and S-gamut3 Cine, records 10-bit 4:2:2 sampled video and can shoot at up to 120 fps in 1080p mode. Data rates top out at 600Mbps in XAVC S-I 4K mode, but you’ll need a (pricey) V90 SD card to shoot that.

That takes us to a very important consideration: the price. The A7C R costs $3,000, or a full $900 less than the A7R V — something that will give many buyers extreme pause. It arrives in fall of 2023.

Sony A7C II

As mentioned, the A7C II has the same 33-megapixel sensor and many of the same specs as the A7 IV. In terms of the body and handling, the form factor and weight are identical to the A7C R — so you get the same extra dial, updated grip, improved EVF and other previously-mentioned features. Unlike the A7C R, though, it doesn’t come with the add-on grip extension in the box.

Shooting speeds are a bit faster at 10 fps in mechanical or electronic shutter mode. By the way, neither the A7C II or A7C R have full mechanical shutters, but use electronic first curtain shutters. This can create bokeh issues when using lenses with very fast apertures, but otherwise isn’t noticeable.

What’s interesting about the A7C II is that autofocus is superior to the A7 IV because it has the same dedicated AI processing unit as the A7C R (and A7R V) that’s missing on the A7 IV. That means you can expect improved subject detection, tracking and other features compared to the A7 IV. When compared to the A7C, though, Sony promises a 40 percent improvement for animal and bird AF tracking, 60 percent for eye AF and 20 percent for auto exposure tracking.

Again, image quality should be the same as the A7 IV. That latter delivers sharper photos than the A7 III thanks to the extra resolution, but offers superior low-light capability despite the smaller pixels. A downside to the A7 IV is rolling shutter, so expect the same issue on the A7C II.

In terms of video, the A7C II is actually a better option than the A7C R. It offers sharp full-frame 4K 30p video with 7K oversampling, or 4K 60p with a 1.5x crop. You get 10-bit 4:2:2 color sampling with S-Log3 and S-Cinetone, with LUTs available in camera.

The Sony A7C II is available in silver and black, and arrives this fall for $2,200. That price is a significant $300 less than the A7 IV and it’s actually a better camera in some ways — provided the lack of a second card slot doesn’t bother you.

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"With the new Blackmagic Cinema Camera 6K, we wanted to create the most portable camera possible for high end, large format cinematography," said CEO Grant Petty. "That’s why we took the Pocket Cinema Camera platform but completely re-engineered the electronics inside around a full frame sensor and L-Mount."

The new sensor offers a number of advantages for film shooters, namely shallower depth of field and better performance in low light. To that end, the company is promising 13 stops of dynamic range and dual ISO performance up to 25,600. With the L-mount, it's also Blackmagic Design's first mirrorless style mount, with a relatively short flange distance that makes it slimmer than past models. The disadvantage to that, though, is that there's no room for the built-in ND filter found on past models.

The Cinema Camera 6K can shoot in all standard resolutions and frame rates up to DCI 4K and 6K, and stills at up to 24.6 megapixels. 6K open gate (3:2) is available at up to 36fps, or 60fps at 6,048 x 2,520 (2.4:1) and 60fps at 4,096 x 2,160 (4K DCI). "Customers can even work in true anamorphic 6:5 at much higher resolutions than other cameras using anamorphic lenses in 4.8K 24fps at 4,838 x 4,032," the company said. The maximum 120fps frame rate is available in HD.

It comes with a very bright 1,500 nit 5-inch tilting (but not fully articulating) HDR touchscreen that makes it possible to check HDR video straight from the camera, even in bright conditions. Blackmagic offers the usual shooting aids like histogram, focus peaking, levels, frame guides and more. You can also apply your own 3D LUTs for monitoring. It has the Blackmagic's touch interface that's intuitive and pleasant to use.

Video is recorded in the 12-bit Blackmagic RAW (BRAW) or H.264 proxy formats, either to CFexpress B or an SSD via the USB-C port. Other features include a wide range of audio ports, including a locking XLR port, an HDMI output, NP-F570 batteries (along with a locking DC power connector) and an optional BMPCC Pro Grip. The Cinema Camera 6K is now on sale for $2,595 — making it the lowest-price full-frame cinema-specific camera out there.

Along with the Cinema Camera 6K, Blackmagic Design debuted the Blackmagic Camera iPhone app that gives users cinema-like camera controls and looks. "Customers can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap. Or record directly to Blackmagic Cloud in industry standard 10-bit Apple ProRes files up to 4K," the company wrote. It also works with Blackmagic Cloud, letting creators collaborate with other users. It's now available on the App Store as a free download.

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The body and handling emphasizes manual controls, with no less than five dials on top to control shooting mode, video/photo/B&W, aperture, shutter speed and exposure compensation. It also has a pair of shooting dials front and back and a D-pad style controller, but no joystick. The "grip" is just a small ridge. With all that, the Zf really does look like a an old school Nikon film camera — right down to the chrome-plated shutter release button.

The Zf's magnesium-alloy body is smallish, but not very light at 710 grams (Sony's A7 IV is 659 grams). It does offer "high dust- and drip-resistance" though, Nikon says.

