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Sony a7 III

35mm AF digital mirrorless camera

Specification

Production details
Announced:February 2018
System: Sony E (2013)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Sony E [18mm]
Imaging plane:35.6 × 23.8mm CMOS sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:650g
Dimensions:126.9x95.6x73.7mm

Manufacturer description

LAS VEGAS, Feb. 26, 2018 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced yet another impressive addition to their full-frame mirrorless camera lineup, the α7 III (model ILCE-7M3).

Sony’s unmatched innovation within the image sensor space is at the forefront of the new α7 III, as it features a brand new 24.2MPi back-illuminated Exmor R CMOS image sensor with increased sensitivity, outstanding resolution and an impressive 15 stopsii of dynamic range at low sensitivities. By combining this sensor with a variety of impressive features including extreme AF coverage of 93%, fast shooting at up to 10 fpsiii with either mechanical shutter or silent shootingiv, diverse 4Kvi video capabilities and more, Sony has created a new tool that gives all types of creators – from enthusiast to professional – the ability to capture content in new and different ways than they ever have before.

“We are continually pushing to deliver more for our customers – more versatility, more functionality and most importantly, more innovation,” said Neal Manowitz, Vice President of Digital Imaging for Sony Electronics. “With the new α7 III, we’ve taken many of our newest and most advanced imaging technologies from the acclaimed α9 and α7R III models and paired them with an all-new 24.2 MP back-illuminated sensor to deliver the ultimate full-frame camera for enthusiasts, hobbyists and professionals alike. It’s a camera that punches far above its weight class in every capacity. Combined with our impressive selection of 26 native full-frame E-mount lenses, it provides a level of performance that is simply unmatched in the industry.”

Spectacular Full-frame Image Quality

The newly developed 24.2MPi back-illuminated Exmor R CMOS image sensor is paired with a front-end LSI that effectively doubles the readout speed of the image sensor, as well as an updated BIONZ X™ processing-engine that boosts processing speed by approximately 1.8 times compared to the α7 II. These powerful components work together to allow the camera to shoot at faster speeds while also enabling its impressive ISO range of 100 - 51200 (expandable to ISO 50 – 204800 for still images) and an overall 1.5 stopix improvement in image quality. The camera also features a massive 15-stopii dynamic range at low sensitivity settings, ensuring outstanding overall performance at all settings and in all shooting conditions, with significant advancements in accurate color reproductions of skin tones and the vibrant colors of nature.

This new full-frame model can also output 14 bit RAW format[ix] even in silent and continuous shooting modes, and is equipped with a 5-axis optical image stabilization system that results in a 5.0 stepv shutter speed advantage.

Significant Advances in AF Speed and Performance

The innovative new α7 III full-frame mirrorless camera features a level of AF performance that has been largely improved over the α7 II, including the addition of 4D FOCUS™ capabilities. The new camera has 425 contrast AF points that work with a 693-point focal-plane phase-detection AF system inherited from the acclaimed α9 model. This innovative AF system covers approximately 93% of the frame, ensuring reliable focusing and tracking for even the most difficult to capture subjects.

AF response and tracking has also been greatly improved in the new camera, with almost 2xii the focusing speed in low-light condition and 2xii the tracking speed compared to the previous model as a result of the faster image sensor readout. This allows complex and unpredictable motion to be captured with far greater precision and accuracy.

The acclaimed Eye AF feature is also available in the new camera, even in AF-C mode, which is extremely useful for situations where the subject is turning around, looking down or otherwise obstructed. It also works when the α7 III is being used with Sony’s A-mount lenses with an optional LA-EA3 adaptor[x]. Additional improvements in focusing flexibility include the addition of a multi-selector or ‘joystick’ for moving focusing points quickly, the addition of touch focusing capability, AF availability in Focus Magnifier mode, an ‘AF On’ button and much more.

