I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen.
Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.
The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos.
(Image credit: Future)
It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer.
It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.
In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof".
(Image credit: Future)
You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use.
The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.
(Image credit: Future)
I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.
With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry.
If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.
(Image credit: Future)
Camp Snap camera photo samples
Image 1 of 14
(Image credit: Future)
Image 2 of 14
(Image credit: Future)
Image 3 of 14
(Image credit: Future)
Image 4 of 14
(Image credit: Future)
Image 5 of 14
(Image credit: Future)
Image 6 of 14
(Image credit: Future)
Image 7 of 14
(Image credit: Future)
Image 8 of 14
(Image credit: Future)
Image 9 of 14
(Image credit: Future)
Image 10 of 14
(Image credit: Future)
Image 11 of 14
(Image credit: Future)
Image 12 of 14
(Image credit: Future)
Image 13 of 14
(Image credit: Future)
Image 14 of 14
(Image credit: Future)
Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.
Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord.
Camp Snap: Price and availability
Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia.
I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.
Should I buy the Camp Snap camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Camp Snap camera
I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder.
I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen.
Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.
The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos.
(Image credit: Future)
It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer.
It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.
In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof".
(Image credit: Future)
You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use.
The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.
(Image credit: Future)
I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.
With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry.
If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.
(Image credit: Future)
Camp Snap camera photo samples
Image 1 of 14
(Image credit: Future)
Image 2 of 14
(Image credit: Future)
Image 3 of 14
(Image credit: Future)
Image 4 of 14
(Image credit: Future)
Image 5 of 14
(Image credit: Future)
Image 6 of 14
(Image credit: Future)
Image 7 of 14
(Image credit: Future)
Image 8 of 14
(Image credit: Future)
Image 9 of 14
(Image credit: Future)
Image 10 of 14
(Image credit: Future)
Image 11 of 14
(Image credit: Future)
Image 12 of 14
(Image credit: Future)
Image 13 of 14
(Image credit: Future)
Image 14 of 14
(Image credit: Future)
Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.
Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord.
Camp Snap: Price and availability
Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia.
I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.
Should I buy the Camp Snap camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Camp Snap camera
I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder.
• Original review date: June 2022
• Adds a 40mm f/2.8 lens to the existing Ricoh GR III
• Launch price: $999 / £899 / AU$1,779
• Official price now: around $1,050 / £999 / AU$1,599
Update: May 2024. Two years after we first reviewed it, we still think the Ricoh GR IIIx is one of the best compact cameras you can buy. Its combination of a large sensor, sharp lens and tidy dimensions continues to impress in 2024. This remains a fantastic shooting tool to keep in your pocket, especially if you’re a street photography fan. Its unique feature set has made the Ricoh GR IIIx a very popular camera, which is why you’ll find most online stores listing it as “out of stock” or “awaiting stock”. That’s also why seasonal discounts on the model are uncommon, with the GR IIIx generally marketed at its full RRP. Both of those factors mean your easiest route to acquiring one at a decent price is to look for second-hand or refurbished options in good condition, which can be found if you look around online.
Two-minute review
The new Ricoh GR IIIx is the latest in a long line of discrete compact cameras that are small enough to slip into your pocket, but somehow boast a large APS-C sensor and a sharp, fixed focal length lens.
The Ricoh GR series has carved out a niche market, being particularly popular with street photographers and everyday snappers who love the camera's quick response, intuitive handling and, more recently, Snap Focus system to capture decisive moments. As a result, they've long been mainstays in our guides to the best compact cameras and the best travel cameras.
Yet one thing that many GR lovers have pined for is a more telephoto focal length than the 28mm f/2.8 lens found in the most recent iteration, the GR III. Well, now their wish has come true in the GR IIIx, a camera that is virtually identical to the GR III in every way, except it has a 40mm f/2.8 equivalent lens.
(Image credit: Future)
A 28mm lens is essentially the same focal length as a smartphone's standard camera, making it the most universally familiar focal length, while 40mm is closer to a phone's portrait lens. Another way to appreciate the difference between the two focal lengths is that 28mm represents what you can see, while 40mm is what you focus on.
We'll get more into the practical differences between those two focal lengths in these cameras in our in-depth review. Suffice to say, there are scenarios more suited to the 28mm lens, and others best suited for 40mm. In either case, limiting yourself to a particular focal length can be a useful creative discipline for photographers, though if we could be greedy, we'd like a GR III in one pocket and the GR III X in the other.
Perhaps Ricoh will keep going in the Sigma Quattro approach by adding further models like a 75mm f/2.8, though the GR IIIx does have a useable crop mode taken from the 24.2MP sensor, going up to 71mm. There is also an optional 75mm GT-2 Tele Conversion lens, but adding accessories and bulk to a GR III camera somehow seems sacrilegious – yes, even a flashgun via the hotshoe.
Other than the new lens, it's as you were, for good and for bad. If you're looking to get the most for your money based on a spec sheet, then the GR IIIx is not for you. At $999 / £899 / AU$1,799, it's more than the GR III on release and for that money you could get an APS-C interchangeable lens camera with a lens or two, or a fantastic smartphone.
(Image credit: Future)
The GR IIIx's battery life is poor. There's also no built-in flash, viewfinder or even an optional EVF via the hotshoe, the rear touchscreen is fixed, video recording is limited to full HD with no mic input, plus AF is jittery. That's a few downsides, so why is the GR IIIx so expensive? Well, there really is no other pocket camera like it today, especially with this new lens – trust us, we've searched hard.
Perhaps its closest rival is the Fujfilm XF10, or various discontinued cameras like the Fujifilm X70 and Nikon Coolpix A, all of which have a 28mm lens. The GR IIIx has more street guile than all of these options, though we'd love a tilt-screen. Other large-sensor compacts like the Fujifilm X100 series or the smallest interchangeable lens cameras with 40mm pancake lens attached are no comparison, being much bigger.
More importantly than features, the GR IIIx is a joy to use. It's a camera that you want to have in your pocket. It seems so intuitive to general quick response photography, and is easy to customize with tools that experienced photographers will love. The in-camera raw editing and seamless wireless connection to a smartphone (in our experience with a Google Pixel) means you can share edited pictures easily on the fly, too.
Throughout our review, we were particularly interested to know how the new 40mm lens affects the handling of this pocket shooter, and if the lens quality is just as good. Read on to find out in our in-depth Ricoh GR IIIx review, and for additional info check out our Ricoh GR III review.
Ricoh GR IIIx release date and price
The Ricoh GR IIIx is available to buy now for $999 / £899 / AU$1,779. A new 'Urban Edition' was more recently launched for a premium price of $1,099 / £999 (although it's strangely cheaper in Australia at $AU1,549). It's limited to 2,000 units worldwide and has a metallic grey body, blue ring cap and comes supplied with leather strap.
