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Which Sony RX100 is right for you?

14 Dec

Introduction

There have now been eight variants of the RX100 series, with at least seven of them still considered to be ‘current’ models. This variety of choice and the similarity of the names can make them difficult to tell apart, or choose between, so we’re going to look at the differences.

If you’re not fussed with the details and just want to know which model is best for what, feel free to skip to the conclusion: Click here on desktop, or tap here on mobile.

Lenses

The biggest differences are the lenses: the first two versions were built around a 28-100mm equivalent lens with a bright maximum aperture at the wide end but one that’s much slower at the telephoto end.

The Mark III saw a move to a wider, shorter and much brighter lens: a 24-70mm equivalent zoom with F1.8-2.8 maximum aperture, bringing significant benefits in low light and allowing shallower depth-of-field than before.

Most recently, the Mark VI and Mark VII moved to slower but much more flexible 24-200mm equivalent zooms. This puts the RX100 into travel zoom territory.

Beyond this, we’ve tried to summarize the development of the series in terms of spec:

Price (MSRP) Lens Video AF Screen Viewfinder
RX100 $ 400 28-100mm
F1.8-4.9
1080p60
Line-skipping
Contrast Detect, 25-points 3″ fixed None
RX100 II $ 600 28-100mm
F1.8-4.9
1080p60
Line-skipping
Contrast Detect, 25-points 3″ tilting Optional 2.36M-dot
RX100 III $ 750 24-70mm
F1.8-2.8
1080p60 Contrast Detect, 25-points 3″ tilting 1.44M-dot pop-up
RX100 IV $ 900 24-70mm
F1.8-2.8
4Kp30

Contrast Detect, 25-points 3″ tilting 2.36M-dot pop-up
RX100 V $ 850 24-70mm
F1.8-2.8
4Kp30

Phase Detect, 315-points 3″ tilting 2.36M-dot one-touch pop-up
RX100 VI $ 1000 24-200mm
F2.8-4.5
4Kp30

Phase Detect, 315-points 3″ tilting touch-enabled 2.36M-dot one-touch pop-up
RX100 VII $ 1200 24-200mm
F2.8-4.5
4Kp30 Phase Detect, 315-points 3″ tilting touch-enabled 2.36M-dot one-touch pop-up
A more complete comparison of these specifications may be found here.

Viewfinders

The RX100 II added the option to attach an external viewfinder, while for the Mark III Sony found the space to squeeze a pop-up viewfinder into the body. The resolution of the finder was updated in the Mark IV and the refresh rate increased in the Mark V(A) and VI. The Mark VI also saw the finder mechanism redesigned, so that it can be deployed or stowed with a single button press.

Video

The RX100 IV gained a Stacked CMOS sensor with memory built into the chip. This allowed much faster readout, allowing 4K video and an electronic shutter mode, widening the range of lighting conditions in which the camera’s wide apertures can be used. The IV, V and VI can also shoot High Frame Rate video at up to 1000 fps, taken from increasingly low res crops of the sensor then blown up to 1080p.

The small body of the camera limits its ability to dissipate heat. This sees 4K video capture limited to around 5 minutes. The cameras will also dull their rear screens to minimize heat build-up as they approach this limit, which can make outdoor video shooting difficult in warmer climes.

Autofocus

Of particular note is that the Mark VII inherits Sony’s ‘Real-time Tracking’ technology, which allows the camera to seamlessly transition from subject tracking to face-and-eye-detection on the fly, with very little input from the user. It’s powerful and simple, and is the first time on an RX100 that you don’t have to assign a separate button to initiate Eye AF. Here’s a video of it in action.

Sony RX100

Key specs:

  • 20MP 1″-type CMOS sensor
  • 28-100mm F1.8-4.9 zoom lens
  • 1080/60p video
  • 10fps burst shooting
  • CIPA rated to 330 shots per charge
  • 3″ fixed rear display
  • Slimmest RX100 of the line

The original RX100 was the first camera to put a relatively large 1″-type sensor into a camera you could consider pocketable, and it started a revolution. Today, not only do you have five 1″-sensor models from Sony, but you have multiple competitors from the likes of Canon and Panasonic, too (and, hopefully, Nikon at some point).

At the time of this writing, the RX100 can be had brand-new for $ 370, making it the cheapest 1″-sensor compact out there (the Canon G9 X Mark II is slightly more expensive still, but with a different feature set and even slimmer size). That makes it a great option for budget-conscious folks that still want to have a camera with them all the time. This model produces a bit softer and noisier JPEGs than the others, albeit not by much (image quality is largely determined by sensor size, common across all models). AF can be challenged in low light, particularly with low-contrast subjects like facial features, and the screen doesn’t tilt like it does with all subsequent RX100s, and there’s not even an option to add a viewfinder. But hey – that’s why it’s the cheapest.

The original RX100 is still available and is now comparatively inexpensive. However, once you’ve experienced things such as the better lenses, improved responsiveness, viewfinders, up-rated video and more attractive color rendering of the newer models, it’s hard to go back. We’d tend to recommend saving up a little bit more for at least the Mark III, since that way you get the full IQ advantage of that big sensor at more than just the wide-angle setting.

Sony RX100 II

Key updates:

  • New Bionz X image processor
  • Multi-function hot shoe for a flash or electronic viewfinder
  • 3″ tilting display (90 degrees up, 40 degrees down)
  • Wi-Fi built-in

The multi-function hot shoe, which could work with either an electronic viewfinder or external flashes, was only seen on the RX100 II.

For an extra $ 180, you can get the second RX100, which added an impressive number of new features without appreciably increasing exterior dimensions.

The RX100 II has the highest-rated battery life of all the models in the range (CIPA rated at 350 shots), so if you want to avoid carrying extra batteries around, this is likely the best bet. There’s a modest improvement in image quality, with more detail in low light JPEGs and less noise at the highest ISOs in Raw thanks to the BSI sensor. The RX100 II also has a multi-function hot shoe, which can be used for an external flash unit, or Sony’s grotesquely expensive FDA-EV1MK electronic viewfinder (at least it’s high quality – which it should be, for $ 450 MSRP). The LCD can tilt, and its at this point where Wi-Fi with NFC was introduced to the lineup. The Mark II was the last RX100 to have the 28-100mm zoom lens, so if you value the reach of this model over the speed or cost of later iterations, this is your best bet (or, of course, you can check out other manufacturers’ offerings).

