Jay: Hi, this is Jay P. Morgan.
Kenneth: And this is Kenneth Merrell.
Spike: And I'm Spike Leffke.
Jay: Today on The Slanted Lens, we're going to compare the Nikon D850, the A7R III from
Sony, and the A7 III from Sony, and the...
Kenneth: The Nikon D850, A7R III, and A7 III.
Jay: Let's get started and see what we can do.
So we're down to our favorite place to review cameras here in the alleys of Pasadena, and
we're going to review these three cameras.
Why did we choose these three cameras?
Kenneth: Honestly, I feel like these, if I was going to recommend a full frame SLR style
camera to someone, these would be the top three choices.
I think it was last year we did the 5D Mark IV versus the D810 versus the A7R II.
So this is almost like that this year with the newest, the latest and greatest.
The Canon didn't make the cut.
They just don't have a camera that I feel like competes at the price point.
Jay: Just really doesn't.
Doesn't really.
Not at all.
Kenneth: Not at all.
In fact, Sony's latest A7 III has a better feature set than the Canon does at like half
the price.
Jay: Yeah.
At half the price.
Kenneth: And that's really the question here.
A lot of people are going to be choosing between the A7R III and the A7 III based on price
and wondering does the resolution matter, is the extra resolution worth the money for
the A7R III.
Are there other features that you're getting as well that make it more of a pro line camera.
And of course, the Nikon D850 I think is the most interesting Nikon camera out there right
now.
Jay: Yeah, which is still on back order.
It's hard to even get a hold of one of them right now because they're so extremely popular.
Kenneth: So popular.
Jay: Three great cameras.
My daughter-in-law is going, "I need a new camera.
I want to step up from a Rebel into something, a full frame camera, but I don't want the
weight necessarily."
She's not sure what to do, you know?
She's only got one or two lenses.
It's not like she's really invested in a big lens kit.
So she really has the ability to go any way she wants, you know, without any problem.
So these are the three cameras that we talked about, I talked about with her.
And so let's look at the picture quality.
Let's look at the ISO.
Let's look at the dynamic range.
Kenneth: Auto focus.
Jay: Auto focus, which is, man, the auto focus has come a long ways on these.
It's pretty amazing.
Kenneth: Yeah, yeah.
I think one of the biggest conversations we're going to have here is DSLR versus mirrorless
and how each of them handles.
They're really different in terms of not only the weight, but like the ergonomics and how
you work them and the speed.
The thing I like about Nikons is I feel like Nikon has been in the game for 100 years and
they really know how to dial in the controls to make it fast for shooting.
I think Sony is kind of still figuring that out a little bit.
But on the other hand, Sony has all these amazing features that they're packing into
these tiny, little bodies.
Jay: Well, the one thing that we know about Nikon is that they are weather resistant.
They're durable cameras.
They're made to be out and to be shooting, they really are.
We don't know how durable the Sony is, how they're long term, you know?
Because they're smaller.
They're just a little more lightweight.
The build is maybe a slightly little less durable.
So I don't know.
There's an issue there about how will they last.
Although I've had A7S for now...since it came out.
Kenneth: Yeah.
Jay: And we used it a lot on set and it's been absolutely fine, so.
Kenneth: By the way, we want to give a huge shout out to BorrowLenses and thank them for
sending us some of these cameras and lenses that we're using today.
BorrowLenses is a super convenient, awesome service that will send rental cameras and
lenses straight to your door so you don't have to waste the time going out and getting
them yourself.
Jay: And it's a great service if you want to check one of these out and see if it's
a camera you really want to buy.
Get it for a weekend.
Shoot it.
It's really a great way to test the camera, so BorrowLenses.
So we're starting with our auto focus test, which is really we have Spike walking towards
us.
I'm on the A7 III and we got that eye detection, so it's really tracking her eye.
Sometimes it kept jumping to her face and then to her eye.
But we'll take a look and see what those images look like.
It looks pretty effective.
I mean, it's certainly buffering out as she walks this distance, and by the end it's kind
of dragging.
The frames are a little slower.
But still, it's pulling the focus right to where she gets right up in the camera.
It's following her all the way in, which is pretty nice.
