We compare two popular APS-C cameras: the Fujifilm X-S10 and the Sony a6400. In a bizarre twist, Chris is left to argue with himself (literally). Meanwhile, Jordan is stuck in Pentax K-01 video purgatory. It’s enough to make your head spin.
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Articles: Digital Photography Review (dpreview.com)
Sony introduced the a6400 model of digital cameras in early 2019. The a6400 rapidly became a best-seller among both professional and amateur photographers. The camera is smaller than standard digital single reflex cameras but still uses Sony’s extensive line of lenses. Sony has achieved all this using an APS-C sensor system in a mirrorless body. What is Sony a6400 crop Continue Reading
The post What is the Sony a6400 Crop Factor? appeared first on Photodoto.
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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.’
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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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.
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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 has introduced its new low-priced a6100 APS-C E-Mount camera, which will slot in-between the a6000 (yes, it’s still being produced) and the a6400. The a6100 is essentially the a6400 with a lower resolution EVF (1.44M rather than 2.36M dots), smaller ISO range (ISO 51200 vs 102400) and no Picture Profiles.
What it does feature is Sony’s familiar 24MP APS-C sensor, a 425-pt PDAF system with Real-time Tracking, 11 fps burst shooting, 3″ flip-up touchscreen LCD and oversampled 4K video capture (which is cropped at 30p). It also features a mic input, making the a6100 a good option for vlogging.
The a6100 will be priced at $ 750 body-only, $ 850 with a 16-50mm power zoom lens, and $ 1100 with the 16-50 plus a 55-210mm lens. It will be available in October.
Company Introduces Alpha 6600 with in-body Image Stabilization and Enhanced Battery Life, Also Boosts Product Portfolio with Introduction of Alpha 6100
SAN DIEGO — August 28, 2019 — Sony Electronics today announced two new additions to its ? (Alpha) series of mirrorless cameras with the launch of the Alpha 6600 (model ILCE-6600) and Alpha 6100 (model ILCE-6100). These new models bring many of Sony’s most advanced imaging technologies into compact, lightweight APS-C bodies.
The new, extremely versatile Alpha 6600 camera has been designed to address the needs of the most demanding photographers and videographers, while the new Alpha 6100 is targeted at users who are looking to produce high-quality photos and videos with an interchangeable lens camera.
In addition to the new bodies, the Sony APS-C range has been further strengthened by the launch of two new lenses: E 16-55mm F2.8 G and E 70-350mm F4.5-6.3 G OSS. Sony’s “One Mount” solution for both APS-C and Full-frame cameras provides creators an extreme amount of versatility for all of their photography and video needs.
“These new APS-C cameras provide excellent image quality in a compact package, with the ability to take full advantage of Sony’s growing lineup of 54 different E-mount lenses,” said Neal Manowitz, deputy president of Imaging Products and Solutions at Sony Electronics. “We are proud to bring so many of our innovations into our APS-C lineup and to provide creators with several new tools to realize their vision.”
The new Alpha 6600 and Alpha 6100 include a 24.2MP[i] Exmor™ CMOS image sensor, the latest BIONZ X™ image processor, and a front-end LSI implemented in Sony’s full-frame cameras. This powerful trio combine to deliver all-around enhancements in image quality and performance across all areas of photo and video capture.
The Alpha 6600 and Alpha 6100 offer a lightning-fast autofocus acquisition time of 0.02 seconds[ii]. With 425 focal-plane phase-detection autofocus (AF) points covering approximately 84 percent of the image area and 425 contrast-detection AF points, the high density and wide coverage of the AF system ensure reliable AF, even in the most challenging light conditions. Both new models benefit from Sony’s ‘Real-time Tracking’ which utilizes Sony’s latest algorithm with Artificial Intelligence[iii]-based object recognition to ensure that subjects can be captured with excellent accuracy, even via the touch panel on the rear screen. In addition, the new models offer ‘Real-time Eye AF’, the latest version of Sony’s acclaimed Eye AF technology. Real-time Eye AF employs AI-based object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF for both humans and animals[iv], and it allows the photographer to concentrate exclusively on composition.[v] The Alpha 6600 also offers Real Time Eye AF in video. When activated, the eye of a subject is automatically tracked with high precision and reliability, allowing the shooter to focus on the content itself as opposed to what is in focus or not.
Additionally, both cameras can shoot high-quality 4K video, and include a microphone jack and flip screen that allows for easy framing and shooting of vlog-style content. The Alpha 6600 also features a headphone jack to monitor audio.
