In summary
Photo Review was late receiving a review unit, which meant there were other reviews and comments in online forums available to use for comparison. It seems the universal opinion of Sony’s RX100 Mark III is that it’s the best performing and most versatile pocketable compact camera with a fixed lens on the current market. Unfortunately, purchasers pay a premium for pocketability and performance.
If your budget can’t stretch to the new camera’s pricing, Sony still has the previous RX100 models on sale at significant savings. Both are excellent cameras and just as pocketable as the new model, although they lack the pop-up viewfinder and flip-up monitor screen.
Canon’s PowerShot G1X Mark II is closest to the RX100 specifications, but it has a larger sensor and a longer 24-120mm f/2-3.9 zoom lens. It’s also cheaper but not nearly as pocketable and if you want a viewfinder it’s an add-on accessory that attaches to the hot-shoe.
Full review
The RX100 Mark III is the second upgrade to Sony’s successful line of fixed-lens compact cameras, which began roughly two years ago with the original RX100. Highlights of the new model include a faster lens with wider coverage, a built-in pop-up viewfinder, the latest BIONZ X image processor, improved movie capabilities and a flip-up monitor to please the ‘selfies’ generation.
Angled view of the RX100 Mark III with the lens extended. (Source: Sony.)
The success of the original RX100 resulted from its winning combination of SLR-like functionality and performance in a pocketable camera body. The first upgrade, the RX100 Mark II, provided a tilting monitor and a hot-shoe that could accept an external EVF (or flashgun to supplement the built-in flash) plus integrated Wi-Fi and NFC.
The Mark III addresses ‘wish lists’ posted by owners of the previous models. Improvements are listed in the What’s new? section below. Interestingly, all three versions of the camera were listed on Sony’s Australian website when this review was written, with the original RX100 listed at AU$749, the Mark II at AU$899 and the Mark III at AU$1099.
Who’s it for?
Like its predecessors, the RX100 Mark III has been developed to cater for serious photographers who want a pocketable walk-around camera. Its tough, aluminium alloy body will also suit travellers who need to minimise their loads, especially those who take only hand luggage when they fly. Business travellers in particular could find it meets their needs both professionally and socially.
The 24-70mm equivalent zoom range may be a bit restricted for some photographers, although it’s a popular standard zoom range for 35mm cameras. Landscape shooters will find the wider angle of view attractive, although portraitists may decide 70mm is a bit too short.
Anyone who wants high-resolution frames for motion analysis should find the enhanced video capabilities of the new model valuable. As the first Cyber-shot camera with XAVC S support, can record at a bit rate of 50 Mbps to produce high-quality slow-motion sequences.
Finally, connected generation photographers will appreciate the built-in Wi-Fi and NFC functions, which rely on Sony’s PlayMemories mobile (PMM) app and enable images to be sent from the camera to a connected smart device. Uploading images to social networks requires users to install the free Direct Upload app.
What’s new?
The most obvious new feature is the new Zeiss Vario-Sonnar T* 24-70mm f/1.8-2.8 lens, which is a significant departure from the previous models, although it still retracts automatically into the camera body, enabling the camera to remain pocketable. Although it covers a wider angle of view, it’s a bit shorter than the 28-100mm range offered by the Mark I and II cameras.
The optical design of the lens comprises 10 elements in nine groups, with nine aspherical elements including a double-aspherical (AA) lens. Seven iris diaphragm blades close to a circular aperture for attractive bokeh and the Zeiss T* coating suppresses unwanted reflections from lens elements, minimising ghosting and flare.
Cutaway view of the RX100 Mark III showing the lens, sensor and processor assembly. (Source: Sony.)
The main advantage of the new lens comes at longer focal lengths, where the f/2.8 maximum aperture provides more light-gathering power to support faster shutter speeds. However, the ramp of aperture with focal length is a huge jump from f/1.8 at the shortest focal length (8.8mm) to f/2.5 at 10.2mm, which is roughly a full f-stop. Between 10.2mm and 13mm the maximum aperture contracts a further 1/3 of a stop to f/2.8, where it remains.