The high-resolution 2.1-million-dot vari-angle touch display fully articulates for vlogging and selfies, while allowing touch function controls and focus point selection. For astro shooters, it has a "Starlight view mode" that boosts display brightness in dark scenes. Meanwhile, the OLED viewfinder has a decent 3.68-million dot resolution and 0.8 times magnification.

It has two card slots, but with a serious caveat. One is a high-speed UHS-II card slot, but the other is a UHS-I microSD slot — the only model with that combo as far as I know. The battery is a weak point, offering only 380 shots on a charge, compared to 580 for the Sony A7 IV. Other features include a USB 3.2 Gen1 port with charging support, mic/headphone ports and a micro HDMI connector.

Inside, it has a backside-illuminated (BSI) 24.5-megapixel sensor and Expeed 7 processor borrowed from the high-end Z models. That gives it autofocus powers akin to the Z8, including Nikon's 3-D tracking plus AI-powered subject detection that can find people, dogs, cats, birds, cars, motorcycles, bicycles, trains and planes. It'll even detect far-away faces that take up as little as 3 percent of the frame's longest side.

As for image quality, the standard ISO range of 100 to 64,000 promises good low-light capability, and it has a pixel shifting mode that boosts resolution up to 96-megapixels for static scenes. In line with the retro styling, Nikon has a dedicated black & white mode (with its own dial setting), that enables multiple monochromatic settings ranging from flat to high-contrast "Deep Tone Monochrome."

It can hit 11fps shooting speeds in RAW mode (14fps with JPEGs) in electronic shutter mode (Nikon doesn't list specs for mechanical shutter) and offers a reduced-quality 30fps JPEG-only mode with a pre-burst option to ensure you won't miss a shot. The five-axis IBS (or vibration reduction, as Nikon calls it) reduces shake by up to 8 stops with a supported lens. Stabilization can be linked to the focus point, rather than just the center of the image as with most systems.

On the video side, the Zf can record full-frame 4K at 30p from a supersampled 6K image, or 4K60p with a DX (1.5 times) crop, along with 1080p/120p. Video can be captured with 10-bit H.265 recording, which will give users better color fidelity and more options in post. However, H.265 files require a powerful computer, meaning you might have to convert them to another format for editing.

Based on the specs, the Nikon Zf looks like a solid camera that can compete against models like Panasonic's S5 II and Sony's A7 IV. However, it sets itself apart from those models based on its retro styling and manual controls, which should appeal to a certain segment of buyers. The Nikon Zf arrives in October 2023 at a competitive $2,000 price for the body only, or $2,240 with the retro-styled Nikkor Z40 f/2.0 SE lens. If you want one of the other colors (Indigo Blue, Sepia Brown, Bordeaux Red, Sunset Orange, Moss Green, StoneGray), you'll pay $2,100 for the body only.

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It uses the same sensor as the $3,500 A7S III, a video-focused camera that’s also a low-light marvel. However, the ZV-E1 costs $1,300 less, so of course it’s missing some key features like an electronic viewfinder (EVF), dual high-speed card slots, a mechanical shutter and some physical controls.

Sony93100

Sony Alpha ZV-E1

Sony has no less than five models in its content-creator ZV lineup, and the ZV-E1 is the most capable by far.

ProsOutstanding video featuresClass-leading stabilizationIncredible low-light powersVery useful AI featuresConsLess sharp than other modelsNot great for photos$2,198 at AmazonExplore More Buying Options$2,198 at Abt Electronics$2,200 at Sony Electronics

At the same time, the ZV-E1 has some functions that the A7S III lacks, surprisingly enough. Most of those are in the area of AI, and very useful for vloggers, like auto-framing, advanced subject detection and dynamic stabilization. With the sensor and AI features combined, it’s not a spoiler to say that this camera is both a mini A7S III and a powerful vlogging camera at the same time. The sheer number of advancements also make it a technological tour de force.

Body

The sensor might be the same, but the ZV-E1 looks radically different from the A7S III. Instead of Sony’s classic A7-style mirrorless form, the body is squat and chunky like an A6700 or full-frame A7C. It’s also significantly smaller and weighs a third less than the A7S III at 483g, making it Sony’s smallest full-frame camera to date.

Sony boasts that it’s built of recycled plastic, and that makes the camera feel significantly cheaper and less grippy than the A7 series. The grip is also smaller, but I was still able to get a reasonably firm grasp considering the lighter weight. Despite the lower-end materials, it is dust and moisture resistant.

As we’ve seen on numerous recent cameras, there’s a switch for photos, video and slow & quick, and each has its own dedicated settings. It has a prominent red record button on top, and like Sony’s other mirrorless vlogging camera (the APS-C ZV-E10) it has a zoom rocker for supported zoom lenses, and also works with Sony’s “Digital Zoom” feature.

Other than that, it’s significantly stripped down compared to the A7S III. While it does have a few vlogging-specific buttons like Product Showcase and Background Defocus, there’s just a single control dial on top (at the back) and no dial on the front – making it difficult to operate the camera using physical controls in full manual mode.

