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Sony a6000, a6100, a6300, a6400, a6500, a6600: what’s the difference and which should I buy?

11 Sep

Introduction

The a6000-series cameras all look very similar, which can give a confused picture of a lineup that is designed to appeal to photographers from beginners up to enthusiast users

The a6000 has been one of the world’s best selling cameras but it’s only the first rung on a ladder of cameras trying to cater to a range of photographers. If you go online you’ll probably end up be confronted with the a6000, a6100, a6300, a6400, a6500 and a6600. We’re going to try to make sense of the lineup: which ones are current, how they all compare and which ones are worth a look.

We’ve used all these a6x00 series cameras we’re going to talk about here, listened to Sony’s explanation of its intent and have been around the block enough times to be able to cut through the, er, let’s call it ‘marketing speak.’

The lineup as it stands

For everything from snapshots and upwards, Sony’s latest JPEG color is an appreciable upgrade, but that’s only the start of it

At its simplest, the current lineup is the a6100 as the entry-level model, the a6400 as the slightly more enthusiast-friendly one and the a6600 as the range-topping, image stabilized version. All three cameras are based around the same sensor, so the image and video quality ends up being identical but the spec differences between the cameras may make a difference to how well they suit your needs.

Interestingly, Sony insists that the a6000 remains in the lineup. This may be the case, or it could simply be that there’s inventory still floating around the market that Sony doesn’t want to devalue by declaring the camera ‘dead.’ Whichever it turns out to be, we wouldn’t recommend buying one, no matter how inexpensive, for reasons we’ll come to.

Real-time Tracking AF

Even the entry-level a6100 has an AF system that confidently maintains focus on your chosen subject (particularly human subjects), whatever’s going on in front of it

The biggest change in the refreshed Sony lineup is ‘Real-time Tracking’, an autofocus system that’s been trained to recognize people and pets so that it tracks them doggedly (or, by logical extension, ‘cattedly’). It’s present in the a6100, a6400 and a6600.

Oddly, Real-time Tracking isn’t switched on by default (or ever referred to as such on the cameras). But, once the cameras have been switched across to AF-C mode and one of the ‘tracking’ AF area modes has been chosen, the system is really impressive. Point the camera at your subject, half press the shutter and it’ll dependably follow it, wherever it moves in the scene. This makes it one of the simplest and most effective AF systems we’ve ever used.

‘Real-time Tracking’ is present in the a6100, a6400 and a6600

We don’t say this lightly (and we’re not easily impressed) but, having experienced it, we think it helps the latest models stand out, even though some other aspects of their spec aren’t particularly exciting.

However, while the system is really impressive in the daytime, we found it’s less effective in low light. We’ll be testing this in more detail as part of our a6600 and a6100 reviews, so don’t take this as an unalloyed recommendation until we’ve completed that testing.

In with the new

The a6100, a6400 and a6600 all now offer touchscreens that tilt all the way up, to facilitate selfies and vlogging

This ‘Real Time Tracking’ AF system is good enough to make it awkward to go back and use the earlier models and Sony appears to recognize this. The a6300 and a6500 are, we understand, discontinued and replaced by the a6400 and a6600 respectively.

There’ll no doubt be some last-minute sell-offs of any remaining stock, so we’d suggest thinking how dependent your photography (or videography) is on autofocus, and whether you need any of the other improvements, before deciding whether to try to grab a bargain.

For instance, the new generation of cameras all gain touchsceens, which only the a6500 previously had. They also promise improved color rendering in their JPEGs. These improvements add up.

They add up most noticeably when you compare the a6100 to the generations-old a6000, which is why we’d suggest side-stepping the older model at this point.

Sony a6100

The a6100 looks a lot like the a6000 but gains improved AF and more attractive JPEGs, as well as features such as a mic socket

The a6100 is the most basic of the models. It is built from an engineering plastic and has a lower-resolution viewfinder [800 x 600 pixels] than the rest of the models.

The most recent JPEG engine gives it much more attractive color than the a6000

The most obvious change over the (we suspect) outgoing a6000 is the vastly improved AF system. This in itself makes it a much more capable camera. In addition it gains the ability to shoot 4K video (albeit with very noticeable rolling shutter) and, also pretty significantly, it has the most recent version of Sony’s JPEG engine, which gives it much more attractive JPEG color than the a6000 produced.

Capable but entry-level

The a6100’s screen is touch-sensitive and flips all the way up, neither of which was true of the a6000

Unlike the a6000 and in common with the other new a6x00 cameras, it’s got a touchscreen that flips up by 180 degrees, for vlogging or selfie shooting and a mic socket.

The a6100 doesn’t have the full capabilities of its more expensive siblings, though. It can’t shoot Log video, and loses some subtle features such as the ability to let you specify the shutter speed at which Auto ISO mode changes ISO and to let you set up different AF points and modes for portrait- and landscape-orientation shooting.

Also, while you can customize the camera’s ‘Fn’ menu, you can’t define separate versions for stills and video shooting: something the a6400 and a6600 let you do. It’s really useful if you switch back and forth between the two types of shooting.

These are small changes but they add up. For example, we regularly assign a button to access ‘Auto ISO Min Shutter Speed’ so that we can change the camera between 1/focal length and something faster, depending on whether we’re more concerns about camera shake or subject movement.

Sony a6400

From the outside, it’s only really the switch around the AEL button that distinguishes the a6400 from its more basic sibling

The next model up from the a6100 is the a6400. You get a higher-res viewfinder, giving 1024 x 768 pixels from its 2.36m dots. You also get ‘moisture and dust resistant’ magnesium alloy construction (though, as is all too common, this resistance comes with no guarantee or substantive claims of effectiveness).

The a6400 offers a customizable AF/MF switch on the back of the body, which the a6100 lacks, but that’s about the extent of the physical handling differences. On the software side you gain a handful of menu options, including the ability to set the Auto ISO shutter threshold, define different AF areas and area modes by camera orientation and set up custom features such as ‘My Dial.’ These all make a difference if you like to define the fine detail of the camera’s handling.