(Image credit: Future)
Additional GR IIIx accessories include the GT-2 Tele Conversion lens for a 75mm focal length, although the GR IIIx is not compatible with the GW-4 Wide conversion lens for the GR III. There is a GV-3 external mini optical viewfinder, while users can modify the look of the GR IIIx with different color ring caps (GN-2).
Perhaps the wisest additions to the GR IIIx are additional DB-110 batteries, while we in particular have enjoyed the camera's handling with an optional third party thumb grip.
Ricoh GR IIIx: design
A true pocket camera
Fixed 3in touch screen
New 40mm f/2.8 lens
On the surface, the GR IIIx is a simple, sturdy camera. It's stubbier and narrower than a smartphone, though it is deeper at 35mm according to our tape measure. That's as narrow as APS-C cameras come and the GR IIIx easily slips into a trouser pocket. It's also super light, at 262g with battery and card.
It's possible to hold and touch focus on the GR IIIx the same way as you would when shooting with a phone, so in public you can relax and blend in. If you don't need touch focus, single-handed operation in any format works a treat, especially with an optional thumb grip.
Despite its simplicity and point-and-shoot nature, there's more to the rugged GR IIIx than meets the eye. Twin dials make changes to exposure, including exposure compensation. Without a thumb grip in place, the rear dial can easily be knocked, though push it in and a quick access menu for regularly changed settings is revealed; Picture Style, Focus mode, Metering, File Format and screen brightness.
(Image credit: Future)
Watch out for the shooting mode dial, too – the lock isn't the strongest and we had a few times where the mode had switched between goes with the camera. On that dial is the usual PASM exposure modes, plus three user defined shooting modes (U1 to U3).
Custom shooting modes are super useful for those that take the time to create unique camera settings for specific scenarios, assigning a comprehensive range of settings, including Auto ISO with control over minimum acceptable shutter speed, and the Focus mode that includes the clever Snap Focus.
The fixed 3in LCD touchscreen is a little hard to view in bright daylight. Pump the 1.03-million-dot screen up to its brightest setting and things get a little clearer. There are a number of concessions made in order to keep the GR IIIx so small. If we were to able to make a single change it would be to have a flip-up screen which would be so handy for multi-angle shooting.
(Image credit: Future)
There's no denying that the 200-shot battery life is modest. Honestly, we didn't mind it and sometimes working within limitations – like a 36-roll of film – can be good practice. Also, the camera can be charged on-the-go via USB-C and additional DB-110 batteries can be picked up on the cheap.
For the lens ring cap, Ricoh has opted for style over substance. Rather than offer controls like manual focus or aperture (which we haven't necessarily pined for), the GR IIIx lens ring cap is functionless and can be swapped out with different color ring caps to personalize the camera.
After much time with the camera in and out the pocket, we started to feel that the protective lens cap could be a wise purchase to protect the front of the lens. The camera does, however, come with a basic wrist strap and a nice touch is that the GR IIIx has an internal memory of 2GB, which offers plenty of storage for pictures and Full HD videos. Beyond 2GB, you'll need a UHS-I SD memory card.
Ricoh GR IIIx: features and performance
Quick start-up time
Moderate continuous shooting
Sensor-shift shake reduction
Ricoh has refined the GR III series to please experienced photographers who want a simple, customizable camera with a rapid response. Start-up time is lightning, the GR IIIx rattles off pictures from being powered off in less than a second, and with an immediate shutter response.
In continuous drive mode there's a moderate shooting rate of around 4fps by our estimate. For the raw DNG format, you'll get around ten shots before the camera slows right up, while in JPEG-only it's more like 150 shots. The GR IIIx is not an action camera, though it does respond quickly to capture decisive moments.
Focus modes include Snap Focus for a predetermined focus distance in half meter increments starting at one meter, or infinity. Handily, it is possible to temporarily override Snap Focus if it's set to the wrong distance via touch focus. Additional AF modes are available in the quick access menu.
Image 1 of 3
(Image credit: Future)
Image 2 of 3
(Image credit: Future)
Image 3 of 3
(Image credit: Future)
Snap Focus is a different game with the new 40mm lens than it is with the GR III's 28mm lens, because depth of field is narrower and therefore less forgiving at any given aperture and working distance. You might not see on the small screen, but it is entirely possible to miss your focus point when shooting close up at f/2.8. Thankfully there is an on-screen depth of field indicator, through which you can check depth of field parameters.
For portraits close to camera and shallow depth of field work, it can be wiser to use pin-point touch autofocus rather than Snap Focus. The performance of other AF modes are only okay and, overall, less reliable – including a laggy and unreliable tracking AF plus average auto area AF.
(Image credit: Future)
There's also a macro focus that reduces the minimum focus distance from 0.2m down to 0.12m. With the more telephoto 40mm lens, the macro mode feels more useable in the GR IIIx than it does the GR III – with a little cropping we've come away with some genuine-looking macro images.
The GR IIIx features a sensor-based shake reduction – a feature not found on aforementioned rivals. This opens up the GR III X to a wider range of handheld shooting scenarios and is perhaps even more useful than in the GR III with its more forgiving wider field of view lens.
With shake reduction active and a steady hand, we've been able get sharp shots every time at 1/10 sec and moderate success at 1/4 sec – that's two to three stops of reliable stabilization by our reckoning.
Ricoh GR IIIx: image quality
24.2MP raw DNGs
40mm f/2.8-16 lens
In-camera raw editing
The GR IIIx has the same 24.2MP APS-C CMOS sensor as the GR III, recording in JPEG and raw DNG format. DNG is universally accepted on software old and new. There's a massive ISO 100-102,400 sensitivity range and it's entirely possible to shoot up to ISO 6,400 before noise rears its ugly head, even ISO 25,600 is acceptable. For properly clean images you'll prefer to stick between ISO 100 and 1,600.
The new 40mm f/2.8 lens has one more lens element than the 28mm f/2.8 (adding a mere 5g to the total weight of the camera), containing seven elements in five groups including two aspherical elements. Scanning from center to edges, image detail can be consistently sharp across the entire frame – impressive for such a compact lens – though you will lose critical sharpness at f/2.8 and f/16.