That said, the ZV-E1 is one of Sony’s first cameras that can be fully operated using touch controls. Most of the key settings (shutter speed, aperture, ISO, etc) can be changed in that way, and it also lets you tweak the display settings by swiping left or right. And of course, the LCD screen fully articulates for vloggers, though it’s a bit low-res at 1,030K dots.

Where the A7S III’s 9.44 million-dot EVF is the best on the market, there’s no viewfinder at all on the ZV-E1. I missed that feature when shooting on bright days, but the EVF does have a “sunshine” mode that automatically maxes out brightness.

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Sony ZV-E1 review: The best vlogging camera to date, by a long ways

Sony ZV-E1 review: The best vlogging camera to date, by a long ways

It uses the same battery as Sony’s flagship models, so you get a generous 95 minutes of 4K 30p video recording and 570 photos on a charge. Luckily, the USB-C Gen 3.2 port lets you charge while shooting, and also supports high-speed transfers.

Along with headphone and mic ports, it’s got a micro rather than a full sized HDMI port, which isn’t ideal for a vlogging camera. It has just a single high-speed UHS-II card slot. Oddly the lack of a fast CFexpress type A slot doesn’t appear to limit video capture compared to the A7S III.

Video

As you’d expect for a camera based on the powerful A7S III, video specs are impressive. It can handle 4K UHD video at up to 60 fps, though it’s lightly supersampled from the 12-megapixel, 4,240 x 2,832 sensor – so it’s slightly less sharp than higher-resolution Sony cameras like the A7 IV. Thanks to a recent firmware update, it can also shoot native 4K at up to 120 fps with no supersampling.

You can choose from high- and low-quality MP4 longGOP options, all with up to 4:2:2 10-bit color depth and 280 Mbps data rates. There’s also an I-mode at up to 4K 60p with 4:2:2 10-bit color that offers a more fluid editing experience with no transcoding. That setting uses higher data rates at up to 600Mbps (60 fps), so it requires expensive, high-speed V90 UHS-II cards.

Sony’s S-Log3 boosts dynamic range to 14-plus stops, and you can preview footage using Sony’s LUTs or install your own. If you don’t want the hassle of log, S-Cinetone also boosts dynamic range and is easier to tweak and edit later on.

What about overheating? Since it lacks the thermal capabilities as the A7S III, continuous recording times are shorter, particularly at 4K60 and up. In that mode you can expect less than an hour depending on the outside temperature. Content creators might be OK with that, but event shooters may need to look elsewhere.

Autofocus and AI

When it comes to autofocus, the ZV-E1 actually outshines the A7S III. That’s because it uses Sony’s new AI processor introduced in the A7R V, so it behaves more like that model –- particularly when it comes to image tracking.

It can now track human heads and bodies, not just faces and eyes. And besides people, it has specific settings for animals, birds, insects, cars, planes and trains. Unfortunately it does lack an auto setting, so it can’t automatically select the type of subject — you have to dive into the menus and do that yourself.

Subject tracking sets a new speed and reliability standard for mirrorless cameras, nailing autofocus consistently – even in tricky settings with fast moving subjects. That’s hugely important for vloggers, who often work alone. That said, even Sony’s system isn’t perfect, as it can occasionally lose a subject’s eyes in busy backgrounds.

AI powers other features too. For example, the built-in microphone is now directional, and can automatically aim toward the front, rear or all around, based on subject detection.

A key AI feature lets you digitally zoom an extra 1.5 times without much noticeable loss in quality. It works with the zoom rocker, and unlike with past ZV implementations, includes full subject tracking. That ability to zoom smoothly and automatically scale the image powers other features as well

That starts with the ZV-E1’s in-body stabilization. Optical-only offers 5 stops, enough to smooth handheld video without much movement. Active stabilization considerably boosts performance, but adds a slight 1.1x crop. However, dynamic stabilization is new and quite remarkable. It adds a 1.3x crop, but can effectively remove bouncing from footsteps, making it like using a dedicated gimbal – albeit with some loss in sharpness. With that feature, the ZV-E1 is the first camera that can really match the smoothness of the latest GoPro action cams.

The digital zoom teams up with subject tracking on two other new features as well. One is the Framing Stabilizer, which crops into the image, steadies the shot and keeps the subject in the center of frame, allowing for dolly-like smoothness.

Auto Framing, meanwhile, gives the illusion of camera movement. It first digitally zooms into the subject, then tracks it within the frame. You can choose a small, medium or large crop, different tracking speeds and more. You can even send an uncropped video to HDMI so you have two versions.

It also carries vlogger-centric features seen on other ZV models, including Product Showcase and Auto Depth of Field. As before, the latter automatically defocuses the background by instantly opening the aperture as much as possible. Product Showcase, meanwhile, ignores eye detection and quickly shifts focus to any foreground object brought in front of the camera. Finally, Breathing Compensation uses a slight digital zoom to maintain constant framing when changing focus.

Video Quality

As mentioned, 4K 30p and 60p video is slightly softer than Sony’s 30-megapixel A7 IV due to the lower resolution. On the plus side, the absence of pixel binning means no there’s no aliasing or other ugly artifacts that can ruin a shot.