An Eye for Detail
Based upon feedback from users of existing Sony APS-C camera users, Sony has added features to the Alpha 6600 and Alpha 6100 to fine tune the user experience. These include:
Alpha 6600
Across an ISO range of 100-32000 (expandable to ISO 50 – 102400[ix]), the new Alpha 6600 offers superb low-noise performance and delivers extremely high-quality images, even in low-light conditions. By applying noise reduction and sharpness processing optimally in each area, Area-specific Noise Reduction and Detail Reproduction Technology greatly reduce noise while preserving high resolution. This contributes to fine reproduction of subject textures and shadow details.
The Alpha 6600 features many of the technology breakthroughs that are attracting praise on Sony’s high-end full-frame cameras. These include:
4K Recordingvi
The Alpha 6600 and Alpha 6100 boasts internal 4K movie recording in Super 35mm format with full pixel readout without pixel binning, to enable them to capture approximately 2.4x[xv] the amount of information required for 4K movies. This oversampling results in stunning footage, delivered in the XAVC S™ format with unparalleled resolution. The Alpha 6600 also equips an HLG (Hybrid Log-Gamma)[xvi] picture profile that supports an instant HDR workflow. Recorded movies played back on an HDR (HLG) compatible TV will appear true-to-life, with no blocked shadows or blown highlights, and without the need for color grading. For users who want to color grade their footage in post-production, S-Log3 and S-Log2 Gamma profiles are provided.
Pricing and Availability
The new Alpha 6600 will be available in November and will be sold at a variety of Sony authorized dealers throughout North America at below prices:
In addition, the Alpha 6100 will be available in October and will be sold at a variety of Sony authorized dealers throughout North America at below prices:
Exclusive stories and exciting new content shot with the new lens and Sony’s other imaging products can be found at alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s ? – Alpha brand.
The new content will also be posted directly at the Sony Photo Gallery and the Sony Camera Channel on YouTube. For detailed product information, please visit:
A product video on the new Alpha 6600 and Alpha 6100 can be viewed HERE.
[i] Approximate effective megapixels
[ii] Based on Sony research, CIPA-guideline-compliant internal measurement with an E 18-135mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use
[iii] AI (artificial intelligence) including machine learning technology is used
[iv] Real-time Eye AF for Animals supports still images only and cannot be used in combination with tracking. Does not work with some types of animal. Focusing may not perform well depending on scene and subject conditions
[v] Both right eye and left eye are selectable, either via the menu or by the touchscreen panel
[vi] 3840×2160 pixels. A Class 10 or higher SDHC/SDXC memory card is required to record movies in the XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps
[vii] Imaging Edge Mobile Ver. 7.2 or later is required
[viii] Wi-Fi does not work during interval shooting
[ix] Only on still images
[x] Based on CIPA standard. Pitch/yaw shake only. With Sonnar T* FE 55mm F1.8 ZA lens mounted. Long-exposure Noise Reduction off
[xi] Among mirrorless interchangeable-lens digital cameras equipped with an APS-C image sensor. As of August 2019, based on Sony research
[xii] CIPA standard compliant
[xiii] Not guaranteed to be 100% dust and moisture proof
[xiv] This function does not track animal eyes
[xv] 24p recording. Approx. 1.6x at 30p
[xvi] Connect this product to an HDR (HLG) compatible Sony TV via a USB cable when displaying HDR (HLG) movies
| Price | |
|---|---|
| MSRP | $ 750 (body only), $ 850 (w/16-50 lens), $ 1100 (w/16-50 and 55-210 lenses) |
| Body type | |
| Body type | Rangefinder-style mirrorless |
| Body material | Composite |
| Sensor | |
| Max resolution | 6000 x 4000 |
| Image ratio w:h | 1:1, 3:2, 16:9 |
| Effective pixels | 24 megapixels |
| Sensor photo detectors | 25 megapixels |
| Sensor size | APS-C (23.5 x 15.6 mm) |
| Sensor type | CMOS |
| Processor | Bionz X |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-32000 (expands to 51200) |
| Boosted ISO (maximum) | 51200 |
| White balance presets | 10 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Extra fine, fine, standard |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Manual focus | Yes |
| Number of focus points | 425 |
| Lens mount | Sony E |
| Focal length multiplier | 1.5× |
| Screen / viewfinder | |
| Articulated LCD | Tilting |
| Screen size | 3″ |
| Screen dots | 921,600 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 1.07× (0.71× 35mm equiv.) |
| Viewfinder resolution | 1,440,000 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/4000 sec |
| Exposure modes |
|
| Scene modes |
|