Image 1 of 7
The macro focus distance ranges from 0.12 to 0.24m. Combined with the 40mm lens and especially the 71mm crop mode, it is possible to create dreamy macro scenes with lovely bokeh at f/2.8. (Image credit: Future)
Image 2 of 7
A tilt screen would make shooting at awkward angles like this with the GR IIIx a whole lot easier. (Image credit: Future)
Image 3 of 7
40mm is a good all-purpose focal length be it landscapes, portraits, every day scenes, and even macro. (Image credit: Future)
Image 4 of 7
Low-key is a popular shooting style with the GR IIIx and highlight weighted metering does the trick for this look. (Image credit: Future)
Image 5 of 7
(Image credit: Future)
Image 6 of 7
A sharp edge-to-edge lens and 24MP gives a high level of detail. (Image credit: Future)
Image 7 of 7
A reasonable amount of detail can be pulled from shadow areas in underexposed images. (Image credit: Future)
For subjects within a few meters of the camera (a working distance around 1.5m is a sweet spot), it is completely possible to get a pleasing shallow depth of field when shooting wide open at f/2.8, making the GR III X an excellent option for portraits that feature surroundings. Bokeh is pleasant enough, too, and particularly silky in the macro mode. Set to macro and using the crop mode, the GR IIIx has surprised us with its macro prowess.
Where lens corrections have not been applied to raw DNGs, vignetting is quite pronounced at f/2.8 and never really goes away at any aperture, though the improvement is pretty obvious by stopping down to f/3.5. The GR IIIx offers in-camera peripheral illumination correction that removes vignetting at the image capture stage or via raw development afterwards.
Image 1 of 2
Vignetting is obvious at f/2.8, though this distortion can be dealt with at the pre or post-capture stage in-camera. This is after vignetting was removed, compared to... (Image credit: Future)
Image 2 of 2
...before the vignetting was removed. (Image credit: Future)
Evaluative metering does a solid job of getting a good all-round exposure, though in daylight we often opted to use highlight-weighted metering to protect highlights and, where the results are too dark, boost the exposure via exposure compensation.
There's also shadow correction and exposure compensation ±1EV in raw development for further tweaks. Somehow the GR IIIx encourages a low-key feel as a starting point to daylight images.
Ricoh offers the 'Image Sync' app for remote capture and transferring images onto a smartphone via Bluetooth or Wi-Fi. In our experience with a Google Pixel, everything worked fine and encouraged a practice of regularly sharing edited pictures on the fly.
Image 1 of 7
Shake reduction gives about 2-3 stops of effective stabilization, handy for this low-light streetscape where a shutter speed of 1/13 sec produced a sharp handheld image. No tripod needed. (Image credit: Future)
Image 2 of 7
The GR IIIx is so small and discreet that you can relax, blend in and make observational images in public. (Image credit: Future)
Image 3 of 7
(Image credit: Future)
Image 4 of 7
The crop mode extends the focal length to 71mm, giving you extra teach (Image credit: Future)
Image 5 of 7
(Image credit: Future)
Image 6 of 7
Versatile in-camera raw development means the heavy lifting can be done before image transfer and helps you develop a personal look, too, like this Hard Mono style. (Image credit: Future)
Image 7 of 7
(Image credit: Future)
We kept the picture style in the user mode to standard because of how easy it is to apply those kinds of changes via in-camera raw development. All picture styles can be customized, and we particularly like the Hard Monotone profile.
The GR IIIx focuses on photographers over those who do video. Resolution is limited to Full HD and there's no mic input for recording sound externally directly to the camera. However, frame rates do go up to 60p, meaning you can get slo-mo half-speed videos on the go, plus you get an organic shallow depth of field at f/2.8 that make videos stand out over using a phone.
• Original review date: May 2020
• Launch price: $749 / £699 / AU$1,299
• Official price now: $649.99 / £649 / AU$1,079
Update: March 2024. That the Sony ZV-1 is four years old but remains in a several TechRadar buying guides is testament to its filmmaking chops, especially for those starting out in filmmaking and on a limited budget. Its 4K video and excellent autofocus performance with clever subject detection modes make it one of the best vlogging cameras even in 2024. An updated Sony ZV-1 II was introduced more recently and is also an excellent video camera. However, we have kept the older ZV-1 in key buying guides because the second-gen model simply doesn't do enough to merit an upgrade or to spend the extra money on, and so for now the ZV-1 remains an excellent value video-focused compact camera.
Sony ZV-1: two-minute review
The Sony ZV-1 is the most powerful pocket vlogging camera you can buy right now. It takes the best video features of the Sony RX100 series, including its class-leading autofocus system, and combines them with design tweaks that make it ideal for shooting YouTube videos at home or on the move.
Its main strength is the combination of a bright 24-70mm f/1.8-2.8 lens with Sony's Real-time tracking and Real-time Eye AF systems. Together with the ZV-1's 1-inch sensor, which is larger than those in today's smartphones, these make it easy to shoot high-quality vlogs with pleasing background blur and consistent focus.
The inclusion of a 3.5mm microphone port means it's relatively easy to add good-quality audio to match your videos, while a hotshoe lets you mount accessories like a shotgun mic or LED light without needing a bracket to support them.
This is particularly useful because, while the ZV-1's three-capsule internal microphone is an improvement over the built-in mics found in the RX100 series and other compact cameras, it still falls short of offering audio that matches the quality of its video. You do at least get a windshield bundled with the camera, which is essential for when you're shooting in breezy conditions.
(Image credit: Future)
The ZV-1 isn't perfect, and you might want to consider other options, depending on your needs. Its SteadyShot stabilization is passable for walking videos, but falls short of the smoothness offered by the DJI Osmo Pocket, GoPro Hero 8 Black, or larger cameras like the Olympus E-M5 Mark III. Its strongest stabilization also adds a slight crop that can make the resulting focal length slightly tight for handheld shots, though we didn't find this to be a major issue.
Despite the inclusion of renamed shortcut buttons for beginners, the ZV-1 also isn't the most user-friendly camera for those upgrading from smartphones. Aside from letting you tap to focus, its touchscreen doesn't work with menus like the handy 'Fn' grid, and it settings remain labyrinthine; a beginner-friendly section for video newcomers would have been nice.
(Image credit: Future)
The flipside to this complexity is that the ZV-1 is absolutely packed with features, including a built-in ND filter, autofocus sensitivity options, and profiles like S-Log2 for those who like to color-grade their videos; Sony is also promising live-streaming software for Windows users from July 2020. All this makes it incredibly powerful for a compact camera, and ensures that it'll grow with you as your skills improve.
The ZV-1's size means there are naturally other compromises, including the lack of a headphone jack and average battery life, while the absence of an electronic viewfinder means those looking for a stills camera should also look elsewhere. But the ZV-1 packs in more power and video features than any other compact camera, making it an ideal take-anywhere camera for shooting content for your YouTube or other social media channel - indeed we think it's one of the best YouTube cameras.
Sony ZV-1: price and release date
The Sony ZV-1 launched on May 26, 2020
It costs $749 / £699 / AU$1,299
You can also buy a Bluetooth Grip controller for $138 / £170 / AU$249
You can order the Sony ZV-1 right now, as pre-orders opened on its release date of May 26, 2020. Sony says shipping is expected to start "in early June" in the US and UK, and by "mid-June" in Australia.
