Long-term test Sony A7R III
Sony’s super-cam is after your wallet
DAY 01
Out of the box, I’m struggling to tell the Sony A7R III apart from the rest of its A7 family tree. It’s got the same angular silhouette, black finish, screen and electronic viewfinder. Surely Sony hasn’t just given its old system camera a new name and whacked on a hefty £3000 price tag?
No, I’m just being paranoid. Still, just like other A7 cameras, the body is chiefly made of metal, giving the A7R III the weight and sturdiness you’d expect from such a pricey camera – you could probably use it to hammer nails, although I’m not brave enough to try. There are smaller, lighter mirrorless cameras around, but this is still remarkably compact for a full-frame model.
As for physical controls, the thing is bristling with dials and buttons and dials, including three that I’ve already customised to give a shortcut to my most used settings. Not only that, but the LCD screen is touch-sensitive, so I can swipe through videos and photos I’ve taken, or tap an area of the screen to set the focus point. Working with the menu system and on-screen UI, the controls give plenty of scope for swift tweaks.
DAY 02
I could sit in the warmth and just admire the design of Sony’s new stunner, but that wouldn’t be much help now, would it? Fortunately, it’s weatherproof, so I can venture out into the great British outdoors without keeping the A7R III under wraps during wintry showers.
Despite the grim weather, stills look fantastically detailed. You might expect that of a 42.4MP full-frame sensor, but Sony has built upon the (also 42.4MP) A7R II’S performance with better low-light abilities and a new pixel-shifting mode – this shoots four RAW images of the same scene and merges them into one super hi-res image with cleaner detail and crisper colours. Sony isn’t the first company to do this, but it delivers amazing results in the right situations.
DAY 05
I take back what I said about the Sony A7R III appearing identical to its older siblings. Once you spend a few days flashing away with the thing, you really start to see a big difference. Sony’s doubled the continuous shooting mode’s maximum speed to a brisk 10fps with autofocus and metering on, as well as bumping the top of the ISO range up to 32,000 in standard mode, with an expanded option of up to 102,400. So you’re getting a speed boost and better low-light performance.
Then there’s the new AF system, combining 399 phase-detection and 425 contrast-detection points. This drastically boosts the accuracy and speed with which you can lock onto and track a subject. Oh, and there are dual SD slots now, rather than the A7R II’S single berth.
DAY 09
There are more video-centric cameras than this in Sony’s range, but this one has proven it can rise to pretty much any occasion – whether I’m filming my dog running around the garden or trying to make a properly professional-looking short film. Video can be captured at pristine 4K quality at up to 30fps with Hybrid Log Gamma HDR, or at up to 120fps at 1080p (which allows for slow-mo playback down to quarter speed).
Video skills are helped by the five-axis in-body image stabilisation, which compensates for my shivering hands. It’ll add 5.5 stops of stabilisation, according to Sony, which means you can shoot stills at much lower shutter speeds than you’d normally be able to.
DAY 11
While roaming around taking snaps and videos, I forgot this thing even needed a top-up. It’s good for around 500 shots per charge when using the OLED viewfinder, or a fair few more using the LCD – almost double the stated stamina of the previous model. That’s a boon that’s sure to please both amateurs and pros.
DAY 14
Sony has made huge strides to catch up with its camera rivals, and the A7R III is testament to that. Yes, it’s seriously expensive, but top products usually are. If you happen to find three grand in an old coffee jar, you’ll be spending it on one of the finest snappers on the market.