If you can swing the extra cost and size – the Mark I is appreciably slimmer and lacks the hotshoe hump – the RX100 II offers quite a bit over the original model, with Wi-Fi in particular being a valuable addition. But it’s not as massive a leap as comes later in the series. If you can’t live without a viewfinder, it’s best to skip this model and go for the next one, which has a viewfinder built-in – but with some other changes that you may want to consider.

Sony RX100 III

Key updates:

  • New 24-70mm equiv. F1.8-2.8 zoom lens with built-in ND filter
  • Pop-up 1.44M-dot EVF
  • New Bionz X image processor
  • Full-sensor readout 1080/60p video with higher bitrate
  • 3″ screen now tilts 180 degrees for selfies
  • Battery life drops to 320 shots
  • Hot shoe eliminated
  • Improved customizable Function menu
  • Greatly improved JPEG engine

Sony’s innovative pop-up electronic viewfinder has found its way into a few other models, and we’re big fans.

The RX100 Mark III was a big jump for the series. As you can see at right, there’s a substantial list of changes (mostly improvements) that you get for an additional $ 100, with this model’s MSRP jumping to $ 650.

The biggest changes from a usability standpoint are the addition of an industry-first pop-up electronic viewfinder, which will make sunny-day shooting much easier, and a much needed custom Fn menu for quick access to most features. The new 24-70mm equiv. F1.8-2.8 lens is a showstopper as well, providing excellent optical performance and faster speed compared to the previous lens, though it gives up quite a bit of zoom reach. Whether you value the extra speed over the extra reach is a profoundly personal decision, but we often felt just a bit limited with this newer, though brighter, design. Note, too, that this is the beginning of some significant battery life reductions that only continue on later models.

Beyond that, there are some impressive leaps forward in image quality as well. Raw files are largely unchanged over the Mark II, but JPEGs throughout the ISO range are sharper (albeit with some haloing) and less noisy. Full-sensor readout for 1080/60p video results in much sharper footage with fewer artifacts.

Sony RX100 IV

Key updates:

  • New 20MP stacked BSI-CMOS sensor
  • 16fps continuous shooting
  • 4K/30p video with Log gamma
  • Up to 1000/960fps high-speed video
  • Up to 1/32000 sec exposures with electronic shutter
  • Pop-up 2.36M-dot EVF
  • Improved Auto ISO control
  • Eye AF-C and faster, more accurate AF performance
  • Battery life drops to 280 shots

The RX100 IV is shown here sandwiched between the III and V, which are virtually identical in terms of body and design elements.

The fourth iteration of the RX100 series brings the MSRP an additional $ 150 higher, to $ 800 (though it launched at $ 999). After three iterations of (albeit, slowly) evolving physical design, Sony has changed literally nothing about the outer design and handling with the IV.

On the inside, though, you get a new sensor that’s ‘stacked,’ meaning it has memory chips built right onto the back of the sensor itself, giving it incredibly fast read-out speed and buffering capabilities. Almost all the improvements you see at right, including some significant improvements to autofocus speed and low light accuracy, come from this industry-leading sensor technology.

Of course, with more power but the same battery, it’s no surprise that battery life dips to 280 shots, though you also get a significantly higher resolution electronic viewfinder, faster burst rates, and completely silent shooting. Usability improvements include instant 1:1 magnification of the AF point in playback, and best-practice Auto ISO control that allows you to more finely dial in how you want the camera to bias the ISO as related to shutter speed. Stills image quality isn’t drastically improved (though JPEGs are more intelligently sharpened), but 4K video and a host of video support tools like log gamma put it a significant step ahead of the Mark III if you’re looking for more of a hybrid shooting experience, as opposed to just stills.

Continuing on, we see the addition of new features like continuous Eye-AF and high frame rate video, which really start to overwhelm the RX100’s controls and menu more than ever before. The RX100 IV clearly epitomizes Sony’s new priorities regarding the RX100-series, with vast technological improvements under the hood, but only limited improvements to usability.

Sony RX100 V (A)

Key updates:

  • New ‘Front-end LSI’ processor for more speed
  • 24fps burst shooting with full autofocus and auto exposure
  • 315-point on-sensor phase detection autofocus system
  • Oversampled 4K video with almost no rolling shutter
  • HFR clips can now be twice as long as before
  • Battery life drops to 220 shots
  • Further JPEG Engine Improvements

The RX100 V brings a level of speed and AF performance never before seen in a compact camera.

The RX100 V received a mid-life refresh in July 2018, bringing the processor and menus from the RX100 VI and losing the ability to run in-camera apps. This article focuses on this “RX100M5A” variant.*

The V comes at a $ 100 premium over the previous model bringing us back to an MSRP of $ 1000, for which you get even more speed, even better 4K video, and a phase detection AF system that is the most advanced in its class.

The RX100 V offers little image quality advantage over the RX100 IV, but 4K video, now oversampled from 5.5K, offers greater detail, though the significant reduction in rolling shutter in 4K is going to offer the biggest benefit to your footage.

Whichever you choose, be aware of the existence of two versions of the RX100 V and make sure you’re getting the one you want.

This is definitely a camera for speed freaks (not a criticism). 24 fps burst shooting with autofocus tracking and Eye AF is a first for the industry, helping you nail the decisive moment. The doubling in length of high frame rate video clips makes them eminently more usable. For many of us, though, there’s just more speed than we even knew what to do with.

The update to V ‘A’ status brings better-organized menus and a custom ‘My Menu’ tab, which make it somewhat easier to cope with the camera’s extensive feature set. Sadly, the camera doesn’t gains the Mark VI’s touchscreen, so it remains an astonishingly able camera with a control system that works best when you point and shoot. It’s probably the world’s best point-and-shoot, but it’s hard not to look jealously at the more hands-on control systems on most of its rivals and imagine how easily it could be the world’s best enthusiast compact.