The compact vlogging camera costs $749 / £699 / AU$1,299 which puts it roughly in between the Sony RX100 Mark IV and RX100 Mark V price-wise.
Unlike all of Sony's RX100 series camera, the ZV-1 lacks an electronic viewfinder, which helps to keep its price down. It does, though, bring newer features that aren't available on the latter two cameras, including Real-time Eye AF autofocus.
That price tag puts the Sony ZV-1 at a similar price point to its main rival, the Canon G7X Mark III. That camera launched in August 2019 for $750 / £700 / AU$1,100, although it can currently be found for slightly less than that.
You can also now buy a shooting grip with an integrated wireless remote for the Sony ZV-1, the Sony GP-VPT2BT. This is available now, and costs $138 / £170 / AU$240.
Image 1 of 3
(Image credit: Future)
Image 2 of 3
(Image credit: Future)
Image 3 of 3
(Image credit: Future)
Sony ZV-1: design
New side-flipping LCD screen is ideal for video
Hotshoe and 3.5mm port make it easy to add external microphone
Lacks the RX100 series' viewfinder and lens control ring
The Sony ZV-1 is like a Sony RX100 Mark V that's been redesigned for YouTubers. The end result isn't perfect, but it does fix most of the criticisms we had of the Mark V when it came to video shooting. Along with the Canon G7X Mark III, it's one of the few compact cameras that's been designed primarily for video.
First, the good bits. The best new feature is a side-hinged articulating touchscreen. This kind of screen is better than a tilting one for shooting video, because it leaves the top and bottom of the camera free for attaching accessories. Crucially, it also flips around 180 degrees to face forwards, allowing those operating one-person YouTube channels to frame their shots without needing someone behind the camera.
Sadly, Sony's touchscreen functionality is still pretty limited. You can tap the screen to pull focus in video, for example, but not navigate menus or even zoom in on photos. That's a shame for a camera that's been designed primarily for people who are upgrading from smartphones; still, the benefit of that side-hinged screen is that there's room on top of the camera for a hotshoe.
(Image credit: Future)
This hotshoe replaces the electronic viewfinder you'll find on Sony's RX100 series. Losing a built-in EVF would be a big deal for a stills-focused camera, and it's something to bear in mind if you need an all-rounder for both photos and video. But it makes sense for a vlogging camera like the ZV-1, because its target audience will mostly be using the screen as a viewfinder – and it also helps to reduce the ZV-1's price tag, if not by quite as much as we'd hoped.
The option to plug accessories like LED lights or external microphones into that hotshoe is a real bonus. If you purchased the Sony RX100 VII you had to buy an external bracket to mount them, but there are no such worries with the ZV-1, and this brings us to another of the ZV-1's vlogging bonuses: a 3.5mm mic input.
There isn't much point shooting great-looking video if you don't have the audio to match, so a 3.5mm port is essential for vlogging cameras. The Sony ZV-1 does actually have an improved built-in microphone on its top plate – this is a three-directional capsule mic with left, center and right channels.
Sony also bundles a 'dead cat' windshield with the ZV-1, which plugs into the hotshoe to help counter wind noise when you're shooting outdoors. But as we'll see later, an external microphone is still significantly better than any built-in equivalent, making that 3.5mm port a crucial inclusion.
(Image credit: Future)
Slightly less welcome is the inclusion of a microUSB port below the mic port. While it's far from a deal-breaker, we expect all new cameras to offer USB-C ports these days for speedy charging and all-round convenience. The Fujifilm X-T4, for example, comes with a USB-C headphone adaptor that lets you monitor the sound on your recordings, which is something you can't do on the ZV-1. You can at least charge the Sony ZV-1 while using the camera, though, so it's not completely stuck in the charging dark ages.
The Sony ZV-1 brings two other handy design tweaks that you won't find on the RX100 VII or any of its predecessors. One is a small hand grip. While this doesn't revolutionize the ZV-1's handling, it's another feature that many RX100-series owners have added to their cameras with third-party accessories. And finally, for the first time on a Sony camera, the video recording button is now as big as the stills shutter button.
These might not sound important, but they're pretty significant. Unlike the RX100 series, they mark the ZV-1 out as a video-first camera that can also do stills. And, while you miss out on features like an EVF and lens control ring, the inclusion of a side-flipping screen, hotshoe and mic port make the ZV-1 the best pocketable tool around for vloggers and YouTubers.
(Image credit: Future)
Sony ZV-1: autofocus and lens
Real-time Eye AF produces class-leading vlogging autofocus
Lacks Animal Eye AF, but includes Real-time Tracking for moving subjects
The Sony ZV-1 does what many vloggers have been crying out for – it combines the lens of the Sony RX100 Mark V (or at least a mildly tweaked version of it) with Sony's latest Bionz X processor and autofocus skills.
Why include the 24-70mm lens from the Mark V, rather than the 24-200mm lens seen on the last two Sony RX100 cameras? Because the former is simply more suited to vlogging, thanks to its brighter f/1.8-2.8 aperture. This combines nicely with the camera's 1-inch sensor to give your videos some pleasing background blur, while still photos also benefit from the knock-on effect of the ability to shoot at lower ISOs in equivalent scenes (albeit at the expense of that longer 200mm reach).
But the ZV-1's real ace is pairing this bright lens with some of Sony's latest Real-time autofocus tech. This is possible thanks to the combination of the Bionz X processor (also seen in the full-frame Sony Alpha A9 II) and that 1-inch, 20.1MP stacked CMOS sensor, which has 315 phase-detect autofocus points covering 65% of the frame.
What does all this mean in reality? For a start, the ZV-1's hybrid autofocus, so-called because it combines phase detect with contrast-detect AF systems, means it's faster and more confident for video than the contrast-only systems seen in rivals like the Canon PowerShot G7 X Mark III.
On top of that, you get Sony's latest Real-time Tracking and Real-time Eye AF (for people), which are easily the best you'll find in a compact camera for capturing people and moving subjects. Keeping moving subjects in focus is invariably just a case of tapping them on the ZV-1's screen; if you have Face and Eye AF tracking enabled, it will also seamlessly switch to the latter when it detects a person's face.
This is particularly important for a vlogging camera with a bright lens, because it can be very easy to lose focus on a face when shooting at apertures like f/1.8. But aside from when we got too close to the lens, we found the ZV-1 did an excellent job at tracking our eyes across most of the frame.
Sony ZV-1: features
Includes two new shortcut buttons for vlogging beginners
Picture profiles offer editing flexibility for more advanced vloggers
Slow-motion modes are fun and useful
So what other video-friendly treats does the Sony ZV-1 pack beyond excellent autofocus? A huge amount, which isn't always a good thing for usability.