The other positive aspect is far less rolling shutter than the A7 IV at the full sensor width. That means you can make quick pans or film fast-moving subjects without worrying about skewed video.

Apart from sharpness, image quality is superb. It delivers nearly 15 stops of dynamic range in C-Log3 mode, up there with the best mirrorless cameras. That allows for plenty of detail in dark shadows and bright highlights, even on sunny or dark days. S-Log3 mode, meanwhile, gives editors room to tweak video. Sony’s colors are accurate, though skin tones can lack the warmth I’ve seen on Canon models.

The ZV-E1 can’t be beat in low light. It has dual native ISOs at 640 and a whopping 12800. That allows for low-noise video all that way up to ISO 25,600, and manageable levels even at 51,200 – letting you shoot by moonlight or candlelight. In fact, Sony’s FX3 cinema camera with the same sensor was recently used to shoot a feature film called The Creator, specifically because it’s so good in low light.

Photography

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Sony ZV-E1 review sample photos

Sony ZV-E1 review sample photos

Since it doesn’t have an EVF or mechanical shutter, I wouldn’t recommend the ZV-E1 for photography alone. That said, like the A7S III, it’s more than competent in a pinch.

The AF works just as well with photography, and has the same features and tracking modes. So you can count on this camera to grab sharp photos, even when shooting bursts at up to the maximum 10 fps or in low light. It’s actually a pretty good street photography or travel camera, as it’s small, silent and discreet. And with so little skew, I rarely missed the mechanical shutter.

Photo quality is outstanding, particularly in very low light. RAW images can easily be tweaked, even at high ISOs, and colors are accurate. The biggest drawback is again the lack of sharpness. That means there’s not a lot of room to crop into photos later, so you’ll want to get your framing right when you take the shot.

Wrap-up

With all that it can do, Sony’s ZV-E1 is the best vlogging camera on the market and its rivals aren’t even really close. It delivers everything creators need like 4K 120p video, high dynamic range, unbeatable low-light capability, great ergonomics, the best AF on the market and a boatload of useful AI features. The main drawback is a lack of sharpness — but that’s only really noticeable if you’re pixel peeping.

The ZV-E1 costs $2,200, so its rivals include the $2,200 Panasonic S5 IIx, the $2,500 Canon EOS R6 II and Sony’s own $2,500 A7 IV. All of those cameras have sharper 4K video and electronic viewfinders, so they’re better hybrid cameras for both photography and video

The ZV-E1 beats them in nearly every other way, though, while breaking new ground with its innovative AI features. If you’re a content creator looking for a full-frame camera in that price range, I’d highly recommend the ZV-E1.

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The new tech opens up a lot of new possibilities for photographers. Without the constraints of a physical shutter (no, there isn't one), it can shoot full-resolution, blackout-free 14-bit RAW bursts at up to 120fps with a 1.6 second buffer (around 180 shots). Sony also installed the latest Bionz XR image processor and "high-density focal plane phase detection AF" that allows for real-time autofocus (AF) tracking.

"A designated AI processing unit uses real-time recognition AF to recognize a wide variety of subjects with high precision," Sony explains in the press release. "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 eye."

The global shutter also allows for shutter speeds of 1/80,000th of a second (1/16,000th during continuous shooting), ten times faster than most cameras. Compatible flashes can be synced all the way up to the maximum shutter speed, rather than being limited to much lower speeds in electronic shutter mode — normally around 1/250th to 1/500th of a second. It also allows the shutter speed to be finely adjusted to eliminate flicker in video. And Sony is offering a 1-second pre-burst feature that can capture scenes before the shutter button is pressed, reducing the possibility of a missed shot.

The stacked global shutter provides large benefits for video, as well. It's Sony's first camera to support 4K 120p video with no cropping and does so with no rolling shutter distortion (skewing), along with 4K 60p with 6K oversampling. It also offers 10-bit recording with S-Log3 capture in all video modes (including 4K 120p), along with S-Cinetone borrowed from the company's high-end Venice lineup that "makes human skin tones and subjects stand out beautifully," Sony said. It should be one of Sony's best-focusing cameras for video, as all the photo subject tracking features work in that mode, too.

It's got a long list of other features you'd expect on a high-end Sony camera, most notably in-body stabilization with up to 8 stops of shake reduction. The electronic viewfinder is Sony's best with 9.44 million dots, and It resolves the rear display tilt vs. flip debate by doing both of those things. And to help clear the buffer as quickly as possible, the A9 III supports fast CFexpress Type A cards on top of SD UHS II, much like the Alpha A1.

Other specs show an ISO range of 250-25600 (expandable to ISO 125–51200) with a minimum ISO that's a bit on the high side. That shouldn't bother photographers on sunny days, given the extremely fast shutter speeds, but video shooters will need ND filters to block some light.

What will be a key for this camera is the image quality and low-light sensitivity, given that this is an all-new sensor and there's not a lot of data on global shutters. Sony didn't release any sample photos yet from what I've seen, so upcoming reviews of this model will be key. The Alpha A9 III goes on pre-order tomorrow for $6,000, with a vertical grip available for $400 — but won't arrive until next spring.

