Sony Cyber-shot DSC-RX1

    Angled front view of the Cyber-shot RX1. (Source: Sony.)

    Photo Review 8.5
    User Rating: 0/10 (0 votes cast)

    Thank you for rating!

    You have already rated this item, you can only rate it once!

    Your rating has been changed, thanks for rating!

    Log in or create a user account to rate.

    Sony Cyber-shot DSC-RX1

      In summary

      Good for:
       - Landscape photography, particularly when shooting panorama sequences for post-capture stitching.
       - Group portraits.
       - Street photography, especially scenic shots.
       - Shooting in low light levels.
       - Travel – if you can live with the fixed focal length lens.

       Not so good for:
       - Shooting sports and action.
       - Close-up shooting.

      Full review

      When Sony unveiled its DSC-RX1 Cyber-shot camera at Photokina 2012 last September it created a frisson of excitement. Here at last was a compact camera with a 24-megapixel 'full-frame' sensor. And it was built like a 'real' (traditional) camera, to boot. Measuring 113.3 mm wide, 65.4 mm high and 69.6 mm thick and weighing just under half a kilogram with battery and memory card installed, the RX1 drew covetous eyes from far and wide. 

      Angled front view of the Cyber-shot RX1. (Source: Sony.)

      Front view of the DSC-RX1 with the pop-up flash raised. (Source: Sony.)

      So, is this the pocket-sized, 'serious' camera we've all been waiting for? Maybe – and maybe not. Its price tag (AU$2999 or US$2800) will be a major deterrent for many. But there are other factors that will take the RX1 off the 'must have' lists for many photographers. The table below lists the pros and cons we've uncovered since receiving a review camera.



      Superior build quality

      Heavy for a compact camera

      Fits into a jacket pocket

      Not shirt pocketable

      'Traditional' aperture and focus rings plus mode and EV compensation dials

      EV compensation limited to +/- 3 EV, No 'A'  position for aperture ring and aperture ring is disabled in Auto and S modes

      Proven sensor

      No phase-detection included on chip

      Fixed 35mm f/2 prime lens

      Not wide enough for some uses, too wide for others, no stabilisation, close focus limited to 25 cm

      High quality optics

      Lens hood an expensive option

      25 selectable AF points

      Contrast focus system only; manual focusing is fly-by-wire

      Focus peaking display

      Only available in magnified view

      High-quality, high-resolution monitor (1,228,800 dots)

      No EVF, expensive optional optical viewfinder that won't be frame accurate

      External mic. jack provided

      Battery charged in the camera via USB cable, battery capacity similar to compact digicam's

      Up to 5 fps burst shooting for both file types

      Buffer memory capacity restricted to 14 Large/Fine JPEGs or up to 12 RAF.RAW  files (maximum)

      Who's It For?
      If you're planning to fork out almost $3000 for a compact, fixed lens camera, you need to be sure you're making the right investment. So, let's look at how well the RX1 is suited to specific tasks serious photographers might use it for.

      1. Landscape photography: The 35mm angle of view may not be wide enough to provide the dramatic coverage some landscape photographers desire. However, it's close to ideal for using vertically to capture a series of shots for panoramic stitching because it shouldn't introduce excessive distortions. A lens hood is a must for most landscape work.

      2. Portraits: Wide enough for environmental portraits but too short for head-and-shoulders shots. Too short, as well, for candids.

      3. Sports and Action: Only if you can get close enough and, even then, focusing may not be fast enough and using flash will be difficult on the small camera body.

      4. Close-ups and Macro: Close focusing limits make the camera unsuitable for both applications.

      5. Photojournalism and Street Photography: Maybe. The camera is small enough to be inconspicuous and the manual controls are easy to adjust on-the-fly. The threaded shutter release  allows use of a cable to trigger the camera's shutter inconspicuously. Superior low light performance allows high ISO settings to be used in poorly-lit situations but the lack of stabilisation may present problems.

      6. Indoor Photography: Depends on the subject and the photographer's approach. The 35mm lens may not be wide enough for cramped situations but the camera's low-light capabilities are a big plus.

      7. Architecture: Inherent barrel distortion and vignetting could present problems, although in-camera corrections are available.

