Panasonic is certainly a better choice than Nikon for a mostly video workflow, and it’s an interesting choice with Sony. The Nikon Nikon Z6 is the same as the Nikon Z7 except for free-run frame rate and resolution. The second and third caveats are related, and have to do with the difficulty of making and displaying prints above 40×60”. Now that Nikon has entered the full-frame mirrorless camera market, the natural question that comes up is how its first model, the Z7, compares to Sony's high resolution king, the a7R III. Another important factor is the availability of image stabilization. Both are substantially heavier than the little f4 Nikkor, as one would expect with their focal lengths and maximum apertures. Either of these cameras will print beautifully as large as your printer will go – pairing with current-generation 44” printers from Canon, Epson and HP. For this reason, comparisons of one camera with an internal flash to another without will not be comparable. You can revoke your consent to receive emails at any time by using the SafeUnsubscribe SafeUnsubscribe® link, found at the bottom of every email. The latter has a longer eye point (23mm vs 21mm on the Z7) and the refresh rate can go as high as 100fps (PAL) or 120fps (NTSC), whereas the Nikon is fixed at 60fps. The Leica also has software-based corrections for Leica M lenses used on an adapter, which the Panasonic lacks. The longest GFX lens is 250mm, while Nikon has a full current line (using the FTZ adapter) up to 800mm, with older rarities up to a 1200-1700mm zoom and a 2000mm mirror lens. The second caveat is that heavy lenses mounted on the FTZ should be carried by the lens, not the body. The Z7 is a much more capable video camera than the D850, with usable video AF, image stabilization and the ability to output very high quality 10-bit log video to an external recorder. Panasonic’s camera sales, divided between L-mount and Micro 4/3, are maybe 1/8 of Nikon’s, and an even smaller percentage of Sony’s. I wish I had the best of Sony’s 50mm primes, to compare against my bitingly sharp 50mm f1.8 Z Nikkor in some test shots, and I wish I had a long lens for the Sony. At first glance, that seems like a substantial resolution advantage in Sony’s favor. Looking for a Nikon Z7 vs Sony A7R IV comparison? Canon EOS R5 vs Nikon Z7 II vs Panasonic S1R vs Sony A7R IV: Summary. The two third generation variants of the Sony design found in the D850, Z7 and A7r IV are beyond any contest from the EOS 5Ds sensor, which is still on its first generation. Most importantly, the largest printer most of us will ever use is a 44” model – 60” printers are industrial machines that much more than double the cost of 44” printers. It will shoot 8k video at 30 frames per second and 4k at 120 fps, both in a raw video format! The closest competitor is Sony’s own previous-generation A7r mk III and the second-closest is Nikon’s D850 DSLR. The L-mount lenses it accepts tend (with a few exceptions) to be big and heavy as well. Cameras with higher effective ISO will be better choices for indoor photography, night shooting, and indoor sports photography, especially if you intend to make large prints. I haven’t pushed the Z7’s video capability terribly hard, but the little I’ve done has been excellent. If you’re familiar with the a7R line of cameras, you’re probably already well versed in what they have to offer, and I’ll spare you on talking about every little detail about the camera. I don’t know how 6 months with the Sony, and just picking it up on day-to-day shoots for a while, would change my experiences. The Z7 is actually a more precise focuser than the D850 – every mirrorless camera focuses more precisely than any DSLR (unless the DSLR is in live-view mode, when it focuses just like a mirrorless camera) because mirrorless cameras focus directly on the sensor, while DSLRs use a separate AF sensor. One caveat that all camera reviews should include, but few do: The Nikon Z7 reviewed here is my personal camera that I have owned for almost two years, and have over 8000 images on. The full-frame EOS-R system has seen high-end lens introductions, but even the higher-end EOS-R body is decidedly midrange – a competitor to the Sony A7 III and Nikon Z6, not the A7r IV and the Z7. Luminous Landscape will use the information you provide on this form to be in touch with you and to provide updates and marketing. The Nikon Z7 and the Sony Alpha A7R IV are two enthusiast cameras that were officially introduced, respectively, in August 2018 and July 2019. The third is the camera many of us have been waiting for – Canon’s EOS-R5. Sony a7R IV, Nikon Z7 and Panasonic S1R are all the top full frame mirrorless cameras on the market. Imaging Resource © 1998 - 2020. Assuming that you want at least a 1” margin to handle big prints (you do, and the only exception is wrapped canvas), the practical maximum print size without