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Both cameras have far different price points, currently around $450 and $1,300, respectively. They’re still the company’s least expensive new full-frame and crop-sensor mirrorless cameras, though, and Canon markets them both as ideal for tourism and adventure — so I figured that this is a great way to test the capabilities of both.

Like any potential buyer, I wanted to see if they’re better than a smartphone for traveling — specifically if the larger sensors can counter a smartphone’s AI computational photography. I also looked at ease of use and automated operation, flexibility for sunny beaches or dark bars, vlogging and more. After trying them out at some of Gran Canaria’s most scenic spots, I found one of them to be a camera worth buying and one, not so much.

Smartphone computational photography

Before detailing my experience with these cameras, I want to talk about computational and AI photography. Most smartphones incorporate these tricks, like taking multiple photos in quick succession to get the best one or improve low-light shots. They often deliver better-exposed shots with superior white balance, too. There is a price to be paid though in terms of over-sharpening and other artifacts that can give photos an artificial look.

I tested this by taking a few shots with both a Pixel 7a and a camera in the auto settings, as many travel photographers do. As I suspected, at first glance the shots on the smartphone look better, but a closer look reveals superior photos from the camera in terms of detail, color accuracy, skin tones, true noise levels and more. I believe it’s important for buyers to understand this and have a basic idea of how to adjust images in post, or their new purchase could end up in a drawer.

Canon EOS R100

The 24-megapixel APS-C EOS R100 seems like it should offer a lot for travelers. It’s small and light at 356 grams, so with a compact lens, it’s not a huge burden compared to a smartphone. At the same time, the larger sensor potentially offers superior quality and the flexibility of interchangeable lenses.

The small size comes with big compromises, though. Handling is mediocre and the settings aren’t super intuitive. I’d love to tell you could just control it on the screen instead, but the display isn’t touch sensitive and is nearly useless for vlogging as it’s fixed in place too. The electronic viewfinder has low magnification and is relatively dim, so it’s hard to use in the sun — especially with glasses on — unfortunate if you’re on the beach, for example.

It has just a single UHS-I card slot, so storage is relatively cheap but you won’t have a backup if the card glitches. You get a microHDMI jack to output to a TV, along with a mic input, but no headphone jack. The USB-C 2.0 port can only transfer files, not charge the camera or let you use it as a webcam.

It supports Canon’s smaller LP-E17 battery, but is rated for a decent 430 shots on a charge and many more in real life. One big benefit is a built-in flash with exposure compensation to dim it down – though settings are limited in the fully automatic mode most beginners will use.

EOS R100 performance and video

The R100 has anemic performance, to put it mildly. It shoots and focuses at just 3.5 fps max, the slowest in its category. It feels sluggish when shooting RAW photos, even in single shot mode. Luckily, it’s much more reactive when shooting JPEGs.

The sensor has some of the worst rolling shutter I’ve seen in silent mode. Luckily, it does have a first-curtain mechanical shutter that eliminates that, and the silent mode setting is hidden away where many folks will never find it.

There’s eye-detection AF for people only, and it works well if your subject is close to the camera. That’s OK for family photos and the like, but not ideal for candid or street shots on your trip. The autofocus isn’t great in low light either, but is otherwise fairly reliable.

The R100 is OK for grabbing the odd travel video, but not suitable for content creators. Max resolution is 4K 24p, but that comes with a 1.5 times crop, or 2.2 times with electronic stabilization, killing the bokeh advantage of a large sensor. And there’s no option for log, 10-bit, or any other high-end video features. That said, 4K video is relatively sharp and colors are nice and accurate.

EOS R100 image quality

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Canon EOS R100 sample images

Canon EOS R100 sample images

The bright spot of the EOS R100 is photo quality. As you’d expect from Canon, image quality is excellent with warm skin tones and accurate colors straight out of the camera. It can also handle low-light shooting well thanks to the large sensor, with little noise up to ISO 6400. All that will help you take great shots of mountains, the beach, nightlife and other typical vacation scenarios. The ability to shoot RAW, along with the mechanical shutter, is another good reason to get this model over most smartphones. And finally, the built-in flash is there to help you get nice looking images even in dark environments.

EOS 100 wrap-up

So would I recommend the EOS R100 for travel, particularly over a smartphone? Sorry Canon, but no. It’s too stripped down to replace a good smartphone, and while it does deliver better image quality, it’s too complicated. Instead, I’d suggest Canon’s older EOS M50 Mark II ($729), as it offers the same image quality but has a touchscreen, is smaller, and still offers good lens options. Sony’s A6100 ($848) has better autofocus and video options, and if you can afford a little more, Canon’s own R50 ($800) is the same size but far more capable.

EOS R8

Like the EOS R100, Canon’s R8 is the company’s most stripped-down and cheapest new full-frame camera. It gives you the same sensor and image quality as the $2,000 EOS R6 II for $700 less, but takes away some of the speed, video features and more.