Kenneth: The Nikon has face detection, but doesn't have the eye focus.
So I'm very curious to see if the eye focus on the Sony makes a huge difference.
Both the Sony bodies have it, the Nikon doesn't.
So I'm wondering if it really gives the Sonys an edge in the auto focus game.
Jay: So we're shooting pretty wide open.
It's 2.8.
It's not as wide as this lens goes.
It's a 1.8 lens and we're shooting at 2.8 at 500th of a second at 200 ISO, so it should
be a really clean image.
And at 500th of a second it should be sharp.
It should just be a matter of whether or not the focus can catch it.
Kenneth: Yeah.
So when we look at these auto focus images, I am just totally astounded by the quality
and clarity of the Nikon, even without the eye detect the Sony has.
Just face detect, continuous focus.
Jay: Now occasionally it looks to me like it's hitting her chin a little more than her
eyes.
It's maybe slightly forward, but, I mean, just ever so slightly.
Kenneth: Yeah, ever so slight.
Jay: But the Nikon did fabulous.
The A7R III did not do quite as well.
It lost a few surprisingly to me when she got up really close.
Kenneth: Yeah, it seems like where the eye tracking would have the biggest target.
Jay: Yeah.
Just really disappointed.
But when it hit it, boy, it's sharp.
It's really sharp.
Kenneth: Yeah, super sharp.
I mean, again, we're looking at, what, 37 frames and 5 or 6 were unusable?
Maybe 1/7th of the photos were out of focus compared to 1/14th, 1/15th of the Nikons.
There's no optical low-pass filter on these Sonys.
And so when it's sharp, it's really sharp.
This is one I'm super interested in.
I mean this is the latest and greatest.
Jay: Everything seems to do pretty well on these when you're at full body.
Then we start making that transition into...
Looking sharp all the way through.
It seems like it's just looking really good.
Boy, this is almost performing the best of all of them.
Kenneth: Yeah, the A7 III performs really well.
Jay: Extremely well.
Kenneth: I would say better than the A7R III, and probably right on par with the Nikon.
Jay: Yep, they seem to be head-to-head, the Nikon.
So we're about to do our resolution test to really look at the image quality on each of
these three cameras.
So we have three different quality settings here.
Nikon and the A7R III are pretty close.
Kenneth: Not that different.
It's 45.7 versus 42.
Pretty close.
Jay: Yeah.
But it's 24 on the A7 III.
Kenneth: This may be the deciding factor for all you people that are trying to decide between
the Sony A7R III and the A7 III is that resolution.
So we have a nice close up shot and we're going to, you know, punch into her eye, see
the eyelashes.
Jay: Then we'll blow that up to 100%, 200%, 400%, and just really see what that looks
like.
Kenneth: Yeah.
Jay: If you're doing landscape, this could be really a big deal.
Kenneth: Yeah.
Jay: You know, if you're blowing things up, doing kind of fashion things as well, it can
be a big deal, so.
Kenneth: Honestly, there aren't a ton of applications where I don't see more resolution being a
real benefit.
Jay: That's true.
"You know what?
Forget the resolution.
It doesn't really matter."
Kenneth: Looking at the resolution on these cameras is actually totally surprising to
me, because I would've expected it to, you know, Nikon wins with the most resolution,
most clarity, you know, and the A7R III is just almost, you know, and then A7 III really
falls behind, but it totally has upturned that.
Jay: You would expect the A7 III to be way behind, but it's really not.
It's not.
Kenneth: It's not.
Jay: The A7R III is definitely the best.
It looks the nicest.
It's sharp.
It's clean.
You see every little blood vessel in her eye.
Kenneth: Yeah, it's crazy.
I think part of the reason why the A7R III is so much more clearer than the Nikon is
because it doesn't have a low pass filter on the sensor, whereas a Nikon does.
And so, you're going to have a little more clarity with this.
Both Sony cameras are going to have a little more clarity.
Jay: Yeah.
It feels like the A7 III is edging out the Nikon almost, or at least it's holding its
own.
Kenneth: Almost.
It's holding its own.
Yeah, yeah.
Jay: And it's half the megapixels.
Kenneth: If you're concerned about the megapixel count on the A7 III, I think you can put your
mind at ease because...