| Built-in flash | Yes |
| Flash range | 6.00 m (at ISO 100) |
| External flash | Yes |
| Flash modes | Flash off, auto, fill flash, slow sync, rear sync, wireless, hi-speed |
| Flash X sync speed | 1/160 sec |
| Drive modes |
|
| Continuous drive | 11.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | MPEG-4, XAVC S, H.264 |
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC + Memory Stick Pro Duo |
| Connectivity | |
| USB | USB 2.0 (480 Mbit/sec) |
| USB charging | Yes |
| HDMI | Yes (micro HDMI) |
| Microphone port | Yes |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n + NFC + Bluetooth |
| Remote control | Yes (wireless or smartphone) |
| Physical | |
| Environmentally sealed | No |
| Battery | Battery Pack |
| Battery description | NP-FW50 lithium-ion battery & charger |
| Battery Life (CIPA) | 420 |
| Weight (inc. batteries) | 396 g (0.87 lb / 13.97 oz) |
| Dimensions | 120 x 67 x 59 mm (4.72 x 2.64 x 2.32″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
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Sony has released firmware version 2.00 for its a6400 mirrorless camera, bringing with it Animal Eye AF, support for the RMT-P1BT wireless remote commander and other improvements to help with stability.
It’s been roughly two months since Sony launched firmware updates for its a7R III and a7 III, which brought with them, amongst other things, Sony’s new Animal Eye AF. Now, Sony has brought the system to its crop sensor mirrorless cameras.
As a refresher, Animal Eye AF is an autofocus mode that uses AI-trained algorithms to find and focus on the eyes of wild animals and pets. It works with AF-C focus mode and is activated when the shutter is half-pressed or when assigned to the AF-ON button.
As with the firmware updates for the a7R III and a7 III, Animal Eye AF can’t be used at the same time as Human Eye AF and, due to the extra processing power required to get the job done, it won’t be nearly as fast as the Human Eye AF. Sony has put together a full documentation page detailing the intricacies of Animal Eye AF.
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Firmware version 2.00 has also added support for Sony’s RMT-P1BT wireless remote commander and a number of other bug fixes that improve the overall stability and functionality of the a6400.
Firmware version 2.00 can be downloaded from Sony UK’s website for macOS and Windows computers. Installation instructions can be found on the respective download pages.
Articles: Digital Photography Review (dpreview.com)
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We’ve put the wraps on our full review of Sony a6400, where we look at its image quality, autofocus and more. But is it the right camera for you, and the style of photography you enjoy? Taking the a6400 into account as a whole, here’s how we think it stacks up for these common photographic use cases.
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Sometimes, a killer new feature comes along that really changes the way you take photographs – in this case, that feature is Sony’s Real-time Tracking AF. Once you get the camera set up, all you really need to do is place an AF area over the subject you want to track, whether it’s a human or not. If it’s not a human, the system will track that object very tenaciously as you recompose the scene. If it is a human, the system will automatically switch to face or eye detection and reward you with incredibly accurate focus, almost regardless of lighting or subject movement, and even at wide apertures. It’s really something.
As a point-and-shoot family cam, the a6400 is hard to beat
There’s a lot else that the a6400 gets right for this use case, as well. First of all, with the proper prime or the 16-50mm F3.5-5.6 power zoom kit lens, it makes for a compact package that’s easy to toss into a bag or jacket pocket (the very nice 18-135mm F3.5-5.6 kit lens adds quite a bit of bulk, but a very flexible zoom range). There’s above-average battery life, and if you do happen to let the battery drain, the a6400 will charge over its micro USB port. Claimed weather-sealing means a little drizzle doesn’t need to dampen your photographic creativity, and the selfie screen will be handy for, well, selfies.
Marks against the a6400 include a complex menu system that could overwhelm more novice users, and we’ve found the auto white balance can ‘overcorrect’ daylight images, making them look a little cold for our tastes. But overall, as a ‘point and shoot’ family camera, the a6400 and its Real-time Tracking autofocus are hard to beat, especially at this price point.
Photo by Rishi Sanyal
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Everyone travels differently, but we believe that the a6400 comes with some merits (and, of course, demerits) that will apply broadly to the type of people that like to bring a dedicated camera with them while traversing the globe.