Mid-level option

The a6400 lets you take more fine control of its operation than with the a6100

Video shooters gain the ability to shoot S-Log and HLG video footage over the a6100, which opens up opportunities for color grading or output to high dynamic range televisions. However, this is only in 8-bit and is still subject to significant rolling shutter in the cropped 30p mode which gets even worse in the full-width 24p mode. We were very impressed with this highly detailed footage when the a6300 was launched, back in 2016 but the likes of Fujifilm’s X-T30 will now offer better results.

The a6400 offers some benefits over the a6100 but you may find better options from other camera makers

So, while the a6400 offers some benefits over the a6100, you may not find the difference worth the cost. And, if you’re looking for a more advanced camera, and want to take more control, you may find better options from other camera makers.

Sony a6600

Not only does the a6600 offer image stabilization over its sister models, it also adds a headphone socket and much larger ‘Z-type’ battery. There’s no built-in flash, though

The range-topping model is the a6600. The main thing you gain over the lower models is in-body image stabilization, which is a major benefit for both stills and video shooting. A new feature of the a6600 is the inclusion of a much larger NP-FZ100 battery. This significantly boosts the camera’s endurance and will all-but eliminate concerns about keeping the camera charged, while you’re shooting.

The space demands of this larger battery have prompted the design of more substantial, more comfortable hand grip than on other a6x00 models and these ergonomic improvements are supplemented by the addition of an extra custom button, which leaves the a6600 with one more than its predecessor and two more than its current siblings.

Steady endurance

The a6600 offers two more custom buttons than the others in the lineup: one on the top plate and a second, marked ‘C3’ on the back

However, while these improvements make the a6600 stand out from its own sister models, it looks like a half-generational update of the a6500. Its autofocus is, without question, best-in-class and its battery life is the best of any of its peers. But its video isn’t especially competitive, either in terms of specifications (Fujifilm’s X-T3 can shoot much more gradable 10-bit footage), or in terms of appearance (the rolling shutter is likely to limit the way you shoot, if you don’t want it to be visible in your videos).

The a6600 also gains a headphone socket for monitoring audio, which is a first for the series

And, in sharing the same 2.36m dot EVF panel with the a6400, its viewfinder is noticeably lower resolution than the Fujifilm.

The option to pair the a6600 with a sensibly-sized 16-55mm F2.8 lens makes the camera more attractive for enthusiasts, but puts it worryingly close in price to an a7 III with the more flexible 24-105mm F4, which will offer similar output and access to a potentially larger performance envelope (or even Tamron’s 28-75mm F2.8).

Impressive AF but…

The latest a6x00 cameras may seem like minor upgrades in some respects, but the improved AF system makes them significantly easier to shoot with

Sony’s latest cameras have an AF system that out-performs anything we’ve experienced before and, importantly, makes it relatively easy to exploit this potential (though we’d prefer it to be engaged by default, especially on the a6100). They also produce more attractive JPEGs than the older models, particularly when compared to the elderly a6000.

But, as we’re sure the comments below will remind you, none of these camera is cutting-edge in terms of hardware such as sensor or viewfinder tech. Sony’s touchscreen implementation is still oddly limited (why isn’t the Fn menu touch-sensitive?), they all shoot only lossy Raws that limit the processing flexibility and they still have one of the most difficult-to-navigate menu systems on the market. This means they’re beginning to slip behind the best of their peers in some respects, particularly in terms of video.

Compared to their peers

Between Canon’s EF-M cameras, Fujifilm’s X-series and various Micro Four Thirds options, the new a6x00 models have a lot to live up to

In the absence of a replacement for the image stabilized Fujifilm X-H1, the a6600 looks pretty strong at the top end, so long as the shortcomings and omissions listed on the last slide don’t affect your shooting too much. Its video isn’t as good as the X-T3’s, but the better AF in both stills and video mode, along with built-in stabilization may be more appealing for some people.

The 16-55mm F2.8 lens makes APS-C E-mount look more photographer-friendly

The a6100’s simple autofocus and relatively low price immediately make it a strong contender against other entry level APS-C and Micro Four Thirds rivals. It’s the a6400, which has to square up against the Fujifilm X-T30 and Canon’s new EOS M6 Mark II that’s probably the least compelling of this trio.

That said, it should also be recognized that Sony has made some effort to address previous criticisms and that its latest models will produce nicer images than its older APS-C cameras and will do so more easily than ever before. And, perhaps more than this, the arrival of the 16-55mm F2.8 lens makes APS-C E-mount look more photographer-friendly than it’s previously appeared.

Articles: Digital Photography Review (dpreview.com)

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Sony releases silver version of the popular a6300

05 Jan

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Tacked onto the end of the Sony E-mount 18-135mm F3.5-5.6 OSS lens announcement late last night was a short line that is very easy to miss:

Also announced today, Sony will be releasing a new silver color option for the popular ?6300 camera. The sleek new silver camera body will be available in February 2018 at select retailers.

It’s a minor update to be sure: entirely cosmetic, no difference that we know of in terms of specs or even price. But for those of you considering a Sony a6300—which falls into our Best Cameras Under $ 1,000 buying guide—maybe a new color is the nudge you didn’t know you needed to take the leap.

Read our Sony a6300 Review

Articles: Digital Photography Review (dpreview.com)

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Video: Shooting Dog Portraits with the Sony a6300

28 Nov

Here at DPReview, we love dogs. They’re great. But they’re notoriously hard to photograph. Even the best-trained are unpredictable and fast-moving, and when they’re not running around they’re unable to sit still.

In this video, DPReview’s Sam Spencer takes one of our favorite cameras – the Sony a6300 – to shoot some of our favorite pups. During a busy day of shooting, we gave both the animals and the a6300 a good workout, culminating in a studio portrait session for the lucky dogs at the Motley Zoo animal rescue center, in Seattle.

See more videos at our YouTube channel

This is sponsored content, created in partnership with Sony. What does this mean?

Articles: Digital Photography Review (dpreview.com)

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Sony a6300 versus a6500: what’s changed, and what still needs to change

18 Oct

Sony a6300 versus a6500

That was quick.

Just eight months after Sony introduced the a6300, a higher-end sister model to the a6000, we now have another higher-end sister model in the a6500. The sheer speed of Sony’s product releases lately is somewhat appropriate, given the outright shooting speed these cameras are capable of.

