REVIEW: Fujifilm GFX100s II with GF 45-100mm f/4 R LM OIS WR. Medium Format with No Limits–WOW!

Fujifilm GFX 100s II with 45-100mm f/4 lens

When I reviewed the Fujifilm GFX 50s with the 32-64mm in 2019, I was impressed with the amazing image quality, but It felt a bit useless as anything but a landscape or studio camera. Sure the image quality was great, but where things were with image processing and noise reduction back then, it just was a very limited use camera with a huge price. Fast forward to 2024, and the GFX 100s II addresses all those concerns even with twice the pixels.

FUJIFILM GF 45-100mm f/4 R LM OIS WR Lens

Over the past few months I’ve had the luxury of putting this camera through its paces using the GF 45-100mm f/4 R LM OIS WR Lens and I’m pleased to say that all my past complaints have been addressed. What we have now is a camera that is usable as handheld camera for everyday use, studio, landscape and sports in good lighting conditions.

Overall I found the user controls to be excellent from the ease of use of the touch screen, to the well designed Q menu, to the great traction of the joystick, everything is there when I need it without any hassle. \ What’s more, features like object (including pets), people and eye detection (including options for right and left eye only) make it easy to get a sharp focused shot without much challenge on your part.

One feature I didn’t play with too much because the default was good were the metering modes. Part of that was because I forgot that Fujifilm hides the metering options under the Photometry setting of the Shooting Settings, but it’s easy enough to assign that feature to one of the function buttons.That said, I only had two situations during the entire time I reviewed this camera whereby the default metering wasn’t spot on.

Here’s a video that does a deeper dive into the features of this camera along with some of my thoughts:

Now a 102MP camera creates amazing image files, but it comes with some pain as well. For starters, my RAF (raw) files were typically around 62 to 104MB and my HIF (HEIF) files could be as little as 4MB, but more frequently from 12 to 34MB on average. Toss one of the files (in any format) into Photoshop, and within a few layers you easily get 1 to 2GB files. As a result, after you’ve broke the bank to buy this camera and a lens, you better plan to upgrade your Synology NAS because you are going to need a ton of high speed disk storage! With that disclaimer out of the way, you’ll be rewarded with a lot of data to work with to create amazing images. Here’s one of the first shots I did in a makeshift studio in my garage using just a couple lights:

f/13 @ 100mm for 1/125 sec at ISO 200

You quickly realize that it’s easy to recover from just about any lighting mistake you made as the dynamic range is so wide. Here’s a link to the in-camera HIF file converted to JPEG of the above photo. It was easy to cover up some of my mistakes and edit a file that captured my intent perfectly.

Real World Shots

This was literally the first photo I took with this camera, so I was pretty excited right from the start. While this review will not feature many of the photos I took, here’s a look at some unedited images I took during my time reviewing this camera. In a few cases I show a cropped version, but link to the unedited original. However, all of these photos are HIF converted to JPEG versions of the in-camera original using Lightroom classic version 14.

All of my photos shown in this article are for your personal viewing. You may not print, edit, reuse or otherwise share any of these photos without my written consent. I retain copyright ownership and all rights are reserved.

For this photo, I used a Manfrotto (formerly Lastolite) 6x7'  Illuminated Background along with a Elinchrom Rotalux Deep Octabox (100cm / 39") and a Elinchrom Rotalux Deep Octabox (100cm / 39") to capture a pretty solid in-camera image (although the one shown here is cropped, but you can click to see the original):

f/13 @ 62mm for 1/125 sec at ISO 125

The detail in the fabric, hair, and embroidery are amazing. What’s more, nothing is blown out.  This image had a lot more to work with than the predecessor I had done years back with the GFX 50s.

This next photo represents a lot of what I love about this camera. In this case, I was taking photos elsewhere when I heard a ruckus in the water. I never noticed this guy, but he was winding down for the day. Without the ability to get close enough, I just took the shot knowing that with 102mp I could just crop and still have enough pixels for a reasonable photo. Click the image to see the full uncropped version:

f/5.6 @ 100mm for 1/125 sec at ISO 40

An added bonus of taking this shot was discovering the shadow details – this is the in-camera original with only a crop, yet I can clearly make out details on the face and in the body. What’s more, the sunset sky offers an amazing background as does the faint view of the mountains – captured identical to the naked eye at that moment in time.

