Sony A7 III Review
Sony A7 III Review
With the Sony A7 III, Sony brings the fast autofocus of the Alpha 9 professional system camera into more affordable regions, even the “smallest” Alpha model is not stingy with features such as the rugged housing, the large viewfinder or the high continuous shooting speed. As with the Alpha 9, the photographer has to be content with 24 megapixels when it comes to resolution. Our detailed test is here.
Pros And Cons Of The Sony A7 III
Pros
- Compact, robust, ergonomic housing
- Very good image quality up to ISO 6,400
- High continuous shooting rate paired with fast autofocus and large buffer memory
- Long (currently best in class) battery life
- Wide range of lenses
Cons
- Exposure correction wheel too exposed and easily adjustable
- Menu interspersed with incomprehensible abbreviations
- Relatively slow write rate despite UHS-II
The Sony A7 III wants to convince its good price-performance ratio. For the money, there is a lot of equipment and performance as well as image quality.
Sony A7 III (ILCE-7M3) with 24-105 mm. [Photo: Sony]
As with the Alpha 9 and the Alpha 7R III, the new, improved housing is also used for the Sony A7 III. It is made of a robust magnesium alloy and protected against dust and splash water (Sony, as always, cautiously speaks of moisture resistance).
Despite its rather compact dimensions, it fits well in the hand. The handle is pleasantly large, you can hold the camera relaxed in one hand without having to be afraid that it will slip out of your way, even if you don’t back it up with your thumb. The thumb cavity is also beautifully shaped.
There are two control wheels (one on the index finger handle, one on the back as a thumbwheel), numerous programmable, but meaningfully pre-assigned buttons, as well as a focus joystick and an AF-On button.
The new Sony A7 III comes in an improved, more robust case with a bigger battery for doubled endurance.
The heart of the Sony A7 III is a newly developed 35mm full-format sensor (36 x 24 mm) that resolves 24 megapixels. It is manufactured in BSI technology and thus offers improved light sensitivity compared to the predecessor model.
Maximum ISO 204.800 is possible, the basic sensitivity is ISO 100, the normal sensitivity range is up to ISO 51.200, as an extension for photos up to ISO 50 can be downgraded and ISO 204.800 can be upgraded.
The image sensor should be able to capture a high dynamic range of 15 f-stops. The raw data format works with 14-bit color depth in order to be able to use these sensibly. The image sensor is equipped with a Bionz X image processor and a front-end LSI accelerator unit with a large buffer memory.
At ten continuous frames per second, the camera stores 177 JPEG images between (or 89 raw compressed or 40 raw uncompressed). After that, however, and this is a shortcoming of all cameras with front-end LSI so far, it takes a very long time until the large amounts of data have landed on the memory card.
The Sony A7 III doesn’t really come out of the quark here either, although it has a double card slot, whereby one of the SD slots supports the fast UHS-II standard, while the other is compatible with SD/SDHC/SDXC UHS I and the “good” old MemoryStick.
By the way, the sensor is read out faster than the previous model, which counteracts the rolling shutter effect, as the Sony A7 III naturally also offers a silent electronic shutter.
On the back, the Sony A7 III offers not only a thumbwheel and many buttons but also a focus joystick with the AF-On button. [Photo: Sony]
Phase autofocus points integrated on the sensor are available for focusing, covering 93 percent of the image field. They react already from -3 EV and should accelerate the autofocus compared to the predecessor model A7 II to the double, even in AF-C mode at ten frames per second. The phase autofocus is supplemented by contrast autofocus with 425 measuring points.
Also known from the Alpha 9 is the face autofocus including eye recognition, which also works in tracking mode. By the way, the movable image sensor provides image stabilization. The effectiveness increases from 4.5 EV of the predecessor model to 5 EV, as is the case with the Alpha 7R III and Alpha 9, which is a 5-axis image stabilizer that compensates for up/down, left/right, and rotation movements.
Thanks to the pronounced handle, the Sony A7 III fits perfectly in the hand despite its compact dimensions. [Photo: Sony]
Sony, on the other hand, has opted for the tried and tested for the viewfinder: an XGA OLED with a resolution of 2.36 million pixels is used, which of course covers 100 percent of the image field and magnifies it 0.71 times. The viewfinder is solid, but not breathtaking these days.
The rear 7.5 cm screen is a touchscreen that can be used to move the autofocus point even when the viewfinder is used as a touchpad.
In addition, the screen can be tilted over 90 degrees upwards and a good 40 degrees downwards. This makes it possible to take pictures close to the ground and over the heads of crowds, but only in landscape format. The screen has a resolution of 1.23 million pixels, with every fourth subpixel illuminated in white, which greatly improves brightness and therefore readability in direct sunlight.
The Sony A7 III’s 24 megapixels 35mm full-frame sensor offers high light sensitivity thanks to BSI technology. 693 phase autofocus points integrated on it cover a large image area. [Photo: Sony]
With the new housing, the larger NP-FZ100 rechargeable battery is also used, enabling over 700 CIPA-standard shots. That is an even doubling compared to the A7 II. With this, the Sony A7 III gets rid of the shortcoming of mirrorless system cameras that the battery doesn’t last long enough for many.
If you have such a nervous finger that even the 710 images are not enough, you might want to think about more quality instead of quantity when taking pictures. For serial pictures, for example, these 710 pictures don’t apply anyway, as the battery lasts much longer. It depends on what you do with the camera. T
he battery can also be charged on the go without a mains power supply because the USB-C interface can also be used to connect a power bank, and a power supply for the camera is not a problem with USB-C.