First off, like all of Sony’s a6x00 cameras, the a6400 is compact and lightweight. Despite this, it still comes with claims of weather-sealing, which is a nice touch should you run into inclement weather. Wireless connectivity, including NFC, is a strong point, so it’s easy to get your photos up onto the web from anywhere, without needing a dedicated computer. There’s an awful lot of lenses in the E-mount ecosystem to choose from at this point, from the flexible 18-135mm F3.5-5.6 Sony kit zoom to Sigma’s excellent 16mm, 30mm and 56mm F1.4 primes. Add on the ability to charge the a6400 from the same power bank that you can use to charge your phone, and you have a strong proposition for a travel camera right here.
The a6400 is compelling option for you to pack into your carry-on for the next adventure
But there are a couple of things to consider. Unfortunately, Sony is one of the few remaining manufacturers to not allow in-camera Raw processing. This is a shame, because we’ve found the auto white balance can sometimes result in unpleasant colors in JPEGs, and JPEGs are harder to correct than Raw files. This means that, if you’re a power user and really like to fine-tune your photographs, you may actually find you want a laptop with you to give those Raw files a look. This could be mitigated if Sony’s Imaging Edge app allowed the transfer of Raw files to mobile devices, but at the time of this writing, it doesn’t.
Still – if you’re primarily a JPEG shooter and don’t mind taking some more control over your JPEG and white balance settings, the a6400 is a compelling option for you to pack into your carry-on for your next adventure.
Photo by Carey Rose
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The new screen mechanism on the a6400 tilts all the way up for selfies, yes, but that also opens a window of opportunity for those looking to ‘vlog.’ But aside from vlogging, there’s quite a bit to unpack here, so let’s start with the basics.
The a6400, like the a6300 and a6500 before it, offers oversampled (read: highly detailed) 4K video capture. Autofocus during video is another strong point, requiring a minimum of input from the user for most types of shooting. The microphone input makes it easy to get higher-quality audio recorded in-camera, and Log capture gives power users more flexible files for post-processing. Sony has also updated the processor in the a6400, and in room temperature conditions, the camera will record 4K continuously until the battery runs out, or the card fills – without fear of overheating.
The a6400 is a great B-cam for interviews, and decent for vlogging – but it’s worth checking out the competition
But the market hasn’t stood still. Against competitors like the Fujifilm X-T30, the a6400 has an awful lot of rolling shutter – which is that sort of jiggly, jello-y effect you can often see in shaky footage. And without a stabilized lens, you’ll have a lot of shaky footage, since the a6400 doesn’t include in-body image stabilization. Plus, in 4K/30p, you’ll have an additional crop factor, meaning it will be difficult to get wide-angle footage with standard zoom lenses. There isn’t a headphone jack to make sure your audio sounds alright during recording, and that flip-up screen can be blocked by any microphone you want to put in the hot shoe.
So thanks to its unlimited recording time, the a6400 makes a great B-cam for interviews, and with Sony’s 10-18mm F4 E-mount lens, which happens to be stabilized, you have a decent option for vlogging as well (just watch that crop if you shoot in 30p). It’s just that, at this point, it’s worth checking out the competition to see if other options have a more modern feature set that will work best for the kind of video work that you want to do.
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We again see Sony’s Real-time Tracking autofocus playing a major role here; even with a wide-aperture primes, like Sigma’s 56mm F1.4 or Sony’s 24mm F1.4 GM, the a6400 will reliably lock focus on a subject’s eye with incredible accuracy.
Not only that, but malleable files with plenty of dynamic range give you more flexibility for shooting in harsh lighting conditions, and good low light performance means you don’t necessarily have to stop shooting when the sun goes down. Good connectivity options will let you send those files off to your subjects quickly and easily, so long as you’re happy with the JPEGs – it’s probably best to dial in your white balance manually for best JPEG results.
Photo by Barney Britton
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The a6400’s 24MP sensor offers a solid amount of resolution for landscape work – and there aren’t many APS-C cameras out there to offer significantly more resolution at this time, anyway. And though it’s the exact same sensor as in the older a6300, it’s still a very good sensor in terms of dynamic range, and so you’ll be able to brighten shadows significantly in high-contrast scenes without introducing a ridiculous amount of noise.