Both cameras feature the same 24MP APS-C CMOS sensor, the same 425-point on-sensor PDAF system, the same viewfinder, the same video specification, and the same 11 fps burst shooting rate (8 fps with Sony’s implementation of ‘live view’). Wait a second – what exactly is new to the a6500?

Turns out, there’s a handful of changes that can have big implications for how photographers will interact with and use these cameras, but are they worth the $ 400 premium on the new model? Let’s take a look.

Continuous shooting

Patrick Murphy-Racey discusses using the a6500 for peak action (like drag races) due to its burst speed and autofocus system.

A deeper buffer combined with a newly developed front-end LSI (which stands for Large Scale Integration – it’s basically an additional chip providing more processing power) promise more responsive performance when shooting bursts – 300 JPEG or 107 Raw images can be captured at 11 fps with full autofocus and autoexposure. Users can also instantly review or check focus on the last image that the camera has written to the card (though that might not necessarily be the last image in that burst), with the added plus of an indicator showing just how many images remain to be written to the card.

Comparatively, the a6300 can still shoot at 11 fps with full autofocus and autoexposure, but only for 44 JPEG or 21 Raws. And while the camera is writing to the card, you can’t enter playback, or magnify the displayed image (if you have image review on). We’re particularly happy to see that last limitation go, as it makes the camera eminently more usable.

In-body 5-axis stabilization

Sony consolidated the shutter charge and shutter mechanisms to one side to make room for the IBIS unit in the a6500.

Without increasing the depth of the camera body, Sony has redesigned the a6500’s shutter mechanism to not only be more durable (tested – though not guaranteed – to 200,000 cycles), but also to incorporate 5-axis stabilization with non-stabilized lenses. What’s more, when you pair an optically stabilized lens with the a6500, the camera knows to pass of pitch and yaw correction to the lens’ stabilization system. This doesn’t increase the effectiveness more than the rated 5 stops, but is likely to help maintain effectiveness when shooting at longer focal lengths.

There’s also the intriguing possibility of shooting full 4K stabilized video with any lens – but we’re withholding our verdict on the resulting image quality until we can test it for ourselves. After all, core video specification and performance hasn’t changed from the a6300 to the a6500, and we’re curious to see if the stabilization system has any effect on the rather lackluster rolling shutter performance of the a6300.

And, of course, the a6300 offers no in-body stabilization.

Touch and see

The a6500’s screen is touch-enabled, whereas the a6300’s isn’t. They share the same resolution (and the touch-panel doesn’t seem to have affected glare or fingerprint-resistance), but on the a6500, you can now use the screen to quickly place an AF point, move your AF point around by acting as a ‘touchpad’ with your eye to the finder, and also double-tap to zoom and swipe around an image in playback.

So while AF performance will likely remain the same on the a6500, you may now find you’re more quickly able to adapt to a scene in front of you by using the touchscreen as opposed to the cumbersome sequence of button presses most Sony cameras require for focus point movement.

That said, in touchpad mode, the control of the AF point is unfortunately always relative, rather than (at least an option for) absolute, so you swipe to move the AF point from its current position, rather than touching exactly where you want it to be. This meant we found ourselves often swiping repeatedly to get the AF point from one side to the other. This could be obviated with absolute positioning in combination with limiting the touchpad area to the upper right quadrant, something we suggested to Sony in-person. Lastly, we found the touchpad performance to be decidedly laggy, especially when compared to competitors’ offerings.

When it comes to video, the a6500’s touchscreen is particularly useful for focus pulls, since you can just tap to change the focus point and initiate a rack focus (and as always, you can control how quickly the camera will rack focus). Less easy is getting the camera – in video – to continue to track your subject around the frame after you’ve tapped on it, since Lock-on AF is unavailable in video (something we continue to request Sony to address).

There appears to be a workaround, though: if you turn the old, vesitigial ‘Center Lock-on AF’ on, then tapping appears to initiate subject tracking. Unfortunately, ‘Center Lock-on AF’ isn’t always the most reliable, and it’s still somewhat cumbersome to work this way as you have to first turn this feature on, which requires either a (Fn/main) menu dive or a dedicated button assigned to it, plus a couple more button presses before you tap.

Controls and usability

Autofocus and video options are among the new ‘groupings’ within the updated Sony menu system.

Besides the touchscreen, the other major control change on the a6500 compared to the a6300 is the addition of C2 | C1 custom buttons on the top plate, a7-style. They’re nicer buttons than the soft-press C1 button of the a6300, providing more haptic feedback. The a6500’s grip has also been redesigned to be ‘chunkier’ and deeper than that on the a6300, again much like the a7 Mark II cameras, which should help when using heavier or longer lenses.

The a6500 also inherits the redesigned menu interface that debuted in the a99 II which is, in our opinion, much more user-friendly than the interface on the a6300 (and a6000, for that matter). The tabs are now color-coded, but more importantly, similar functions like autofocus, image parameters and movie settings are grouped. This makes it much less likely that you’ll miss a moment while rocketing through the menu to find a setting you swear you saw somewhere in there last week. It’s one of our favorite additions to the a6500, and it’s about time.

Unfortunately, you still can’t make a custom ‘My Menu’-like page in this menu system. A shame, as it’s an easy way to group most-used menu items into one section for quicker access, particularly ones – like movie options – that can’t be assigned to the custom Fn menu.

What hasn’t changed (and should have been)

There’s no question that the a6500 is incredibly well-specified camera in an impressively small package. In terms of usability, Sony has made great strides on this new model with the addition of a touchscreen and a revamped menu system. Unfortunately, there’s still a few aspects of the a6500 that we can’t help but wish Sony would have addressed.

Unfortunately, like the a6300, the a6500 lacks a control dial on the front of the camera – an omission that is all the more glaring at its higher position in the market. Unlike the a6300, all of the a6500’s direct peers offer twin control dials, and a front control dial would further aid usability in our opinion (though we’d also happily take the ‘Tri-Navi’ system of the old NEX-7 flagship as a compromise).

The core stills and video specification hasn’t changed at all since the a6300 (although the new front-end LSI is supposed to help with JPEG performance at higher ISO values). Now, the a6300 already produced great results under almost any circumstances with one big exception – rolling shutter in 4K. While the detail level is impressive and the capture aids are extensive (S-Log, zebra patterning, focus peaking, etc.), we would really have liked to see Sony address the rolling shutter issue in this new model. And a headphone monitoring port wouldn’t hurt, either.