The double card slot of the Sony A7 III accommodates two SD cards, slot 1 being compatible with the fast UHS-II standard, while slot 2 can even be used alternatively with MemoryStick. The movable touch screen is also practical.
Speaking of other tasks apart from photography: the Sony A7 III records videos in 4K resolution (3,840 x 2,160 pixels) on the memory card. For oversampling the sensor is read out in 6K, which should lead to higher image quality.
Only the image angle from the trimming of the 3:2 sensor format to the 16:9 film format is lost, so the sensor width is used completely. The recording is made with up to 100 Mbit/s in high quality.
The Sony A7 III can also produce 4K HDR videos directly, the dynamic range is then 14 f-stops according to Sony. The videos comply with the HLG (Hybrid Log-Gamma) standard, so they can be played with normal HDR-capable 4K televisions.
Furthermore, S-Log2, S-Log3, Gamma Display Assist, Zebra, and Proxy-Recording are supported. An integrated stereo microphone and a microphone connection, both with level display and level control, are available for the sound. There is also a headphone socket for sound control. In Full HD, the Sony A7 III even records up to 120 frames per second for four to fivefold slow-motion effects, while the tracking autofocus remains of course active.
Both WLAN and Bluetooth are available for the wireless connection. Bluetooth allows a power-saving, permanent connection to a smartphone, for example, to transfer the position data and store them directly in the EXIF data of the images when they are taken. Larger amounts of data can be transferred to a smartphone, computer, or even FTP via WLAN. Remote control of the camera via a smartphone app is also possible.
The Sony A7 III made a very solid and successful impression in the first test. It combines high-quality, solid workmanship with good ergonomics, only the many menu items may take a little getting used to. The technical equipment is more than worthy of a basic model.
The Sony A7 III is reaction-friendly and shoots very fast image series, even high ISO sensitivities are no problem. The huge buffer memory hides the bottleneck of the memory card interface a bit, but to be able to record for almost 18 seconds at ten frames per second should satisfy most photographers, even if the camera is a little busy with storing data afterwards. After all, one can still continue to photograph.
Ergonomics and Workmanship
As with the Alpha 9 and the Alpha 7R III, the new, improved housing is also used for the Sony A7 III. It is made of a robust magnesium alloy and protected against dust and splash water. As always, Sony cautiously speaks only of moisture resistance, but unlike its predecessor, the Sony A7 III also has a seal on the battery compartment on the underside of the camera, for example.
Despite the rather compact dimensions, the Sony fits well in the hand. The handle is pleasantly large, you can hold the camera relaxed in one hand without having to be afraid that it will slip out of your way, even if you don’t back it up with your thumb. The thumb cavity is also beautifully shaped.
Two adjustment wheels are available for operation (one on the handle for the index finger, one on the back as thumbwheel). The exposure correction wheel, on the other hand, was attached quite exposed by Sony and forgot the necessary security, so it is far too easy to accidentally adjust it in a way you do not like.
Numerous keys are programmable, but preassigned in a meaningful way. This is only disadvantageous because the operation is not so easy to explain itself, since the key is labeled C1 instead of the concrete function, for example. There is also a focus joystick and an AF-On button.
The Fn quick menu can also be customized. The main menu consists of six main categories, one of which contains the “My Menu”, in which you can save your preferred menu settings so that you don’t have to search for them in the main menu, which is not too clearly arranged.
The recording menu alone is divided into two main categories with 14 and nine menu pages, which in turn comprise up to six menu items. The autofocus settings alone comprise four menu pages, the movie recording settings three. The fact that Sony uses many incomprehensible abbreviations in the menu is also not conducive, nor are the sometimes meaningless help texts, which raise more questions than they answer.
For the viewfinder, Sony has opted for the tried and tested: an XGA OLED with a resolution of 2.36 million pixels is used, which of course covers 100 percent of the image field and magnifies very decently with a factor of 0.78 times.
The viewfinder is solid, but nowadays, especially in view of the resolution, it is no longer breathtaking. Thanks to the proximity sensor, the viewfinder activates automatically as soon as you take the camera to your eye. The rear 7.5 cm screen is a touchscreen that can be used as an alternative to the focus joystick as a touchpad to move the autofocus point when the viewfinder is used.
In addition, the screen can be tilted over 90 degrees upwards and a good 40 degrees downwards. This makes it possible to take pictures close to the ground and over the heads of crowds, but only in landscape format. However, with a resolution of 921,600 pixels, the screen also only offers “plain fare”. After all, it shines extremely brightly in the “sunny” mode and thus remains easy to read even in direct sunlight.
The exposure correction wheel of the Sony A7 III, here right down, adjusts too easily, the fuse is missing. The program selector, on the other hand, engages fully.
The interface on the left side of the camera is lavishly equipped, but the covers look a bit flimsy. A maximum of two interfaces is plugged under one cover. Only the 3.5 mm stereo jack microphone connection is located at the top front.
The headphone jack and the 4k-capable Micro-HDMI interface are located under the other top cover. The choice of this wobbly, small connector is not necessarily cheap if you want to record videos externally via HDMI. The lower cover accommodates two USB interfaces, which may seem surprising at first glance. The upper socket is the modern USB type C. This interface can not only read the memory card at about 80 MB/s (which is ridiculously slow for USB 3 “Superspeed”) but also power the camera permanently and charge the battery.