Here’s a better view of that sunset and the mountains, off to the right, are a bit easier to see in this one:

f/32 @ 100mm for 1/6 sec at ISO 80

Again, I was impressed with the dynamic range of this sensor – wow! Then again, taking photos of sunsets kind of became addicting with this camera.

Here’s actually the first sunset I took with this camera from a house on the Puget Sound coast in Seattle when I was supposed to taking pictures of something else (hence the odd camera settings):     

f/5.6 @ 45mm for 1/1000 sec at ISO 160

Again, zero edits – just point and click at f/5.6! If you live in Scottsdale, Arizona, this camera is a must for those amazing sunsets! And just because they are so fun to photograph, here’s another one:

Now let’s take a break from landscapes for a bit, and get to one of the surprises I discovered with this camera during the early days of my review. For kicks and giggles I decided to shoot a football game with it just to see if it was up to the task, and it did much better than I expected. Here’s a shot that is really zoomed in for the crop, but you can click it to see the original image:

f/7.1 @ 90mm for 1/800 sec at ISO 200

Even though 90mm wasn’t enough to get me right there in the action, I could toss a ton of pixels and still get a shot with plenty of pixels of the play. Here’s another play:

f/4 @ 100mm for 1/800 sec at ISO 80

It had been a while since I shot football, so it was nice being able to have some breathing room while shooting the play and then using the crop tool to get closer to the action. However, all was not perfect. Despite great light, if I did a pan too fast while shooting the camera couldn’t keep up and the image would get very distorted creating an effect I’ve never seen before:

f/8 @ 100mm for 1/800 sec at ISO 400

I had a few dozen pics like that, some of which were much worse, but I won’t hold it against the camera as this camera was never designed to be a action sports camera. That said, I wonder if it will potentially be addressed with a firmware fix in the future.

Going back into the studio, here’s an unedited shot that shows how amazing this camera is with skin tones and textures, but it also highlights the danger of use the ambiance auto white balance setting when you get back to the studio:

f/13 @ 88mm for 1/125 sec at ISO 125

Fortunately, I have the raw image so that’s a problem that’s easy to fix. However, the HIF suffers from a yellow background and the kids got unnecessarily scolded for not brushing their teeth properly – ha ha!

Speaking of textures, this camera just blew me away with every photo, so I sometimes found myself just trying things to see how much detail it would capture. Here’s another shot of my daughter in her Korean Hanbok:

f/13 @ 81mm for 1/125 sec at ISO 125

The detail in her hair, the dress, and the ribbon just make me grin every time I'm zoom in. It's going to be tough returning this camera back to B&H at the end of this review!

Speaking of detail, look at the detail in the cliff on this handheld shot of Snoqualmie Falls. Now this one is lightly edited in Lightroom due to the mixed light, but you can click the image to see the unedited original:

f/6.4 @ 45mm for 1/160 sec at ISO 320

This is a really tough shot because if you expose for the falls, the cliff is totally blown out. If you expose for the cliff (as I’ve done here) then you black out the falls. Knowing the range of this camera, I just exposed for the cliff and figured I could work it out at home – and I was right. The only problem here was that I needed a wider angle lens so I could capture more sky and the bottom of the falls, but alas the compromised shot still wasn’t too shabby for a handled snap.

Just in case you were wondering, here’s the full shot of the falls in portrait orientation zoomed out to the max at 45mm:

f/8 @ 45mm for 1/80 sec at ISO 1250

And just for fun, here’s another shot taken of the falls at that same spot using the Acros film simulation mode instead of Velvia:

f/8 @ 45mm for 1/80 sec at ISO 1250

Speaking of mixed light, this camera had me embracing mixed light instead of avoiding. The next two photos of my daughter in the park gave me a chance to play with the mixed light and I was rewarded:

f/4 @ 96mm for 1/125 sec at ISO 250

.

f/4 @ 78mm for 1/125 sec at ISO 125

That said, even light and underexposed shots still gave me a lot to work with in post-processing. Here’s one that I’ve left unedited for this article, but it was one of my favorites after cropping it to a portrait orientation and selectively lighting up my daughters face similar to the way God did in the above shots:

f/4 @ 100mm for 1/125 sec at ISO 250

In this next shot, I tried to do too much in one shot. With that gorgeous mountain and beautiful blue sky behind them, I couldn’t help myself.

f/7.1 @ 96mm for 1/110 sec at ISO 80

This shot, using the Velvia/Vivid film simulation mode, exaggerated the colors in a tasteful way that reminded me why I love shooting with Fujifilm cameras. I know some hate it and call it Velveeta, but I’m not in that camp.