If you’re a tripod shooter, the tilting LCD will be a help for working at lower angles, though if you like to shoot in the vertical orientation, you’re out of luck on that front – the LCD only tilts on its horizontal axis. There’s a strong selection of lenses, both from Sony and third parties, particularly wide-angle primes. The claimed weather-sealing is of course a welcome addition if you’re finding yourself out in the elements, as is USB charging if you’re operating off the grid for any period of time. There’s also a robust built-in intervalometer for time lapse work, if that’s your jam.
The inability to process Raw files in-camera or transfer them to your phone may be frustrating
But for those wanting to travel light, the inability to process Raw files in-camera or transfer Raw files to mobile devices may be frustrating. The a6400 is also one of the few APS-C cameras on the market to only offer lossy compressed Raw files, meaning that you might see some artifacts if you really push your high-contrast files, such as those taken at sunrise or sunset. Overall, though, the a6400 – with the right lenses – is a solid choice for landscape shooters looking to travel light.
Photo by Carey Rose
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Sorry to sound like a broken record (do the kids know what records even are, these days?), but Sony’s Real-time Tracking AF is a revelation for sports and action photography, as well. Whether you’re photographing your child’s soccer game or a low light concert, the a6400’s autofocus system is capable of getting you an incredible number of in-focus ‘keepers’, even if you’re firing away at a maximum burst rate of 11 fps. And as stated earlier, the system doesn’t need an eye to latch onto for accuracy – the a6400 will tenaciously track any subject, whether it’s a race car or a helmet, as long as you’ve initiated tracking over that subject.
We’re pleased with the deep buffer, but less pleased with the slow write-times
We’re pleased to find that the a6400 comes with a pretty deep buffer, but are less pleased to say that the card slot is only UHS-I. This means that write-times are on the slow side, and that the buffer will take a while to clear after a long burst. While you can still enter playback while images are being written to the card, some functions – like burst speed – cannot be changed until the buffer has finished clearing. Lastly, we’d recommend a grip extension of some sort for use with larger telephoto lenses, as the small grip on the a6400 will be uncomfortable with those lenses after extended use.
It’s worth adding that the touchscreen on the a6400 can be used for AF point placement, so you can move the area around if that makes it easier to initiate tracking on your given subject. We still prefer a joystick for AF area movement, however, but the touchscreen is better than the fiddly ‘click-click-click‘ of the rear four-way controller / dial.
Photo by Carey Rose
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For candid and street, the a6400 is likewise a compelling option. With a tilting screen, shooting from the hip (and using the touchscreen for AF area placement) is a cinch. If you want to be able to react even faster to what’s happening around you, the ‘Wide’ AF area does a surprisingly good job of automatically deciding what to focus on without any intervention from the user. The compact size won’t be terribly intimidating or attract too much attention, and the a6400 comes with a silent electronic shutter for extra discretion.
The one caveat here, though, is that the scan rate of the electronic shutter is on the slow side. This means that if you’re using that electronic shutter and panning or photographing fast-moving subjects, you may see some odd distortion artifacts, and you may also see very pronounced banding if you’re capturing candids under artificial light.
Photo by Carey Rose
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Formal portraits are actually another situation in which the a6400 performs well. Again, the reliable Eye AF implementation ensures accurate focus, and though there’s no flash sync port, you can add any number of adapters to the camera’s hot shoe. The flash-sync speed of 1/160 sec isn’t great for outdoor use (though you can always use high-speed sync), but should be fine for use indoors. A nice bonus is that the a6400 can shoot tethered using Capture One software, and there’s a wide variety of excellent prime lenses available, including the excellent Sigma 56mm F1.4 that will give you a standard 85mm equivalent field of view on the a6400.
Photo by Carey Rose
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We wrote in our full review that the a6400 is ‘a near-universally capable midrange camera,’ a statement which is borne out through our examination of its merits across these use cases. It’s not a perfect camera – no camera is – but it’s hard to argue against the fact that Sony has created a remarkably flexible camera at an attainable price point for many people. That’s unequivocally a winning combination.
Whether you’re photographing your own family, stylized portraits, sports or looking for a photographic travel companion, the a6400 probably has just about all you need to get the shot in those situations. We have to admit, though, that some of the less tangible aspects of the camera – such as how engaging it is to use – are less impressive to us. But that doesn’t take away all that a photographer can do with the a6400, once they’ve wrapped their head around the controls and interface.
If you own or are looking into a Sony a6400, let us know in the comments what types of photography you’re into and how the camera is working for you.