specialized equipment is 42” wide. We take a look at how these two cameras stack up against one another. The second alternative to Sony and Nikon in the same quality and price range is medium format – which almost certainly means Fujifilm medium format. Full-frame will always mean faster frame rates and faster AF. There are four additional competitors, three of which are more specialized than the A7r IV and the Z7. The Z lens line is small (8 lenses currently available, with another two hitting the market in the next few weeks), but Nikon has a secret weapon here. Their APS-C EOS-M system has been mostly low-end bodies coupled with inexpensive f6.3 lenses – the few higher-end bodies have suffered from a lack of lenses. Maximum effective ISO is an estimate of the highest sensitivity at which a camera can capture excellent quality photos. The step above the two Panasonic hybrids is occupied by RED, the Sony F55, Cinema EOS, Blackmagic and the like – and Panasonic’s pro video division is an important player in that world. The Black Friday Camera Deals 2019 are now live and you get the one you like this holiday shopping seanson: Even 8192×5120 still (slightly) crops a Z7 image, and crops an A7rIV image by a little more. There is a small, intermediate class of lenses in the 4-6 lb weight range (mostly very long consumer zooms like the Nikkor 200-500 f5.6 and its competitors from Sigma and Tamron) that demand extra care on the FTZ – just throw a Blackrapid strap on the lens. I only had two lenses with the A7r IV, a 24-105mm f4 and a 12-24mm f4, both good lenses, and the 12-24 has a unique perspective as one of the widest rectilinear full-frame lenses in the world. The A7r IV is in the modern Sony full-frame design tradition that actually started with the fixed-lens RX1. Almost without exception, both second generation versions of the Sony sensor – the Nikon-modified 36 MP sensor that gets down to ISO 64 in the D810 and the 42.4 MP back-side illuminated version in the A7r II and A7r III are significantly better than the Canon sensor. Both the S1R and the related Leica SL2 use a variation of contrast-detect autofocus alone, giving up the speed of phase-detect AF for extreme precision and no chance of AF-related banding. How to trade off the Nikon’s little bit of extra shadow detail for the Sony’s extra resolution? The cameras are quite similar in terms of their overall ergonomics, with the Sony A7R IV being my least favorite of the group due to its cluttered menu system and buttons. It’s an excellent performer for a bargain price if you have the right lenses. Image quality: resolution and sharpness. Canon has released partial specifications on their EOS-R5, a body which looks like it will be highly competitive with these two cameras. Looking for a Sony A7R IV vs Nikon Z6 II comparison? Nikon Z7 vs Sony A7R IV. Sony Alpha A7R IV and Nikon Z7 compared objectively by Camerarace. Their own SA-mount (a weird hybrid of Canon and Pentax standards just barely incompatible with both) never gained traction, and then they show up in the L-mount alliance not only with the expected lenses but with a tiny body with three tripod mounting points but no viewfinder! Mounting prints also becomes much trickier above 40×60” – archival matting and backing materials become harder to find. The 14-30mm f4 Z lens is less than half the weight of the 14-24mm f2.8 DSLR lens. Perhaps not surprisingly, the Leica is more expensive than the Panasonic or any other competitor other than medium format. The mode dial, exposure compensation, shutter speed dial and custom button (although later models add a second top-deck custom button) are all directly inherited from the RX1. Both Nikon and Sony offer zoom lenses ranging from compact travel zooms to full-on professional f2.8 lenses and from ultrawide to extreme telephoto, while Fujifilm has three big, heavy, modest-speed zooms in the midrange of focal length. It’ll shoot 3 frames per second, but it’s a shame to use it that way – keep it locked in single shot mode. Generally, newer sensors will outperform the older. I’ve owned nine Nikons since then, more than any other brand, and have almost certainly made 50,000 or more images on Nikon cameras. Both will handle the rigors of field use in difficult conditions. Couple that with Fujifilm’s excellent color science (which is also found in the GFX 50R), and the combination provides simply the finest image quality I have seen – the only comparison is 8×10 inch film. Nikon Z7 – Nikon DR performance is bit zig-zag, Nikon Z7 DR is excellent at base ISO 50, from ISO 100 to ISO 400 Nikon Z7 DR performance is below than Sony A7R IV . Nikon Z7 with 24-70mm Lens: $3,996.95 at Amazon. Modern Sonyish is not quite as fixed as Modern Nikonese – how many different locations has Sony used for the movie record button, for example? vs. Nikon D5. Sony has options reaching 600mm, although with