Limited battery life is a problem endemic to mirrorless cameras as a whole, and the a6000-series is no exception. Still, probably thanks to the additional processing and touch-screen, the a6500’s battery life rating has actually decreased compared to the a6300 by over 10%. It goes without saying that’s a change in the opposite direction than we would like.

Adding it all up

The a6500’s additions over the a6300 are small in number, but potentially huge for what they offer users. Sure, the new model comes at a $ 400 premium over its mid-range sibling, but the upgrades in the new flagship model have the potential to be significant.

Of course, whether they’re significant to you depends on whether they line up with what you like to shoot. If you don’t shoot long bursts, or don’t find yourself checking focus all that often, the additional buffer performance isn’t likely to matter. If you shoot a lot of video and want more flexibility with lens choice, the in-body stabilization is likely to be very helpful. One thing that we feel will positively impact all users – even those who primarily use the viewfinder – is the touchscreen. That said, its laggy behavior is disappointing considering just how much processing power this camera has.

We generally feel that, given the sheer capability of this camera, the price premium over the a6300 is warranted. The Sony a6500 represents a lot of camera in a very lightweight package, and it’s encouraging to see that Sony is continuing to refine its APS-C offerings.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS 80D vs Sony a6300: vying for the stills/video hybrid crown

15 Aug

Introduction

The Sony a6300 and Canon EOS 80D are visually very different cameras. One looks like Canon DSLRs always have, the other looks a lot like Sony’s original NEX line of mirrorless cameras.

Yet, despite their clearly distinct roots, dig a little deeper and you find hints of convergent evolution. The on-sensor phase detection of the a6300 helps it offer autofocus that can compete with DSLRs, while the dual-pixel design of the EOS 80D helps it offer better live view operation and focus than any previous Canon DSLR.

What’s true of both is that they’re their maker’s offering for the stills enthusiast who might want to try their hand at video. In many respects they’re still as different as they are similar, but their relative strengths and weaknesses aren’t necessarily quite as you’d expect. All of which can make it hard to know which one to choose…

DSLR vs Mirrorless

Some of the differences between the cameras come down to the fact that one is a DSLR while the other is mirrorless. No matter how much technology closes the gap in performance between the two systems, the DSLR structure allows the provision of a TTL optical viewfinder, while a mirrorless camera is more likely to include an electronic viewfinder.

Many people, in part as a consequence of familiarity, prefer an optical viewfinder, but there are advantages to each approach. The a6300’s viewfinder is able to show a corrected preview when working with the super-flat S-Log gamma profiles, as well as being able to overlay focus peaking and exposure warnings into its viewfinder, in a way that can’t be done with an optical viewfinder. This is on top of the ability to visualize the exposure and white balance of the final image.

Finally, an electronic viewfinder need not be constrained by the size of the sensor format, as the optical view of a DSLR’s mirror is. In this instance, the a6300’s finder is around 20% larger than that of the Canon. Its fast refresh means it’s better able to help you follow the action than ever before.

DSLR vs Mirrorless

However, one of the traditional advantages of a mirrorless camera is that they can be smaller and the a6300 certainly has the edge in that respect. Its kit zoom may not be the best-loved or most consistent lens on the market, but it does a great job of keeping the size of the overall package down.

There’s a well worn adage that the best camera is the one you have with you and all but the most dedicated photographers are likely to find the a6300 much more convenient to carry with them. Disregarding macho nonsense about carrying the weight of a DSLR, the a6300’s much smaller form factor may well be the difference between you keeping a camera with you and only bringing it along when you expect to need it.

That said, the 80D’s optical viewfinder means it doesn’t have to have its screen on all the time. This certainly helps towards it having a CIPA battery rating 2.4x greater than the Sony (960 shots per charge, vs 400 on the Sony or 350 through the electronic viewfinder).

Handling

Some of the differences between the two cameras don’t directly stem from the DSLR/mirrorless distinction. There are plenty of mirrorless cameras that offer DSLR-like control points, but the a6300 doesn’t follow that path.

While Sony has increasingly stepped away from its innovative but simplistic NEX interface, the a6300 doesn’t offer the level of at-your-fingertips control that you’d usually get for this much money. There are two command dials but both of them are operated with the same digit, and the one on the rear face of the camera requires you to move your hand out of a shooting grip (which makes it unnecessarily fiddly). The camera does at least give plenty of customization of its buttons and Fn menu, so you can choose which options to get fast and semi-fast access to, but there remain features we want access to that are unassignable, and we’ve sometimes found ourselves running out of assignable buttons. I don’t think even its most strident supporter would consider the a6300’s handling to be amongst its strengths.

By contrast, the Canon does a great job of blending its well-worn stills control layout with a simple but effective level of touchscreen control, making the 80D a much more engaging and direct-feeling camera to shoot with. Yes, it’s very traditional approach, but it works well for stills and has been adapted pretty well for shooting video, too. And I doubt many people would have guessed that it’d be Canon, rather than Sony, that brought touchscreens to its enthusiast cameras first.

Autofocus

The days of being able to simply say ‘DSLRs are better at focusing’ is long gone, but that isn’t to say that all cameras are now equal – different technologies have different areas of strength.

The EOS 80D’s through-the-viewfinder focus is generally good when shooting approaching subjects but seems to struggle at the camera’s highest frame rate. The hit rate falls further if the camera has to track subjects moving around the frame. Like most DSLRs, it can also exhibit some focus imprecision on close-up, shallow depth-of-field photos.

By comparison, the a6300 offers excellent autofocus in a lot of circumstances. Its subject tracking is generally very good and will follow a single, clearly defined subject around the frame as it moves, though it’s not reliable enough to use in lieu of manually positioning the AF point over a subject. This is a pity because, without a touchscreen or joystick, the manual positioning of an AF point is rather slow and clunky.

Eye AF, which you’ll need to assign to a custom button to gain access to, is superb though. Point the camera at your subject, hold down the Eye AF button and the camera will generally stick to its target well, even as you and your subject move around. It’s particularly good with fast primes where you can be fairly confident of your subject’s eye being perfectly sharp. That said, it’s not without its limitations, jumping off to other subjects from time to time.

