The following are excerpted
from news stories posted on
PDNOnline and PDNPulse.
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In Viewing Condition 3, simulating a large
print, there is little observable noise until
viewing an image shot at ISO 12,800. The Mark
II produced observable noise at the lower ISO
of ISO 6400. Observable noise is primarily in
the very dark portion of the mid-tones.
The dynamic range exhibited by the
Sony a7R Mark III is good, albeit slightly
smaller than that measured from the Mark
II. The widest dynamic range is shown at
ISO 400 and ISO 800 ( 10. 1 f-stops and 10. 2,
respectively). In comparison, the Mark
II showed a dynamic range of 10. 3 at ISO
400. AT ISO 1600, the Mark III captures a
dynamic range of 8. 9 f-stops
Color reproduction is good, with only two
fields showing strong deviation. Mid-tones
and skin tones have very good reproduction,
indicating that this camera could be suitable
The automatic white balance is moderately
good in the Sony a7R Mark III, but worse than
in its predecessor.
Autofocus in bright light takes only 0.24
seconds, with a shutter release lag of 0.05
seconds. Autofocus in low light took only
smidgen longer (0.27 seconds), faster than
the 0.45 seconds of the Mark II.
The Sony a7R Mark III produces better
resolution test results compared to its
predecessor. At ISO 100, 1110 line pairs
per picture height show good resolution,
representing 103 percent of the theoretical
maximum. Texture smoothing in frames
grabbed from video is moderate. Sharpening
in video is also moderate.
Visual noise in frames grabbed from
video is noticeable at both low and high ISO
when viewed at 100 percent. At low ISOs,
visual noise would be below the threshold of
being noticeable in both Viewing Conditions
2 and 3. At high ISOs, visual noise would be
observable. Dynamic range in video is good:
8. 7 f-stops at low ISO and 8.0 at high.
need to be merged in Sony’s free Edge desktop
software utility—not via widely available
software like Photoshop or even processed in
camera (as in Sony’s rivals). Hopefully a future
firmware upgrade will at least composite those
four images together.
Unlike competitive implementations, the
Pixel Shift Multi mode doesn’t offer a motion
correction function, so if there’s slight subject
or camera movement, you’re out of luck.
The a7R III follows the a7 design scheme rather
faithfully, but does make a few useful additions.
The biggest, most beneficial change is the
addition of a multi-function joystick for selecting
AF points. There are also now a pair of SD card
slots, but only one supports the fast UHS-II spec.
Following in the footsteps of the a9, the movie
recording button is now more conveniently
located adjacent to the viewfinder—not wedged
awkwardly near the grip.
The shutter is noticeably quieter, which is a
nice improvement from the clanging shutters
on early a7 models. There’s also a future-proof
You’ll find a 3-inch tilting touch screen
display and a new viewfinder that’s much
sharper than the one found on the a7R II.
No complaints here.
There are three customizable buttons on
the camera plus a function button that pulls up
a menu where you can make quick changes to
settings like ISO and white balance. The a7R III
doesn’t lack for features and the in-camera menu
suffers a bit as a result—there are pages and pages
to scroll through ( 14 for still settings alone!).
Fortunately, the combo of custom buttons and
the quick menu give you ready access to most
of what you’ll want.
Unsurprisingly, the a7R III offers up strong
image quality. JPEGs were sharp and color
accurate, skins tones beautifully rendered
and RAW images offered plenty of room
for tweaking. Set to Auto ISO, the camera
performed well at ISO 6400 and 8000.
Indoor images can look a bit warm in
auto WB, but on balance we found the
camera performed well under a range of
On the video front, the camera records
4K across the full width of the sensor and
delivers beautiful in-camera movies. There’s
a new Hybrid Log-Gamma profile available
for HDR workflows, alongside the usual
S-Log2/3 profiles (which aren’t labeled as such,
confusingly). Full HD recording is available
up to 120 fps. We were particularly struck by
autofocusing during video—it’s much smoother
than earlier Sony models, rolling gently between
subjects with very little hunting. It struck us as
close to, if not equal to, the performance you’ll
get with Canon’s Dual Pixel CMOS AF.
The a7R III delivers some of the best continuous
autofocusing we’ve seen, particularly during
burst modes. Photographing a youth basketball
game, the camera was dogged in locking in and
staying with a moving subject when set to wide