slightly fewer choices than Nikon’s extensive lineup (notably: where’s that 300mm f2.8, Sony). Full-frame will always have a size and weight advantage, especially in the lenses. The Nikon has a higher magnification of 0.8x versus 0.78x on the Sony. At this level, a $300-$700 difference in body cost probably shouldn’t be the deciding factor. The CyberShot name co… 3. The base sensitivity of the Nikon Z7 is ISO 64 but you can go down to ISO 32 (L1.0) if you wish. I have used two other Sonys extensively – a NEX-7 and an original A7r, both years ago, and neither with lenses that really lived up to the bodies. At the time, mirrorless cameras had viewfinders in several different locations – rangefinder-style on the left edge, centered, but within the body, and in a pentaprism-style hump atop the body, where a shoe-mounted viewfinder would go. The only other brand I have comparable experience with is Fujifilm – my other digital system. It seems to take the same price point as the A7R IV, but using the much older sensor from the A7R III. The EOS-R lacks any form of image stabilization, which every competitive body provides. Specifications and performance are similar enough that the choice between them comes down to which control scheme you prefer. Maximum effective ISO test data courtesy of DxO Mark. On the other hand, as long as Sony (who is ultimately responsible for the sensors in all of these cameras and many others as well) continues to develop the two sensor formats in parallel, the best superslide sensors will always offer more resolution, less noise and better dynamic range than the best full-frame sensors. Image quality is very close to a wash, as the sensor size advantage of the Fujifilm is more or less neutralized by the newer technology and additional resolution of the Sony, and by the newer technology and lower base ISO of the Nikon. The sensors in vaguely affordable medium format cameras are not close to the size of a 645 film frame, let alone any of the larger medium format film frames ranging from 6×6 cm up to 6×17 cm – they are roughly 168% of the area of full frame, and 62% the area of 645 – right in between the two. As of right now, the specifications are partial, nobody has hands-on experience with an EOS-R5, and we don’t even know exactly what it looks or feels like. At the other end of the scale, the highest native sensitivity of the Nikon Z7 is ISO 25600, but two boosted settings, ISO 51200 and ISO 102400, are also available. That’s ISO 100 for the Panasonic and Sony, and ISO 64 for the Nikon. Sigma have generally made a few quirky bodies with oddball mounts. Sony’s video-centric hybrid, the A7sII, is really old, and it’s arguable whether it’s actually a better video camera than many video-capable still cameras. Sony a7R III Mirrorless Camera: 42.4MP Full Frame High Resolution Interchangeable Lens Digital Camera with Front End LSI Image Processor, 4K HDR Video and 3" LCD Screen - … Nikon Z7 and Sony Alpha A7R IV compared objectively by Camerarace. Since the RX1, the pentaprism-style finder has become the standard across most manufacturers, so it doesn’t seem to be a part of Sony’s design language – but it certainly was at the time. For printing, the Sony has a 15% linear resolution advantage. Only some of the lenses, not including several of the most interesting, feature lens-based stabilization. The little Sigma fp adds another intriguing choice to a multi-brand system of this type. The headline specification everybody’s talking about has to do with video, rather than stills. Because of the difference in acuity between even high-resolution film and modern digital sensors, not only these superslide sensors, but high resolution 24x36mm sensors as well offer the resolution of large-format film. Some will be slow-motion, some will be real-time, and some will be time-lapse. The higher magnification coupled with the slightly shorter eye point makes the screen look b… First of all, the Nikon has an extraordinary high-detail ISO 64 setting that is genuinely noiseless in the shadows. Find out where the A7R IV wins! Sony has dethr… If you shoot sports and wildlife, mirrorless is still one generation behind the best DSLRs, and Nikon mirrorless is a bit behind Sony mirrorless. Having a lot of screw-drive lenses, or one or two particularly valuable ones (an old exotic telephoto you don’t want to replace that is neither the current AF-S nor the intermediate AF-I type, for example) is one of the best reasons to look at the D850. Better low-light and dynamic range (all else equal), Check settings with a screen on top of the camera, Can mean greater resolution or a brighter screen, Combine multiple shots to form a super hi-res version, Simplifies pairing your camera with supported phones, Newer cameras often support more advanced features, Take more JPEG shots before waiting (burst mode), Your camera will highlight what's in