Sony's camera menus are renowned for being about as user-friendly as a book of hieroglyphics, and it's done a couple of things in an effort to make the ZV-1 a bit more intuitive for beginners.
These include two new default settings for the camera's two custom buttons. The first of these, called the 'Bokeh switch', will instantly switch to a wide-open aperture to give your footage a defocused background. Unlike smartphone 'portrait' modes, there's no computational trickery going on here – it's purely a shortcut based on traditional optics.
(Image credit: Future)
The second and perhaps more useful custom button is called 'Product showcase', which is designed specifically for YouTubers who specialize in reviews.
Again, this doesn't do anything beyond what you can do in the settings, but pressing this instantly turns off both SteadyShot stabilization (making a tripod a must for this mode) and Face and Eye priority AF. This means that when you hold a product up to the camera, it'll lock focus onto that, rather than prioritizing your face. Because of the speed of the ZV-1's autofocus, this works pretty well.
Still, these feel like hastily bolted-on fixes, and the ZV-1 otherwise feels very much like an RX100 series compact camera, which is a shame, and when you compare the interface to slick touchscreen apps like Filmic Pro, it can feel like a relic from the past. Prepare to do a lot of flicking through ZV-1's menus and setting up custom menus.
(Image credit: Future)
To be fair, this complication is partly because the ZV-1 is so stuffed with features, with many of them aimed at advanced video shooters. This in turn gives it an incredible amount of depth for a compact camera.
For example, there's the welcome return of the built-in ND filter. This was jettisoned on the last two RX100 cameras, but is nigh-on essential for getting smooth movement in videos on bright days, as it allows you to shoot with slower shutter speeds without having to stop the lens down.
Dig a bit deeper into the menus and you'll find compositional aides like focus peaking and zebra patterns, plus all of Sony's picture profiles including S-Log2, S-Log3 and Hybrid Log Gamma (HLG), for those who like to color-grade their footage to extract the most amount of dynamic range.
(Image credit: Future)
But what about more commonly tweaked settings, like resolution and frame-rate options? Like the RX100 Mark VII, the ZV-1 can shoot 4K at a maximum 30p. It's a shame it doesn't have a 4K/60p mode, but its 4K footage is at least achieved by oversampling rather than pixel binning; the former is a superior method of grabbing a 4K image from the 20.1MP sensor, helping to avoid pixelated, jagged edges.
Of course, there are faster frame rates available if you're okay with shooting in 1080p, along with Sony's impressive super slow-mo options, which go all the way up to an incredible 960fps.
Naturally, there's significant quality loss here, which we'll go into along with the ZV-1's stabilization and battery life in the performance section.
Sony ZV-1: performance
Video stabilization is improved, but falls short of the best
Built-in microphone is decent, but external mics recommended
Short battery life means packing spares for long shoots
Alongside great autofocus, a forward-facing screen and good audio options, vlogging cameras also need impressive image stabilization to help keep handheld footage steady. Of those four features, this is the Sony ZV-1's weakest area.
Not that its SteadyShot system is bad, by any means. Its most powerful 'Active' stabilization mode combines optical and electronic stabilization, and is available in 4K shooting too. If you're doing any walkaround vlogging, this is an essential mode, as you can see in our test clips below.
The trouble with 'Active' stabilization is that it applies a slight crop to your footage in order to counteract the bounce in your walking movements. It's not too severe, but because the ZV-1's widest focal length is already a slightly tight 24mm, it does mean you end up with very little room around your face when holding the camera at arm's length.
We still think this crop is fine for handheld vlogging, particularly as it highlights how good Sony's Eye AF focusing is – but it might be something to try out first if you're planning to mostly film walking shots while talking to the camera.
If stabilization is important to you, it might also be worth considering alternatives or accessories. As you can see in our comparison video above, both the GoPro Hero 8 Black and DJI Osmo Mobile 3 (with a smartphone) offer superior stabilization to the Sony ZV-1, at the expense of image quality. The best of all worlds could well be combining the Sony ZV-1 with a gimbal like the Zhiyan Crane M2 – we'll update this review when we've had a chance to try out that combination.
The ZV-1's built-in, three-capsule microphone captures decent audio for a compact camera. The included 'dead cat' windshield is also essential if you're venturing out into breezy conditions, as our demo video above shows.
But there is inevitably still a little noise interference from camera's focus motors, and if you want to capture audio that matches the quality of your videos then you'll want to pair the ZV-1 with an external microphone.
Fortunately, that's possible thanks to the 3.5mm microphone port on the side, and there are plenty of mic options around, from Sony's own ECM-XYST1M Stereo Microphone to something more discrete like the Rode Wireless Go. If you're just starting out, then a cheap lavalier (or 'lav' lapel mic) is an affordable way to boost the ZV-1's audio too, particularly if you'll mainly be talking to camera.
On a slightly more fun note, the Sony ZV-1 does also offer the same slow-motion modes as the RX100 series. These include 250, 500 and 1000fps options, although the latter two bring a significant hit to resolution and quality. We'd mostly steer clear of those, but the 250fps mode is decent, and combines nicely with the ZV-1's shallow depth of field. The only shame is that you can only shoot four-second clips, and setting up the slow-mo modes is still a clunky process.
With so many processor-intensive recording modes, how does the Sony ZV-1's battery life hold up? As you'd expect, not brilliantly – it only has room for the same NP-BX1 battery as the RX100 VII, which means around 260 shots or 45 minutes of video.
(Image credit: Future)
This means carrying a spare battery or two is advised, although it is possible to use the camera while it's plugged into a battery pack or wall charger. Another bonus is that it's now possible to bypass the default five-minute recording limit when shooting 4K video – set the 'auto power off temp' to 'high' and it'll keep going until either the battery runs out or your memory card fills up.
We managed to record a continuous 4K video clip for 44 minutes in this mode – and while the ZV-1 was certainly toasty by the end, it wasn't impossible to hold, and Sony says using this mode won't damage the camera in any way.
Sony ZV-1: video and image quality
Shoots crisp, detailed 4K/30p video
Default skin smoothing is a little overdone, but can be turned off
Strong stills performance, but lacks a viewfinder
Like the most recent Sony RX100 cameras, the ZV-1 oversamples its video footage before downsampling it to 4K. This process produces sharper results than alternative techniques like pixel binning, and you can see this in its 4K footage – it's very crisp and detailed, and has no crop unless you're shooting with 'Active' stabilization.
It's a slight shame the ZV-1 doesn't have a 4K/60p option, as this would let you slow down 4K clips without any loss in quality. But it's not a major miss, and the 4K/30p mode impresses with its lack of rolling shutter, which is a common side-effect of CMOS sensors that sometimes results in skewed lines during fast panning movements.