This means isolating subjects and blurring the background is slightly more difficult at longer focal lengths. Nevertheless, the new lens is an improvement on the previous lens and can produce quite attractive bokeh with an adequate distance between subject and background.
Sony has also improved autofocusing by adding a Flexible Spot AF Area setting that allows a choice of three different AF frame sizes plus a lock-on AF function that changes the focus area automatically when tracking moving subjects. Also available is a 3-stop neutral density (ND) filter to help photographers record wide-aperture shots in bright outdoor lighting or capture intentionally-blurred shots of moving water.
Another addition likely to be popular is the new pop-up electronic viewfinder (EFV) that normally rests below the top panel. Squeezing such a sophisticated unit into the compact Mark III body is no mean feat but Sony’s engineers have produced an elegant solution.
Rear view of the RX100 Mark III with the EVF raised and its eyepiece extended. (Source: Sony.)
The EVF contains an OLED screen with1,440,000 dots (or 800 x 600 pixels, with each pixel made up from separate red, green and blue dots). It’s raised with a lever switch on the left side panel. You must then pull out the eyepiece and adjust the dioptre setting (if required) with a lever on the top of the assembly.
The viewfinder eyepiece has the same Zeiss T* coating as the lens to suppress unwanted reflections and ensure a clear view of the entire frame. An eye sensor switches between the monitor and EVF when the camera is raised to the photographer’s eye.
Front view of the RX100 Mark III with the EVF and pop-up flash raised. (Source: Sony.)
Allowing space for the viewfinder has forced the designers to shift the pop-up flash so it now sits just above the lens. This has necessitated the removal of the hot-shoe, a move that’s unlikely to trouble most potential buyers, who are unlikely to use external flashguns with this camera. Both EVF and flash are lowered by pushing them down until they are flush with the top panel.
The top panel of the RX100 Mark III with the EVF and pop-up flash lowered and the lens extended. (Source: Sony.)
The flip-up monitor is another obvious improvement. Although offering the greatest appeal to ‘selfie’ shooters, it will also be handy for high- and low-angle shots.
Side view of the RX100 Mark III showing the angle adjustments available for the monitor screen. (Source: Sony.)
Adjustments to the control layout are more subtle and mostly involve customisation of existing controls. Any one of 42 functions can be assigned to the new Custom (C) button or the horizontal buttons and central button on the arrow pad. The rear control wheel is used to toggle between different settings, which are locked in by pressing the central button.
Step zooming has been re-introduced to the camera’s menu via the Zoom Function on Ring setting on page 4 of the set-up menu. It’s operated via the lens ring and covers the following ‘classic’ focal lengths: 28mm, 35mm, 50mm and 70mm.
Unchanged features
Sony has left the body design for its RX100 cameras largely unchanged, which means it’s still shaped like a bar of soap with a lens sticking out 15 mm at the front. The front panel is very smooth and slippery and there’s only a small thumb pad with a leather-like coating for a grip. (Third-party grips are available from http://www.kleptography.com/rf/#camera_rx100.)
The neck strap rings are small and indented into the body so it’s difficult to attach the supplied wrist strap ““ or an optional neck strap, which we’d recommend. Your choice of straps is restricted to those that fit through the loops, and there aren’t many.
One of the users’ requests that went unanswered was for click-stops on the lens control wheel, like those on the Olympus Stylus 1. Smooth rotation can make it difficult to set some parameters, even though values are displayed on the monitor and EVF screens and magnification and peaking displays are available in manual focus mode.
The default setting for the lens control wheel is to adjust apertures in the A mode, shutter speeds in the S mode and program shift in P mode. If you customise its function, the selected function will be applied regardless of the exposure mode.
