ISSUE 122
42 / GEAR
All this speed and ability to record 4K video at 120fps without any crop comes
at a price in terms of resolution
Global game changer Sony’s speedy sports cam is the first and only mirrorless with a global shutter to end bendy vertical woes in stills and video, cure awful banding in artificial light and abandon maximum flash sync speed. Normal shutters read the signal from the top of the sensor to the bottom. So if there’s fast movement, then vertical lines appear at an angle – a big issue in panning. And if you’ve ever shot in artificial light, you’ll know that banding can ruin shots with some areas being darker or a different colour. Best of all, for serious strobists, it also means flash sync isn’t limited, so creative shooters are free to select the shutter speed they’d like to control the background while still having the full power of their flash units. There’s no HSS flash trickery needed. It’s all because a global shutter reads from the whole sensor at once – and it’s fast, allowing stills burst speeds at up to 120fps with no viewfinder blackout or AF restrictions. Nothing else comes close for fast action. If you really want to amp up your flash creativity instead of being capped at 1/250sec – or 1/400sec in the case of the Sony A1 and A1 II – you can set it to 1/80,000sec and the flash still works. The max drops to 1/16,000sec during high-speed continuous shooting, but that’s hardly a bind. However, using flash is not quite so simple, unless you stick to Sony’s own units. It’s no good being able to sync at any speed if your wireless triggers aren’t fast enough. So you have to dig into the menus and change Flash Timing settings. Then, by trial and error, adjust the delay and take a test shot until you get a full, clean exposure. All this speed and ability to record 4K video at 120fps without any crop comes at a price in terms of resolution, ISO and a small reduction in dynamic range. The A9 III’s 24.6-megapixel stacked CMOS sensor isn’t the most croppable image, and the standard ISO range is 250-25,600 rather than the 100- 51,200 on the older A9 II, which can affect wide apertures on bright days. When shooting video for maximum dynamic range, the S-Log3 setting gives a relatively high base ISO of 2000. You’ll need ND filters to control the aperture in bright conditions. There’s a slight reduction in dynamic range, but both stills and high-resolution 4K/60p video show amazing quality and natural colours – something Sony is often criticised for. The camera is simply incredible at shooting fast-moving subjects. Full-size stills at 120fps is insane, and being able to select the exposure you want when shooting with flash makes this camera worth every penny. The only downside is the relatively low pixel count, which TREE-MENDOUS For colour, resolution and dynamic range, the A1 II is a stunner with incredible performance
Verdict The A1 II moves the original camera on significantly in terms of handling and AF performance, while image quality is still hugely impressive. It’s best in our TIPA tests for both stills and video. If you don’t need the king of speed, it’s the best choice. But for potential A9 III buyers, you’ll instantly know if this is the camera you’ve been waiting your whole life for. Everything else pales into insignificance compared to what a global shutter can do. It’s predominantly for shooters who focus on speed – from sports to wildlife – and serious flash addicts. Of course, there’s the worse low-light performance and lower resolution than some cameras. But the stills quality and 4K video are fantastic. It’s a unique camera and does things that none of its rivals can. If you can make use of these benefits, then it’s the best for you. hurts its TIPA rating of 77 for stills and 85 for video. But the lack of any rolling shutter artefacts is a huge benefit, and the dynamic range is definitely lower – giving more noise at low light. It’s easier to see in stills but it’s there in video too. If this isn’t an issue, the A9 III could be the best camera for shooting action you’ve ever owned, letting you capture images its rivals can’t.
The rivals: Canon and Nikon
When it comes to full-frame flagship mirrorless cameras, Canon and Nikon have taken very different routes – but both have ended up with powerful tools that are more traditional pro-DSLR style in body types. Canon’s EOS R1 is its first One Series mirrorless camera, with a 24.2-megapixel stacked sensor, 40fps burst shooting, 6K Raw video and a raft of pro features, plus the RF lens mount. Meanwhile, Nikon’s Z 9 – launched in 2021 but constantly improved via firmware – proving itself as a benchmark. The Z mount camera boasts a 45.7-megapixel stacked sensor, 8K video and Raw recording. Canon and Nikon can use legacy EF and F mount lenses respectively with adapters. Despite the EOS R1 being Canon’s flagship, its relatively modest resolution and lack of global shutter meant it landed to mixed reactions from spec-hungry audiences. However, in real-world use, it shines thanks to Canon’s advanced autofocus, with the new cross-type AF system offering unmatched precision. Coupled with deep-learning AI and Canon’s Digic accelerator, it can track subjects through fast action like no other camera in Canon’s line-up. The R1 might not match its rivals for headline-grabbing specs, but in the hands
of sports shooters and news photographers, the speed, responsiveness and handling make it a powerhouse. Its TIPA ratings are 76 for photo image quality and 74 for video. With its higher-resolution sensor, the Z 9 has a TIPA photo score of 84 and video of 75. There’s no mechanical shutter at all – a testament to Nikon’s confidence in its stacked sensor. With minimal rolling shutter issues, it’s ideal for fast-moving video or stills. On paper, the Z 9 seems like the more impressive camera: more resolution, more video options, better scores in independent TIPA tests for both stills and video and a lower price at around £4349 compared to the R1’s £6799. However, both fall short of the TIPA scores of the £6299 Sony A1 II. But cameras aren’t just about specs. Canon’s R1 feels faster in the hand, with AF that delivers more consistent, tack-sharp images at 40fps and a uniquely Canon handling experience. For those invested in the RF or EF ecosystem, it’s the pro body they’ve been waiting for. In short, Nikon’s Z 9 is the high-res, all-in- one hybrid that excels in versatility and value as it significantly undercuts all the others. Canon’s EOS R1 might have fewer standout numbers, but nails the fundamentals that working pros demand.
Sony A1 II
Features 9 It has the lot, apart from a global shutter and Raw video Performance 10 Amazing video and photos from a cam that does it all Handling 9 Definite improvements Value for money 9 It’s the price of camera and media that holds it back Overall rating 9 It’s a stunning all- round camera that does everything Pros 50-megapixel image quality, fast speed and 8K video
Cons No internal Raw video recording like some rivals
Sony A9 III
Features 9 Global shutter but no internal Raw video Performance 9 Incredibly fast frame rates and no line skewing Handling 9 Same as the A1 II Value for money 9 Cheaper than the flagship and some rivals Overall rating 9 The only full-frame mirrorless with a global shutter Pros No more bendy verticals, no upper flash sync Cons Not the very best stills quality
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