The main thing lacking in the R8 is in-body stabilization, so it relies on lens and electronic shake reduction – but that actually worked pretty well for me. It’s also missing a full mechanical shutter, but does have a front-curtain shutter that eliminates rolling shutter. The EVF is far more basic, with lower resolution and magnification.

On the plus side, it has the same flip-out display as the R6 II, meaning it can serve as a capable vlogging and selfie camera. It also has a decent range of manual controls, with dual dials for the main settings, a full range of manual and auto settings and a dedicated photo and video switch. It’s also smaller and considerably lighter than the R6 II, so it’s a better travel option.

It has both mic and headphone jacks, along with a microHDMI port. It captures photos at high speeds to a UHS-II card, but there’s only one slot. The biggest compromise is a battery that’s the same as the one in the R100. Given the extra power demands of the larger sensor, it delivers only 290 shots on a charge, max and under an hour of video shooting.

EOS R8 performance and video

For a budget camera, the R8 is fast. It supports only 6 fps with the electronic curtain shutter, but can handle 40 fps bursts in electronic mode. There’s significant rolling shutter, though, so keep that in mind for action shots.

The R8 uses Canon’s latest AI subjection recognition tech, meaning it can track both animals and humans accurately. It also comes with an auto setting that lets the camera determine the subject and follow it accordingly.

I think autofocus is one of the most important features for travel photography, and the R8 delivers. It can locate and lock onto various subjects and track them rapidly around the frame. That makes it more capable than other recent models like the Sony’s A7 IV and the Nikon Z6 II. Focus can be selected via the touchscreen with your eye to the EVF, which works well, but be sure to enable the “touch and drag” setting in the menu.

It’s also a good video and content creation camera, with a few caveats. You can shoot uncropped video at up to 4K 60p, and it supports Canon’s C-Log 3 with 10-bit capture, along with HDR PQ. 120 fps ultra slow mo is available at 1080p. That said, 4K 60p has some pixel binning, so it’s less sharp than the 30p mode. The lack of in-body stabilization also makes it less useful for vlogging, because electronic stabilization adds a 1.25 times crop..

EOS R8 image quality

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Canon EOS R8 sample images

Canon EOS R8 sample images

Image quality is a strong point with the R8 too, especially for tourists who want far more than a smartphone can offer. It’s a great people and scenery-shooting camera, with rich skin hues and accurate colors. At the same time, the full-frame 24-megapixel sensor is great in low light, delivers plenty of detail and offers beautiful background bokeh. Serious photographers can grab RAW photos and get the same level of detail found on more expensive cameras.

EOS R8 wrap-up

Canon’s entry-level full-frame R8 is definitely worth taking on your voyages. It offers impressive image quality and is great for content creators, too. The main drawback is the lack of stabilization and a small battery, but you’ll be fine if you carry an extra battery or two. Rival options include Nikon’s Z5 ($1,299), which has image quality on par but inferior autofocus and video, and if you’re more into vlogging, the Panasonic S5 ($2,099) is a better option for less money. If you’re looking for the best affordable hybrid full-frame camera, the Canon R8 is a great choice.

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As a pioneering product, it’s not cheap at $6,000, but you can expect the technology to come down in price in the future. And there is a downside: Image quality is reduced compared to regular cameras, due to the nature of a global shutter.

Is it worth trading off image quality for extra speed and lack of distortion, especially compared to stacked sensor cameras that are already pretty quick? To find out, me and my pro photographer friends put a final production model through a variety of shooting scenarios.

Sony92100

Sony A9 III

Sony’s A9 III is the first mainstream camera with a global shutter, marking yet another leap in innovation by the company. The new technology brings some big benefits, especially speed and the lack of image distortion as the entire sensor is read at once. It also offers large benefits for content creators, with 4K at 120 fps, 10-bit Log and no distortion for whip pans, and other fast moving content. The main drawback is image quality that’s reduced compared to regular CMOS cameras.

ProsIncredibly quickFast and accurate autofocusGood stabilizationExcellent video capaibilitiesConsReduced image qualityExpensive$6,000 at B&H Photo Video

Body and handling

The A9 III is Sony’s best handling-camera yet, borrowing all the latest features of recent models like the A7R V. It’s very light for a full-frame camera at just 617 grams. And the redesigned grip is more comfortable and secure, which is a big help to working pros, especially with heavy lenses. By comparison, Sony's A1 can be hard on one’s hands over a full day, according to my photographer pals.

There are three top control dials, making it easy to find primary settings in fully manual mode. It has a pair of dual dials, with one for video, photos and S&Q plus shooting modes, and the other controlling burst along with autofocus. You also get a rear joystick, control dial and no less than 5 custom buttons.

With everything well-placed, it’s a cinch to shoot manually. When you do need to delve into the menus, those are also well laid out. Settings are divided logically into categories, while the home menu shows key options (shutter speed, white balance, etc.) at a glance. Everything can be customized, and you can back up your settings to a memory card.

The high-resolution two million dot rear display is of course touch sensitive for focus and menu control. It flips out and tilts up or down to please both photographers and creators. The viewfinder is the best on any camera, with 9.44 million dots at 120Hz, or half that at 240Hz. That level of sharpness makes it easy to check focus and colors. Again, this is Sony flexing its tech muscles as the primary camera EVF supplier.