focus, You'll be able to frame photos even when the sun is out, Reduces the effects of camera shake at slower shutter speeds, Interact with your camera just like your smartphone, Usually improves live view and video AF performance, Improved sound fidelity when shooting video, Use HDMI output to monitor or review video, Off-camera flashes open new possibilities, Monitor audio recording while you shoot video, Hold the shutter open manually for long exposures, Tilt and swivel the screen for maximum shooting flexibility, Stitches multiple shots into a panoramic photo. So far, the superb 100 MP sensor is only available in the big, heavy, expensive GFX 100 body – but it will spread. Will the brand-new Canon sensor have weaker dynamic range like its predecessor, or will it be closer to the Sony-derived sensors? Nikon Z7. I’ve never seen a print that big from the Sony except at PhotoPlus, and it is hard to make critical judgments at a show, where you don’t know how the images are processed. From prints at PhotoPlus, I can confidently say that the Sony prints big, and that it does so very well, but not how much better or worse than it is than the lower-resolution Nikon with a lower base ISO. The Nikon Z7 II and the Sony Alpha A7R IV are two enthusiast cameras that were announced, respectively, in October 2020 and July 2019. Mine is joining me on hundreds of miles of the Pacific Crest Trail as soon as the trail opens. For real world use, I’ve grown quite fond of the Z7 viewfinder. The S1H (a sibling model to the high-resolution S1R) is probably the most capable video camera in the mirrorless world, and their Micro 4/3 GH5 is also an important still/video hybrid. I had it for about a month, made close to 1000 images with it (a mixture of test shots and “real” landscape images), and got to know it a bit – but I have nothing like the experience with Sony that I do with Nikon. Jul 17, 2019. Tony Northrup has compared the Nikon Z7 image quality with the Nikon D850 , Canon EOS R and Sony a7R III cameras. The cameras handle very differently. ... as you can see in this quick side-by-side comparison of JPEGs shot on the 42MP Sony a7R III and the newly released 61MP Sony a7R IV. There are several competitors to the top-end Nikon and Sony bodies that are worth looking at, although nothing is as similar to them as they are to each other. Would anybody remember APS-C if it weren’t close to the area of most sub-full frame DSLR sensors? The two cameras are closely matched and each can produce pro-quality stills and video content. The 8k video mode will probably require a sensor at least 8192 pixels across (most speculation is assuming “true 8k” at 8192 pixels, rather than Quad UHD at 7680 pixels, although I haven’t seen that absolutely confirmed). vs. Sony Alpha a7 III. Leica and Sigma also make L-mount bodies, but neither one is a mainstream camera maker that is likely to continue the line in really active development on their own. Canon’s previous attempt at a 50 MP sensor, found in the EOS 5Ds and 5Ds R DSLRs, was a decent sensor, but it had much weaker dynamic range than other high-resolution sensors. Part 1- introduction and competitive landscape. Material on this site may not be reproduced, distributed, transmitted or otherwise used without the prior written consent of The Imaging Resource. It will take advantage of the high-end Canon RF lenses that are already out there, and will provide a solid platform for future experiments in high-end lens design. The Z7 and A7R III use an electronic viewfinder with a 0.5in OLED panel and 3.6 million dots of resolution. Video specs like that will open up real possibilities for artwork that uses motion in unusual ways, as well as for “conventional” narrative video. The other reason to look at the D850 is focusing. The lens selection will always be better in full-frame, including fast primes and a wide range of zooms. Find the best one in different shooting situations and the most suitable one for each photographic genre, thanks to an exclusive search engine that analyzes and compares their technical features through Artificial Intelligence. Panasonic bodies with Leica lenses are one possible choice, as is a mixed system, although the body controls are very different. 