Jay: I don't think it's a major issue.
Kenneth: Yeah, it's not a major issue at all.
Jay: No.
In fact, it starts to make you wonder, the A7R III versus the A III, is it really worth
the extra money for the A7R III.
Kenneth: Yeah, I don't know.
Jay: You know?
Kenneth: One thing that I was really excited to test on these cameras is the ISO capabilities.
I've heard a lot about the A7 Mark III capabilities, but it'll have a lot to live up to versus
the Nikon D850, I think, which has performed the best in the previous tests we've done.
So, let's check them out.
Jay: Let's look at the ISO.
So, there's all 3 of them up with the 100 ISO.
They all look fabulous.
Kenneth: It's amazing.
Jay: I mean the 100, the 200 looks really good.
Kenneth: Four hundred.
Jay: Four hundred looks great.
Kenneth: These days if your camera doesn't look good up to 800, then you should get a
different camera.
Jay: Well there you have it.
Kenneth: Because it's almost kind of expected.
All right, 1600.
Jay: Okay, let's jump up to 1600.
You start really seeing the grain pattern there.
Kenneth: The Nikon is starting to lag, actually, a little bit.
Has a little more chroma noise.
Jay: It is starting to have chroma noise.
Kenneth: A7 III is looking real smooth.
Jay: That's amazing.
The A7 III is looking very good.
Well that's at 1600.
Let's go to 3200 here.
Kenneth: The A7 Mark III still looks killer to my eye.
Very clean.
A lot of detail.
Jay: It looks much clearer than the R III does.
Kenneth: A lot of detail.
The R III is struggling.
Jay: Boy, it's interesting.
The R III is not doing that great.
Kenneth: At this point, what's interesting is the R III is a little darker, and I think
we're going to start seeing the exposure fall off on at least the R III, but the Nikon is
going to remain constant.
Jay: Here, let's look at 6400 here now.
Kenneth: The Nikon is definitely...you definitely see the grain in it, but the color still looks
really good.
A7R III, the exposure is falling off and it's still kind of grainy.
I think the winner thus far is the A7 III with the Nikon coming close behind.
Jay: I think you're right.
Should we jump to...
Well, there's 12800.
The R III just fell off the cliff.
Kenneth: Yeah, it's super dark.
It's like a stop underexposed now.
Jay: And it's just grain everywhere.
Well, Nikon is pretty...
Kenneth: Nikon is doing good.
I mean it's grainy.
Jay: It's still pretty good.
Kenneth: The exposure is holding well.
I mean, I think it looks pretty good.
The A7 III is probably the top performer.
The only thing is here is even the A7 III is a little bit darker at this point than
the Nikon.
So if you push those shadows to where they need to be, I wonder if it would change things.
Jay: Let's look 25600 here.
Look how dark the R III has gotten.
Kenneth: Yeah, super dark, really grainy.
Jay: The consistency of the Nikon with exposure is pretty amazing.
Kenneth: It's pretty amazing.
Jay: It has not changed at all.
Kenneth: Not changing at all.
Yeah, yeah, yeah.
The A7 III, though, still wins out for cleanest, even though the exposure is starting to drop
a little bit.
The color, though.
The color of the Nikon.
Like you said, the consistency is just spot on.
Jay: It really is.
There you go.
Kenneth: The Sony A7R III can push up to 32000 and the A7 III can push to 51200.
Jay: Because they can.
Kenneth: Because they can.
And even then, the 51200 looks as good to me as the 32000 does on the AR III.
I would say you have a stop.
I would say that A7 III has a stop over the AR III in terms of ISO performance.
Jay: It really does.
Yeah, I mean, you're pretending like you're getting this ISO on the A7R III but you're
not.
Kenneth: Yeah, yeah.
It's true.
Jay: You're not because you're losing a stop.
Kenneth: But not only a stop of light, but I think in terms of grain...
Jay: You're gaining the grain.
Kenneth: You're gaining the grain a lot.
Yeah.
Jay: Yep.
Kenneth: So, I mean, the verdict here for me is the A7 III is the best for low light,
though I do like the consistency of the Nikon in terms of exposure and color.
Jay: Nikon was very consistent straight through.