Speed to Capture Every Decisive Moment

The new α7 III is equipped with an updated image processing system that allows it to shoot full resolution images at up to 10 fpsiii with continuous, accurate AF/AE tracking for up to 177 Standard JPEG images, 89 compressed RAW images or 40 uncompressed RAW images[xi]. This high speed mode is available with either a mechanical shutter or a completely silent shootingiv, adding to the immense flexibility of the camera. The camera can also shoot continuously at up to 8 fpsiii in live view mode with minimal lag in the viewfinder or LCD screen.

For added convenience, while large groups of burst images are being written to the memory card, many of the cameras key functions are operable, including access to the ‘Fn’ (Function) and ‘Menu’ buttons, image playback and several other menus and parameters including image rating and other functions that facilitate on-location image sorting.

Additionally, if there is fluorescent or artificial lighting present in a shooting environment, users can activate the Anti-flicker[xii] function to allow the α7 III to automatically detect frequency of the lighting and time the shutter to minimize its effect on images being captured. This minimizes any exposure or color anomalies that can sometimes occur at the top and bottom of images shot at high shutter speeds.

High Quality 4K Video

The new α7 III is an outstanding video camera as well, offering 4Kvi (3840x2160 pixels) video recording across the full width of the full-frame image sensor. In video mode, the camera uses full pixel readout without pixel binning to collect about 2.4x[xiii] the amount of data required for 4K movies, and then oversamples it to produce high quality 4K footage with exceptional detail and depth.

An HLG (Hybrid Log-Gamma)[xiv] picture profile is available on the α7 III as well, which supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased color grading flexibility, as well as Zebra functionality, Gamma Display assist and proxy recording. The camera can also record Full HD at 120 fps at up to 100 Mbpsvi, allowing footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD resolution with AF tracking.

Upgraded Build, Design and Customization

Sony’s newest full-frame camera is equipped with a variety of enhanced capabilities that were first implemented in the α9 and then again in the α7R III. These include dual media slots, with support in one slot for UHS-II type SD memory cards. Users have a variety of options for storing their content in each of the cards, including separate JPEG / RAW recording, separate still image / movie recording, relay recording and more. Battery life has been greatly extended as well – with a CIPA measurement of up to 710 shots per chargeviii, it offers the world’s longestvii battery life of any Mirrorless camera, as the new camera utilizes Sony’s Z series battery NP-FZ100 that have approximately 2.2 times the capacity of the W series battery NP-FW50 utilized in the α7 II.

The new camera features “My Menu” functionality which allows up to 30 menu items to be registered for instant recall when needed. Users can also apply star ratings to their still images through the camera controls for easier image playback and review, and edit the first three characters of all still image files. Additionally, there is a total of 81 functions that are assignable to 11 custom buttons, and the camera is both dust and moisture resistant.[xv]

The α7 III features high-resolution, high-contrast, fast-start XGA OLED Tru-Finder™ with approximately 2.3 million dots for extremely accurate, true-to-life detail reproduction. “Standard” or “High” display quality settings are also available for both the viewfinder and monitor as well. It also is capable of seamlessly transferring files to a smartphone, tablet, computer or FTP server via Wi-Fi®, while also offering a SuperSpeed USB (USB 3.1 Gen 1) USB Type-C™ Terminal for increased flexibility in power supply and faster image transfer speed during tethered shooting.

The α7 III model also comes with Sony’s new software suite “Imaging Edge”, which extends the creative capabilities of the entire shooting process – from pre-processing to post-processing. “Imaging Edge” provides three PC applications called ‘Remote’, ‘Viewer’ and ‘Edit’, available for free download, which support live-view PC remote shooting and RAW development. In the latest Version 1.1, several improvements have been implemented including about 10%[xvi] faster data transfer speed for remote shooting from PC (PC tether shooting) and about 65%[xvii] improvement in the response speed for RAW image editing.

The camera is also compatible with a wide variety of Sony E-mount accessories including the BC-QZ1 Battery Chargerxviii, VG-C3EM Vertical Grip.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.