60” paper is much harder to come by, and options are much more limited, while 24” and 44” are where the great diversity of wonderful roll papers is found. Both of these cameras will handle any canvas print you can make on a 44” printer with aplomb, and I suspect that even a 60” printer would be fine. Lighter lenses are just fine to pick up by the body. He lives in Cambridge, MA when not in wild place... [ Author’s Page and Articles ], Turning Photographs into Art Part 1: Letting Go, Introduction to Landscape Astrophotography. Filed Under: Reviews Tagged With: GFX 100, Lieca, LiecaSL2, member, member-only, members, Members Only, Mirrorless, Nikon Mirrorless, Nikon Z7, Panasonic, sigma, Sony a7r IV, Sony Mirrorless. The GFX 100 sensor really is different, with twice the resolution of the GFX 50R and the dynamic range of a truly modern sensor. So far, Canon’s mirrorless body entries have been disappointing to serious photographers. My concern though is that Nikon aren't really competing with Sony in any meaningful way in the mirrorless market. The following images are 100% crops taken from a five-stop underexposed image, recovered in Lightroom. Without looking very closely at prints around 40×60” from both cameras, it would be very hard to tell. At least in part, this is a result of who’s supporting it – video-loving Panasonic, elite Leica and lensmaker Sigma. Turn off the autofocus, and be thankful for the (very) long roll of film in it, and you could forget that it’s a digital camera. If you want the best image quality you can afford and carry, one of these two cameras is likely to be your choice. vs. Sony Alpha a7R III. Both will fill any display – including 8K monitors – with a glorious still image, although neither shoots 8K video. vs. Nikon Z7. The Nikon Z7 takes the lead here giving us a whopping 45.4 MP (8256 x 5504px) image resolution, which is 3MP (7%) larger than the Sony a7R III’s 42.4 MP (7952 x 5304px) image resolution If the still resolution were THAT high, Canon would almost certainly be boasting about it – so it’s nearly certain to be at or just above 8192 pixels, for a still resolution right in the neighborhood of 45 MP. They’re actually beyond most 4×5 inch films, somewhere in the neighborhood of decent 5×7. The A7R IV can't be beat for technical image quality, although as an artist I still prefer the vivid JPGs I get direct-from-camera from my Nikons or Canons over the somewhat more sedate Sony JPGs — but that's just me. An important factor when comparing digital cameras is also camera generation. I look forward to getting an EOS-R5 in to test here – how will the stills hold up to the current kings of the mirrorless hill? By submitting this form, you are consenting to receive marketing emails from: Luminous-Landscape.com, 1060 North Capitol Ave., Suite C-375, Indianapolis, IN, 46204 United States, http://www.luminous-landscape.com. I suspect so (in the next year or two), and if not, the other possibility is a really modern sensor in the 60-75 MP range, which should have image quality a significant step above the best of full-frame. The A7R IV supports high resolution composite and NFC. If you are spending all that money to improve image quality you don't want to cheap out on the dome or wet wide optics. The Mavica would later go digital, but Sony waited almost a decade before launching another camera line, when it introduced the CyberShot series in 1996. They were large, but relatively traditional rangefinders, with a shutter speed dial on the top, and focusing and aperture controls on lens rings (a few of the later 645 models were autofocus and had slightly different controls). The Z7 has bigger pixels and a top deck display. I got to know it well enough to like it, but never well enough that it just fit in my hand like my Z7 does. The Nikon Z7 and Sony A7R III share similar sensor specifications: they house a 35mm format (full-frame) chip with a BSI (Backside Illuminated) design, which allows for more light gathering than a conventional structure. Its ruggedness and light weight beg for landscape expeditions (all the while wondering how Ansel Adams used to lug 8×10 inch film holders to the top of Half Dome!). Until this release, those video specs have been the province of RED digital cinema cameras (and very little else). If it’s a ~45 MP sensor, what about other aspects of image quality? Panasonic could either choose to drop the still and hybrid camera business entirely, or they could give it to the pro video division (it’s oddly buried in consumer appliances right now). The GFX 50R is a conscious tribute to the “Texas Leicas” Fujifilm used to make in the film era. If you’re a video-oriented shooter with other Panasonic bodies, the Panasonic is probably your choice, while Leicaphiles will choose the SL2. The tiny, video-oriented Sigma fp adds further interest to the L-mount in a mostly video sense – it can get places no other equally capable video camera can. Frame sizes ranged from 645 to 6×9 or even 6×17 cm (there is some argument as to whether the big panoramic cameras were true Texas Leicas). How will the body handle? The Z7 saves nearly 1/3 of the weight of the D850, and the real difference is more than that with some of the lenses. Special note: The measurement standard for battery life stipulates that if a camera has an internal flash, it must be used for 50% of photos taken. Or any other competitor other than medium format another without will not be reproduced, distributed, transmitted otherwise... 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