The built-in ND filter also helps to keep movement nice and smooth in bright conditions, although the ZV-1 naturally struggles a bit more in lower light due to its 1-inch sensor. If you're faced with a really high-contrast scene, then picture profiles like S-Log2 will help you to extract extra detail, although you'll need to be comfortable with color grading before attempting that.
One area of image quality that Sony has gone big on for the ZV-1 is the color and exposure of human faces. Based on feedback from around the world, Sony says it's created an "optimized color algorithm" that makes sure skin tones are natural, wherever you're from. The ZV-1 also apparently uses its face recognition tech to get exposure readings, to make sure the vlogger's face is bright and well exposed in all conditions.
This certainly worked pretty well in our experience, although we haven't yet been able to try it on a range of faces. One thing we did tweak, though, was the ZV-1's skin smoothing effect – this is pretty strong by default, so we'd err on the side of switching it to 'low', or off entirely. Despite Sony's attempts to make it more natural than many equivalent smartphone modes, the stronger skin smoothing variants still look a bit too artificial for our tastes.
Image 1 of 9
The ZV-1's default JPEG settings produce pleasing, life-like colors. (Image credit: Future)
Image 2 of 9
The 24-70mm lens has just about enough reach to frame subjects from across the road. (Image credit: Future)
Image 3 of 9
Still-life shots have plenty of detail with little noise up to ISO 800. (Image credit: Future)
Image 4 of 9
The ZV-1's continuous shooting drive mode can help you capture decisive moments. (Image credit: Future)
Image 5 of 9
The lens can focus from around 5cm away from your subject while retaining plenty of detail. (Image credit: Future)
Image 6 of 9
The lack of a viewfinder is annoying in sunny conditions, but the ZV-1 is a decent walkaround camera on overcast days. (Image credit: Future)
Image 7 of 9
Like the RX100 series, the ZV-1's 1-in sensor produces shots with great detail. (Image credit: Future)
Image 8 of 9
Detail is generally best at the center of the frame, although the edges are still fine even at 70mm. (Image credit: Future)
Image 9 of 9
The wider 24mm focal length allows you to squeeze details into a scene, even if a wider focal length would be welcome. (Image credit: Future)
Of course, despite its vlogging focus, the ZV-1 is also a pretty capable stills camera. The lack of a viewfinder or lens control ring means it's no match for its more stills-focused RX100 stablemates here, but the quality is certainly still there if you want to shoot some Instagram-worthy stills to complement your YouTube videos.
There's bags of detail in images, and you can bring back even more from highlights and shadow areas if you shoot in raw. Noise is well controlled too up to ISO 800, with image quality only really going south from ISO 6400 and above.
Of course, it's arguable that today's smartphones are at least a match for the ZV-1 when it comes to stills photography, thanks to their computational smarts. But the ZV-1's bright lens and high-speed shooting modes still make it a handy backup tool for shooting portraits and action scenes, even if you really should be looking elsewhere for a dedicated stills camera.
Should I buy the Sony ZV-1?
The Fujifilm X100V (left) is a better compact camera for stills than the video-focused Sony ZV-1 (right). (Image credit: Future)
• Original review date: October 2019
• Most recent instalment in Sony's RX100 line
• Launch price: $1,198 / £1,200 / around AU$1,725
• Official price now: $1,299 / £1,049 / AU$1,569
Update: May 2024. Starting where the RX100 VI finished, the seventh iteration of Sony’s premium compact proved impressive in our original review. We continue to rate it highly today: thanks to its solid feature set, impressive performance and pocket-friendly design, we think it remains one of the best compact cameras you can buy. One of the major drawbacks at launch was its price, and the RX100 VII is still an expensive option in 2024. Sony has only offered minor reductions to its RRP in Australia and the UK, while the price has actually increased in the US. With no sign of a direct successor, we think its popularity is likely to endure for some time, which means its price will probably do the same. Seasonal discounts are also relatively rare, with any reductions usually limited to around $100 / £100. If you want to save on the RX100 VII, your best bet is to look for a second-hand model in good condition.
It's hard to think of another camera series that has made it through to its seventh iteration, but the popularity of Sony's RX100 line goes some way to explaining how we got here.
Previous RX100 models have found their way into many photographers' hands, both as backups to interchangeable-lens models or as primary cameras for those not wishing to be burdened by a larger and heavier system. It's also one of the best travel cameras. But with asking prices now firmly into four-figure territory, some may find the more recent offerings harder to justify.
Even so, with its most recent models sporting longer lenses and inheriting key features from Sony's Alpha line of mirrorless cameras, while keeping the bodies just as portable as before, the compact camera series still appears to be moving in the right direction. So what tricks does the Sony RX100 VII pull off that we haven't seen before?
Features
20.1MP 1-inch stacked CMOS sensor with DRAM chip
20fps with AF/AE and up to 90fps without
4K video recording to 30p
While the first five RX100 models maintained a relatively restrained zoom range and a wide maximum aperture, the RX100 VI swapped it for a lens equivalent to 24-200mm in 35mm terms, and the RX100 VII retains this optic. The fact that Sony squeezed this lens into a body no larger than before was impressive, but the trade-off was a reduction in maximum aperture.
The lens has aspherical, advanced aspherical and extra-low dispersion glass on the inside to help keep things rosy, while Optical SteadyShot technology has also been included to keep thing stable.
It's very unusual for a camera to have the same sensor resolution throughout seven consecutive models; however, the sensors haven't been the same this whole time, and it's no surprise that the RX100 VII has been blessed with a new one, albeit one that still conforms to the same 1-inch dimensions and stacked architecture as before.
Image 1 of 4
(Image credit: Future)
Image 2 of 4
(Image credit: Future)
Image 3 of 4
(Image credit: Future)
Image 4 of 4
(Image credit: Future)
It also still has a separate DRAM chip to help crunch through all the data from the sensor at speed, and it now works with the latest version of the company's BIONZ X engine – and that partnership provides some pretty staggering burst-rate figures.
Indeed, this is one of the big shifts from the RX100 VI, and brings what Sony claims to be performance in terms of speed that's on a par with its A9 model, which is still the flagship mirrorless camera in the Alpha family.
What does that mean in figures? It means 60 autofocus and auto-exposure calculations per second, which allows for burst shooting at 20fps with autofocus and auto-exposure working throughout, without any blackout of either the viewfinder or the LCD.
While that's impressive enough, if you're willing to sacrifice adjustments to autofocus and auto-exposure and call on the Single Burst Shooting drive mode, you can shoot images at 30fps, 60fps or a ridiculous 90fps at their full resolution – the other catch is that all of these modes can only be used to capture seven frames at a time.