This allows the Sony A7 III mobile to be supplied extremely well with power, for example from a powerful power bank. This makes the Sony one of the few cameras that can be permanently powered via USB when switched on.
The lower USB interface is a normal micro connector. This can also be used to charge the battery. But much more important is the possibility to connect the Sony cable remote controls here, parallel to the power supply via the USB-3 interface.
With the new housing, the larger NP-FZ100 rechargeable battery is also used, enabling over 700 CIPA-standard shots. This is a smooth doubling compared to the A7 II and current record among the mirrorless system cameras. With this, the Sony A7 III gets rid of the shortcoming of mirrorless system cameras that the battery doesn’t last long enough for many.
However, the electronic viewfinder proves to be a real power guzzler compared to the touch screen: with EVF instead of the screen, endurance is reduced by 100 shots according to the CIPA standard. By the way, the battery compartment is located sufficiently far away from the tripod thread arranged in the optical axis.
The Sony A7 III is also compatible with the VG-C3EM portrait handle. The memory card slot on the handle side has two slots, one of the SD slots supporting the fast UHS-II standard, while the other is compatible with SD/SDHC/SDXC UHS I and the “good” old MemoryStick.
Equipment And Features
As a camera for ambitious amateur photographers, the Sony A7 III limits itself to a few automatic modes. This includes, for example, the “panic mode” which is the fully automatic mode. In this mode, even the exposure-compensation dial is out of order, eliminating the possibility of exposure errors. The same applies to the few scene mode programs that can be accessed via the SCN position of the full latching program selector wheel. Here there are basic functions such as portrait, macro, landscape, sport, sunset, and night scene with and without portrait.
The main part of the program selector wheel is occupied by the classic creative programs P, A, S, and M as well as the two user memories in which specific recording settings can be stored and quickly recalled at any time.
The ISO automatic works in any mode, including manual mode. A combination with the exposure correction is of course possible. Both the lowest and the highest sensitivity of the ISO automatic working range can be set.
The longest shutter speed from which the automatic increases the sensitivity can be set both by the automatic and manually. For example, 1/1,000 second to safely freeze fast movements during sports shooting.
We used the Sony FE 24-105 mm F4 G OSS (SEL24105G) as a test lens on the Sony A7 III.
For focusing, as in the large Alpha 9, phase autofocus points integrated on the sensor and specialized in sports photography, cover 93 percent of the image field. The phase autofocus is supplemented by contrast autofocus with 425 measuring points (so-called hybrid autofocus).
The autofocus already reacts from -3 EV and is said to have been doubled compared to the predecessor model A7 II, even in AF-C mode at ten frames per second. Our measurement with the test software could not confirm this, the Sony A7 III even needs a tenth of a second longer to focus from infinity to two meters than the A7 II, which can be due to the lens, however, because the Sony A7 III used the 24-105 mm, the A7 II the 28-70 mm, with which the Sony A7 III is also available as a cheap kit.
Nevertheless, this acceleration probably refers to the tracking of motifs in AF-C mode, which works really well with the Sony A7 III. Also known from the Alpha 9 is the face autofocus including eye recognition, which also works in tracking mode.
The movable image sensor is responsible for image stabilization. The effectiveness increases from 4.5 EV of the predecessor model to 5 EV, as is the case with the Alpha 7R III and Alpha 9, which is a 5-axis image stabilizer that compensates for up/down, left/right, and rotation movements.
When using an image-stabilized objective, in our case the 24-105 mm F4 OSS, the objective compensates two axes (tilting movements) and the sensor the remaining three axes (displacement and rotation).
This makes the image stabilizer more effective, especially with longer focal lengths. The image stabilizer works when the shutter release button is pressed halfway, which simplifies focusing.
By the way, all lenses, including adapted manual treasures or lenses from other manufacturers, benefit from the sensor-shift image stabilizer. For purely mechanical lenses, only the focal length has to be set in the menu so that the compensating movements are carried out with the correct amplitude.
The heart of the Sony A7 III is a newly developed 35mm full-format sensor (36 x 24 mm) that resolves 24 megapixels. It is manufactured in BSI technology and thus offers improved light sensitivity compared to the predecessor model.
Maximum ISO 204.800 is possible, the basic sensitivity is ISO 100, the normal sensitivity range is up to ISO 51.200, as an extension for photos up to ISO 50 can be downgraded and ISO 204.800 can be upgraded. By the way, the sensor is read out faster than the previous model, which counteracts the rolling shutter effect, as the Sony A7 III naturally also offers a silent electronic shutter.
The fastest shutter speed is 1/8,000 second, regardless of the shutter technology selected. A combination of electronic and mechanical closure is also possible. The electronic first shutter curtain reduces vibrations during triggering. The flash sync time is 1/250 second, whereby the Sony A7 III doesn’t have an integrated flash, but offers the Sony multi-interface flash shoe, via which various accessories can be connected.
The tripod thread of the Sony A7 III is located in the optical axis and far enough away from the battery compartment.
According to our measurements, the serial frame rate is 9.9 frames per second both in JPEG and raw (14 bit, lossless compression) for 148 JEPG and 120 raw images in a row, respectively.
Thus, the number of JPEG serial images remains behind the values promised by Sony, presumably because these were not made with the setting “Extrafine” like our measurement. On the other hand, the raw standard image performance is even much better than promised. In continuous operation, the Sony A7 III in Raw with 4.9 frames per second even clearly exceeds the performance of JPEG, where only a meager 1.5 frames per second are achieved.