      How Does it Handle?
      The solid metal body and accessible manual controls leave no room for complaint in both areas (hence our 9.0 rating). However, the aperture ring on the lens barrel requires you to use the camera with two hands, which means you want to raise it to your eye when shooting. Sadly, no viewfinder is provided.

      The design and control layout of the RX1 is reminiscent of traditional rangefinder styling, with the front panel is dominated by the Carl Zeiss Sonnar 35mm f/2 lens. The only other features are a focus mode selector switch on the lower left hand corner, an AF-assist LED  between the lens and the RX1 name plate and the leather-clad grip moulding. 

      Angled front view of the Cyber-shot RX1. (Source: Sony.)

      Angled front view of the Cyber-shot RX1. (Source: Sony.)

      The Sonnar lens design dates back to 1929 and is renowned for its simplicity, relatively light weight and fast maximum aperture. Because it has a short back focus, it is well suited to the RX1, where roughly 20% of the lens is contained within the relatively slim camera body.

      The lens has eight elements arranged in seven groups. Three elements have aspherical surfaces, one of them with an 'advanced' design. The iris diaphragm has nine blades, which close to a circular aperture. This lens has a normal focusing range of 25 cm to infinity but can focus to about 20 cm with the macro shooting mode.

      It's great to have a ring on the lens for adjusting aperture settings. Unfortunately, there's no auto setting on the aperture ring so the aperture ring is disabled when the camera is set to the Full Auto or S modes.

      The position of the sensor is indicated by a 'Plimsol' line on the top panel just left of the hot shoe. The top panel carries two dial controls: one for selecting the shooting modes and the other for exposure compensation. Between them sits the shutter button, which is threaded to accept a traditional cable release and surrounded by the power switch. A customisable 'C' button is located just in front of the exposure compensation dial.

      Top view of the Cyber-shot RX1. (Source: Sony.)

      Top view of the Cyber-shot RX1. (Source: Sony.)

      A hinged, pop-up flash (similar to the one on the RX100) is recessed into the left hand side of the top panel. Between it and the mode dial is a Sony multi-interface hot shoe, which is mechanically compatible with Sony's flashguns but doesn't give the camera control over most third-party flashes.

      The rear panel of the Cyber-shot RX1. (Source: Sony.)

      The rear panel of the Cyber-shot RX1. (Source: Sony.)

      There's no built-in viewfinder so you're forced to use the monitor for everything. Sony offers two add-on viewfinders as accessories but neither was supplied with the review camera so we can only provide basic information about them.

      The FDA-V1K is an optical finder that sells in Australia for $599. The FDA-EV1MK  is an OLED electronic viewfinder with a resolution of 2,359,000 dots. It has an RRP of $499. Both attach to the multi-interface shoe, which means the FDA-V1K will suffer from parallax error due to its position with respect to the lens. The FDA-EV1MK  will display the same view as the image sensor.

      The rear panel monitor is a 3-inch LCD panel with a resolution of 1,228,800 dots. To its right of the monitor lie two dial controls and  five buttons. The flash pop-up switch and playback button are located just above the monitor.

      The main control dial, which is used to adjust a selected function, is near the top of the rear panel. A second control wheel surrounds the arrow pad, which has a central selection button and four directional 'buttons'. Users can assign different function to the left, right, up and down buttons using settings on page 3 of the set-up menu.

      The top button below the main control dial handles the AE Lock function in shooting mode as well as the playback zoom function. Below it is the Function button, which can be programmed to access one of 19 settings in the shooting mode and also handles image index views in playback mode.

      The RX1 must rate as one of the most customisable cameras on the market. In addition to the three user-programmable memories accessed via the mode dial (C1, C2 and C3), 25 functions can be assigned to the rear panel buttons.

      The 'C' button on the top panel and the other arrow pad buttons can each have a single function assigned to them. But you'll have to remember which one adjusts the drive modes, ISO, white balance or whatever function you've assigned to it. Sadly, there are no labels on the arrow pad's directional buttons to help you remember how you've set them up, save for the DISP label just above the 'up' button and the AEL (auto exposure lock) button.

      To some degree this can be overcome by using the 'Fn' button on the rear panel to access a 'quick' function menu, which displays the most frequently-used camera settings overlaid on the scene shown on the monitor. The Quick Navi display, which is accessed via the DISP button, shows the same adjustments without an overlay – and adds a few settings that aren't provided by the screen overlay.