Kenneth: Yeah.
Jay: But the A7 III really is the one that can perform the best in low light.
Kenneth: Yeah, I think so.
Jay: So in the studio we decided to do an over and under test.
We're going to overexpose and underexpose images and then go into camera RAW and try
to correct them as best as we possibly can, see if we can bring them back.
So it kind of shows the dynamic range.
It shows what we can save.
Kenneth: And how far you can push it around.
Yeah.
Jay: How far we can push it.
And it was really interesting some of the things that happened.
I learned one thing, digital cameras like being underexposed a lot more than they like
being overexposed.
Kenneth: Yeah, for sure.
Jay: They really do.
Kenneth: The Nikon continuously surprises me on this one.
Jay: Yeah.
Kenneth: So we're looking at here, we got...well, let's start with the normal exposure.
But now we have +1 stops.
And at this point they're all fine.
They all look okay.
The Sony A7R III is definitely rated darker.
The ISO rating is consistently darker than the Nikon and even darker than the A7 III.
Even in the other tests we've done, the A7 III is a little brighter.
Jay: Yep.
So there's +2 on each one of those cameras.
I mean, what normal kind of skin highlight there is on each one of these cameras, I mean,
it's starting to posterize a little bit.
Kenneth: Yeah.
Jay: You can't save it.
I couldn't save it in, you know, by trying to recover the whites.
Kenneth: I would say the A7R III looks good.
I think that looks normal.
But the Nikon definitely is looking weird.
Jay: So let's look at +3 stops.
Yeah, these are looking really good.
These are looking good.
Kenneth: We probably should've done like 1/3 increments so we could really tell exactly
where each one breaks down.
Jay: At what point?
Because it falls off a cliff between +2 and +3.
Kenneth: Yeah.
The Nikon is definitely the worst.
It does not retain those highlights nearly as well as the A7R III.
A7 III is doing a little better, but none are looking great.
Jay: None are looking very good.
Kenneth: So we're going to say, you know, at +2 stops the A7R III is good.
The other two start to struggle.
And then after that, it's just downhill for everybody.
Jay: It really is.
So going the other direction, I was really shocked at how far you could underexpose these
and still get a very acceptable image.
So let's go to -1.
There's -1.
It's almost not worth commenting on it.
Kenneth: Yeah, it looks fine.
Great.
Jay: It looks clean.
The grain looks clean if you look at the transition up in the top.
Kenneth: Minus two, I'd almost say the same thing.
There's not much really to say about it.
Jay: This is 3 stops underexposed.
I mean, the images in camera RAW are starting to look like there's no one there.
It's just a black.
So you look up and you're thinking, "Oh my word, there's no image there."
Kenneth: Yeah, yeah, yeah.
Jay: But it's amazing.
Kenneth: Then you correct it and it's like, "Whoa, there's a whole picture."
Jay: But you correct it, it's like, "Yeah, were did all that come from?"
Yeah.
Kenneth: Honestly, it makes sense that this is basically the equivalent of ISO 1600.
Jay: That's true.
Kenneth: You know, because you're underexposing it 4 stops and then pushing it.
Yeah, it makes sense.
What's really impressing me though is that you don't see a huge color shift in any of
these cameras as you're getting darker.
I would've expected that a lot more.
You know, maybe not grain but some sort of color shift, but you're really not seeing
too much of it.
Jay: Well, you certainly saw it in the overexposed a whole lot faster, you know?
Kenneth: Oh right, yeah.
It just goes like orange.
Jay: The color goes crazy.
But underexposed, not so much.
So we've got a -5 here.
Kenneth: The Nikon is super consistent, as always.
Jay: As always.
Kenneth: More grainy, but the color is just insane.
Jay: Very grainy there.
Kenneth: The A7R III, yeah, it's darker.
It's darker now significantly.
Jay: It is.
So the conclusion with this would have to be that if you're exposing on all of these
cameras, they're pretty consistent.
It seemed like that Sonys were you say a half a stop.
I was seeing almost a full stop.
When you went overexposed, you were a little safer on the Sonys than you were on the Nikon.
Kenneth: And they're all looking pretty, pretty good under.
Jay: They're neck and neck.