Ultimately, though, there’s no other camera that offers such impressive AF, such good video and such good image quality in such a small package.

*You may be able to find an original Mark V at a lower price for a while. This lacks the improved AF performance, updated menus and JPEG color of the Mark VI, but has the ability to install in-camera apps, such as the popular intervalometer app. Whichever you choose, be aware of the existence of two versions of the RX100 V and make sure you’re getting the one you want.

RX100 VI

Key updates:

  • 24-200mm equivalent zoom
  • F2.8-4.5 maximum aperture
  • Touchscreen control of AF point
  • SIngle-press EVF release/close
  • Bluetooth for location updates from smartphone
  • Battery life improves to 240 shots
  • Further JPEG Engine Improvements

The RX100 VI sees the camera gain a longer but slower lens to become an excellent travel companion.

The RX100 VI is the most radical camera in the series, arguably since its introduction. The adoption of a much longer lens significantly expands the types of photo you can take, making it an excellent travel camera. The trade-off is that the lens has become slower to keep the camera down to essentially the same size as the others in the series.

As well as the lens, the Mark VI also gains a touchscreen for AF point positioning and control during playback. The viewfinder mechanism has also been revised so that it can now be deployed or stowed with a single click. Both of these are distinct ergonomic improvements and there are further strides forward in operability with the addition of Sony’s latest menu system. This brings a more comprehensible structure and a custom ‘My Menu’ tab, for gaining quick access to the features you want.

Arguably the world’s best travel camera

The camera’s underlying performance is superb. The autofocus is hugely impressive (though it begins to struggle as light levels fall), the 4K video is highly detailed and has virtually no rolling shutter and the JPEG color rendering is the best yet. We were also impressed with the lens quality, given its ambitious range and reasonably fast aperture range. We still feel the user interface doesn’t expect you to take too much control over the settings but this makes more sense if you’re traveling and want to capture the moment, rather than intentionally devoting time to photography.

The costs of the new lens are twofold: its slower maximum aperture means it can’t capture as much light in low light situations, which means noisier images. These’s also no ND filter in the lens, which would let you use wider apertures for shallower depth-of-field or longer shutter speeds typically used for video, in bright light.

Overall, then, the RX100 VI is arguably the world’s best travel camera. It’s expensive, for sure, but nothing else can match its combination of size, lens range, image quality, AF and movie capability.

RX100 VII

Key updates:

  • 24-200mm equiv. zoom with F2.8-4.5 maximum aperture
  • Real-time Tracking AF for seamless face-and-eye detect
  • Blackout-free bursts at 20fps
  • Microphone socket added
  • Battery life now up to 260 shots
  • Digital + lens-based stabilization for very smooth video

The RX100 VII is a refinement of the previous model, with better autofocus, and blackout-free burst shooting, but at a slightly lower 20fps.

The RX100 VII, the series’ latest model, is the most capable pocket camera ever made. While it inherits much of what made up the Mark VI, Sony’s found room to include some pretty dramatic improvements.

The most significant of these is the inclusion of a new type of tracking autofocus, which transitions seamlessly from incredibly tenacious tracking of any subject, to face and eye detection on people, with little-to-no input from the user. It’s powerful, simple, effective, and simply the best autofocus implementation on the market today.

The RX100 VII is the most capable pocket camera ever made

An updated processor also improves 4K video capture, as the camera is now capable of combined digital and lens-based stabilization. This crops your video in slightly, so you don’t get quite as wide an angle as before, but the extra stability is welcome. A newly added microphone socket will make it easier to get better quality audio as well.

And though burst shooting has actually slowed a bit, at 20fps instead of 24fps on the Mark VI, it now comes ‘blackout-free.’ This means you continue to see a fluid, live feed of your subject while shooting 20fps bursts. It makes following fast-moving subjects much easier.

The same compromises the previous model made are present in this model as well, though, and these include a usefully long lens that is hampered a bit by a slower maximum aperture, and a lack of any built-in ND filter that would be handy for video. The menus are still dense, and there’s still some overall operational lag. On the plus side, battery life has increased a bit, but you’ll likely still want to carry a spare.

What’s the right RX100 for you?

Now, the important part. Which one is a fit for whom?

With the release of the Mark VI and Mark VII, it almost becomes easier to make sense of the sprawling RX100 series. Now you can choose a camera with a long, slower lens or ones with a short, fast lens: there’s less sense in buying the short but increasingly slow lens models that started the lineup.

RX100 and RX100 II

With this in mind, we’d probably only recommend the original RX100 Mark I and II if your budget absolutely won’t stretch further. The latest versions have made so many improvements: in terms of JPEG quality, AF performance and video, and with the addition of useful features like the built-in viewfinders, Wi-Fi… The benefits of saving up for the faster lens of the Mark III, or rivals from Canon and Panasonic are, we reckon, worth it.

RX100 III – For the budget stills shooter

The Mark III would be our choice for an entry-level model RX100. It was the first in the series to gain the short, fast 24-70mm equivalent lens. Its F1.8-2.8 maximum aperture means you get the full advantage of that nice big sensor when you’re zoomed-in, rather than just at wide-angle. The Mark III has a lower-resolution viewfinder than newer models, and can’t shoot 4K video, but its image quality is pretty much a match for them, especially if you shoot Raw. Since this camera came out, though, Canon has introduced the PowerShot G5 X Mark II, which houses a similar sensor, more versatile lens and a similar pop-up electronic viewfinder in a body that handles better and has a friendlier interface. It’s also around $ 150 more expensive at the time of this writing, but we feel its worth the extra cash, overall.

RX100 IV – Stuck in the middle?

The RX100 IV falls into a similar trap to the first two models: once you’ve seen what can be done with newer technology, the more limited version might not make sense. It gains 4K video and a higher-res viewfinder over the Mark III but, although you’re paying for a more advanced Stacked CMOS sensor, the IV doesn’t have the phase detection autofocus or processing power to make the most of it. We’d either suggest saving up for the Mark V or looking closely at the Mk III, Canon’s G5X II or Panasonic’s LX10.