The reason is probably the complex image processing in JPEG including the correction of lens errors. This also leads to slow emptying of the serial image buffer, which takes 75 s in JPEG, but only 13 seconds in Raw.
The good continuous shooting performance, especially the long-endurance, is not only due to the powerful Bionz X image processor, but above all to the front-end LSI as an accelerator unit with large buffer memory.
As is so often the case with Sony, the memory card interface turns out to be the bottleneck of the continuous shooting function. Despite the theoretically very fast UHS-II-SDHC/SDXC memory card slot, in which a suitable Sony SF-G memory card with 299 MB/s writing speed was inserted, the Sony A7 III doesn’t really come out of the quark.
The maximum write rate is only about 120 MB/s and thus leaves a lot of potential. With a faster interface, fast image series would be conceivable in Raw until the memory card is full.
The Sony A7 III records videos in 4K resolution (3,840 x 2,160 pixels). For oversampling the sensor is read out in 6K, which should lead to higher image quality. Only the image angle from the trimming of the 3:2 sensor format to the 16:9 film format is lost, so the sensor width is used completely.
The storage takes place with up to 100 Mbit/s in high quality. The Sony A7 III can also produce 4K HDR videos directly, the dynamic range is then 14 f-stops according to Sony. The videos comply with the HLG (Hybrid Log-Gamma) standard, so they can be played with normal HDR-capable 4K televisions. Furthermore, S-Log2, S-Log3, Gamma Display Assist, Zebra, and Proxy-Recording are supported. An integrated stereo microphone and a microphone connection, both with level display and level control, are available for the sound. There is also a headphone socket for sound control. In Full HD, the Sony A7 III even records up to 120 frames per second for four to fivefold slow-motion effects, while the tracking autofocus remains of course active. It can even be specially adjusted in reaction speed and sensitivity, just like in continuous-advance mode.
The handle of the Sony A7 III is well shaped and offers a secure grip.
Both WLAN and Bluetooth are available for the wireless connection. Bluetooth allows a power-saving, permanent connection to a smartphone to transfer the position data and store it directly in the EXIF data of the images when recording. Larger amounts of data (images) can be transferred to a smartphone, computer, or even FTP via WLAN. Remote control of the camera via smartphone app including live image transmission and setting the recording parameters is also possible.
Picture Quality Of The Sony A7 III
The rear-exposed CMOS sensor in 35mm full format with its relatively modest 24 megapixels resolution promises high image quality over a wide sensitivity range. The Sony FE 24-105 mm F4 G OSS (SEL24105G) was used for the test, which already convinced us in the single test with its high image quality for a standard zoom.
We have tested the combination of the lens with the Sony A7 III not only in practice but also with the software used to test the image quality.
The optical errors of the standard zoom Sony FE 24-105 mm F4 G OSS (SEL24105G) are corrected by the fast processor team of the Sony A7 III by default. This is noticeable in the laboratory test, because the edge darkening moves, with the exception of the short end of the focal length, with open aperture under half an aperture step.
The maximum edge darkening is only 0.7 f-stops at F4 and 24 millimeters. The decrease in brightness is always very soft towards the edge of the picture so that it is practically unnoticeable. At 0.8 percent, distortion is most pronounced in wide-angle, but this is also hardly noticeable in practice.
At medium focal length, on the other hand, there is a minimal cushion-shaped distortion of about 0.2 percent; in telescopic position, even no distortion can be measured. As was to be expected, the chromatic aberrations are also minimal, on average they are less than half a pixel, and even in the maximum, they do not even reach a pixel extent and thus remain practically below the perception threshold.
The many interfaces of the Sony A7 III sit behind quite simple covers. Continuous operation of the camera is possible via USB-C.
Usually, such digital corrections have negative effects on other image quality characteristics, so a distortion correction normally reduces the edge resolution, a vignetting correction leads to increased noise in the image corners. The latter is no problem at all with the Sony A7 III, the rear-exposed full-format sensor with its large pixels has plenty of reserves.
The resolution in the image center reaches a maximum of just over 70 line pairs per millimeter (lp/mm) and is therefore extremely high for an image sensor with a physical resolution of “only” 24 megapixels. It is achieved at a focal length of 24 millimeters with an open aperture. When zooming, the lens loses some resolution, it drops to just over 60 lp/mm at medium focal length and just under 60 lp/mm at long focal length, which are good resolutions to be expected for 24 megapixels.
At the edge of the image, the edge resolution is almost independent of the focal length. However, the highest edge resolution is not achieved with an open aperture, where the aperture is about 40-45 lp/mm, but rather strongly dimmed to F11 to F16, where the edge resolution reaches 49-55 lp/mm depending on the focal length. Especially in wide-angle, the resolution is somewhat uneven with an open aperture, at least a good third is lost “on the way” to the edge of the picture.
For such a full format zoom this is not unusual at all. At medium and long focal lengths, the edge drop is lower, especially at F11 to F16, an almost even resolution from the center to the edge of the image is achieved at a level of 48 to 56 lp/mm. The fact that the resolution in the wide-angle is not quite so even is mainly due to the higher resolution in the image center, which is still a good 62 lp/mm even at F16, which is really nothing to complain about. In any case, diffraction is only noticeable beyond F16, but even with the smallest aperture, F22, the resolution is over 40 lp/mm.
Here you can’t really do anything so wrong that it spoils the photos, which is one of the clearer advantages of large pixels.