Viewfinder: EVF with a 2.36 million-dot resolution
Burst shooting: 20fps (up to 90fps in Single Burst Shooting mode)
Autofocus: Hybrid AF: 357 phase-detect AF points and 425 contrast-detect AF points
Video: 4K to 30p; Full HD to 120p
Connectivity: Wi-Fi and Bluetooth
Battery life: 260 (LCD), 240 (EVF)
Weight: 302g (including battery and card)
Videos are once again recorded to 4K UHD quality at a maximum 30p, with no pixel binning and the option of 4K Active SteadyShot, which is said to be eight times more effective at steadying footage than the more conventional 4K Standard SteadyShot.
If you don't need 4K recording, you can knock this down to Full HD at frame rates up to 120p. Various super-slow motion options lie on top of this, with frames rates of up to 960fps achievable, and it's also now possible to bypass the default five-minute recording restriction when shooting in 4K.
All of this is supported by a strong secondary video feature set, with a 3.5mm microphone port at the camera's side, S-Log2, S-Log3, S-Gamut3.Cine and Hybrid Log Gamma (HLG) modes, and the usual focus peaking and zebra options we've seen in many previous Sony models. The camera can also detect when you're shooting vertically, and preserves this orientation after footage has been offloaded.
The big change with video is that the RX100 VII offers Real-time Tracking and Real-time Eye AF while recording. Up until now, these have only been made available for stills in the A9 and A6400 (and now the more recent A6600), although here it's on hand for both stills and movies – and we'll be exploring exactly what these allow and how well they work in a second.
Many things, however, haven't changed from before. The electronic viewfinder still neatly hides in the top plate when it's not required, and pops up into position with a single flick of the catch at its side, and this presents a feed with the same 2.36 million dots and 0.59x magnification (in 35mm terms) as before.
The 3-inch LCD touchscreen beneath this is also the same, with 921,600 dots. Once again, this is mounted on a relatively long bracket, which allows it to swing downwards to sit at a 90-degree angle to the camera, or upwards to face the front – perfect for vloggers, which is a key audience for the RX100 VII.
The battery provides 260 frames per charge, or 240 if you tend to use the viewfinder – a modest improvement of 20 frames on the RX100 VI
The battery provides 260 frames per charge, or 240 if you tend to use the viewfinder – a modest improvement of 20 frames on the RX100 VI. These figures hardly thrill, but they're somewhat expected for a camera with such a small body (and thus, a tiny battery). In any case, as is the case on all cameras, the average user will enjoy a higher battery life than these CIPA figures suggest in real-world use because of how they are determined – and USB charging helps here too.
Next to the battery is a single slot for SDHC and SDXC cards, which are supported to the UHS-I standard. That means you can still use the faster UHS-II cards, although you won't see any performance advantage in doing so.
The RX100 design has barely changed since the start of the series back in 2012, and with the exception of some minor cosmetic differences the Sony RX100 VII looks identical to the RX100 VI, while the metal body feels just as solid as those of previous models.
It's impressive when you consider the raft of features Sony has managed to pack inside that small body, not least that optic. But this also means the same criticisms can be aimed at the new model as were leveled at its predecessors, such as the lack of a grip around the front, and only a small square of rubber on the back plate where the thumb falls.
This makes it less comfortable to handle than rival models, such as the Canon PowerShot G7 X Mark III; it's clearly a camera that's designed to be as compact as possible, although you can get an optional grip if you decide you need one.
Image 1 of 5
(Image credit: Future)
Image 2 of 5
(Image credit: Future)
Image 3 of 5
(Image credit: Future)
Image 4 of 5
(Image credit: Future)
Image 5 of 5
(Image credit: Future)
One advantage the RX100 VII has over some rivals, however, is that the rear control dial can be rotated without the thumb constantly bashing into the side of the LCD screen, on account of it having a thin profile and being flush with the back plate. This is often a challenge on such small bodies, but here it's only really a small issue once the LCD is extended out from the body a little.
The electronic viewfinder springs up easily from the top plate when you release the catch at its side, and, as on the RX100 VI, you no longer need to pull the viewfinder back before you can use it.
One advantage the camera has over some rivals is that the rear control dial can be rotated without the thumb constantly bashing into the side of the LCD screen
The control ring around the lens has a knurled finish that makes it nice to operate. It's de-clicked, and provides no physical feedback as standard, although the camera does make small clicking sounds as it's rotated to make up for this. The fact that it's de-clicked makes it more suitable to use during video recording, where the camera would otherwise pick up operational sounds, although it's a minor annoyance that there's a slight lag between the dial being turned and settings being registered.
Autofocus
Real Time Tracking and Real Time AF
357 phase-detect point and 425 contrast-detect points
Excellent face and eye detection
The RX100 VI packed a great autofocus system, but that didn't stop Sony making better autofocus one of the priorities in the RX100 VII. The AF systems on recent Alpha models, together with firmware updates to older cameras, have ramped up performance across that line, and now Sony is looking to bring same magic to its Cyber-shot range.
So what's new? Well, there are now more phase-detect AF points for a start, up from 315 on the RX100 VI to 357 here, and these cover 3% more of the frame than before. The previous 25-point contrast-detect AF system has also been ramped up to a 425-point system, with Sony promising that the camera can focus in as little as 0.02 seconds.
The biggest change autofocus-wise is Real Time Tracking, which uses AI-powered tools to automatically switch between standard autofocusing when tracking a moving subject and face/eye tracking when the system detects a person's face. This should make it easier to quickly focus on what's key as people step in and out of the frame, or change position in relation to the camera.
The biggest change is Real Time Tracking, which uses AI-powered tools to automatically switch between standard autofocusing when tracking a moving subject and face/eye tracking when the system notices a person's face
Partner this with continuous autofocus and you have a very powerful combination. The availability of usefully broad focal range shows just how impressively this can work, as you can zoom to the telephoto end, have the camera pick out a very small subject in the distance, and watch as it sticks with it.
The face detection system doesn't need to have too big a face in the frame for it to recognize what it's shooting, although subjects do need to be a little closer in order for the system to start detecting and tracking the eye (eye detection is fairly pointless with more distant subjects anyway). When this does kick in, it manages to track eyes very well, even when the subject is side-on to the camera.
This system works impressively well during video recording too, where the camera stays with a human subject both as they move across the frame and as they move closer to or further away from the camera. Sony has shouted loudly about this feature, and you can see why.
There's little doubt that this is the best autofocus performance you can get on a compact camera right now, and this would make the RX100 VII a particularly strong choice for families – trying to keep a lock of a moving child can be quite the test for any camera.
Sony has received some stick for its menu systems in the past, which are somewhat overflowing with options, although color coding has made them easier to navigate in recent models.
What we have on the RX100 VII is much the same as before. There's a lot to wade through, but the option to set up a tab with your own options is a saving grace, although there's still the odd annoying abbreviation here and there.
The touchscreen works well for setting the focusing point, being nice and responsive to even lighter touches, and you can also use the screen as a touch pad when using the viewfinder – always handy in lieu of a joystick-type control.