However, the EOS 80D is based around a Dual Pixel AF sensor, which means it can offer depth-aware phase detection autofocus across much of its sensor if you’re willing to use the rear LCD and shoot in Live View. This is especially good at identifying and following faces (or other objects) within the scene, meaning it can compete pretty effectively with the a6300’s Eye AF mode, even with a fast prime lens.

a6300 – the videographer’s choice

What really sets the two cameras apart is their approach to video. Not just in terms of specifications, but how you shoot. The Sony has the upper-hand on paper, since it can shoot 4K video, but it’s not as simple as all that.

The a6300 is very well equipped when it comes to video. It can shoot UHD 4K at up to 100 Mbps. It includes adjustable zebra patterns for helping you set exposure. It also includes focus peaking and during-capture magnification to help you confirm and adjust focus, and it also offers a huge variety of video-centric gamma responses including Log curves and a mode that gives an ITU 709 preview while shooting log.

Which is lovely, if you know how to make use of all of those things. And knee, and master pedestal. But, while it can be fun to learn, it’s a little daunting at first. Of course you can ignore these options and shoot autofocus if you want but, while good, AF is not immune from refocusing off to infinity. And, without a touch screen, moving the focus point is impractical.

The Sony can sometimes, especially in warm conditions, overheat before reaching its 29:59 limit. This and the more involved shooting technique needed to get the very best from the its frankly stunning 4K quality means isn’t suited to every type of shooting. Its 1080 is also oddly disappointing. But if you put in the work, it’s sensational.

EOS 80D – the still photographer’s video cam

The EOS 80D is a really interesting camera, when it comes to video, and its limitation to 1080 shouldn’t see you write it off. The Canon can’t compete with the Sony’s video quality or its laundry list of support features. But what it does offer are simple autofocus and ease-of-use.

The 80D’s dual pixel autofocus really comes into its own for video shooting. Touch on the screen and the camera will refocus with absolute confidence. Set a target and the camera will keep your subject in focus. You can dictate the focus speed and be confident that the camera will do what you want, without the constant wobble or occasional catastrophic mis-focus that most of its rivals will deliver.

Of course, being a DSLR, you can’t resort to using the viewfinder when it’s bright outside.

The footage isn’t great, even by the standards of 1080 video, but it’s more than usable and is just so easy to shoot. The lack of exposure monitoring tools is also a pain, but overall, the 80D a great camera for stills shooters who want to shoot video without having to learn how.

Lens choice

While Canon’s APS-C lineup isn’t quite as comprehensive as its offerings for full frame, it’s still pretty comprehensive, especially when you include those full frame lenses that remain useful on the smaller format. The native APS-C range includes a variety of zooms at different price levels, an a 24mm F2.8 STM prime if you’re trying to keep the overall size down.

The same can’t be said for Sony’s E-mount lineup. There are some useful lenses, including stabilized 35 and 50mm primes for APS-C and a 28mm F2 that makes an effective normal, but it’s certainly worth checking that the lenses you need exist, affordably, in the Sony range before you commit to the system.

That said, the short flange-back distance of the E-mount means that all sorts of lenses can be adapted to work on the Sony (some of them with AF), which is especially valuable for video work.

Overall

It might seem tempting to draw the conclusion that you buy the Sony for video and the Canon for stills, but it’s not quite that clear-cut. The ease of shooting video with the Canon, along with the very capable autofocus of the Sony mean that both cameras have something to offer in what you might otherwise assume to be the other’s areas of strength.

The a6300 has a slight edge in terms of image quality and huge advantage in terms of video quality. However, the EOS 80D is undeniably a more enjoyable camera to shoot with. It would be hard to choose a winner in terms of autofocus (heretically it’s the 80D’s live view AF that keeps it in the hunt), meaning a lot of it comes down to personal priorities.

If you want probably the most capable camera that’s easy to keep with you, then the Sony is the easy choice. But if you want a more traditional or hands-on shooting experience and still want some of that stills/video flexibility, then the Canon might be the better choice.

Yet again, the simple idea that most modern cameras are great is true. But that doesn’t mean they’ll all be equally good for you.

Articles: Digital Photography Review (dpreview.com)

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Side by Side Comparison: The Sony a6300 Versus Fujifilm X-Pro2

17 Jul

The Sony a6300 and Fujifilm X-Pro2 are two mirrorless cameras that debuted very recently as updated versions of their popular and beloved predecessors. Both cameras are comparable in technical specs and appeal, but how does each fare when compared side-by-side? Find out below!

Fujifilm X-Pro2 versus Sony a6300 6

Technical Specs: Main Similarities

Camera Sensors and Format

Both the a6300 and X-Pro2 are APC-C crop sensor bodies with a 1.5x crop factor. Each has a CMOS sensor with 24-megapixel resolution and is capable of shooting in both JPG and RAW on SD memory cards.

Solid, Weather-Resistant Body

Perhaps the biggest cosmetic upgrade that Sony made to the a63000 was including a tougher, more weather-resistant body. Like the X-Pro2, the a6300 is composed of magnesium alloy promises to be dust and moisture resistant.

Fujifilm X-Pro2 versus Sony a6300 6

In-Camera Wi-Fi

Like most modern digital cameras, both the X-Pro2 and a6300 have built-in Wi-Fi, making it a snap to transfer photos from your camera to your mobile phone, or shoot remotely via a mobile app.

Technical Specs: Main Differences

Price

The a6300 can be purchased body-only for $ 998.00, while the X-Pro2 is quite a bit more expensive at $ 1,699.00. Accompanying Fujifilm lenses also tend to be pricier than Sony equivalents.

Size and Weight

The X-Pro2 is quite a bit bulkier and heavier, weighing in at 15.70 ounces (445 g) body-only compared to the a6300’s 14.25 ounces (404 g). In terms of dimensions, the X-Pro2 is also slightly bigger with dimensions of 5.5 x 3.3 x 1.8″ (141 x 83 x 56 mm), compared to the a6300’s dimensions of 4.7 x 2.6 x 1.9″ (120 x 67 x 49 mm). Accompanying Fujifilm lenses are also heavier and larger than Sony equivalents.

Sony a6300

Fuji X-Pro2

Both shot with the same settings. Images are straight from the camera, unedited.