It remains to be noted that the sensor of the Sony A7 III makes very good use of the physical resolution and the lens can easily keep up. But the back-illuminated CMOS sensor promises even more since the sensitivity offers a wide range from ISO 50 to 204,800. The signal-to-noise ratio moves up to ISO 800 at a very high level of over 40 dB and even scratches the 45 dB mark at ISO 50.
Only above ISO 6.400 does the signal-to-noise ratio drop below the critical level of 35 dB, so that the image signal no longer differs so well from the noise. The noise always remains fine-grained and becomes easily visible from ISO 12.800 in the form of brightness noise and strongly visible from ISO 51.200, while color noise only occurs slightly visible at ISO 204.800.
The full-frame BSI CMOS sensor with a 24-megapixel resolution of the Sony A7 III offers excellent image quality up to ISO 800 and very good image quality up to ISO 6,400, with ISO 12,800 as a reserve with acceptable image quality.
The noise reduction of the Sony A7 III is very gentle, especially at low sensitivities. Up to ISO 1.600, it reproduces an extremely large number of details, but also shows a visible over-sharpening; the sharpness artifact rate is around ten percent.
Above ISO 6.400, noise suppression intervenes more visibly and measurably and causes increasing loss of detail. Up to ISO 6,400, you can take pictures – with ISO 12,800 as a “reserve” – with high image quality and many details, but for best results remain better in the range up to ISO 800 or 1,600.
The input dynamic reaches its highest value at ISO 100 with twelve f-stops (see diagram from the laboratory test below). At ISO 50, an entire f-stop is lost, which is typical for an ISO extension at a basic sensitivity of ISO 100. Up to ISO 3.200, the dynamic range slowly drops to eleven f-stops, above ISO 6.400 it drops steeper and at ISO 12.800 it is already just under ten f-stops.
So Sony can’t do magic either, but it becomes clear at what sensitivity the limits of good image quality lie.
The tonal value curve shows a visibly divided curve, only at ISO 50 it is somewhat flatter due to the signal attenuation. The Sony A7 III’s JPEGs are clearly designed for instant use, eliminating the need for image post-processing.
This is a good compromise because if you want to get involved yourself, it is better to use the raw data format with such a camera anyway. The output tonal range moves up to ISO 800 at a very good level of over 224 of 256 possible brightness gradations, up to ISO 200 the brightness levels are even almost completely exploited. Up to ISO 3.200, the value remains good with over 160, critical above ISO 25.600, where less than 100 brightness gradations remain. Gradual brightness gradients, for example in the sky, are the result.
710 recordings with one battery charge is the current record. The dual memory card slot of the Sony A7 III accepts one SD/SDHC/SDXC card with fast UHS-II and one with UHS I or optionally a Sony MemoryStick.
The color fidelity of the Sony A7 III is also good, on average the color deviation is small and even in the maximum, there are no coarse outliers. Slight color shifts are “normal” and should provide subjectively beautiful, luminous image results, such as a light green shifted slightly towards yellow or more saturated and thus more luminous red tones, as is the case with the Sony A7 III.
The actual color depth is again at a very high level, especially at low sensitivities. Up to ISO 800, Sony achieves about 8.4 million color shades, up to ISO 6,400 it is over four million. Even the value of over two million colors at ISO 25.600 is still good, but at even higher sensitivities the value drops drastically, at ISO 204.800 it is less than half a million color nuances.
Lens And Resolution
The optical errors of the standard zoom Sony FE 24-105 mm F4 G OSS (SEL24105G) are corrected by the fast processor team of the Sony A7 III, consisting of a front-end LSI and the Bionz-X image processor, by default. This is noticeable by the software we use for testing because the edge darkening moves with the exception of the short focal length end with open aperture under a half aperture step. The maximum edge darkening is only 0.7 f-stops at F4 and 24 millimeters. The decrease in brightness is always very soft towards the edge of the picture, so that it is practically unnoticeable.
The distortion is strongest in wide-angle with 0.8 percent cushion shape, which is also hardly noticeable in practice. At medium focal length, on the other hand, there is a minimal cushion-shaped distortion of about 0.2 percent; in telescopic position, even no distortion can be measured.
As was to be expected, the chromatic aberrations are also minimal, on average they are less than half a pixel, and even in the maximum, they do not even reach a pixel extent and thus remain practically below the perception threshold.
Usually, such digital corrections have negative effects on other image quality features, such as distortion correction usually reduces the edge resolution, vignetting correction leads to increased noise in the image corners.
The latter is no problem at all with the Sony A7 III, the rear-exposed full-format sensor with its large pixels has plenty of reserves. The resolution in the image center reaches a maximum of just over 70 line pairs per millimeter (lp/mm) and is therefore extremely high for an image sensor with a physical resolution of “only” 24 megapixels. It is achieved at a focal length of 24 millimeters with an open aperture.
When zooming, the lens loses some resolution, it drops to just over 60 lp/mm at medium focal length and just under 60 lp/mm at long focal length, which are good resolutions to be expected for 24 megapixels.
The Sony A7 III’s 35mm full-frame sensor is backlit and resolves 24 megapixels.
At the edge of the image, the edge resolution is almost independent of the focal length. However, the highest edge resolution is not achieved with an open aperture, where the aperture is about 40-45 lp/mm, but rather strongly dimmed to F11 to F16, where the edge resolution reaches 49-55 lp/mm depending on the focal length.