RX100 VI – For the world traveler

The RX100 VI, with its travel-zoom-territory 24-200mm equivalent lens, is a great choice for travel photography. Its maximum aperture of F2.8-4.5 means it’s pretty flexible, though it could be limiting for dim interiors and nighttime shooting. While its autofocus system isn’t quite as capable as the newer Mark VII, it’s perfectly fine for general use. Its 4K video capture is solid (the lack of an ND filter could be problematic though), and the Wi-Fi system means it’s easy to get images onto your phone and off onto the web. In the end, we’d recommend getting the Mark VI and saving a few bucks over the very latest model if you don’t need the absolute best autofocus performance or the most stable 4K video capture.

RX100 V (A), and RX100 VII – Ultimate capability, but for different things

The updated ‘A’ version of the already impressive RX100 V looks extremely promising. Its quiet introduction sees the camera creep back up to its launch-date MSRP but the benefits of the improved menus and better JPEG color add to what is already a highly capable camera. Updated AF algorithms should further improve things. We still don’t think it’s as engaging to use as some of its rivals but none of them can match the speed, AF performance or 4K quality of the Sony.

At which point you have to choose between the low-light capability of the RX100 V (A) or the greater flexibility of the RX100 VII’s longer lens. The V has a built-in ND filter, which will be useful for video shooters, while the VII has a touchscreen and quicker-to-use EVF mechanism. But it’s the lenses that should decide it for you.

It all comes down to what kind of photography you expect to do

The RX100 V and VII are both fast-shooting compacts that produce great photographs. They each have excellent autofocus and 4K video, though the VII has the edge in both cases thanks to its improved processing power. If you’ve decided the combination of price, performance, image quality and size is the one you want, it all comes down to what kind of photography you expect to do: the bright 24-70mm equiv zoom of the Mark V will shoot at any time, if those focal lengths work for your subject, whereas the 24-200mm equiv of the VII will shoot just about any subject, so long as there’s enough light. Which matters more to you?

Still can’t decide? Our Buying Guides are designed to help you find the perfect camera.

Articles: Digital Photography Review (dpreview.com)

 
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Which has the best lens? Sony RX100 VII vs Canon G5 X II vs Canon G7 X III

19 Oct

Now that we’re pushing through our full review of Canon’s G7 X Mark III and have published our full reviews of the G5 X Mark II and Sony’s RX100 VII, we wanted to take a look at how all three of their lenses stack up against each other.

Of course, there are some differences here in terms of zoom length and aperture range, but since these represent the latest pocketable zoom compacts on the market, we were curious as to how those differences impact the outright image quality each camera is capable of. So, let’s take a look.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-33239397″,”widgetId”:712,”initialStateId”:null}) })

The first thing you’ll notice is that the Sony is much clearer in the central portion of the frame, at each camera’s widest focal length and aperture. Stopping down the Canon$ (document).ready(function() { $ (“#icl-4831-1065318710”).click(function() { ImageComparisonWidgetLink(4831); }); }) cameras to match the wide-open aperture of the Sony improves things somewhat, especially on the G7 X III. As we move out to the corners$ (document).ready(function() { $ (“#icl-4832–2128444560”).click(function() { ImageComparisonWidgetLink(4832); }); }), the Sony shows a clearer advantage$ (document).ready(function() { $ (“#icl-4833–1286349705”).click(function() { ImageComparisonWidgetLink(4833); }); }) over the Canon’s$ (document).ready(function() { $ (“#icl-4834–1324939535”).click(function() { ImageComparisonWidgetLink(4834); }); }).

As we move into the middle of the zoom range$ (document).ready(function() { $ (“#icl-4835-900509721”).click(function() { ImageComparisonWidgetLink(4835); }); }), all three cameras perform very similarly in the center of the frame, which is to say, quite good. Stopping down the Canon’s to match the Sony’s lens at F4$ (document).ready(function() { $ (“#icl-4836–1208563060”).click(function() { ImageComparisonWidgetLink(4836); }); }) does look to give the PowerShots a bit more contrast. The corners$ (document).ready(function() { $ (“#icl-4837–2128444560”).click(function() { ImageComparisonWidgetLink(4837); }); }) likewise look pretty good here, and again, stopping down the Canon cameras to match the Sony’s maximum aperture gives them a bit of a sharpness boost.

Next, at the G7 X Mark III’s maximum zoom length of 100mm$ (document).ready(function() { $ (“#icl-4838-1814621327”).click(function() { ImageComparisonWidgetLink(4838); }); }) equivalent, the Sony shows a bit less fringing right off the bat, but all look pretty decent in the center. It’s in the corners$ (document).ready(function() { $ (“#icl-4839–2128444560”).click(function() { ImageComparisonWidgetLink(4839); }); }) where it looks like G5 X II is really starting to fall apart, unfortunately. Once you reach its maximum zoom of 120mm equivalent, the G5 X II starts to look a little hazy$ (document).ready(function() { $ (“#icl-4840–1392152557”).click(function() { ImageComparisonWidgetLink(4840); }); }) next to the Sony across the frame$ (document).ready(function() { $ (“#icl-4841-1368515039”).click(function() { ImageComparisonWidgetLink(4841); }); }).

So from what we can tell from these copies, the Sony will give you more consistently sharp results regardless of where you find yourself in the zoom range, or across the image frame. But, and this is a big but, you’re giving up an awful lot of aperture (as well as zoom, to be fair) to get that sharpness. If you find yourself wanting to shoot in more dim conditions, the Canons may be a tad bit softer, but their faster lenses will keep your ISO values lower, and therefore noise levels lower. It’s up to you to decide which suits you best.

But poke around the rest of the scene and the other settings we’ve provided, and let us know what you think in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Top compact: Canon G5 X II vs. Sony RX100 VII vs. G7 X III

27 Aug

Introduction

Despite the improvements made in smartphones, 1″ sensor compacts remain one of the best ways of getting great images and some decent zoom reach in a pocketable form.

Both Canon and Sony have just updated their pocket-sized models, using the latest Stacked CMOS technology: Canon with the Powershot G5 X II and Powershot G7 X III, and Sony with the Cyber-shot DSC-RX100 VII.

They’re rather different, each offering a different balance of size, price, zoom range and lens brightness. We’ve just updated our buying guide to compare the new trio to their existing peers, but we also wanted to see how they stack up against one another.