Kenneth: So I mean I would say the A7R III has the best dynamic range because it had
that edge on the highlight, but at the same time it's a little bit darker on the shadow
end.
So it's probably maybe the top in terms of dynamic range, but very close to the others.
The A7 III has totally held up all the way through.
Jay: Yeah, absolutely.
So I'm thinking here.
I mean, it's really important to look at, just for your own understanding of this, what
the original for the -5 stop looks like.
Kenneth: Oh yeah.
Jay: Because it is just dark.
Kenneth: Yeah.
Jay: So here it is, the original, the -5.
The reason this is so important to understand is if you've got an image and thinking, "Oh
my word, I've got nothing here."
Kenneth: You can't do anything.
Jay: You've got a lot more there than you think.
Kenneth: Yeah, absolutely.
Jay: And so don't give up on it.
You know, there's a lot of recovery there and a lot of work you can do in camera RAW
if you have a RAW image.
Kenneth: Right.
Jay: If you've got a JPEG and you have no RAW, you're kind of done.
Yeah, you're done.
Kenneth: Nikon has come a long way in the last few years implementing video.
They weren't super strong with that a few years ago.
But now, I mean the Nikon D850 does 4K at 30 frames per second.
It does 1080 120 frames per second just like the Sony cameras do.
But even then, the Sonys do have a few more video bells and whistles.
So one thing we wanted to look at is just to show you how the standard profiles compare
in the cameras and then the flat profiles.
My feeling is that SLOG3, which is the flattest Sony profile, is going to have a lot more
dynamic range, be a lot more flat than the Nikon will.
And that might be one reason why you'd go with Sony instead if you're looking for that
really flat image.
Jay: You know, also, and I don't know if this is the time to mention it or not, but the
screen, the EVF, on the A7R III is much better than the EVF on the A7 III.
I think that's a big deal for me, because not my favorite thing about the Sonys is the
EVF.
It's a little bit hard.
The A7S was hard to even focus with.
Kenneth: Yeah, yeah, yeah.
Jay: And the A7R II was pretty tough.
Kenneth: Yeah, if you're not doing...you know, if you're not looking through the lens, if
you're relying on a video screen basically to run your camera, then having a really good
EVF is key.
And that very well might be worth the extra money for the A7R III just because then you
can actually see what you're focusing on, especially if you're focusing manual for some
reason.
Looking at the color profiles on these, of course, they all 3 have their standard crunchy
Rec. 709 profile.
The Nikon looks way warmer than the Sony.
Jay: Way warmer.
Kenneth: The Sonys look like they have a more neutral look.
But this is the standard.
Of course, if you're using this primarily for video, you'll probably want to shoot in
a flatter profile.
And a lot of people like to shoot in the SLOG and stuff to get all of the dynamic range
possible, especially if you're shooting to a recorder like we said.
And when it comes to that, there is a huge difference.
The Nikon does not have a true log profile.
They just have their flat picture profile, as flat as it gets for them, and it's really
not.
It's still pretty, you know, punchy and stuff.
But if you want to get all of the dynamic range possible, the Sonys are, like, it's
a huge difference.
Jay: Do you think you can grade these back?
Kenneth: Oh yeah, absolutely.
Jay: The Sonys?
Kenneth: You throw a LED on these Sonys.
This is SLOG3, so this is the flattest profile that Sony has.
You know, this is going to catch 14 stops of dynamic range, whereas the Nikon will probably
have 9 or 10.
You know, 10.
Jay: Boy, what a difference.
Now which one?
Is this the...
Kenneth: The A7R III on the right is a little more contrasty.
Jay: It is.
Kenneth: Even though it's the same picture profile.
It totally surprised me.
I don't know why that is.
Jay: Boy, that's so interesting.
This is where the Nikon really as an application video camera, just doesn't fall so short.
Kenneth: Not quite there.
Yeah, not quite there.
Jay: Not quite there.
So we're going to do our famous slow motion test where we just blow her hair around at
120 frames per second on each of the cameras and just see what that looks like.
I mean, sometimes it breaks up a little bit in the shadows, so we just want to see what
that looks like for each of the cameras.
And so where we go.
It's a creepy uncle [SP].