The screen can also be used to zoom into, and move around, captured images, but that's about it. It doesn't appear that anything has actually changed from the RX100 VI, which means the screen is fine for basic tasks, but it does place the camera behind its peers elsewhere; it would be good to see touch control come to the Fn menu at the very least in future models.
The viewfinder is a fair bit smaller than what we're used to on mirrorless models, but this is to be expected; the main thing is that it's relatively bright and sharp. While the lack of any kind of eyecup normally makes such viewfinders a bit of a pain to use in brighter conditions without cupping your hand around them, the RX100 VII's finder maintains very good visibility even when you don't.
The RX100 VII's 90fps burst capabilities are one of the main things that separate it from the previous model – and indeed, every other compact camera. It's certainly impressive that the camera is able to reach these heights and spit out full-resolution images, but the fact that its buffer depth is just seven frames makes you wonder just how practical it is.
In use, the camera will capture the first seven frames as you depress the button, and discard anything afterwards. Seven frames at 90fps equates to less than 0.8 seconds of reality being captured (though it'll be more if you use the 30fps or 60fps options), so you need to have pretty sharp reflexes to nail the perfect moment.
Were the camera able to offer deeper buffer depths at its 60fps and 30fps settings, this burst rate would perhaps be more usable; but it can't, and presumably there's a technical reason for this, possibly the lack of UHS-II support. Ultimately, it ends up being impressive to play with, but potentially of limited use in reality.
Most people would be better off using the more standard burst mode, which can chomp through a still respectable 20fps with autofocus and auto-exposure working throughout. Using the fastest UHS-I card we could get our hands on, the camera was able to capture round 100 raw and JPEG frames simultaneously, although, as you'd expect, these can take a little time to fully write to the card.
Image quality
Great details throughout, though corner softness visible
Great noise control at moderate ISO settings
Detailed 4K footage with effective face detection and tracking
We were impressed with the image quality from the previous RX100 VII, so does the Sony RX100 VII live up to our expectations?
In short, the camera manages to produce strong images across a range of conditions, with minimal intervention required. Detail is excellent overall, and what's particularly good is how well this is maintained when using ISO settings towards the middle of the sensitivity range; plenty of detail lurks in slightly noisier images, so it's just a case of removing this noise.
On the whole, details are great in the center of the frame, and are generally well maintained to the edges, with just slight softness in the corners at both ends of the lens. This appears to be worse at the wide-angle end than at telephoto lengths, although it does improve a little as you stop down the aperture.
Image 1 of 9
Sony Cyber-shot RX100 VII at 24mm, f/4, 1/30sec, ISO160 (Image credit: Future)
Exposures are generally sound, although scenes with a relatively wide tonal range – if you're shooting indoors with windows in the frame, for example – will see a loss of detail in their highlights. Some of the details in these areas can be brought back with careful raw processing, though.
Colors are very nice on standard settings, and there's a particularly broad range of color options in-camera if the default Standard mode isn't quite to your taste. It's a shame, however, that the absence of in-camera raw processing means these can't be tweaked post-capture without recourse to a computer.
Some lateral chromatic aberration can be seen in images, although the worst of this is lifted away from JPEGs in-camera, and it can be removed from raw files fairly effortlessly.
Video quality has impressed on previous RX100 models, and it continues to shine here. Detail is abundant, and rolling shutter is kept to a minimum as the camera moves around the scene. As with pretty much any compact camera like this, wind noise is easily picked up by the built-in microphones, although the fact that you can hook up an external mic gives the RX100 VII an advantage over many other models.
There's no doubt that the Sony RX100 VII is an impressive camera. Given the strong performance and huge popularity of previous models it was likely that any changes Sony made here would only make it a better performer – and that's pretty much the case.
Special praise goes to the autofocus system, which is not only fast but remarkably good at keeping track of moving subjects, noticing faces at a distance and switching between face/eye detection and more standard tracking as the subject changes in distance and orientation. While some rival models aren't bad for speed by comparison, the fact that some are still based on contrast-detect AF alone means it's unlikely they'll be able to catch up with what Sony is doing here until that changes.
On top of that there's the excellent image quality, detailed 4K video, and considerable control over both. The retractable viewfinder and fine LCD screen make for a perfect partnership, while the body's high build quality and small size – especially when you consider the lens and inclusion of the viewfinder – make it easy to carry around and slip into a pocket, and be confident it will survive the odd bump and scrape.
So there's lots to love about the RX100 VII – but lots that could be improved too. There's still no grip, which makes for less-than-ideal handling, nor is there the option to process raw images in camera. The touchscreen is still underdeveloped, and while the lack of an ND filter may be explained by the longer-than-usual lens, it still makes capturing videos in bright light more difficult. The option to shoot at up to 90fps sounds impressive, and in a way it is, but the shallow buffer depth makes this feature somewhat impractical.
And that fact that all of this comes at a considerable cost makes you realize Sony's logic in keeping all of the previous RX100 models available. Many people either don't need this level of performance or are better served by the shorter, brighter lenses of previous models. Those expecting sharpness right to the corners of the frame, or flexibility in low light, may be better served by one of those cameras – but in terms of performance, those are the only major things to bear in mind.
So, while this isn't a camera for everyone, and while its omissions make it less than ideal – even for those that are drawn to it – in terms of packing a whole lot of tech and generally solid performance into such a small body, it's impossible not to be impressed with what Sony has achieved here. For all its foibles and its lofty price tag, the RX100 VII is easily one of the most accomplished and desirable compacts on the market right now.
Competition
Image 1 of 3
(Image credit: Sony)
Sony RX100 VI
The RX100 VII's closest competitor is arguably the previous Mark VI iteration, given how similar the spec sheets of the two models are. The key differences are in the sensor, crazy-high burst speeds, autofocus systems and the fact that the newer model offers a mic port – but if you're happy with the rest of the spec sheet, you can save yourself a little cash by going for a camera that we still rate very highly.
The ZS200 also sports a 1-inch sensor with 20.1MP, and is similarly fronted by a superzoom lens, although the one here reaches a little further than the RX100 VII's, stretching between 24-360mm in 35mm terms. It matches the RX100 VII is providing 4K video and has a small electronic viewfinder, and while it lacks a mic port and can't shoot at the lofty heights of 90fps, it's a hell of a lot cheaper.
With a 20MP 1-inch sensor, a pop-up electronic viewfinder and 4K video squeezed into a pocket-friendly shell, Canon very much has the same kind of audience in mind for its PowerShot G5 X Mark II as Sony does for its own model. It's considerably cheaper, and has a grip that makes handling far nicer, but its lens doesn't reach anywhere near as far and its autofocus system, while perfectly capable, can't touch what the RX100 VII is packing.