As always, it depends what you want to use them for, so we’re going to take a look at a series of popular types of photography to see how well-suited these latest cameras are.

Lenses

One of the biggest distinctions between the cameras concerns their lenses. At 24-200mm equiv, the Sony by far offers the greatest reach and the most flexibility. However, the F2.8-4.5 maximum aperture range is considerably less bright than the F1.8-2.8 lenses fitted to the two Canons. The graph above shows how those apertures compare as you zoom in (a lower number is better).

Interestingly, the G5 X II and G7 X III use different lenses, with the G5 X II offering a more impressive 24-120mm equivalent range, which offers a lot of the Sony’s capability while maintaining the low light and shallow depth-of-field benefits of its brighter aperture.

The G7 X III uses the same lens as its predecessor, and it offers the shortest range of this trio (though still longer than the RX100 V(A) or Panasonic LX100 II). From our experience, the lens in the G7 X III is probably the weakest at wide angle settings, as well.

We’ll take a much closer look at how these different lenses impact different types of photography later on.

Features

From a quick look at the headline specifications, all three cameras will look pretty similar: they’re all 20MP cameras based around Stacked CMOS 1″-type sensors. All three are also capable of shooting 4K video. But the differences start to stack up (no pun intended) the more you dig into things.

The biggest differences spring from the RX100 VII having a newer sensor that allows 20 frame per second shooting with no viewfinder blackout (the live view is interrupted only by an on-screen indication that photos are being taken).

There are differences too in the way the three cameras capture their 4K footage: the Sony applies a small (1.08x) crop but uses every pixel within that region, creating highly detailed oversampled footage. The Canons use the full widths of their sensors but don’t appear to use all their pixels, and the footage is significantly less detailed as a result.

The other major difference is in terms of autofocus. The RX100 VII has an AF system derived from the company’s pro-sports-oriented a9 camera, which tracks subjects and switches to face or eye detection as appropriate. By comparison, neither the G5 X II or G7 X III are able to track subjects while continuously shooting. This difference will prove significant across a range of different types of shooting.

Travel

Sony Cyber-shot DSC-RX100 VII | ISO 100 | 1/1600th sec | F6.3| 196mm equiv.
Photo by Dan Bracaglia

The longer zoom range of the RX100 VII makes it the obvious choice for travel photography. Backed with excellent AF, 20 fps shooting with no blackout and impressive video specs, it’s ready and able to shoot just about anything you might encounter on your travels.

The G5 X II has perhaps the most flexible lens, though. It gives up some reach at the long end, but its faster maximum aperture means it’s able to stay at a lower ISO and hence offer better image quality as the light levels fall. The inclusion of ND filters in the lenses of both Canon modes mean you can more readily utilize their shallow depth-of-field capabilities, as well as helping in video.

The G5 X II is also quicker to respond to user input than the Sony, despite the RX100 VII’s processing muscle. If your photographic style is more about taking control and changing the settings, the Canon is likely to give a more engaging experience.

All three cameras can be charged over USB but, whereas the Sony uses a traditional Micro-B connector and will accept a charge from just about anything, the two Canons are more picky about the power source for their USB-C connectors. Newer, higher power chargers and power banks will work, though.

With its shorter lens, lack of viewfinder and not very impressive image quality at its wide-angle settings, the G7 X III is the weakest travel option here, even though it’s a rather good camera.

Family and moments

Canon Powershot G5 X II | ISO 125| 1/1000th sec | F4 | 24mm equiv.
Photo by Carey Rose

As with travel shooting, the RX100 VII’s longer zoom range makes it a more flexible ‘whatever happens next’ camera, but the Canon G5 X II isn’t far behind in this regard.

The Sony’s biggest advantage, though, is the ease and effectiveness of its autofocus system. It’s uncannily good at recognizing and focusing on people you point it at. It’s also very good at maintaining its focus on your intended subject, rather than leaping off to another person the moment your subject turns away.

The RX100 VII is, in many respects, the best family camera ever made

The Canon pair’s brighter lenses give them a huge advantage when it comes to shooting indoors, but their autofocus isn’t nearly as fast or dependable as the Sony, which undercuts this benefit. You will get cleaner, less noisy images in any situation where your subject doesn’t move too much or too fast. They’re also unable to shoot bursts with continuous face tracking, which could be a pain point for parents photographing their families.

The Canons have ND filters built in, which means you can more easily shoot smooth-looking video footage, thanks to the use of appropriate shutter speeds. They offer fewer specialist tools for getting the most out of the video, and again can’t match the Sony in terms of simplicity and dependability of focus.

While the Canons are both pretty capable, the RX100 VII is, in many respects, the best family camera ever made, just in terms of how well it can cope with the unpredictability of everyday life.

Lifestyle and people

Sony Cyber-shot DSC-RX100 VII | ISO 2500 | 1/800th sec | F5 |196mm equiv.
Photo by Dan Bracaglia

The shorter but brighter lenses of the Canons make it easier to get shallow depth-of-field than the Sony, though it’s worth noting that the G7 X III’s lens isn’t very good at the wide-angle end. As well as giving an arty effect to close-ups and slightly more compelling portraits, the wide maximum aperture maintains the image quality better as light levels fall.

The trio also have tiny built-in flashes to provide some fill-in light even in bright conditions

Again, though, the RX100 VII’s autofocus makes it quicker and simpler to reliably get people in focus. The Canons can track faces in continuous AF mode but not while shooting bursts, and though their Face + Tracking mode works similarly to Sony’s ‘Wide’ AF area, the Sony is generally faster to respond. All three cameras have Bluetooth systems to stay connected to a smartphone, which makes it faster to connect and send images over Wi-Fi.

The trio also have tiny built-in flashes. They’re limited in range but, because all three cameras have super-fast lens shutters, the mini strobes can be used to provide some fill-in flash, even in bright conditions. The flashes are all bounce-able, meaning you can tilt them back with your finger and fire them at the ceiling, which will give you a softer look than if you keep the pointed straight at your subject.