Video

The a6300 can record 4K video, while the X-Pro2 can only record video at 1080p. Interestingly, the Fujifilm offers two SD-card slots compared to the Sony’s single SD-card slot. You’d think Sony would squeeze in another slot to accommodate their higher-quality video formats.

Viewfinders

Among the unique features of Fujifilm’s digital cameras is their signature hybrid viewfinder which really shines on the X-Pro2. For those unfamiliar, the hybrid viewfinder offers the ability to switch between optical (rangefinder style) and electronic viewfinders , which can be a huge advantage for photographers who dislike shooting with electronic viewfinders only, which is what you get with the a6300.

Focus Tracking

Besides the inclusion of 4K video, the main selling point of the a6300 was its brand new sensor, and what Sony claims is the world’s fastest autofocus (dubbed “4D focus”) with 425 phase detection autofocus points. Combined with the Sony’s ability to shoot at up to 11 frames per second and accurate lock-on AF, the a6300 is a beast for shooting sports and action photography.

Comparatively, the X-Pro2 sports a total of 273 AF points including 169 embedded phase-detect AF points, plus a maximum burst rate of 8 frames per second.

Sony a6300

Fuji X-Pro2

Display Screen

While both cameras have a 3-inch rear LCD screen, the a6300 has a pop-out tilting screen, while the Fujifilm’s screen is melded to the camera body.

Built-in Flash

The a6300 offers a small pop-up flash that can be angled to bounce off the ceiling, in addition to a hot-shoe mount, while the X-Pro2 does not have a built-in flash (only a hot-shoe mount).

In Practice

Given the technical similarities and differences above, how did it actually feel to handle both cameras? The Fujfilm’s weight and size were definite factors, especially while switching between the smaller, lighter-weight Sony. With that being said, one could definitely argue that Fujifilm’s heavier, more solid camera and lenses felt like a higher-quality investment compared to some of Sony’s lightweight, plastic-based lenses.

Sony’s newly engineered 4D focus tracking was incredibly spot-on and accurate, especially compared to the Fuji. However, unless you’re shooting a ton of action scenes, Sony’s ultra-fast autofocus is a luxury that isn’t a make or break feature. One feature on the Sony that did come in handy was the flexible pop-up flash that would have been nice to have on the Fuji.

Sony a6300 photo on the left; Fujifilm X-Pro2 photo on the right. Both shot with the same settings. Images are straight from the camera, unedited.

The X-Pro2 has a clear vintage, rangefinder look and feel to it, which some photographers may prefer. Personally, I preferred the feel and overall button placement of the Sony, and was ultimately able to customize buttons and settings to operate it similarly to my Canon 5D Mark III.

On both cameras, the built-in Wi-Fi was a little tricky to set up, but from then on was incredibly intuitive and easy to wirelessly transfer images straight from the cameras to cell phones.

Sony a6300

Fuji X-Pro2

One last consideration – lens availability

Since both the a6300 and X-Pro2 are interchangeable lens cameras, compatible lens selection is another crucial difference between the two brands. Fujifilm lenses, while more solid and often more expensive, are contained to primes with a rather limited selection of zoom lenses, most of which have variable maximum apertures. In comparison, Sony offers a slightly more varied selection of lenses from primes and wides to mid-range and telephoto zooms.

Which is better for you?

Both the X-Pro2 and a6300 are feature-packed, brand new cameras that will appeal to different types of photographers.

Go Sony: If you value wicked fast autofocus, enhanced video recording capabilities, and/or are on a bit of a budget, the Sony a6300 is probably best for you.

Go Fuji: If you love the look and feel of a rangefinder camera, value Fuji’s unique hybrid viewfinder, and/or have a larger budget, the X-Pro2 will be your new favorite camera.

Sony a6300

Fuji X-Pro2

Have you tried either or both of these cameras? What are your thoughts?

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Sony a6300 Mirrorless Camera – Thoughts and Field Test

29 Jun

Sony has spent recent years charging full steam ahead into the full-frame mirrorless camera market. But they have also managed to satisfy the desires of APS-C shooters, mainly through their widely-popular a6000 mid-range mirrorless camera. In March 2016, just two years after the debut of the a6000, Sony released the a6300 with improved features, that still retain many of the characteristics of the older model.

To be clear, Sony doesn’t intend for the a6300 to be a replacement for the a6000, meaning the older camera is still in production and can be purchased at a very attractive price point (around $ 549.00 for the body only).

Sony a6300 Mirrorless Camera

My Camera Background

Before diving into this review, I want to clarify my digital camera experiences to make my perspective more apparent. The Sony a6300 is the very first mirrorless camera I’ve owned, besides my very brief experiment with the a6000 for comparison purposes. Until recently, I’ve shot almost exclusively with Canon DSLRs, namely the 5D Mark III and 6D. As a result, many of the a6300’s features such as its pop-out LCD screen and electronic viewfinder might seem like standard features to other mirrorless shooters, but for a Canon DSLR user like myself, these are newfound novelties that turned my world upside down. With that being said, let’s move on to the a6300’s specs.

Key Features of the Sony a6300

Sony a6300 Mirrorless Camera

The main improvement with the Sony a6300 is a newly developed sensor with a pixel count of 24MP (same as the a6000) that is packed with a whopping 425 phase-detection AF points, which is significantly higher than the a6000’s 179 AF points. According to Sony, the a6300 has the greatest number of phase-detection points to date, on an interchangeable-lens camera ,and makes the a6300 the camera with the world’s fastest autofocus.

Video is another aspect that Sony upgraded on the a6300, with the inclusion of 4k video recording capabilities, the addition of a mic socket, and the ability to record time code. Besides the autofocus and video systems, the a6300 sees an OLED 2.36M-dot viewfinder, an improvement from the a6000’s OLED 1.44M-dot viewfinder. Battery life is also slightly improved at 400 shots versus 360 shots.

Physically, the a6300 is only 2 ounces heavier than its predecessor, although it feels much more solid with its weather-sealed magnesium alloy build, that was lacking on the a6000. An AEL button with an AF/MF switch has also been conveniently added to the back of the camera, which sports and action shooters should find handy. Other than these few additions, the Sony a6300 doesn’t look or feel much different than the a6000.

Overall, these added features of the a6300 clearly appeal to shooters looking to focus on action, sports, and video.