Articles: Digital Photography Review (dpreview.com)
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We’ve updated a trio of buying guides, adding our final thoughts about the Sony a6400 and Fujifilm X-T30, along with our initial impressions of Canon’s EOS Rebel SL3 (EOS 250D).
While neither the a6400 or X-T30 came out on top in the guides below, we think they’re both well worth considering. Since the SL3 is yet to be reviewed, it’s not eligible for an award.
Best cameras under $ 1000
Best cameras for parents
Best cameras for beginners
Look for more buying guide updates in the weeks ahead, including a look at the latest waterproof cameras.
View all buying guides
Articles: Digital Photography Review (dpreview.com)
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Sony’s a6400 is a compact 24MP mirrorless interchangeable lens camera with an APS-C sensor that will serve plenty of photographers from family documentarians to pro shooters looking for a lightweight second body. The big news is that it has a new processor based on that used in Sony’s sports-shooting flagship a9 which enables ‘Real-Time Tracking’ autofocus, which is one of the most effective autofocus implementations we’ve yet seen. It’s also among the easiest to use, once you’ve gotten it set up.
The Sony a6400 officially replaces the older a6300: it uses the same sensor but comes with some subtle enhancements aside from the impressive autofocus capabilities. It arrives in an increasingly crowded field, though, with cameras like the X-T30 from Fujifilm and the EOS M50 from Canon being similarly priced and with similar sized sensors. Do the enhancements make the a6400 the standout in this crowd? Find out its strengths – and weaknesses – in the pages to follow.
The a6400 is available now for $ 899 (€1049) body-only, $ 999 (€1149) with a 16-50mm F3.5-5.6 Power Zoom kit lens and $ 1299 (€1449) with an 18-135mm F3.5-5.6 zoom.
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Sony’s a6400 has an awful lot of refinements on the inside – take a look. Read more |
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For better or for worse, the a6400 handles just like the a6300 before it. And the a6000 before that. Read more |
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The a6400 takes some fantastic photographs, and in particular, has some welcome tweaks to its JPEG engine. Read more |
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Sony’s new Real-Time Tracking is really impressive, but my goodness, can’t we get a front control dial? Read more |
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Let’s dive deep into the a6400’s revamped autofocus system, plus we’ll show you exactly how to set it up. Read more |
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The a6400 is pitched as a vlogging camera, but it has some video capture shortcomings. Read more |
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We look at common photographic use-cases and see how the a6400 measures up. Read more |
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The a6400 is easily one of the most capable cameras at its price point. Read more |
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Check out our extensive samples gallery from the Sony a6400. Read more |
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Want the full list of specifications for the a6400? We have you covered. Read more |
Articles: Digital Photography Review (dpreview.com)
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The Sony a6400 and Fujifilm X-T30 are the two company’s mid-priced mirrorless cameras. They’re 4K-capable cameras with similar resolution APS-C sensors: 24MP on the Sony, 26MP on the Fujifilm.
Both build on the legacies of Gold Award-winning predecessors, which helps establish them as presumed big hitters. And, having tested both cameras extensively, this is a fair assumption: they’re both class-leading cameras. Chris and Jordan from DPReview TV have already looked at their various strengths and weaknesses, so we’re going to look at how they compare for different types of photography.
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From a specs point of view the a6400 and X-T30 look pretty similar: they’re both 4K-capable APS-C mirrorless cameras with very similar price tags. Both cameras offer similar resolution (24MP on the Sony, 26MP on the Fujifilm), both have 2.36M-dot viewfinders and both can shoot at an impressive frame rate 11 fps with autofocus on the Sony, 20 or 8 fps on the Fujifilm (depending on whether you’re in a situation that allows the use of electronic shutter).
The moment you pick them up, it becomes apparent that they’re very different creatures
And yet, the moment you pick them up, it becomes apparent that they’re very different creatures. Differences in performance and radically distinct design philosophies mean picking between the two becomes much more complex than simply ‘which feels more comfortable’ or ‘which has the lenses that I need?’
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The difference in design philosophy is immediately apparent just by looking at them: the Fujifilm is studded (perhaps overwhelmed) with direct control points, including a mixture of dedicated dials and customizable function wheels. By contrast, the Sony has fewer buttons and only the two control dials, which point to a camera that doesn’t invite (or, perhaps, require) such a degree of engagement with its settings.