      It also makes it easy to set image size and quality and displays a level indicator and brightness histogram. Pressing the 'Fn' button in this mode allows you to navigate around the screen and adjust 16 functions, rather than 13 supported by simply pressing the 'Fn' button on its own.

      The interface ports are tucked away under a lift-up cover on the left hand side of the camera. Here you'll find a Micro USB connector, an HDMI micro jack and a 3.5mm microphone jack for external microphones.

      On the opposite side of the camera, just back from the right hand strap lug is the movie record button. It's positioned just to the right of the thumb grip moulding and, while not in the ideal spot for triggering and stopping recordings, is usable in most situations.

      The battery and memory card share a compartment in the base of the camera. And it is here we have our first 'beef' with the RX1: the battery has to be charged in the camera via a USB cable and AC adaptor (both supplied). You can also charge the battery directly from a computer via the USB cable – but it's VERY  slow.

      The problem with this system is that the camera becomes unusable while the battery is being recharged. You can buy a 'travel charger' (the BC-TRX) for AU$69 and spare batteries cost AU$69 each. But we feel the charger should have been included in the overall camera price.

      The user manual supplied with the RX1 is designed for Cyber-shot cameras and almost totally useless for serious photographers. The index omits many key functions, making it difficult to locate the meagre information provided.

      Shooting Modes
      The RX1 comes with the usual complement of Sony's shooting modes, including the popular Sweep Panorama and Handheld Twilight modes. Five levels of DRO (Dynamic Range Optimisation) are supported, along with a HDR (High Dynamic Range) mode that supports an exposure range that extends across 6EV.

      These settings have been covered in other Sony reviews.

      Focusing modes are set with a lever on the lower left hand corner of the front panel, which has four settings: AF, DMF (single-servo AF with manual over-ride when the shutter button is half-pressed) and MF (manual focus). The AF setting uses single-servo AF for stills shooting and continuous AF for movies and offers multi-point, centre point or user-selected point options.

      Manual focusing is achieved by turning the ring on the lens. While the ring turns smoothly, there appears to be no mechanical coupling between the focus ring and the lens optics and the mechanism doesn't provide much tactical feedback.

      A distance scale is displayed on the monitor for stills shooting (but not in movie mode). The camera also provides an MF Assist setting, which magnifies the centres of the frame in MF mode or zooms in on the selected AF point in DMF mode.

      The default enlargement is just under 6x but pressing the centre button on the arrow pad provides further magnification to 11.7x. You can move the enlarged area around the frame with the two control dials. The menu lets you set how long the magnified view is held, providing options for two or five seconds or an 'unlimited' setting.

      Focus peaking, which was introduced on the NEX-C3 camera, is only available with the magnified view, which means it can't be used to help you focus quickly while viewing the scene in its entirety. As in the NEX cameras, it highlights areas of the scene that are sharply focused and users can choose from three highlight colours: white, red and yellow.

      It works best if you set the lens aperture as wide as possible for focusing then stop it down when focus is confirmed. This means it's not much use for on-the-fly shooting of candid portraits and street activities.

      Sensor and Image Processor
       The 24-megapixel sensor in the RX1 has been adapted from the chip in the SLT-A99. We suspect the microlens array on the sensor had to be re-designed to cope with the close proximity of the rear element of the lens. As far as we have been able to determine, the chip in the RX1 lacks the on-chip array of phase-detection sensor points that complement the conventional contrast-detection focusing system. 

      Two aspect ratios are available: 3:2 and 16:9, with the former providing a maximum image size of 6000 x 4000 pixels. The table below shows typical image sizes for all image size and quality settings.

      Image size


      Aspect ratio

      Approx. File size

      Extra Fine




      6000 x 4000




      6000 x 4000


      L: 16M

      6000 x 4000





      M: 8.4M

      4240 x 2832




      S: 4M

      3008 x 2000




      L: 14M

      6000 x 3376





      M: 7.1M

      4240 x 2400




      S: 3.4M

      3008 x 1688




      Sweep Panorama (Standard/ Horizontal)

      8192 x 1856

      4.4:1 (approx.)


      Sweep Panorama (Standard / Vertical)

      3872 x 2160

      1.8:1 (approx.)


      Sweep Panorama (Wide / Horizontal)

      12,416 x 1856

       6.7:1 (approx.)