Sample action shot with a Sony 16-50mm f/3.5-5.6 kit lens.

Pros of the a6300

While discussing the pros and cons of the a6300, it should be noted that many of the same features are also available on the a6000.

Extremely compact

As a DSLR shooter, the a6300’s compact size was particularly appealing. While testing the Sony a6300, I used both the kit 16-50mm f/3.5-5.6 retractable zoom lens, and the Sony 20mm f/2.0 pancake lens, and was amazed that both were incredibly lightweight and basically the same size. There is of course, the trade-off of both lenses being made of plastic and not feeling as robust as say a Fujifilm lens, but they both perform very well and weigh close to nothing. Pairing either lens with the a6300 makes for a very compact, low-profile camera system that is perfect for travel.

An informal food photo taken at a restaurant table moments before consumption. Shot with a Sony 20mm f/2.8.

Silent Shutter

While many DSLRs offer a Silent Shutter that is still quite noisy, the a6300’s silent shutter feature makes the camera so quiet you wouldn’t even know a photo was being taken. It’s a great feature for undercover or candid photography moments when you truly want no sound associated with taking a photo. With that said, non-silent shooting on the a63000 produces a very crisp shutter snap, especially when firing away at the camera’s highest shutter speed of 11 frames per second.

Panoramic shooting feature that actually works (most of the time)

After consistently trying, and failing, to take advantage of panoramic shooting on a variety of devices from point and shoots to cell phone cameras, I was beginning to think that on-the-go panoramic shooting was a myth, until I tried it with the a6300. Unlike other devices, the a6300 will shoot and stitch together a near-perfect horizontal or vertical panorama even when your manual panning isn’t spot on. There were a few times when the camera insisted that I wasn’t panning straight enough to make a clear pano shot, but most of the time even my wobbly panning techniques were good enough for the a6300 to make sense of.

Sample panorama shot with a Sony 16-50mm f/3.5-5.6 kit lens.

Focus Modes + Face Recognition

Easily two of the best features of the a6300 are the Face Registration and Eye AF (autofocus) features, which do pretty much what their names imply. Activating Face Registration allows you to program the a6300 to recognize and prioritize up to eight faces. This feature is incredibly handy when shooting a crowd of people, and the a6300’s accuracy of picking out the correct face is astounding. Eye AF works very similarly, but without the need to register (program them in) the eyes. Simply enable Eye AF on the a6300 and the camera will automatically search for your subject’s eyes and track them using continuous autofocus. This feature is so spot-on that the a6300 will even lock onto artistic renderings of eyes, such as a painted portrait.

Sample portrait shot with a Sony 20mm f/2.8 lens.

Quick Wi-Fi connection

Like most newer digital cameras today, the a6300 has Wi-Fi and NFC, to connect with smartphones and tablets for remote camera shooting, and wireless image transfer via Sony’s PlayMemories Mobile app. Setting up Wi-Fi on the camera is very quick and intuitive, and Sony’s accompanying app also includes an array of other options that can further enhance your shooting experience, such as time-lapse and multiple exposure apps, among many others.

Built-in flexible flash

Sony a6300 flash

Thankfully, Sony kept one of the a6000’s best features on the a6300: a built-in pop-up flash. Extremely compact and flexible, the little flash can bend 45 degrees to tilt upwards, allowing for bouncing the flash off the ceiling. Next to the pop-up flash is a hot shoe mount that can fire Canon or Nikon Speedlight flashes when used with an adapter.

One accessory that can help fully utilize the pop-up flash are plastic bounce cards which attach to the a6300 via the hot-shoe mount, and hold the flash in an upright position.

Sample night shot with a Sony 20mm f/2.8 lens.

Sony Lens Options

Currently, there are over 70 Sony lenses that you can purchase to go along with your new a6300 body. Options range from compact, low-priced primes and larger, higher-priced zoom lenses. Cheaper prime options include the 16mm f/2.8, 20mm f/2.8, 28mm f/2, 30mm f/3.5 macro, 35mm f/1.8, and 50mm f/1.8, all ranging in price from $ 249.99-$ 449.99. Wide-range zoom lenses, without a fixed f-stop, are also somewhat affordable, such as the 18-200mm f/3.5-6.3 ($ 749.99) or the 24-240mm f/3.5-6.3 ($ 998.99)

Sony 18-200mm f/3.5-6.3 ($ 749.99)

However, Sony’s higher-quality lenses are much higher in price, which may be difficult to swallow if you’re converting from a DSLR kit. Larger, high-quality Sony primes such as the 24mm f/2 and 35mm f/1.4, prices are upwards of $ 1,200.00 and more. The same is true for Sony’s versions of traditional DSLR lenses such as the 16-35mm f/2.8 ($ 2,248.99), 24-70mm f/2.8 ($ 2,098.00), and 70-200mm f/2.8 ($ 2,999.99). If you’re a DSLR shooter with an array of lenses, you can always invest in a converter to use your DSLR lenses with your Sony camera body, but at the expense of slower autofocus.

When you purchase either the Sony a6000 or a6300, you have the option of buying it body-only, or with a 16-55mm f/3.5-5.6 E-mount retractable zoom kit lens, which is valued at approximately $ 260.99 if purchased separately. For its size, range, and overall performance, the kit lens, plus a Sony prime lens, aren’t a bad starter combination, especially if you’re looking to keep your gear compact and lightweight, and aren’t quite ready to invest in higher-priced Sony E-mount lenses yet.

ISO Performance

Sony opted to improve the a6300’s high-ISO performance by including a native ISO range of 100-25,600 with the possibility of extending that ISO to 51,200. While the ability to shoot at higher ISO is great in theory, I found that ISO 6400 was the highest I could comfortably push the a6300 in darker environments, without sacrificing too much image quality. Even my RAW photos shot at ISO 6400 were a little too grainy for my taste, no matter how much noise-reduction I did in post-processing.

Sony a6300 high ISO2

Cons of the a6300

Sony’s bloated camera menu

A common complaint among Sony shooters, that I have to agree with, is that the camera menu is very difficult to navigate. It truly seems like Sony outfitted the a6300 with so many features, and tried to stuff them all into a menu, that it can take weeks for new Sony shooters to get used to using the camera.