The Fujifilm is studded (perhaps overwhelmed) with direct control points, the Sony has the more complex menu system
Conversely, the Sony has the more complex menu system, with vast numbers of options lodged in a structure that relies on user memory more than most (though, once configured, your need to delve into the menus can be minimized). The Fujifilm’s menus are crowded but they’re better laid-out and have more indication of where each setting is likely to be found. Both have customizable ‘My Menu’ tabs if you find yourself needing regular access to menu-only options.
The other major difference is in autofocus. Not so much in terms of performance (though the Sony is, as good or better across the board), but in terms of complexity and usability. The Fujifilm has a series of different AF modes that you’re likely to swap between, depending on what you’re trying to shoot, and the choice of using the AF joystick or touchscreen to choose a subject. The Sony also has a wide range of AF area modes but, for most shooting situations, can be left in one mode, pointed at your subject and trusted to follow it, requiring little user input or mode-changing.
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The most direct video/stills competitor to the Sony/Fujifilm duo is probably the Panasonic Lumix DC-G95 (G90 or G91 outside North America). It’s also a 4K-capable stills/video camera, but one that brings an image-stabilized 20MP Four Thirds sensor to the table, rather than the unstabilized APS-C chips of the other two. We wouldn’t rule it out just yet, but our initial impressions are that its video and autofocus aren’t up to the same high standards as the pair we’re discussing here.
Canon appears to have retreated from this section of the market for now: it’s more enthusiast-friendly M5 and M6 models now looking rather long in the tooth and lacking 4K video. Olympus’s OM-D E-M10 III is a less-expensive alternative and lacks the AF performance of the more recent APS-C models.
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Sports and wildlife is a relatively comfortable win for the Sony. The Fujifilm’s AF system is more than up to the job of shooting sports (especially if you tune the AF behavior, manually follow the action and keep your subject under a Zone AF region), but the Sony system does well without the need for so much intervention, and is especially good at subject tracking.
Lens choice may be the deciding factor here. Both systems offer fairly expensive 100-400mm F4.5-5.6 lenses if you need a lot of reach, but Fujifilm’s APS-C-only version is both smaller and less expensive. Fujifilm offers a 50-140mm F2.8 zoom whose 70-200mm F4-like equivalent behavior is arguably more useful than Sony’s similarly-sized 70-200mm F4 (which ends up behaving more like a full-frame 105-400mm F6 if you mount it on the a6400).
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The Sony is the clear winner here, primarily for how easy its autofocus is to use and how well it understands human subjects (focusing on an eye if it can see one, but reliably keeping focus on the same person if they look or turn away). The tenacity with which the a6400 will maintains focus on the person you’ve chosen is simply unequaled.
Both systems include the option of 18-135mm lenses, which provide huge amounts of flexibility
The Fujifilm still makes a handy family camera, though. It requires a little more patience and more user input, but can be paired with lenses such as the 18-55mm F2.8-4.0 OIS, which is a much better and more flexible zoom than the Sony 16-50mm F3.5-5.6 power zoom.
Both systems include the option of 18-135mm lenses, which provide huge amounts of flexibility, though their F3.5-5.6 maximum apertures may not give the shallow depth-of-field or low light advantages over using a good smartphone. Of course, if you don’t regularly zoom-in on your smartphone, it’s worth looking at the available prime lenses for both systems.
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There’s not a huge amount to choose between the two cameras in terms of landscape shooting. The Fujifilm lens lineup includes a series of nice zooms and a good choice of high-quality F1.4 prime lenses, which might just tip the balance in its favor.
They’re fairly evenly balanced in terms of battery life and portability, and both have rear screens that tilt up for tripod use. There’s not much to choose between the cameras in terms of Raw performance: not all Raw converters do a great job with Fujifilm’s X-Trans sensor pattern, but conversely Sony insists on applying damaging compression to its files, which slightly reduces their flexibility.
Neither camera is especially easy to operate with gloves, though if you deactivated the command dials, the Fujifilm’s dedicated shutter speed, aperture and exposure comp dials are easier to use than the Sony’s rear dial, which is fiddly at the best of times.
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The Fujifilm’s attractive JPEG output and selection of lenses makes it a very credible choice for lifestyle and social photography. It has face and eye detection and can offer shallow depth-of-field images if you pair it with the right lens. A wide selection of prime lenses (with a choice of F2 or F1.4 in several focal lengths), makes this pairing easier.