Here’s another shot that I intentionally took at 1 stop underexposed so I could avoid blowing out the back right corner. Obviously I need to brighten it up on post processing, but it’s a common shot that I do for a lot of my reviews so I thought I’d include it:

Velvia - f/8 @ 45mm for 14 sec at ISO 80

This was also a 14 seconds exposure about 30 minutes before sunset in the shade, so I was happy with how much the lens and sensor gathered. Here’s one mnore that was done for 15 seconds with the Sepia film simulation applied in-camera:

Sepia - f/8 @ 45mm for 15 sec at ISO 80

For more images, visit https://photos.ronmartblog.com/fujifilm/gfx100sii/.

A Funny Thing

While taking this photo of a creek, I decided to take versions at multiple aperture settings just to examine if there were any diffraction issues:

f/32 @ 45mm for 8/10 sec at ISO 80

In the oddest of things happened, the files got larger as the f-stop number got smaller! As a result, in a few cases I had to crop in order to reduce the size to get the file size under the 64MB limit of my hosting site, Zenfolio!

Zenfolio limits originals to 64mb - who knew?!

This meant I had to crop a little off the edges to get the file under the 64mb limit as shown here in Lightroom Classic:

No important details were lost, but I needed to clip the edges to upload for this review

And below is the file in question at f/16, but ironically the f/22 file was smaller and totally fine to upload:

f/16 @ 45mm for 1/5 sec at ISO 80

The f/11 version had the same issue, but it required even more cropping so I just left it out of this review.

Film Simulation Modes

Ask any experienced film photographer what is the first thing that comes to mind when they think of Fujifilm and the answer will almost always be great color. What sets Fujifilm cameras apart from other digital cameras is that perfect transition of color film to the digital area for amazing in-camera results. I’ve done this type of discussion many times in other articles, so I won’t do a comprehensive review.

Here are just a few samples of the same shot with some different in-camera film simulation modes taken using the handy film simulation bracketing drive mode. This allows you to push the shutter release button once and get up to three different film simulation modes applied to the same shot.

Conclusion

I’m in love with Fujifilm all over again. It’s going to be tough returning this camera because I love the detail that the sensor captures, and the lens was great. Having 45-100mm zoom really gave me a lot of options with only one lens, so I never really felt myself wanting for another lens.

I can easily recommend this camera for the serious photographer and unlike its predecessor, it’s not a tripod only camera best left for landscapes and studio work – this one really can do almost anything.

Where to Buy?

CLICK HERE to learn more or buy today.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy my other recent Fujifilm review entitled REVIEW: FUJIFILM X100VI - Is it better than you smartphone?

Enjoy this and more on the Reviews tab.

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

REVIEW: Sony a7R III - Camera of the Year 2017 (Part II of II) + Sony FE 90mm f/2.8 Macro G OSS Lens

Sony a7R III - ronmarblog.com's Camera of the Year for 2017

I've "officially" reviewed at least 80 cameras since I started this blog, and many more that didn't result in articles. Let me just say it now - nothing I've ever reviewed deserves to be compared to the Sony a7R III because it is simply in a class of its own. This is the next generation of how camera sensors should perform, and it has no equal - period.

Now before you declare me a Sony fan boy, let me also point out that my primary DSLR is a Canon 1DX Mark II and my secondary camera is a Fujifilm X-E2. I've also said great things about the Nikon D850 and many other Nikons. I've also had my fair share of reviews for Sony, Olympus, Panasonic and more.

I enjoy review cameras and I've had a fair share of excellent products that I've highly recommended. I've bashed Sony cameras that I thought sucked and faced the wrath of the hate mail from the Sony faithful. However, as 2017 has now come to a close it's crystal clear to me that my hands haven't held a camera with a full frame (or smaller) sensor that has even come close to what I've experienced with this camera. What's more, this is the best a7R series camera that I've tested thanks to improvements to the body and what I "non-scientifically" feel are improvements in its in-camera noise reduction and overall dynamic range.

Why is this camera different?

If you've followed my blog, then you know that I've been harsh on large megapixel cameras for the following reasons:

1. Noisy - High ISO performance has been poor in a world where lower resolution cameras are killing it at ISO 25,600 and sometimes even higher.
   
   
2. Can't Hand Hold - Extra megapixels meant faster shutter speeds were required to get a sharp handheld shot over other cameras. In fact, some cameras on the market demand as much as 1/<focal length * 3> minimum shutter speeds to cancel out camera shake. This means they are utterly useless for anything but tripod and shoots under studio lighting.
   