Wi-Fi and NFC capabilities are identical to those in the α7 cameras and covered in our review of the α7R. Sony’s free PlayMemories Mobile app must be installed on smart devices that will be connected with the camera, while PlayMemories Home software is required for transferring files wirelessly to a computer. The Smart Remote Embedded app lets you use a connected smart device as a remote controller for the camera.
The tripod socket still presses hard against the battery/card compartment, which makes some quick-release tripod plates unusable. In addition, it’s not aligned with the optical axis of the lens.
The battery is still charged in the camera via a USB cable, which smacks of penny-pinching and is inconvenient. It also takes a long time: 230 minutes according to the manual if you use mains power but longer if you connect the camera to a computer via USB.
A full charge is CIPA rated to support up to 320 shots if the monitor is used or 230 shots if you use the EVF. For movie recordings, the available time is roughly 50 minutes, whichever viewing system you use.
The limited capacity is partly due to the size of the battery, which is much smaller than a typical DSLR’s. but it also indicates the camera is relatively power-hungry, so you’ll need a spare battery for extended shooting. Unfortunately, unless you purchase the optional BCTRX external charger (RRP AU$69), you can’t charge a battery and continue shooting, even if you have a spare.
The RX100 Mark III still lacks a touch-screen interface and its AF system appears to be the same as its predecessors’, with the same multi-area, centre-only and user-defined flexible spot options. But you can’t adjust the size of the focus detection area.
Of necessity, the control buttons are very small and users with large hands or limited dexterity should probably give this camera a miss. The asking price is also high for this type of camera, regardless of where it is purchased. But that’s the penalty associated with the miniaturisation needed to pack so much into such a small body.
Sensor and Image Processing
Although Sony has retained the 13.2 x 8.8 mm, 20.2-megapixel Exmor R BSI-CMOS sensor used in the RX100 Mark II, it has been paired with the latest BIONZ X processor, which is used in the α7 cameras and claimed to be three times faster. This chip includes Sony’s detail reproduction and diffraction-reducing technologies and supports area-specific noise reduction. It supports ISO settings from 80 to 12,800 when the full sensitivity range is accessible.
Like its predecessors, the Mark III’s native aspect ratio is 3:2 but 4:3, 16:9 and 1:1 aspect ratios are also available, along with the standard Sweep Panorama options (2D only). Both JPEG and ARW.RAW formats are supported, along with RAW+JPEG capture. Raw files can only be recorded at maximum resolution, regardless of the image quality setting or aspect ratio. The table below shows typical image sizes at the 3:2 aspect ratio.
|
Image size |
Pixels |
Approx. File size |
|
|
Fine |
Standard |
||
|
Raw |
5472 x 3648 |
22.73MB |
|
|
RAW+JPEG |
5472 x 3648 |
34.48MB |
|
|
L: 20M |
5472 x 3648 |
11.76MB |
6.78MB |
|
M: 10M |
3888 x 2592 |
6.57MB |
4.20MB |
|
S: 5M |
2736 x 1824 |
4.27MB |
2.94MB |
|
Panorama (max. size, Standard mode, Horizontal) |
8192 x 1856 |
4.83MB |
|
|
Panorama (max. size, Standard mode, Vertical) |
3872 x 2160 |
3.52MB |
|
|
Panorama (max. size, Wide mode, Horizontal) |
12416 x 1856 |
6.94MB |
|
|
Panorama (max. size, Wide mode, Vertical) |
5536 x 2160 |
4.24MB |
|
The Mark III retains the same 10 frames/second (fps) maximum shooting speed as its siblings with focus and exposure locked. But its regular continuous shooting mode is slightly faster at 2.9 fps with focus and metering adjustment between frames, compared with 2.5 fps for the RX100 and RX100 II.
Video
Upgrades to the video functions include support for the advanced XAVC S codec, which employs the Long GOP (Group of Pictures) data compression method and is more efficient than regular MPEG compression, although less suitable for recording fast motion. This enables users to record HD video footage at up to 100 Mbps and play it back in slow motion via Sony’s PlayMemories Home software.