Landscape

Canon Powershot G5 X II | ISO 125 | 1/1600th sec | F4.5| 24mm equiv.
Photo by Jeff Keller

All three cameras are suitably pocketable that they’re easy to take with you, wherever it is you want to shoot.

The Sony has a number of significant advantages over the Canons: the biggest is that its lens is better at wide-angle, while the longer zoom also gives move compositional flexibility (though the G5 X II’s 120mm equivalent long end shouldn’t be especially restrictive). The Sony also offers considerably longer battery life, though a rating of under 400 shots per charge should encourage you to think about having a means to recharge it if you’re planning to spend any length of time out in the wilds. This is likely to be most pressing if you want to take advantage of its intervalometer mode.

We’ve been impressed by the sweep panorama modes on all three cameras, which makes it very easy to casually capture extra-wide landscapes in high detail.

Like the Sony, the G5 X II has a built-in viewfinder, which certainly helps when shooting outdoors in bright light. The clicking front dials and dedicated exposure comp dials are likely to make them a fraction easier to operate with gloves or cold hands, too. Both Canons offer in-camera Raw conversion if you want to fine-tune your images before you get back to a computer.

Since all three cameras are based around similar sensors, there’s no significant difference in Raw performance between the three. An unintended benefit of the Sony, though, is that you can use HLG and zebra highlight warnings to give an indication of the sensor clipping point, providing an on-the-fly hack for optimally exposing your Raw files.

Video

Still grabbed from a 4K video shot with the Sony Cyber-shot DSC-RX100 VII

To begin, all three cameras are able to shoot 4K video and offer fairly robust stabilization while doing it.

The Sony’s footage comes from a slight crop of the sensor, but is much more detailed than that from the Canon. It also offers a much stronger set of support features. Zebra warnings help you set exposure and the ‘HLG’ color mode (even in the 8-bit form used here) captures more dynamic range and gives you much better processing flexibility than the Canons can offer.

The RX100 VII has a mic socket but no ND filter, which means adding unofficial third-party accessories if you want to shoot video at sensible shutter speeds in good light. Both Canon cameras have built-in ND filters that can be engaged at the press of a button, meaning you don’t have to resort to this sort of workaround.

The Canons are smart enough to keep separate exposure settings for video and stills shooting (which the Sony doesn’t, unless you set up Memory Recall), making it quicker to switch back and forth between stills and video. But the Sony lets you define separate Fn menus and custom buttons for stills and video shooting, which is a benefit if you’re really trying to take control of what the camera’s doing.

Then, of course, there’s autofocus. You’ll need to engage ‘Touch Tracking’ in the menus to access the Sony’s touch-to-track capability but the results are really impressive if you do: it will stick pretty reliably to your subject and will refocus quickly and smoothly with essentially no user input (so long as you don’t stop down too much, again encouraging the purchase of an ND filter). The Canons can’t quite match that: though their face detection is pretty reliable, they use a contrast-detect only system, which can result in visible hunting and being slow to catch up to changing subjects.

Photographers’ compact

Canon Powershot G7 X III | ISO 125 | 1/500th sec | F1.8 | 24mm equiv.
Photo by Barney Britton

This category is a bit of an outlier. Basically, if you’re already a reasonably experienced photographer that perhaps has a kit built around an interchangeable lens camera, which of these compacts would be best if you wanted to go out with a camera in your pocket, instead of in your backpack?

For almost every type of photography, we’ve found Sony’s easy-to-use and effective autofocus gives it a clear benefit over the Canon models. The speed and processing power needed to deliver this level of performance explains much of the price difference between the cameras.

Which of these cameras is best if you want a camera in your pocket instead of your backpack?

However, while many types of shooting benefit from it, not all photography needs action-ready AF performance. Lots of photographers have got great results out of compact cameras with significantly slower AF than is available today. So, while AF performance gives the Sony the edge for a lot of photography, it’s not the end of the story.

In our shooting, we found many of us preferred shooting with the G5X II. It wasn’t necessarily as good at ‘getting the shot’ as the Sony was, but it was a more agreeable companion to shoot with.

Part of this is down to the brighter lens: there were plenty of situations in which we were happy to give up some of the extra reach the Sony offers in return for a little more control over depth-of-field and the image quality benefit of being able to get more light to the sensor.

But another aspect of this was the simplicity of the Canons. A clicking dial on the front of the camera lends itself well to controlling settings such as aperture value, and a dedicated exposure compensation dial is much nicer to work with than the fiddly dials on the back of all three cameras. Then there’s the responsiveness of the Canons. It’s an odd charge to level at a camera with the obvious processing power of the RX100 VII, but it’s simply not as quick to respond to user inputs.

The net effect is that, partly because they have fewer features, the Canons end up being more straightforward to just go out and shoot with.

Conclusion

The message that shone through when considering this article is just how many types of photography benefit from how well the Sony RX100 VII’s autofocus works. Which isn’t to say that the Canon system is terrible, but it just can’t compete with the speed, simplicity and reliability of the latest Sony implementation.

However, the processing power and R&D costs that underpin that capability don’t come cheap, which means the Canon pair are both significantly less expensive. There’s a lot to like about both Canons but everything we’ve seen of the G5 X II suggests it has a better lens compared to the G7 X III, as well as a more useful zoom range. Add onto this the benefits of an electronic viewfinder (albeit one that’s a bit more fiddly than the one on the RX100 VII) and the G5 X II is would be our pick of the Canon models.

If you don’t need action-ready autofocus and the very best 4K, or are willing to give these up for the benefits of a wider aperture, the G5 X II’s is an excellent camera. But, even with the degree of customization the Sony needs, the RX100 VII is a genuine leap forwards for compact cameras, in a way that will benefit a range of photographic pursuits.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony RX100 VII review

17 Aug
Sony’s RX100 VII has landed, but after seven(!) iterations you may be asking, “Is there anything left to add to this camera?” It turns out the answer is a resounding ‘yes’. Watch Chris and Jordan’s video review to learn what’s new and why it matters.
What do you think of the RX100 VII? Tell us in the comments!

