SONY RX1R III
THE VERDICT
The Sony RX1R III is a compact image quality powerhouse built for creators who value portability, discretion and excellence in stills. It excels as an everyday carry, with sharp files and fast autofocus in a pocketable form. But no IBIS, a fixed screen, lack of serious weatherproofing and a high price go against it.
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HOW IT RATES
Features: 8 It has so much tech from the Alpha series but omits a lot of high-quality options Performance: 8 Decent colours but the fixed lens is not the sharpest at the edges Handling: 8 Uses the finely honed controls of Sony’s mirrorless cameras but poor screen and EVF Value for money: 8 It’s a lot of cash for a compact, even though it has Sony’s prized 61-megapixel sensor OVERALL RATING: 8/10 For someone that always has a camera, it captures everyday life in amazing detail Pros: Amazing image quality, super-compact and stealthy Cons: Fixed screen, no IBIS, no weatherproofing, pricey unique. It’s discreet, stylish and small. You can walk through a festival, pull it out in a quiet cafe or hold it steady on a gimbal for mirrorless cameras, and your results will look identical to those caught on gear four times the size. In an age where most creators rely on their phones or bulky hybrid cameras, there’s something powerful about a tool that splits the difference with this much finesse. At £4199/$5098, the RX1R III is a luxury, and one that faces competition from Sony’s own interchangeable- lens bodies. But for filmmakers and content creators who need cinematic image quality in the smallest possible form, it’s an attractive option. The RX1R III doesn’t just revive the notion of a premium compact but also gives the format a new purpose within modern filmmaking.
BACK IN BLACK The third-generation RX1R may have taken a decade to get here but it’s a fine compact if you can afford it
permanently on the front, just like it did on the Mark II. In creative terms, that’s both liberating and limiting. The focal length is a storytelling classic, versatile enough for street scenes, interviews and handheld B roll. Wide open, the f/2 aperture can give a shallow depth-of-field that adds cinematic separation to your subject. At the same time, the lens isn’t flawless. Edges are softer than today’s sensors can really hide, especially at wider apertures, and with only eight elements in seven groups it lacks the optical complexity of modern interchangeable primes. But there’s character here, and character is something content creators often crave more than clinical perfection. Sony has added a feature called Step Crop Shooting, which lets you digitally toggle to 50mm or 70mm views in stills mode. It’s essentially an in-camera crop, but with 61 megapixels, you retain plenty of detail. For filmmakers, it’s less useful as cropping happens in post anyway, but it reinforces that this is a camera designed to do more with one lens than most people expect. There’s also a macro switch on the lens barrel, allowing you to focus at 20cm – perfect for product shots. Ergonomics remain the biggest reminder that this is not a purpose- built cinema tool. The RX1R III has a built-in EVF rather than the pop-up finder of its predecessor, but the rear screen is fixed. For video creators used to an LCD for vlogging or monitoring
at odd angles, this will feel restrictive. Also, there’s no in-body stabilisation, meaning handheld video relies on digital stabilisation or external rigs. There’s a mic jack but no headphone output, limiting professional audio monitoring on-set. These omissions sting more at a high price point as creators expect hybrid flexibility. But, every time you pick it up, you’re reminded why the RX1R III is
FAMILY VALUES The button layout and menus will be familiar to Sony Alpha owners
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