Maximum recordable time per clip is approximately 29 minutes for AVCHD or approximately 15 minutes for MP4 (limited by 2 GB file size). The table below shows the options available for recording movie clips.
|
Video format |
Pixels |
Record setting |
Bit rate |
Recording time |
|
XAVC S |
1920 x 1080 |
50M |
50 Mbps |
2 hr 35 min with 64GB card |
|
50M |
25 Mbps |
|||
|
1280 x 720 |
50M |
100 Mbps |
||
|
AVCHD at 50i |
1920 x 1080 |
24M |
24 Mbps |
1 hr 30 min with 16 GB card |
|
17M |
17 Mbps |
2 hours with 16 GB card |
||
|
AVCHD at 50p |
28M |
28 Mbps |
1 hr 15 min with 16 GB card |
|
|
AVCHD at 25p |
|
24M |
24 Mbps |
1 hr 30 min with 16 GB card |
|
|
17M |
17 Mbps |
2 hours with 16 GB card |
|
|
MP4 at 30 fps |
1440 x 1080 |
12M |
12 Mbps |
15 min (limited by 2 GB file size) |
|
VGA |
3M |
3 Mbps |
An SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording. Clips can be recorded with either Full HD (1920 x 1080) or HD (1280 x 720 pixel) resolution, the latter at 100 fps.
The new camera also includes improved movie stabilisation with an Intelligent Active Mode that combines frame analysis with five-axis corrections to provide steady recordings while the photographer is walking. This mode (and the Active Mode) can’t be used for XAVC S recording.
Photographers with 4K TV sets will benefit from a new 4K still image output that supports photo viewing at high resolution. Images can be transferred via HDMI or Wi-Fi, with support for Sony’s Triluminos Colour technology. The dual video recording function can simultaneously store small MP4 format files alongside top-quality AVCHD or XAVC S files, providing downsampled clips for online applications.
The Mark III also provides clean HDMI output, allowing video footage to be stored on an external recorder. Live ‘Zebra’ patterning displays on monitor and EVF screens can display the over-exposure warnings and the peaking displays for focusing, now standard in most Sony cameras, are also available.
Recordable times for movies will vary depending on the shooting conditions and the memory card and also because VBR (Variable Bit Rate) automatically adjusts image quality according to the scene. For fast-moving subjects, more memory is required so the recordable time is shorter, although the image is clearer.
Playback and Software
We didn’t receive a software disk with the review camera but it did come with a multi-lingual instruction manual that was about a centimetre thick and contained 39 pages in English. You can download a this manual from the RX100 III Support page on Sony’s website (http://www.sony.com.au/product/dsc-rx100m3) and also access a more comprehensive online manual.
Sony’s Image Data Converter for converting raw files into editable formats is also available for download here, with versions for Windows and Mac operating systems. Third-party support includes the latest version of Adobe Camera Raw.
Performance
Performance-wise the review camera delivered similar image quality to the original RX100, which we reviewed in July 2012. Still shots were bright and colourful with plenty of detail and JPEGs had the same slightly elevated saturation as the earlier model, while in raw files, saturation was a little restrained.
Both available light and flash exposures were correctly exposed in all types of lighting. Aside from slight under-exposure at low sensitivities and over-exposure at high sensitivities in flash shots, exposures were accurately metered with all metering patterns. Fill-in flash was nicely balanced in most types of lighting and the dynamic range is shots was generally very good for a camera with a 1-inch type sensor.
Autofocusing was reasonably fast, although the camera was no speed demon. However, the contrast-detection system was able to lock on to subjects reliably in low light levels and we had few instances of hunting. Close focusing was a bit hit and miss as the shutter will fire when subjects aren’t sharp. But overall, users should have little to complain about.
Imatest showed the review camera wasn’t quite capable of meeting the expected resolution for a 20-megapixel sensor; but it came quite close for both JPEG and ARW.RAW files, recording the highest resolution at f/4.5 with the 8.8mm focal length (equivalent to 25mm in 35mm format). Each increase in sensitivity from ISO 400 on was associated with a progressive decline in resolution, as shown in the graph of our Imatest results, below.