Kenneth: The real challenge with the slow motion where you're shooting like 120 frames
is the camera is taking tons of information, tons of frames per second, and just cramming
it into this tiny, little bitrate data stream.
Right?
So usually what you see a lot of is you see a lot of aliasing or blockiness.
There's not a lot of detail in the image.
Like we shot the GH5 and the 5SL last time.
There's like no detail at 120 frames per second.
Jay: No.
Kenneth: Yeah.
Jay: And you see things, the hair breaking up.
Kenneth: Yeah, yeah, yeah.
Jay: You know?
Kenneth: This actually looks good.
Jay: This looks pretty clean.
Kenneth: But the Nikon looks pretty clean to me.
Jay: More clean than I would've expected.
Kenneth: Yeah.
I mean, it looks like the 1080p image out of an A7S or, you know, maybe last gen body.
The A7R III, in my mind, looks even a little bit better.
Jay: Than the Nikon?
Kenneth: Than the Nikon.
Jay: Oh yeah.
Kenneth: I mean, it's a little smoother in terms of like the detail.
There was a little bit of aliasing with the Nikon.
I don't know.
They're pretty neck and neck.
It's pretty close.
Jay: But the hair is just clean and as it moves, the movement looks really good.
Kenneth: I will say, this looks slightly out of focus.
Looks like I was focused like just on the tip of her nose or something, but very, very
good.
The A7 III looks more to me like the Nikon did, maybe not quite as smooth in the details.
But all 3 of these honestly look really great at 1080p, 120.
Jay: It's really nice looking in slow motion.
Slow motion is such...it just looks so good when you're doing video.
Kenneth: Yeah, I would totally use this in a production.
Jay: Absolutely.
Kenneth: There's some cameras I would not, but all 3 of these look really great at 120.
Jay: Boy, the A7 III though just keeps surprising me on each one of these tests.
You expect it to be like the little brother who just can't quite keep up, but it's not
the case at all.
Kenneth: It is.
It's just kicking butt all the way through.
So going back to your daughter's question, "Which of these cameras do I buy," what's
your suggestion?
Jay: Boy, I would have a hard time not suggesting for her at a price point of $2,000 getting
the A7 III.
I mean, it's a great camera.
She wants something lightweight.
There's no reason for her to get into Nikon and start spending money on that glass.
I think at this point in her career, if she's just going to be shooting, she's going to
be shooting on Sony, get the Sony A7 III.
Get some glass, you know?
Get a nice 50-millimeter, you know, 1.8 lens.
They have one, G Master?
Kenneth: Yeah, I think the G Master they probably have 1.4.
Jay: Yeah, okay.
So get a 50-millimeter 1.4 G Master lens.
Get a 24-70.
You know, or I say almost for what she does, a 50-millimeter 1.4 and a 70 to 200.
Kenneth: Oh, right.
Jay: You know, and I think you're ready to go.
It is interesting, though.
When you take these really lightweight cameras and you put a G Master lens on them, they
are not lightweight cameras anymore.
Kenneth: Yeah, it's true.
I actually saw someone do a comparison where the G Master lenses are consistently larger
than your L series lenses or your Nikkor lenses.
Jay: Yeah, yeah.
So kind of what you gain, you think you gain, you lose.
Now if you're okay with an F4 lens, that small series of lenses, the 24-70 is a tiny, little
lens and on that camera.
I use that to travel with sometimes because it's just so small and compact.
It's easy to take with you on the road.
But I would have to say, I don't think there's reason for her to spend the money for the
A7R III.
I just don't' think there's a reason.
I think the A7 III is a better camera for her.
First venture into a mirrorless, I think it's a good place to start.
Kenneth: I mean, I think between these three...
Well, first of all, between the Sonys, I think the A7R III is only better in resolution and
it has a slight edge in color rendition, I think, and slight, slight edge in dynamic
range, but other than that.
Jay: I don't think it kept up, which was really upsetting to me because I have an A7R III.
I don't think it kept up in the auto focus with the A7 III.
Kenneth: Yeah, the A7 III is really great with the auto focus.
Jay: It really was.
In the tests that we did, it was on and did not lose that many.
The Nikon was super as well.