Especially in wide-angle, the resolution is somewhat uneven with an open aperture, at least a good third is lost “on the way” to the edge of the picture. For such a full format zoom this is not unusual at all. At medium and long focal lengths, the edge drop is lower, especially at F11 to F16, an almost even resolution from the center to the edge of the image is achieved at a level of 48 to 56 lp/mm.
The fact that the resolution in the wide-angle is not quite so even is mainly due to the higher resolution in the image center, which is still a good 62 lp/mm even at F16, which is really nothing to complain about. In any case, diffraction is only noticeable beyond F16, but even with the smallest aperture, F22, the resolution is over 40 lp/mm.
Here you can’t really do anything so wrong that it spoils the photos, which is one of the clearer advantages of large pixels.
Image Processing And Image Sensor
It remains to be noted that the sensor of the Sony A7 III makes very good use of the physical resolution and the lens can easily keep up. But the back-illuminated CMOS sensor promises even more since the sensitivity offers a wide range from ISO 50 to 204,800.
The signal-to-noise ratio moves up to ISO 800 at a very high level of over 40 dB and even scratches the 45 dB mark at ISO 50. Only above ISO 6.400 does the signal-to-noise ratio drop below the critical level of 35 dB, so that the image signal no longer differs so well from the noise.
The noise always remains fine-grained and becomes easily visible from ISO 12.800 in the form of brightness noise and strongly visible from ISO 51.200, while color noise only occurs slightly visible at ISO 204.800.
The noise reduction of the Sony A7 III is very gentle, especially at low sensitivities. Up to ISO 1.600, it reproduces an extremely large number of details, but also shows a visible over-sharpening; the sharpness artifact rate is around ten percent.
Above ISO 6.400, noise suppression intervenes more visibly and measurably and causes increasing loss of detail. Up to ISO 6,400 you can take pictures – with ISO 12,800 as a “reserve” – with high image quality and many details, but for best results remain better in the range up to ISO 800 or 1,600.
Despite its compact housing, the Sony A7 III offers good ergonomics with its distinctive handle.
The input dynamic reaches its highest value at ISO 100 with twelve f-stops. At ISO 50, an entire f-stop is lost, which is typical for an ISO extension at a basic sensitivity of ISO 100. Up to ISO 3.200, the sensitivity slowly drops to eleven f-stops, above ISO 6.400 it drops steeper and at ISO 12.800 it is already just under ten f-stops.
So Sony can’t do magic either, but it clearly shows at what sensitivity the limits of good picture quality lie.
The tonal value curve shows a clearly divided curve, only at ISO 50 it is somewhat flatter due to the signal attenuation. The Sony A7 III’s JPEGs are clearly designed for instant use, eliminating the need for image post-processing.
This is a good compromise because if you want to get involved yourself, it is better to use the raw data format with such a camera anyway. The output tonal range moves up to ISO 800 at a very good level of over 224 of 256 possible brightness gradations, up to ISO 200 the brightness levels are even almost completely exploited.
Up to ISO 3.200, the value remains good with over 160, critical above ISO 25.600, where less than 100 brightness gradations remain. Gradual color gradients are the result.
The color fidelity of the Sony A7 III is also good, on average the color deviation is small and even in the maximum, there are no coarse outliers. Slight color shifts are “normal” and should provide subjectively beautiful, luminous image results, such as a light green shifted slightly towards yellow or more saturated and thus more luminous red tones. The actual color depth is again at a very high level, especially at low sensitivities. Up to ISO 800, Sony achieves about 8.4 million color shades, up to ISO 6,400 it is over four million.
Even the value of over two million colors at ISO 25.600 is still good, but at even higher sensitivities the value drops drastically, at ISO 204.800 it is less than half a million color nuances.
Bottom line: Is The Sony A7 III Worth It?
The Sony A7 III makes an all-round good impression. It combines high-quality, solid workmanship with good ergonomics, only the many menu items (especially the abbreviations) may take a little getting used to.
The technical equipment is more than worthy. The Sony A7 III is reaction-friendly and shoots very fast image series, even high ISO sensitivities are no problem.
The enormous buffer memory hides the bottleneck of the memory card interface a little, but to be able to take 12 to 15 seconds at ten frames per second including focus tracking should really satisfy most photographers, even if the camera is a bit busy saving JPEG after that. After all, one can still continue to photograph.
Image quality is extremely high over a wide sensitivity range. Thanks to the offensive image processing of the JPEGs, which require no further image processing, the resolution is also surprisingly high, not least thanks to the good Sony FE 24-105 mm F4 G OSS (SEL24105G).
The best image quality for the highest demands is obtained in the range from ISO 100 to ISO 800 with ISO 1.600 as “reserve”, good to very good is the image quality but up to ISO 6.400 with ISO 12.800 as “reserve”. However, despite all the technology, the limits of the image sensor and image processing are evident above and below ISO 25.600.
In situations with extremely little light, the Sony A7 III is also best equipped with a fast fixed focal length.
All in all, the Sony A7 III achieves an extremely high image quality over a wide sensitivity range. Sony relies on an offensive image processing of the JPEGs, which do not require any further image processing. They are well sharpened and show high contrasts, the colors remain thereby close to the original and are only discreetly “shifted” for a beautiful picture impression.
The resolution is very high together with the Sony FE 24-105 mm F4 G OSS (SEL24105G), the digital correction of the optical errors shows practically no negative effects and is thus to be evaluated as advantageous. You can even dim down to F11 or F16 without any problems and without losing any resolution.