Resolution remained relatively high until about f/8, with a drop between f/8 and f/11 (the minimum aperture) due to diffraction. Edge softening was significant at all apertures except f/11 and noticeable in many test shots. But we doubt many users would be troubled by it.
The graph below shows the results of our Imatest tests across different aperture and focal length settings.
Digital zoom shots benefited from the updated BIONZ X image processor. Both the standard digital zoom, which supports up to 5.8x magnification, and the Clear Image Zoom with 2x magnification use interpolation to up-scale the crop to the selected resolution. Results obtained at 5.8x magnification were surprisingly good.
Long exposures at night retained a decent amount of detail and colours were accurately recorded throughout the available sensitivity range. Although noise could be seen in shots taken at the highest ISO settings, it was well managed and the shots would be usable at small output sizes.
Lateral chromatic aberration was almost entirely in the ‘negligible’ band at all aperture and focal length settings we tested. In the graph below, which is based on JPEG files, the red line indicates the border between ‘negligible’ and ‘low’ CA.
We found no obvious coloured fringing in wide-angle shots taken in contrasty outdoor conditions. But the lens was flare-prone in backlit situations when a bright light sources was included within the frame.
When we checked the lens performance for distortion and vignetting we found little evidence of either in both raw files and JPEGs. Sony could have designed the lens to minimise both defects or applies post-capture processing to correct them, the latter being more likely.
The auto white balance setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast from incandescent lights. However, both the incandescent and most of the fluorescent pre-sets tended to over-correct and it required manual measurement to produce neutral colours under both types of lighting.
We were unable to shoot XAVC S movie clips because we didn’t have a memory card that could support this format. It seems you need an SDXC card that can handle the high bit rate of 50Mbps produced in this format (they’re expensive and not all that easy to get hold of at short notice).
Fortunately, the quality of movies recorded in the AVCHD and MP4 formats was very good and similar to the results we obtained from the RX100. The 1440 x 1080 option for MP4 clips tended to squeeze frames horizontally, causing subjects to appear taller and slimmer than they are in real life.
The integrated stabilisation helped to keep hand-held footage steady and soundtracks were recorded with acceptable clarity, although stereo presence wasn’t great due to the closely-spaced microphones. The absence of slow motion and time lapse modes could be significant for some potential buyers.
Our timing tests were conducted with an 8GB SanDisk Extreme Pro SDHC UHS-1 card, which has a Class 10 speed rating. When you insert a new memory card, the camera starts by checking the Image Database, a process that can take several seconds if the card was used previously in a different camera. This delays the start-up time.
Average start-up times when the card had been used previously were around 2.5 seconds. We measured an average capture lag of 0.2 seconds which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.7 seconds without flash and 3.2 seconds with.
As with the original RX100, the only indication that image files have been processed is when the monitor returns to displaying the original scene. We’ve measured this time for our estimates here. High-resolution JPEGs took an average of 2.3 seconds to process, while ARW.RAW files were processed in 2.4 seconds and RAW+JPEG pairs in 2.5 seconds.
With continuous shooting mode the review camera recorded 32 Large/SuperFine JPEGs in 12 seconds in the normal burst mode and appeared able to continue at this rate until the memory card was full. We were unable to playback shots for roughly a minute after the last frame in this burst.
With ARW.RAW files, the buffer memory filled at 28 frames, which were recorded in 9.8 seconds and took even longer to process. Shooting RAW+JPEG pairs reduced the buffer capacity to 25 shots, which were captured in 8.8 seconds.
In the Speed Priority shooting mode, the camera recorded 43 Large/SuperFine JPEGs in 3.85 seconds before stopping, which equates to approximately nine frames/second. The camera ‘froze’ for approximately two seconds while this burst was processed.