      Sweep Panorama (Wide/ Vertical)

      5536 x 2160

      2.56:1 (approx.)


      The BIONZ image processor supports sensitivity settings from ISO 100 to ISO 256000, with the Auto setting spanning ISO 100 to 6400. Manual over-rides provide extensions to ISO 50 and ISO 102400. Continuous shooting is supported at up to five frames/second with full resolution.

      High ISO noise-reduction processing is applied by default with three settings available: Low, Normal and High. Long-exposure noise-reduction processing is also available and with the Multi-frame Noise Reduction setting, you can specify the ISO sensitivity within a range of ISO 100 to 25,600 and the camera will combine multiple exposures to create a single image with reduced noise levels.

        Full HD Movie shooting is supported at 50/60 fps (PAL/NTSC) frame rates using the AVCHD (Ver. 2.0) format for higher resolutions and MP4 for 1440 x 1080 and VGA.

      The table below shows the resolutions and frame rates available.

      Video format

      Aspect ratio

      Picture Mode

      Picture size

      Frame Rate

      Bit rate




      1920 x 1080


      28 Mbps



      24 Mbps



      17 Mbps



      24 Mbps



      17 Mbps


      1440 x 1080

      30/25 fps

      12 Mbps


      640 x 480

      3 Mbps

      The available time for  movies varies because the camera uses VBR (Variable Bit Rate) recording, which automatically adjusts image quality depending on the shooting scene. However, there's a general limit to recording time of approximately 29 minutes per clip in the AVCHD format or about 15 minutes (equivalent to 2GB) for 1440 x 1080 [12M] size movies.

      While the default setting in movie mode is Program Auto (P), users can set the shutter speed and aperture values in the A, S and M shooting modes.  A 'Smart Telecon. Zoom' function allows up to 4x magnification of images in movie mode. This replaces the similar Clear Image Zoom digital zoom function for still shooting.

      Playback and Software
      Both are similar to the NEX and SLT Alpha cameras we've reviewed. Because images and video clips are stored in separate folders, you must use the Still/Movie Select function in the menu to choose between Folder View (Still), Folder View (MP4) and AVCHD View.

      No software was supplied with the review camera but you can download the latest version of Sony's Image Data Converter for processing raw files from any of Sony's regional websites. Raw files from the camera can be converted with Adobe Camera Raw 7.3 and Lightroom 4.3  (or later).

       Pictures taken with the review camera were sharp and colourful and both the AF system and exposure system handled a wide range of shooting conditions effectively. Imatest showed colour accuracy to be generally good with JPEG files and saturation was only slightly boosted in the warmer hues. Saturation was better controlled in raw files, and further control is available during file conversion.

      The bokeh produced by the lens in macro mode was reasonably smooth, although there was noticeable outlining of bright highlights, which were rendered as circles. These circles became more distinct as the lens was stopped down.

      Imatest showed the review camera's resolution came close to expectations with JPEG files and slightly exceeded them when ARW.RAW files were converted with the latest version of Adobe Camera Raw. Resolution held up well across most of the camera's ISO range, as shown in the graph below.


      Long exposures at night contained plenty of detail up to ISO 6400, with slight softening becoming evident at ISO 12800. However detail was remarkably well preserved right up to ISO 25,600. Flash exposures were evenly exposed across the review camera's ISO range. The anticipated slight softening was found in flash shots at ISO 12800 and ISO 25600.

      Auto white balance performance was similar to the SLT-A99.  Shots taken under incandescent lighting retained a slight orange cast but the camera delivered close-to-neutral colours with fluorescent light. For both lighting types, the pre-sets over-corrected colours slightly. Manual measurement delivered a neutral colour balance and plenty of in-camera adjustments are provided for tweaking images as you shoot.

      Autofocusing was quite fast and very accurate for a camera with a contrast-based AF system. Low-light autofocusing presented little in the way of problems unless subjects had very low contrast. However, we found the review camera had difficulties tracking moving subjects during both high-speed bursts of shots and video recording, even with the Tracking Focus function engaged.

      The lens was sharp at maximum aperture and maintained high resolution until diffraction began to kick in at around f/8. There was some edge and corner softening at all aperture settings, which reduced gradually as the lens was stopped doan. The graph below shows the result of our Imatest tests.