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • New sensor
  • High speed shooting
  • The zoom lens
  • Macro photography
  • Single burst shooting
  • Battery life
  • Rolling shutter
  • Real-time AF tracking
  • LCD screen and EVF
  • Video capabilities
  • Compared to smartphones
  • Compared to Canon G7 X III and G5 X II
  • Wrap-up

Sample images from this week’s episode

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Articles: Digital Photography Review (dpreview.com)

 
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Sony announces a new RX100 III Video Creator Kit with grip, SD card and additional battery

02 Jul

Sony has announced its new RX100 III Video Creator Kit, a product bundle that combines the RX100 III with Sony’s VCT-SGR1 grip, a 64GB SD card and an additional NP-BX1 battery.

Like most video creator kits, the RX100 III Video Creator Kit is designed to be an all-in-one solution for creators looking to get their foot in the door with a simple Full HD video setup.

At the heart of the RX100 III is Sony’s Exmor R CMOS sensor and BIONZ X processor, capable of recording 50Mbps 1080 / 60p video through the F1.8-2.8 Carl Zeiss Vario-Sonnar T* 24-70mm lens. Combine those specs with the 3-inch tilting screen and the ability to control both image capture and zoom with the VCT-SGR1 Shooting Grip and you have yourself a solid vlogging setup.

Sony says the RX100 III Video Creator Kit will retail for $ 799.99 and will begin shipping July 2019. However, the kit is currently available to pre-order at Adorama for $ 798 and is listed as available at B&H for $ 699.99.

Press release:

Sony Launches RX100 III Video Creator Kit

The RX100 III Video Creator Kit Provides the Perfect Video Setup for the Run-and-Gun Creator

SAN DIEGO — July 1, 2019 — Sony Electronics, Inc. today introduced a powerful new tool for vloggers and video creators with the launch of the RX100 III Video Creator Kit. Based around the award-winning compact camera, the Cyber-shot RX100 III, the Video Creator Kit provides an all-in-one kit for video creators.

The Kit features the RX1000 III, with a 180º tiltable LCD screen, 1” Exmor R sensor, BIONZ X processor and 24-70mm F1.8-2.8 ZEISS Lens. The bundle also includes an innovative remote grip that doubles as a mini tripod, a 64GB SD Memory Card and an extra NP-BX1 battery to keep you shooting longer. The RX100 III’s video creator kit has everything you need to take your content on the move.

“Empowering creators is critically important to Sony,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.“We want to make it as easy as possible for them to realize their vision, to capture content in new and different ways.”Manowitz added, “An excellent all-in-one solution, the new Video Creator Kit is a convenient tool that will encourage many aspiring creators to go out and shoot.”

Fast, Sharp Lens

The DSC-RX100 III sports a fast, sharp F1.8-2.8 Carl Zeiss® Vario-Sonnar T* lens with 24-70mm zoom. With such a versatile range of perspectives between wide-angle and medium-telephoto, it’s perfect for all kinds of videography with beautifully defocused, high-bokeh backgrounds. A premium multi-layered T* coating also dramatically reduces ghost and flare caused by light reflection.

Full HD Video Recording

The DSC-RX100 III records HD movies in the XAVC S format and saves files as MP4, allowing for extensive record times. With 50Mbps Full HD (1920×1080) up to 60p high-quality video recording, XAVC S* enables beautiful video recording with minimal compression noise even in scenes with a lot of movement. The RX100 III also records in AVCHD and easily shareable MP4 HD video.

Versatile Shooting Grip

For the ultimate creative freedom, the RX100 III Video Creator Kit includes the VCT-SGR1 Shooting Grip, which allows control of capture and zoom functions directly from the grip and integrates with the RX100 III for ease of use and dynamic filming styles. The ergonomic design is comfortable for both left- and right-handed use, and the pop-out legs convert it into a mini-tripod.

Innovative Design

With a fully-tiltable 3” (1,229K dots) Xtra Fine™ LCD Display it’s possible to check and monitor composition and settings during the entire shoot, thanks to the ability to flip the screen 180º to face the subject, perfect for selfie-style shooting of both still images and video. WhiteMagic™ technology dramatically increases on-screen visibility in bright daylight. The large display delivers brilliant-quality still images and movies while enabling easy focusing operation.

The pop-up EVF viewfinder features an OLED Tru-Finder with a ZEISS T* coating, designed to dramatically reduce reflections that can interfere with composing and viewing stills and videos.

Performance and Image Quality

The backside illuminated Exmor R CMOS sensor, advanced BIONZ X processor and fast-F1.8-2.8 aperture lens combine to allow for incredible speed and low light versatility for stills as well as beautiful HD video.

The RX100 III features a large 1.0” Exmor R® CMOS image sensor. The back-illuminated technology doubles light sensitivity — a great help when shooting in dimly lit environments. Enjoy reduced noise in your videos and photos, even when capturing night landscapes or indoor scenes.

Full HD Video Capture

The RX100 III captures video in HD in the XAVC S format, allowing full HD recording at a data rate of 50 mbps with low compression, resulting in excellent video quality. The RX100 III can also capture 120fps at 720p, and a dual-video-recording capability allows the camera to record in XAVC S/AVCHD along with MP4 files.

The RX100 also features Intelligent Active Mode, which uses Sony’s frame rate analysis technology and 5-axis image stabilization to dramatically reduce the effects of camera shake when capturing video.

Connections and Sharing

Connect the RX100 III to an external monitor/recorder via HDMI® simultaneously for a bigger view of what you’re recording. The shooting info display can be turned off for an even cleaner view and to capture uncompressed video at much higher bitrates (depending on external recorder and settings). Frame rates include 24p, 60p and 60i.

Connectivity with smartphones for One-touch sharing/One-touch remote has been simplified with Wi-Fi®/NFC control. Easily and instantly transfer videos and photos to your smartphone for sharing with friends and family on social media. In addition, the camera can be controlled remotely using the free Imaging Edge app giving you greater creative freedom.

Pricing and Availability

The RX100 III Video Creator Kit will begin shipping in July 2019 for approximately $ 799.99. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories and exciting content shot with the RX100 III can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s Alpha™ brand.