These times suggest the Mark III is faster than its predecessors, although it can’t be classed as a speed demon.
Conclusion
Photo Review was late receiving a review unit, which meant there were other reviews and comments in online forums available to use for comparison. It seems the universal opinion of Sony’s RX100 Mark III is that it’s the best performing and most versatile pocketable compact camera with a fixed lens on the current market. Unfortunately, purchasers pay a premium for pocketability and performance.
If your budget can’t stretch to the new camera’s pricing, Sony still has the previous RX100 models on sale at significant savings. Both are excellent cameras and just as pocketable as the new model, although they lack the pop-up viewfinder and flip-up monitor screen.
Canon’s PowerShot G1X Mark II is closest to the RX100 specifications, but it has a larger sensor and a longer 24-120mm f/2-3.9 zoom lens. It’s also cheaper but not nearly as pocketable and if you want a viewfinder it’s an add-on accessory that attaches to the hot-shoe.
SPECS
Image sensor: 13.2 x 8.8 mm Exmor R CMOS sensor with 20.9 million photosites (20.1 megapixels effective)
Image processor: BIONZ X
A/D processing: 16-bit image processing with 14-bit RAW output
Lens: Zeiss Vario-Sonnar T* 8.8 – 25.7mm f/1.8-2.8 zoom lens (25-73mm in 35 mm format)
Zoom ratio: 2.9x optical, up to 5.8x digital
Image formats: Stills – JPEG (DCF / Exif 2.3) ARW.RAW, RAW+JPEG; Movies – AVCHD, MP4, XAVC-S
Image Sizes: Stills – 3:2 aspect: 5472 x 3648, 3888 x 2592, 2736 x 1824; 4:3 aspect: 4864 x 3648, 3648 x 2736, 2592 x 1944, 640 x 480; 16:9 aspect: 5472 x 3080, 3648 x 2056, 2720 x 1528; 1:1 aspect: 3648 x 3648, 2544 x 2544, 1920 x 1920; Sweep Panorama Standard: 8192 x 1856 / 3872 x 2160; Sweep Panorama Wide: 12,416 x 1856 / 5536 x 2160; Movies – AVCHD: 1920 x 1080 at 50i, 50p, 25p; MP4: 1440 x 1080, 640 x 480; XAVC-S 1280 x 720 at 100p, 1920 x 1080 at 50p, 25p
Shutter speed range: iAuto (4 to 1/2000 seconds), Program Auto (1to 1/2000 seconds), Manual (Bulb, 30 seconds – 1/2000 second), Aperture Priority (8 seconds – 1/2000 second), Shutter Priority (30 seconds – 1/2000 second)
Self-timer: Off, 10sec., 2sec., 3 or 5 consecutive shots with 10sec. delay selectable
Image Stabilisation: Optical SteadyShot
Exposure Compensation: +/- 3EV in 1/3EV steps
Focus system/range: Contrast-based AF with single, continuous, tracking and face detection modes plus multi, centre and single point area selections; range: 5 cm to infinity; macro to 5 cm
Exposure metering/control: Multi-pattern, centre-weighted and spot metering
Shooting modes: Superior Auto, Intelligent Auto, Program Auto (Program shift available), Shutter Speed Priority, Aperture Priority, Movie Mode (P, A, S, M), Panorama, Scene Selection (High Sensitivity, Night Scene, Night Portrait, Portrait, Landscape, Fireworks, Gourmet, Pet, Handheld Twilight, Anti Motion Blur, Sports Action, Macro, Sunset), Manual Exposure
In-camera effects: HDR Painting, Rich-tone Monochrome, Miniature, Toy Camera, Pop Colour, Partial Colour, Soft High-key, Water Colour, Posterisation, Retro Photo, Soft Focus, High Contrast Monochrome, Illustration
ISO range: Auto, ISO125-12800, selectable in 0.3EV steps, extendable to ISO80/100; Multi-Frame NR (1EV steps)