This could be easily solved if Sony allowed users to customize the menu a bit more, so that frequently-used features can be quickly accessed. As it stands, Sony only allows assigning custom functions to the camera’s physical buttons, and there aren’t nearly enough of those.

With that being said, the trick to making sense of Sony’s menus is to customize as much of the camera’s settings as possible. Presently, I’ve customized the buttons and settings on the a6300 set to shoot almost identically to the way I shoot with my Canon 5D Mark III, making it easier to switch from one system to another.

Sample action shot with a Sony 16-50mm f/3.5-5.6 kit lens.

LCD screen sometimes blanks out

When it comes to the a6300’s LCD screen, I was grateful for its pop-out rotating feature, something that has been sorely lacking on Canon DSLRs. Some other reviewers complained about the a6300 lacking a touch screen LCD, but again, this is something I’ve never had on a camera, so the fact that it’s missing doesn’t bother me.

One feature of the a6300’s LCD that was troublesome, was its occasional blackouts, which usually occurred right after rotating the screen. Oftentimes, the only way to get the LCD working again was to turn the camera off and on. With that said, using the electronic viewfinder (EVF) always worked without fail, even when the LCD blanked out.

Over to you

Do you already shoot with the Sony a6300, or are you considering making the move? What do you love about it, or what hesitations remain? Let me know your thoughts in the comments below.

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Frame by frame: ‘live view’ continuous shooting with the Sony a6300

13 Apr

Read our full Sony a6300 review

One of the features we were excited by when the a6300 was announced was the promise of ‘live view’ while shooting continuous bursts of shots. Now we’ve used and tested it, what do we think?

What’s the big deal?

Autofocus systems on mirrorless cameras have been getting better and better with each generation of cameras, to the point that the best of them match (and in some circumstances, exceed) the performance we expect from similarly priced DSLRs.

However, many models still lag behind DSLRs in their ability to show you what’s going on while in continuous shooting mode. The common trick of showing a playback of the last captured image makes it hard to keep up with a moving subject, especially if it moves unpredictably, so that you can’t just compensate for the lag.

The a6300 isn’t the first mirrorless camera to try to offer a live view while continuous shooting (several Nikon 1 models, which use comparatively small sensors to allow fast read-out, even manage to give an uninterrupted feed), but it’s still a rare enough feature to make it worth investigating.

What did we find?

We shot the a6300 side-by-side with the Canon EOS 7D (a DSLR that offers the same 8 fps frame rate as the Sony) and found something interesting. The a6300 has a shorter blackout period than the Canon but turns out to only be showing a single updated frame between each capture. At lower, 5 fps shooting rate, we saw two or three frames on display between captures.

That sounds terrible. It sounds like cheating. but it’s not quite the end of the story. Watch the beginning of the video again – the real-time playback – it looks pretty convincing, doesn’t it?

The fact that it looks so convincing left us wondering: why does the screen ever black out? Why doesn’t the camera just continue to show the ‘live’ image until the next one is available? We think we know the answer.

Note the way that the image doesn’t just cut to black – it fades to black then abruptly cuts to the next update. We believe this is trying to achieve something like the ‘black frame insertion’ technology used in some modern TVs: inserting a black frame prompts your brain to imagine what’s happened between the two frames it’s seen, rather than being distracted by the contradiction between perceiving a sense of movement but seeing static images.

Does it work?

In real-world shooting this is pretty convincing: we only discovered the camera was just showing single images when we recorded it at 240 fps, and even then it took us a while to convince ourselves that we weren’t looking at an error stemming from a clash in display and capture frequencies (temporal aliasing).

So, while the display is only showing you eight frames per second (one between each capture), it’s doing so in a way that gives your brain a convincing sense of motion. The question we wanted to answer was: ‘if the blackout between frames is short enough, and the motion looks fairly convincing, is it as easy to follow action as with a DSLR?’

We spent some time trying to shoot rugby with the a6300 to see how easy it was to follow the game’s fast and unpredictable action. The results were mixed – the camera gave enough information for you to be able to follow the action to a reasonable degree, but not as much as you might want.

The a6300’s live view provided enough information to let us follow the action, but not as much as a high-end DSLR, which meant we reacted more slowly to anything unexpected.

Alongside the a6300 we were also shooting with the Nikon D5, not as direct comparison but because we also need to shoot sports with it. As you might expect, the $ 1000 mass-market a6300 wasn’t as good as Nikon’s $ 6500 professional sports-oriented camera, but it’s the way that it fell short that was interesting.

Although the video further up the page shows that the a6300’s live view looks a lot like real motion and its blackout is shorter than the EOS 7D’s, in use it becomes clear that your brain actually can make use of the extra information the 7D gives you about the subject’s movement.

For example, at the rugby we found that we could keep pace with the action when shooting with the Sony but it would take us longer to react if we made the mistake of believing a player’s dummy-pass and started moving in the wrong direction. With the DSLR we’d spot our mistake sooner and turn back to the real action faster.

At set pieces, where you have a good idea of what’s going to happen next, the a6300 could shoot with confidence.

Having looked at what the camera’s doing and then put to real-world use, we’d conclude that the a6300’s continuous shooting live view more successful than its single frame update makes it sound. It’s convincing enough to let you keep up with fast action, but there’s still room for improvement as soon as anything unexpected happens.

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Lights… Camera… Stinging nettles? Our Sony a6300 video shooting experience

01 Apr

Read our Video Shooting Experience

The Sony a6300 has some of the most comprehensive video specs of a mass-market camera, so it seemed like a perfect excuse to embark on a video project. DPReview writer Richard Butler is a self-professed beginner when it comes to video, so he set out to see what he could do with the little Sony as he tested the camera’s video features. Find out about the his exploration of videography in our updated Sony a6300 first impressions, or just watch the mini-documentary above he shot, produced and directed.

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Sony a6300 gallery updated with Raw conversions

18 Mar

With access to Adobe Camera Raw support for the Sony a6300’s .ARW files, we re-visited our real-world sample-gallery and have added a number of Raw conversions to the existing out-of-camera JPEG files. You can check out our conversions in the updated gallery, or you can download the Raw files and see what you can do with them yourself – you just need to download the latest ACR update.

See our updated Sony a6300 real-world sample gallery

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