      Lateral chromatic aberration was negligible in our Imatest tests and we found no evidence of coloured fringing in tests shots. In the graph of our Imatest results below, the red line marks the boundary between 'negligible' and 'low' CA, while the green line separates 'low' from 'moderate' CA.


      The fixed 35mm focal length and AF limitations make it difficult to record video clips that are as engaging as those from one of Sony's SLT cameras with a zoom lens. In addition, engaging the  SteadyShot (digital) stabilisation changes the camera's field of view.

      Overall Video quality was adequate and would be acceptable for occasional use; but we found many clips were slightly unsharp. Clips recorded in the MP4/1440 mode were vertically distorted, making people seem taller than natural. Soundtrack recordings were clear and few operational noises were picked up. The wind cut filter did a good job of suppressing the slight wind noise we encountered.

      The review camera powered-up in approximately 1.5 seconds. Capture lag averaged 0.25 seconds,  but this was almost totally eliminated with  pre-focusing.  Shot-to-shot times averaged 0.9 seconds without flash and 5.6 seconds with.

      It took just under a second to process a JPEG file or a single ARW.RAW file and 1.15 seconds for each RAW+JPEG pair.

      For our burst capture timing tests we used a 16GB Kingston Ultimate XX 233x SDHC UHS-I card, which is designed to support video streaming. In the normal burst mode, we recorded a burst of 10 Large/Extra Fine JPEG frames in 3.7 seconds, which is slower than the 5 fps burst rate specified. It took 14 seconds to process this burst.

      With bursts of ARW.RAW files the capture rate slowed to 3.8 seconds, slowing further to 4 seconds to record a burst of  RAW+JPEG pairs. It took 15.2 seconds to process a burst of 10 raw files and 16.6 seconds for a burst of 10 RAW+JPEG pairs.

      In the Speed-priority burst mode, the camera recorded 11 JPEG frames in 1.9 seconds with all quality settings, which is marginally faster than the specified maximum burst rate. However, it took 17.5 seconds to process bursts of Large/Extra Fine JPEGs, 18.8 seconds for  bursts ARW.RAW files and 19.9 seconds RAW+JPEG pairs.

      If you want a high-resolution full-frame camera that can fit into a coat pocket, the Sony RX1 fills the bill. Its control layout makes it pleasing to use and its performance is generally excellent (particularly at high sensitivity settings)

      As a compact, fixed lens camera with a full-frame 24-megapixel sensor, the RX1 is currently in a class of its own. It has its plusses and minuses and it will be up to individual photographers to decide whether they can live with the camera's not inconsiderable limitations and tolerate its high price tag.

      The only current competitor is the Leica M, which also sports a 24-megapixel sensor and supports Full HD video recording. But it takes interchangeable lenses and is more than twice the price of the RX1.

      Good for:
       - Landscape photography, particularly when shooting panorama sequences for post-capture stitching.
       - Group portraits.
       - Street photography, especially scenic shots.
       - Shooting in low light levels.
       - Travel – if you can live with the fixed focal length lens.

       Not so good for:
       - Shooting sports and action.
       - Close-up shooting. 