Specifications Of The Sony A7 III
| Manufacturer | Sony |
| Model | Sony A7 III |
| Sensor | CMOS 35mm 36.0 x 24.0 mm (Crop factor 1.0) 25.3 Megapixels (physical) – 24.2 Megapixels (effective) |
| Pixel pitch | 6,0 µm |
| Resolution (max.) | 6.000 x 3.376 (16:9) |
| Video (max.) | 3.840 x 2.160 30p |
| Lens | Sony FE 200-600 mm F5.6-6.3 G OSS (SEL200600G) (zoom lens), Sony FE 24-105 mm F4 G OSS (SEL24105G) (zoom lens) |
| Video viewfinder | EVF, 100 % field coverage, 2,359,296 pixels resolution, 0.78x magnification (sensor-related), 0.78x magnification (KB equivalent), diopter compensation (-4.0 to 3.0 DPT) |
| Monitor | 3.0″ (7.5 cm) |
| Disbandment | 921.600 pixels |
| tiltable | yes |
| rotatable | – |
| swiveling | – |
| Touchscreen | yes |
| AV connector | HDMI Output Micro (Type D) |
| Fully automatic | yes |
| Automatic scene mode control | – |
| Scene modes | 7 scene mode programs are available |
| Program automation | yes |
| Program shift | yes |
| Aperture priority | yes |
| Aperture priority | yes |
| Manual | yes |
| Bulb long time exposure | yes |
| HDR function | yes |
| Panorama function | no |
| Exposure metering | Matrix/multi-field measurement (1,200 fields), center-weighted integral measurement, spot measurement |
| fastest shutter speed | 1/8.000 s |
| Flash | – |
| Synchronous time | 1/250 s |
| Flash connection | Hot shoe: Sony Multi-Interface, standard center contact |
| WLAN | yes |
| NFC | yes |
| GPS | external, permanent smartphone connection |
| Remote release | yes, cable trigger, Bluetooth trigger, remote control via Smartphone/Tablet |
| Interval shooting | – |
| Storage medium |
SD (SDHC, SDXC, UHS I, UHS-II)
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| Slot 2 |
Memory Stick (Duo, Duo Pro)
SD (SDHC, SDXC, UHS I)
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| Sensitivity | |
| automatic | ISO 100-51.200 |
| manually | ISO 50-204.800 |
| White balance | |
| automatic | yes |
| manual measurement | yes |
| Kelvin input | yes |
| Fine correction | yes |
| Autofocus | yes |
| Number of measuring fields | 693425 Contrast sensors |
| Speed | 0,38 s |
| AF auxiliary light | LED |
| Dimensions (mm) | 127 x 96 x 74 mm |
| Weight (ready for operation) | 658 g (housing only) 1.319 g (with lens) |
| Tripod socket | The tripod socket is located in the optical axis |
| Zoom | |
| Zoom adjustment | manual on lens |
| Battery life | 710 images (according to CIPA standard) |
| – = “not applicable” or “not available” |
This test of the Sony A7 III with Sony FE 24-105 mm F4 G OSS (SEL24105G) was done with DxO Analyzer.
Short evaluation
Pros
- Compact, robust, ergonomic housing
- Very good image quality up to ISO 6,400
- High continuous shooting rate paired with fast autofocus and large buffer memory
- Long (currently best in class) battery life
- Wide range of lenses
Cons
- Exposure correction wheel too exposed and easily adjustable
- Menu interspersed with incomprehensible abbreviations
- Relatively slow write rate despite UHS II
Sony A7 III Datasheet
Electronics |
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| Sensor | CMOS sensor 35mm 36.0 x 24.0 mm (crop factor 1.0) 25.3 megapixels (physical) and 24.2 megapixels (effective) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Pixel pitch | 6,0 µm | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Photo resolution |
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| Picture formats | JPG, RAW | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Color depth | 24 bits (8 bits per color channel), 42 bits (14 bits per color channel) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Metadata | Exif (version 2.3), DCF standard (version 2.0) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video resolution |
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| Maximum recording time | 29 min | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| HDR video | yes | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video format |
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| Audio format (video) | PCM | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Lens |
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| Lens mount |
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Focusing |
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| Autofocus mode | Phase comparison autofocus with 693 sensors, autofocus working range from -3 EV to 20 EV, contrast autofocus with 425 measuring fields | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Autofocus Functions | Single Auto Focus, Continuous Auto Focus, Tracking Auto Focus, Manual, AFL Function, AF Assist Light (LED), Focus Peaking, Focus Magnifier (12x) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Focus control | Depth of field control, Live View | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Viewfinder and Monitor |
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| Monitor | 3.0″ (7.5 cm) TFT LCD monitor with 921,600 pixels, brightness adjustable, inclinable 107° up and 41° down, with touch screen | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Video viewfinder | Video viewfinder (100 % field coverage) with 2,359,296 pixels, 0.78x magnification factor, diopter compensation (-4.0 to 3.0 dpt) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Exposure |
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| Exposure metering | Center-weighted integral measurement, matrix/multi-field measurement over 1,200 fields, spot measurement | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Exposure times | 1/8,000 to 30 s (Auto) 1/8,000 to 30 s (Manual) 1/8,000 to 30 s (Electronic Shutter) Bulb Function |