The Sony comes out in front, for us, though, especially on the ‘social’ side of things. Its AF system is more responsive and easier to use when trying to shoot spontaneous photos, particularly of photos with people in them. Added to this, Sigma’s trio of F1.4 lenses may well include a focal length that works for your style of photography.
With its screen that flips all the way up, the Sony is also the clear winner if you want to take selfies.
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When it comes to posed portraiture, again it’s probably a slight win to the Sony. Its uncannily sticky eye-detection system can be entirely relied upon, freeing up the photographer to concentrate on their lighting, their composition and engaging with their subject. Stick the comparatively affordable Sigma 56mm F1.4 on the front and the camera will do much of the rest.
It’s only a slight win, though. Fujifilm’s 56mm F1.2 APD is a lovely portrait lens, as is its 135mm-equiv. 90mm F2 (though neither comes cheap). Eye detection works well, especially with a single subject and the X-T30’s choice of film-mimicking color modes makes it easy to deliver attractive results.
Sony has stronger native flash options, with a radio-frequency remote flash system, but both are well supported by third-party makers, making it easy to find flash heads that can be remotely triggered.
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Both the Sony and Fujifilm are pretty small cameras, and can be paired with fairly small lenses (though it’s worth checking whether there’s a small prime lens available in your favored focal length). Both have rear touchscreens that tilt upwards for from-the-hip shooting and both have relatively quiet shutter mechanisms. They both offer completely silent electronic shutter modes, with the Fujifilm exhibiting less rolling shutter distortion in that mode.
Both cameras make it pretty simple to transfer your images to a smartphone, with the Sony offering NFC in addition to Bluetooth, which makes it a little quicker to use with Android devices.
Again the Sony’s simpler, more precise AF system may give it a bit of an edge, particularly for candid people pics. It’s also a little smaller and more discreet.
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The Sony a6300 was one of the first sub-$ 1000 cameras to offer really detailed 4K capture, but video performance (and our expectations of it) have been one of the areas of greatest improvement since then. It’s much easier to spot the rather poor rolling shutter performance now that a range of cameras can offer the level of detail capture that once rather dazzled us.
Fujifilm matches the Sony for detail capture but with much less rolling shutter and no crop (as the a6400 does when shooting 30p). And that’s before you consider the Fujifilm’s array of attractive and useful Film Simulation modes (including the flexible Eterna mode and the option of Log capture with a downloadable LUT to make processing easier). Unlike the Sony, the Fujifilm can offer headphone monitoring via a USB-C adapter.
The a6400’s video is easier to point-and-shoot: again thanks to its impressive tap-to-track autofocus, though the X-T30 can track human subjects fairly well. The Fujifilm is the better video tool overall, if you’re serious about videography and are willing to manual focus. There’s even the option to output 10-bit footage if you get serious enough to buy an external recorder.
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Looking at these two cameras through the lens of specific photographic applications is an interesting exercise, with the importance of the simplicity and reliability of the a6400’s AF system shining through (when assessing them in general terms we concluded there wasn’t a lot to choose between them).
The a6400’s updated AF system is genuinely phenomenal
We’re still not big fans of the experience of shooting with the Sony: its two command dials are undermined by the need to stop and adjust your grip every time you want to use the lower one. Its menus are still difficult to navigate and its touchscreen is poorly utilized. That said, its updated AF system is genuinely phenomenal, removing, at a stroke, one of the things you previously would have had to mess around with. If your photography benefits from fast, precise focus (particularly for human subjects), the Sony is the stronger choice.
Both these cameras are significantly better than the already good cameras they replace, so there’s no wrong choice here
We still really like the X-T30, though. It looks pretty, is engaging to use and produces attractive JPEGs and consistently better video than the Sony. It’s not without its own usability flaws: the joystick and Q buttons are awkwardly placed and the pressable command dials are fiddly and easily knocked. Overall there are arguably too many control points for such a small camera, but it’s a camera that can be set up to be really enjoyable to use.
Both these cameras are significantly better than the already good cameras they replace, so there’s no wrong choice here. So which is more important to you: the experience of photography or the certainty of getting the shot?
Articles: Digital Photography Review (dpreview.com)
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We’ve spent a little more time shooting with Sony’s new a6400, and as we work towards the completion of a full review, we’ve updated our initial gallery of sample images with additional shooting in and around Seattle. Check out our updated gallery to see what the a6400 can do.
View our gallery of real-world samples from the Sony a6400
Articles: Digital Photography Review (dpreview.com)