       Image sensor: 35.8 x 23.8 mm Exmor R CMOS sensor with 24.7 million photosites (24.3 megapixels effective)
       Image processor: BIONZ
       Lens: Carl Zeiss Sonnar T* 35mm f/2 prime lens
       Digital Zoom: 2x (via  "By Pixel Super Resolution" processing); 14x digital zoom
       Image formats: Stills –ARW.RAW (v. 2.3), JPEG (Exif 2.3), RAW+JPEG; Movies – AVCHD, AVC MPEG-4 with stereo soundtracks
       Image Sizes: Stills – 3:2 aspect: 6000 x 4000, 3936 x 2624, 2640 x 1760; 16:9 aspect: 6000 x 3376, 3936 x 2216, 2640 x 1488; Movies: 1920 x 1080  at 60, 50, 25, 24 fps; 1440 x 1080 at 30, 25 fps; 1280 x 720 at 30 fps; 640 x 480 at 30, 25 fps
       Image Stabilisation: No
       Shutter speed range: 30 to 1/4000 second
       Exposure Compensation: +/- 3.0EV in 1/3EV steps
       Exposure bracketing: 3 frames in 1/3 EV or 2/3 EV steps
       Self-timer: 2 or 10 seconds delay
       Focus system: Contrast-detection AF with 25 selectable AF points; range 25 cm to infinity; macro to 20 cm
       Focus modes: Single, Multi-area, Centre, Selective single-point, Tracking, Face Detection
       Exposure metering: Multi-pattern, centre weighted and spot modes
       Shooting modes: Superior Auto, Intelligent Auto, Program Auto, Shutter Speed Priority, Aperture Priority, Manual Exposure, Memory Recall (x3), Movie Mode, Sweep Panorama, Scene Selection (Portrait, Landscape, Sports, Sunset, Night Portrait, Night Scene, Hand-held Twilight, SteadyShot EIS  for movie)
       Picture Style/Control settings: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia
       Picture Effects: HDR Painting, Rich-tone Monochrome, Miniature, Toy Camera, Pop Colour, Partial Colour, Soft High-key, Water Colour, Illustration
       Colour space options: sRGB, Adobe RGB
       ISO range: Auto, ISO 100, ISO 200, ISO 400, ISO 800, ISO 1600, ISO 3200, ISO 6400, ISO 12800, ISO 25600
       White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Flash, Custom
       Flash: Built-in pop-up flash; GN 6 m / ISO 100; Auto, On, Off, Slow Sync modes
       Flash exposure adjustment: +/- 3.0EV in 1/3EV steps
       Sequence shooting: Max. 5 fps for up to 14 Large/Fine JPEGs or up to 12 RAF.RAW  files (14-bit) using an SDHC UHS-1 card
       Storage Media: Memory Stick Duo, SD / SDHC / SDXC; Micro cards accepted
       Viewfinder:  None
       LCD monitor: Fixed 3-inch Xtra Fine TFT LCD with 1,228,800 dots and brightness adjustment
       Playback functions: single, index, movie playback, slide show, delete, rotate, protect, specify printing, add Picture Effect, volume settings
       Interface terminals: USO 2.0, Micro HDMI
       Power supply: NP-BX1 rechargeable lithium-ion battery; CIPA rated for approx. 330 shots/charge
       Dimensions (wxhxd): 113.3 x 65.4 x 69.6 mm
       Weight: Approx. 453 grams



       JPEG images


      Raw images converted with  Adobe Camera Raw 7.3.







      Auto white balance with incandescent lighting.

      Auto white balance with fluorescent lighting.

      30-second exposure at ISO 50; f/4.

      10-second exposure at ISO 800; f/8.

      5-second exposure at ISO 3200; f/11.

      5-second exposure at ISO 6400; f/16.

      2.5-second exposure at ISO 12800; f/18.

      1.6-second exposure at ISO 25600; f/20.

      Flash exposure at ISO 50; 1/80 second at f/2.

      Flash exposure at ISO 800; 1/80 second at f/2.

      Flash exposure at ISO 6400; 1/80 second at f/2.8.

      Flash exposure at ISO 12800; 1/80 second at f/4.5.

      Flash exposure at ISO 25600; 1/80 second at f/5.6.

      Vignetting at f/2.

      Rectilinear distortion.

      Close-up using macro mode; ISO 100, 1/320 second at f/2.

      Close-up using macro mode; ISO 100, 1/30 second at f/5.6.

      ISO 100, 1/80 second at f/11.

      ISO 160, 1/80 second at f/6.3.

      ISO 100, 1/80 second at f/8.

      ISO 1600, 1/60 second at f/7.1.

      ISO 400, 1/100 second at f/5.6.

      ISO 800, 1/125 second at f/9.

      Still frame from Full HD video clip in PS mode at 50p.

      Still frame from Full HD video clip in FX mode at 50i.

      Still frame from Full HD video clip in FH mode at 50i.

      Still frame from Full HD video clip in FX mode at 24p. 

      Still frame from Full HD video clip in FH mode at 24p. 

      Still frame from MP4 video clip at 1440 x 1080 pixels.

      Still frame from VGA video clip.


      RRP: AU$2999, US$2800 (MSRP)

      • Build: 9.0
      • Ease of use: 9.0
      • Autofocusing: 8.5
      • Still image quality JPEG: 8.5
      • Still image quality RAW: 9.0
      • Video quality: 8.0