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Sony A9 III mirrorless camera review

Sony A9 III mirrorless camera review

Battery life is a solid 500 shots, but you can double that with a new $400 vertical grip, which also gives you a better hold of the camera. It has a dual-card slot setup with both SD UHS II and CFexpress. As usual with Sony, the latter is the slower Type A variety, though. Those are less than half the speed of CFexpress type A, but their smaller size allows Sony to do the dual slot setup.

Other key features include headphone and mic ports, with the option to add Sony brand microphones or audio accessories to the hotshoe. There’s also a full-sized HDMI port, USB-C charging port, ethernet, live-streaming capability and more.

Performance

With the global shutter, dual Bionz processors and the same dedicated AI processor found on the A7R V,, Sony’s A9 III is the fastest full-frame camera in the world. Compressed RAW bursts can be shot at an incredible 120 fps with autofocus and auto-exposure, or you can dial that down to 60 fps or 30 fps.

A big caveat is that the 120 fps mode only works with supported Sony lenses, while third-party lenses are all limited to 15 fps. Hopefully the company will address that in a future firmware update.

The buffer holds 200 RAW frames, so it fills up in less than two seconds at maximum speed. It takes longer to clear the buffer than it should due to the CFexpress Type A cards. If you use SD UHS II cards instead, it takes about twice as long to clear.

In any case, shooting at 120 fps is major overkill most of the time unless you like wading through thousands of photos later on. Sony does have a solution, though. You can shoot at, say, a still-very-fast 30 fps, then press the C5 button to enable the top speed at key moments. That way, you’ll get the shot you want without wasting frames.

The A9 III is also the first Sony camera to use a pre-capture mode that saves a second of photos when you half-press the shutter button. After you fully press it, those photos are saved along with any taken after.

Your photos will usually be sharp, too. The 759 phase-detect focus points allow for extremely rapid and accurate autofocus in most situations. For regular continuous AF, it can keep up with even the fastest action.

The AI-powered subject detection shines too. Face tracking works with subjects farther away and it follows someone tenaciously, even when they duck behind obstacles. Human tracking is fast and fluid, and you can easily see if it’s locked onto eyes, face or body.

It can detect birds, animals (or both), along with insects, cars and trains. You can also select any distinctive object and the system will usually track it reliably.

The bottom line is that it rarely misses focus, so it’s great for professional sports, wildlife, weddings and more. Of course it’s not infallible and can mix up subjects, but is better than any camera I’ve tried to date.

The A9 III has no need for a mechanical shutter because there’s no rolling shutter distortion, meaning you can shoot in complete silence at all times. With that, it’s perfect for sports like golf, as you can shoot a player in mid-swing without disturbing them, and a club in motion won’t be distorted.

It also allows for extremely fast shutter speeds up to 1/80,000th and it can sync with supported flashes all the way up to that speed. It also eliminates the flicker and banding from venue lights, another big aid for sports photographers.

Sony has also improved its in-body stabilization significantly, boosting it to 8 stops with supported lenses. That allows shots down to a quarter second or less, matching Canon’s EOS R3 and besting the Nikon Z9 and Sony’s own A1.

Image quality

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Sony A9 III review: The future of cameras is fast

Sony A9 III review: The future of cameras is fast

As mentioned, the primary issue with this camera is image quality. So is how much does it fall below regular CMOS cameras? To test that, I shot in situations including gymnasiums, night scenes, bird shooting, an airport and more.

There’s no question that dynamic range is reduced compared to Sony cameras like the A1, at least by a stop. The reason is that the sensor has less light capacity due to the space taken up by the extra electronics.

It also has a smaller ISO range, both on the high and low end. Minimum ISO is not great at 250 and at the high end, ISO is limited to 25,600, half that of the A9 II.

In general, there’s more noise and less dynamic range at any given ISO setting than the A9 II. At the same time, the resolution is lower than rivals like the Nikon Z9 and Sony’s own A7R V and A1. So for landscapes, portraits and other types of photography where dynamic range and resolution is important (and speed isn’t), the A9 III isn’t the best choice.

That said, you’d need to pixel peep to notice any major difference in image quality between rival 24-megapixel cameras up to about ISO 6400. For the intended audience of sports, action and wildlife shooters, it’s more than sufficient.

Beyond that, images are noisier, but still usable up to the maximum ISO 25,600 with noise reduction (Sony appears to have more aggressive noise reduction for JPEG images at higher ISOs). I had no difficulty extracting good shots in dark scenes at ISO 6400 or even ISO 12,800. And as mentioned, you have more control with a flash than any other camera on the market – so that’s a solid option in low light.

Otherwise, images are typical for Sony, with accurate colors and skin tones. The 14-bit RAW files are easy to work with and allow some pushing and pulling, particularly in highlights.

Video

Sony took advantage of the global shutter to make the A9 III its most capable mirrorless camera for video. 4K at up to 60 fps is supersampled using the full 6K sensor width, while 4K at 120 fps can also be shot using the full sensor, albeit with pixel binning. That mode supports full 120 fps playback as well, or slower playback modes via the slow and quick (S&Q) setting.