White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (Warm White, Cool White, Day White, Daylight), Flash, C.Temp./Filter, Custom
Flash modes/range (ISO auto): Auto, Flash On, Slow Synchro, Rear Sync, Flash Off; range: Approx. 0.4m to 10.2m (W)/ 0.4m to 6.5m (T)
Sequence shooting: Max. approx 10 frames/second in Speed Priority Continuous Shooting mode; 2.9 fps for normal continuous shooting
Buffer memory depth (based on tests): 32 JPEGs, 28 raw files, 25 RAW+JPEG
Storage Media: Single slot for Memory Stick Duo and SD memory cards
Viewfinder: Retractable 0.39-type electronic viewfinder (OLED) with 1,440,000 dots; approx. 0.59x magnification, dioptre adjustment of -1 to +1 dpt
LCD monitor: Tiltable 3-inch Xtra Fine TFT LCD with 1,228,800 dots
Power supply: NP-BX1 rechargeable battery pack; CIPA rated for approx. 320 shots/charge with monitor; 230 shots/charge with EVF
Dimensions (wxhxd): Approx. 101.6 x 58.1 x 41 mm
Weight: Approx. 263 grams (without battery and memory card); 290 grams with battery and card
TESTS
Based on JPEG files.
Based on ARW.RAW files processed with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
8.8mm focal length, ISO 125, 1/500 second at f/4.5.
25.7mm focal length, ISO 125, 1/400 second at f/4.5.
5.8x digital zoom; 25.7mm focal length, ISO 125, 1/400 second at f/4.5.
30-second exposure at ISO 80; 13mm focal length at f/4.
20-second exposure at ISO 200; 13mm focal length at f/5.
10-second exposure at ISO 1600; 13mm focal length at f/3.2.
4-second exposure at ISO 6400; 13mm focal length at f/4.
4-second exposure at ISO 12800; 13mm focal length at f/5.6.
Flash exposure at ISO 80; 25.7mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 200; 25.7mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 1600; 25.7mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 6400; 25.7mm focal length, 1/60 second at f/2.8.
Flash exposure at ISO 12800; 25.7mm focal length, 1/80 second at f/3.5.
Backlit subject without flash fill; 25.7mm focal length, ISO 200, 1/500 second at f/4.5.
Backlit subject with flash fill; 16mm focal length, ISO 200, 1/640 second at f/4.5.
Close-up with 8.8mm focal length, ISO 200, 1/125 second at f/1.8.
Close-up with 25.7mm focal length, ISO 200, 1/400 second at f/2.8.
Flare produced by strong backlighting;8.8mm focal length, ISO 100, 1/100 second at f/5.6.
12mm focal length, ISO 125, 1/40 second at f/2.8.
Skin tones; 25.7mm focal length, ISO 125, 1/160 second at f/4.
25.7mm focal length, ISO 3200, 1/80 second at f/2.8.
8.8mm focal length, ISO 500, 1/30 second at f/1.8.
15mm focal length, ISO 6400, 1/20 second at f/2.8.
15mm focal length, ISO 6400, 1/50 second at f/2.8.
8.8mm focal length, ISO 4000, 1/20 second at f/1.8.
Still frame from AVCHD movie clip recorded with FX 50i / 24M setting.
Still frame from AVCHD movie clip recorded with FH 50i / 17M setting.
Still frame from AVCHD movie clip recorded with PS 50p/ 28M setting.
Still frame from AVCHD movie clip recorded with FX 25p / 24M setting.
Still frame from AVCHD movie clip recorded with FH 25p / 17M setting.
Still frame from MP4 movie clip recorded with 1440 x 1080 pixels.
Still frame from MP4 movie clip recorded with 640 x 480 pixels.
Rating
RRP: AU$1099; US$800 (MSRP)
- Build: 9.0
- Ease of use: 8.5
- Autofocusing: 8.5
- Image quality JPEG: 8.5
- Image quality RAW: 8.8
- Video quality: 8.5