That was very, very impressive.
But the A7R III kind of fell out a little bit, and that was discouraging.
Kenneth: And the A7 III, I also think it has the edge in low light by a stop, like we said,
you know?
Jay: Yeah, yeah, it really does.
Kenneth: So not only is it keeping up with the big boys, but it's actually beating them
out in a couple categories, which really makes me think $2,000 for that guy might be the
decision for most people.
Jay: Yeah.
So looking at this, I would guess, if I were to tell the future, that you're going to see
an A9 version that's going to incorporate some of these new technologies.
And you'll see an A7R or an A7S II.
Kenneth: Or III.
Jay: Sorry, A7S III that's going to show you some of these auto focus features a little
better, a little better sensor.
I think we'll see some of that even stronger.
I would love to see them redo the A7R III, but they've just done it, so.
At some point, these are going to collapse on themselves and there's no reason to have
three cameras.
Kenneth: Yeah, I agree.
I agree.
Jay: It doesn't make any sense.
Kenneth: I think the Nikon definitely kept pace.
You know, you go to a Sony convention, they'll tell you about how Sony is the best thing
in the world.
I think the Nikon did really well.
I think it was definitely struggling to keep up in terms of the feature set.
And so, you know, the A7 III is really punching above its weight.
But the Nikon still, if you're a professional photographer that just needs to count on your
gear.
I mean across the ISO range, across the everything, the Nikon was super consistent.
And so you know exactly what you're getting no matter what you're shooting, which I think
is a huge asset for those guys.
Plus I think that the Nikon body is so robust.
Jay: That's the thing.
It's not indestructible, but it's very, very durable.
I mean, some things that Sony has done to get themselves into the category that makes
them competitive like this is the battery life.
Kenneth: Yeah.
Jay: That new battery has made it so that these feel more like a professional camera
now because you have enough battery life to really be able to work with them, not have
them just, you know, die constantly.
I think that's made a big difference.
I think the auto focus features.
I don't know.
There's no wonder my mind why these are the three most popular cameras in this kind of,
you know, across over video or just still photography kind of category.
So these are the cameras people are choosing right now, one of these three.
Kenneth: Definitely.
I would say if I was going to buy one of these three cameras tomorrow, it would probably
be the A7 III just for the price.
I mean, for the price to performance alone, even though I still like the DSLR.
I like handling the Nikon a lot more than I like the Sony just in terms of how it functions.
Jay: And the menus.
Kenneth: And the menus and stuff.
It's so much more simple and easy to use.
But I would rather spend that extra $1,200, $1,300 on glass.
Jay: Yeah, which makes a lot of sense.
And especially if you get a Tamron.
Tamron's just coming out with a 28-75, I think it is, series lens now.
Kenneth: Oh wow.
Jay: So that will be a new entry there.
We'll see a lot more of those kinds of other lens companies giving after-market lenses
for these.
Kenneth: The E-mount.
Jay: Yeah, the E-mount.
It's become, you know, the new kind of future.
It's been a hard thing, because even with some of my things I'm shooting like MIOPS.
You know, it's like they all are now arriving with triggers for the Sony.
You know, and that was not the case, you know, four or five years ago.
Sony was kind of on the outside looking in.
Kenneth: I will say, if Nikon can somehow pull off a miracle and make a $2,000 camera
that performs as well as this, I might be interested.
Jay: So there you have it.
Leave some comments.
We want to hear what you're thinking.
Tell us what you think we did right.
Tell us what you think we can do better next time.
Comment about your feelings about these three cameras.
If you've got them, how do you like using them?
I mean, just get our comments going.
Everyone learns from the comments and the things that people include in that area of
the video so that you can kind of get an idea of what everyone else is facing, what they're
doing.
So leave some comments.
So follow us on Instagram, like us on Facebook, and follow us here at The Slanted Lens.
So keep those cameras rolling.
Kenneth: And keep on clicking.
Jay: Hi, this is Jay P. Morgan, and it's spring here in The Slanted Lens.
You know how can tell spring in The Slanted Lens?
Because I have my bicycle shirt on.
I like to put my bicycle shirt on when springtime comes because now it's time to get out and
ride my bike.
It is springtime.
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