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| Exposure control | Fully Automatic, Program Automatic (with Program Shift), Aperture Priority, Aperture Priority, Manual | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bracketing function | Bracket function with maximum 9 shots, step size from 1/3 to 3.0 EV, HDR function | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Exposure compensation | -5.0 to +5.0 EV with step size from 1/3 to 1/2 EV | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sensitivity to light | ISO 100 to ISO 51.200 (automatic) ISO 50 to ISO 204.800 (manual) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Remote access | Remote triggering, cable trigger, Bluetooth trigger, remote control via smartphone/tablet, remote control from the computer: certain functions | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Scene modes | Landscape, Macro, Night Scene, Night Portrait, Portrait, Sunset, Sports/Action | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Picture effects | HDR effects, high key, high contrast monochrome, miniature effect, monochrome, retro, toy camera, high contrast monochrome, illustration, pop color, retro, rich tone monochrome, partial color filter (R, G, B, G), watercolor, blur, 2 more image effects | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| White balance | Auto, Clouds, Sun, White balance bracketing, Fine-tuning, Shadow, Flash, Underwater, Fluorescent lamp with 4 presets, Incandescent lamp, from 2,500 to 9,900 K, Manual 3 memory locations | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Color space | Adobe RGB, sRGB | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Continuous shooting | Continuous shooting function max. 10.0 frames/s at the highest resolution and max. 163 stored photos, 10 frames/s with max. 89 raw shots | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Self-timer | Self-timer with intervals of 2 or 10 s, features: triple self-timer, bracketing self-timer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Shooting functions | AEL function, AFL function, live histogram | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Flashgun Of The Sony A7 III |
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| Flash | no built-in flash – available Flash shoe: Sony Multi-Interface, standard center contact | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Flash range | Flash sync time 1/250 s | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Flash functions | Auto, Fill-in flash, Flash on, Flash off, High-speed sync, Slow sync, Flash on second shutter curtain, Red-eye reduction, Master function, Flash exposure compensation from -3.0 EV to +3.0 EV | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Equipment And Features |
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| Image stabilizer | Sensor shift (optical) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Memory |
SD (SDHC, SDXC, UHS I, UHS-II)
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| second memory card slot |
Memory Stick (Duo, Duo Pro) SD (SDHC, SDXC, UHS I)
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| GPS function | GPS external (permanent smartphone connection) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Microphone | Stereo | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Power supply | Power supply unit connection USB continuous power supply USB charging function | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Power supply | 1 x Sony NP-FZ100 (lithium-ion (Li-Ion), 7.2 V, 2,280 mAh) 710 CIPA-standard images | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Playback Functions | Image rotation, Protect image, Highlights / Shadow warning, Playback histogram, Playback magnifier with 18.8x magnification, Image index, Slide show function | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Voice memo | Voice memo (PCM format) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Face recognition | Face Recognition, Face Recognition (8 faces) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Picture parameters | Sharpness, Contrast, Saturation, Noise Reduction | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Special functions | Electronic water level, Grid can be displayed, Zebra function, Orientation sensor, Live View, User profiles with 2 user profiles | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Ports | Data interfaces: Bluetooth, USB USB type:USB 3.0 SuperSpeedWLAN : present (type: B, G, N) NFC: present |
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| AV connectors | AV output: HDMI output Micro (Type D) Audio input: yes (3.5 mm stereo microphone jack) Audio output: yes (3.5 mm stereo jack (3-pin)) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Supported direct printing methods | DPOF, Exif Print, PIM | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tripod socket | 1/4″ in the optical axis | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Case | Splash guard | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Features and Miscellaneous | BIONZ X Image ProcessorUltrasonic cleaning system and coating that prevents static charging of the sensor dynamic Range Optimizer (1-5 steps), exposure difference compensation 1-6 EV in 1 EV stepsDynamic Range Optimizer Exposure brackets audio level and audio signal strength can be displayedSmartzoom1 .5 to 2-fold internal lens correction (distortion, vignetting, color direction error) Image profiles: PP1-PP10, black level, gamma, color phase, color depth ISO Video 100-51200Clean HDMI output (3840 x 2160 (25p), 1920 x 1080 (50p), 1920 x 1080 (50i), 1920 x 1080 (24p), 1920 x 1080 (60p), 1920 x 1080 (60i), 3840 x 2160 (30p), 3840 x 2160 (24p), YCbCr 4:2:2 8-bit / RGB 8-bitHybrid AFTouch AFeye SensorAnti-Flicker Function5-Axis Image StabilizerFlash Bracket(3.5 or 9 shots) |
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Size and weight |
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| Dimensions W x H x D | 127 x 96 x 74 mm | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Weight | 658 g (ready for operation) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Other |
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| included accessories | Sony AC-UUD12 Power SupplySony NP-FZ100 Special Battery Strap , Case Cap, Eyecup, USB-C Cable, |
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| optional accessory | Sony HVL-F20M Push-on Flash with Swivel ReflectorSony RMT-P1BT (Bluetooth Remote Control) Sony VG-C3EM Battery GripSony XLR-K2M (Microphone Adapter) AC AdapterVideo Connection CableStereoMicrophone ECM-CG50 |
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Firmware Update 3.0 for Sony A7 III and 7R III
Significantly improved autofocus and new features
Sony A7 III.
Eye autofocus not only focuses on the eyes of people or animals (but not both at the same time) but also tracks them with the shutter-release button pressed halfway or the AF-on button pressed.
In addition to the interval recording function and compatibility with the Bluetooth remote release RMT-P1BT, the update also offers the option of calling up the menu on any programmable key, and menu tab operation is possible with the Fn key.
The firmware update 3.0 for the Alpha 7R III and 7 III is available for download from the Sony support website and can be installed by the user himself. If you do not have the confidence to do so, you can contact your dealer or Sony support.