Images taken with the RX100 III can be found at the Sony Photo Gallery and footage from the camera at the Sony Camera Channel on YouTube. For detailed product information, please visit Sony’s Compact Camera information page.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix LX100 II added to enthusiast compact buying guide: Joint-winner with Sony RX100 VA

29 Jan

Following testing of the Panasonic Lumix DC-LX100 II, we’ve added it to our Pocketable Enthusiast Compact Cameras buying guide as joint-winner, alongside Sony’s Cyber-shot RX100 VA.

Articles: Digital Photography Review (dpreview.com)

 
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Buying guide update: The Sony RX100 VI is the best travel camera

20 Jul

The Sony Cyber-shot DSC-RX100 VI earned high marks in our recent review and has earned a spot at the top of our Best Cameras for Travel buying guide, thanks to its long zoom and excellent still and video quality. Click through below to see all four of our updated buying guides:

Read our updated buying guide: Best Cameras for Travel

Read our updated buying guide: Best Cameras for Video

Read our updated buying guide: Best Pocketable Enthusiast cameras

Read our updated buying guide: Best Enthusiast Long Zoom cameras

Articles: Digital Photography Review (dpreview.com)

 
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Updated: Which RX100 should you choose?

17 Jul

There have now been seven variants of the RX100 series, and at least six of them are still current models. Confused? Here’s an updated look at their differences, and our recommendations among them now that we’ve tested the Mark VI.

Articles: Digital Photography Review (dpreview.com)

 
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Sony replaces RX100 V with RX100 VA, bringing RX100 VI processor and firmware

14 Jul
Look familiar? The RX100 VA is a subtle refresh of the RX100 V with a change of processor the only hardware difference.

Sony has quietly updated its RX100 V, bringing a couple of the goodies from the RX100 VI travel zoom. The updated RX100 VA gains a new processor and various firmware tweaks but misses out on the VI’s other hardware improvements.

The updated processor brings some performance benefits but it also means the VA gains the latest Sony menu system, which has been restructured, has clearer indicators of where you are in the menu and, most significantly, has a customizable ‘My Menu’ tab. This allows you to group the settings you regularly change, rather than having to remember which sub-section of which tab they’re buried in.

On top of this, the camera’s Eye AF and subject tracking performance should be improved. The refresh rate of the viewfinder is also said to be uprated. In addition, these are some of the differences we found:

  • Deeper buffer (233 files, up from 150)
  • Proxy movie mode (captures 720p footage alongside 4K capture)
  • ‘Zone’ AF area mode
  • Variable size spot metering, Entire Screen Average and Highlight Spot metering
  • Add ratings to images (with ability to customize which ratings are available)
  • Three Auto WB options (Std, Ambience or White)

However, the RX100M5A does not get the improved one-touch viewfinder, nor the touchscreen added in the RX100M6. Its rear screen tilts down by 45°, not 90. Nor does the VA gain all the firmware improvements from the VI: there’s no sign of Hybrid Log Gamma or the ability to capture S-Log3 footage, for instance.

The RX100 VA also loses compatibility with Sony’s in-camera ‘PlayMemories Camera Apps.’

The updated Sony menus are a little easier to navigate and gain a custom ‘My Menu’ tab.

There’s been no press release from Sony of the changes but the VA appeared on Sony’s Japanese site last week and has replaced the RX100 V if you visit the Sony US website. This is the first time Sony has made any update to an RX100 model, rather than simply replacing it, perhaps offering hope that the company will continue to develop both the long-zoom and short, bright-zoom models in the lineup.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Cyber-shot DSC RX100 VI review

12 Jul
Silver Award

83%
Overall score

The Sony Cyber-shot DSC RX100 VI is the latest pocketable compact camera to feature a 1″-type image sensor. Unlike existing models in the marketplace, the RX100 VI ventures into the do-everything/travel camera space, with the addition of a 24-200mm equivalent F2.8-4.5 lens.

Like its immediate predecessor, the Mark VI offers quick and accurate on-sensor phase detection autofocus, the ability to shoot at up to 24 frames per second and highly detailed 4K video taken from the full width of its sensor. It becomes the first RX100-series camera to offer a touchscreen and has a redesigned electronic viewfinder that can be activated or stowed-away with a single push.

Key features:

  • 20.1MP 1″-type stacked CMOS sensor
  • F2.8-4.5, 24-200mm equiv. zoom lens
  • Retractable 2.36M-dot EVF with 0.59x equiv. magnification
  • 24 fps burst shooting (with continuous autofocus)
  • UHD 4K video at 30p and 24p, 1080p slow-motion capture
  • 5-axis image stabilization
  • 3″ touchscreen LCD
  • On-sensor phase-detection autofocus
  • Wi-Fi with NFC for quick image transfer to mobile devices
  • USB charging

Despite the significantly increased lens range, the RX100 VI is less than 2mm (5/64″) thicker than the Mark V. The result is a camera that can lend itself to a wider range of photographic situations (making it a solid traveling companion) but with a less bright lens that means sacrificing some of the low-light capability of its sister models.

The RX100 VI has a recommended selling price of around $ 1,200 before sales tax, or £1,150/€1,299 in Europe, including VAT.


What’s new and how it compares

The RX100 VI is more of a travel zoom than an enthusiast compact. We see how it compares with Panasonic’s TZ / ZS models, as well as its immediate predecessor.

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Body and design

The RX100 VI incorprorates a touchscreen but it’s still most satisfying if you don’t try to get too involved.

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What’s it like to use

The RX100 VI is a very powerful travel camera and highly capable for family photography, but it’s not as good in low light as some of its peers.

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Autofocus

Autofocus is very impressive: delivering a very high hit-rate even when you shoot 24 times per second. Eye AF is also hugely valuable. The design of the autofocus system is a little convoluted, though.

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Video

The RX100 VI can shoot some very attractive, detailed video and has an extensive feature set to support this. There are also significant limitations in terms of time and absent features.

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Image quality

The RX100 VI produces some of Sony’s nicest JPEGs yet and, on our sample at least, the lens looks excellent.

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Conclusion

The RX100 VI is a hugely capable camera. It trades some of its predecessors’ low light performance for greater daytime flexibility, though the price tag is steep.

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Articles: Digital Photography Review (dpreview.com)

 
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