RAW 4K capture at 60 fps is also possible using an external recorder. All of those modes are available with 10-bit S-Log 3 recording to expand dynamic range in challenging lighting conditions.

That’s just the start of the A9 III’s video powers. Autofocus is as fast and accurate in video as stills mode and has all the same AI features. That means you’ll be sure to keep even fast-moving subjects sharp, whether they’re people, birds, animals or vehicles.

Those who prefer to shoot manually can employ Sony’s handy focus map feature. It has the auto-framing seen on previous Sony models like the ZV-E1 that lets YouTubers move around while filming themselves. You also get the digital zoom feature that reduces focus breathing for supported lenses, with some loss of quality.

Airplane propeller distortion in video is a telltale sign of a rolling shutter camera, so naturally we had to test the A9 III at an airport against Sony’s stacked sensor A1. Our findings? While the A1 still produces bendy propellers, they’re of course dead straight on the A9 III. That trivial test has large implications. You can shoot things like whip pans or a fast moving train that you’d never try with a rolling shutter sensor. And since everything is exposed at once like a film camera, it’s more cinematic.

The A9 III does have some video competition, as RED just launched a pair of full-frame global shutter cinema cameras last month.

It has the same excellent video stabilization capabilities as the ZV-E1. Regular optical stabilization is good for handheld shots without much movement, or you can kick in the dynamic active mode for walking. That provides near gimbal levels of smoothness, though there’s a considerable zoom and loss of sharpness.

Much as with photos, video quality isn’t quite up to other full-frame cameras, with more noise in general. I shot in S-Log3 most of the time to maximize dynamic range and was satisfied with the results. In low light, I was forced to use some noise reduction.

Quality is still better than any APS-C mirrorless or cinema camera. I think the global shutter advantages, particularly the elimination of rolling shutter, will be worth the tradeoff in quality for a large number of videographers.

Wrap-up

Sony launched its first full-frame mirrorless camera, the A7, years before rivals, and was first to market with backside illuminated and stacked sensors. Lately though, rivals (especially Canon) have been catching up and the field has leveled. With the first global shutter camera, Sony has taken a leap ahead once again.

Image quality has held global sensor cameras back, but Sony clearly felt that the time was finally right. It was a wise calculation — the A9 III is far better than I expected for a first-gen product. It offers mind-blowing speeds and incredible video capabilities, with a relatively small cost in image quality..

Its primary rivals are the $4,800 Canon R3, Sony’s own $6,500 A1, the $5,650 Nikon Z9 and $3,800 Z8, all stacked sensor cameras. The latter three offer much higher resolution and better picture quality, plus shooting speeds that are still darn fast. They all have some rolling shutter, though, along with flicker and flash sync issues that don’t exist on the A9 III.

Whether it’s worth risking that kind of money on new and unproven stacked sensor tech depends on the buyer. Action photographers and videographers won’t blink at the cost if they advantages of global shutter will help them make money. Unless you really need those benefits, though, Nikon’s Z9 and Z8, along with Sony’s A1, are more versatile cameras — and the Z8 is significantly cheaper.

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The new model has the same sensor as the M11 rangefinder and Q3 compact models, but very much resembles the SL2 and tips the scale at a hefty 767 grams. It’s also IP54-rated so you can shoot in weather conditions ranging from 14 to 104°F without worrying about dust, moisture etc.

The biggest change in the layout is a new dial on the left top (all the dials are blank as you can customize them any way you want). At the back, Leica moved the three key buttons (play, function and menu) to the right, and changed the power switch to a button.

The SL3 now has a new 3.2″ 2.3m-dot LCD, and unlike past models, it can tilt (but not swivel). The EVF has also been updated to a higher-resolution 5.76m-dot 0.78x OLED version. As for storage, it supports both CFexpress type B and SD UHS-II memory cards. It comes with a full-sized HDMI and USB-C charging ports, along with mic/headphone jacks.

The new sensor increases resolution from 47 MP on the SL2 up to 60 MP, a significant bump. It’s likely similar to the sensor Sony uses on the A7R V, and supports a wide native ISO range from 50-100,000, with a claimed 15 stops of dynamic range.

It can shoot bursts up to 15fps, but more importantly, offers a new phase-detect AF system that’s faster and more intelligent, according to the company. It combines phase detection, contrast and object autofocus for faster and more consistent performances. That includes face and eye detection, along with a new animal detection feature. It’s also supposed to be better at tracking action, Leica says.

As for video, the SL3 can record internally in DCI 8K 8192 x 4320 at 30 fps and DCI 4K at up to 60p with a maximum bitrate of 600Mb/s. It can also record externally via the HDMI output, also at DCI 8K and DCI 4K up to 60fps. Those resolutions are all available in 10-bit with the choice of L-Log Rec. 2020 and HLG Rec. 2020. It supports ProRes recording, but only up to 1080p.

As you’re probably expecting, the SL3 isn’t cheap at $6,995, though it is significantly cheaper than the $9,000 M11. It’s now available at B&H Photo Video and elsewhere.

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