   
3. No practical benefits - Initially many of these higher resolution cameras offered a lot more megapixels but nothing that can be perceived as a benefit when you shrinking your photo down and use it on social media, your desktop background or on your TV. Sure there are some printing advantages, but poor sensor performance resulted in them not really being much different than a properly resized photo from a lower resolution camera. Simply put - camera makers were fooling us by just doing in-camera resizing that didn't seem to yield any measurable benefit in real world use.

The Sony a7R III changes all of that. The issues raised above are no longer an issue with this camera and here's 100% unedited in-camera sRGB JPEG's (that are only better with the RAW) that prove this camera is legit.

Noise is on par with lower megapixel DSLR's

Consider the following shot that is 100% unprocessed from the in-camera sRGB JPEG and is at ISO 8000:

f/4 @ 90mm for 1/200 sec at ISO 8000

The color is fantastic and even when you look at the eye at 100% as shown here:

you'll notice that the details are excellent and the noise is on par with best performing lower megapixel DSLR's. That's ISO 8000 folks - previously most high megapixel cameras (except the D850) I tested looked terrible at this ISO and higher. Of course this is in the daylight with everything in best case to high ISO noise, so what about when things get dark?

Here's an example below at ISO 25,600 when you click on it at full-size things get a little ugly, but the in-camera JPEG is still totally usable as you can see here:

f/3.2 @ 90mm for 1/200 sec at ISO 25600

However, this is where things get interesting as the dynamic range of this camera is off the chart so some quick editing of the RAW and I can recover a ton of color from this shot to get this:

ISO 25600 processed from ARW RAW file using Lightroom & Imagenomic Noiseware

Look at all of the detail I can bring back in the background and in the shadows - it's like someone turned the lights on! Of course, I can easily change the white balance to bring back the warm feel of the in-camera version but I didn't do that here just to illustrate a point and emphasize the blues that get recovered in this image.

Now imagine if I had taken this shot at ISO 100?!!!! The biggest problem with high ISO images is that you lose dynamic range, but even at ISO 25,600 this camera has gobs of dynamic range with plenty to spare.

Here's another good example at ISO 10,000 that is 100% unedited and taken during a parade at night (hence the persons head at the bottom of the shot):

f/2.8 @ 90mm for 1/500 sec at ISO 10000

The noise level is acceptable and the colors from the wide dynamic range of this sensor are fantastic!

Here's a landscape shot at 12,800:

f/9 @ 90mm for 1/200 sec at ISO 12800

Here's another where things really get pushed at ISO 32,000:

f/16 @ 90mm for 1/200 sec at ISO 32000

While my Canon 1DX Mark II might do a little better with noise at these levels and higher, it can't touch the dynamic range - and that would be true if I was using the 5DsR, 5D Mark IV, or even a Nikon D5. Having this much color retained at high ISO is perhaps more as important as Noiseware can get rid of the noise dots but you can't bring color back. As a result, I can easily say this is a camera where you shouldn't fear cranking up the ISO.

Can you hand hold? - Oh heck yeah!

Guess what, unless otherwise noted, almost every shot in this article is hand held?!! Take note of that when looking at the shutter speeds. However, I should note that when you see 1/200 sec that's because I forced a minimum shutter speed in the camera to avoid camera shake - before I realized how much I could trust this camera!

How about 1/10 sec for a 90mm lens? Yep, no problem.

Ok, I'll admit it took a few tries and 1/160 sec was much easier, but I got multiple crazy sharp 1/10 and 1/20 sec shots with the Sony FE 90mm f/2.8 Macro G OSS Lens mounted to this camera. Here's one example:

f/2.8 @ 90mm for 1/10 sec at ISO 160 - hand held!

Here it is at 100% zoom:

That's crazy sharp!!! Of course, this lens has Optical Steadyshot in addition built-in SteadyShot that applies to all lenses so you end up being able to pull off human tripod shots that even shaky hand people like me with arthritis and carpal tunnel syndrome could normally never get without some serious support.

To prove this isn't smoke and mirrors, I had my 8 year old son take this iPhone photo of me while I was taking the shot above:

Here's another shot taken in the woods while standing up with much less support at 1/100 sec for a 90mm lens:

f/2.8 @ 90mm for 1/100 sec at ISO 640

Now 1/100 sec is about what you should be shooting at for a 90mm lens, so I think this shot proves there's no penalty for the extra megapixels when paired to a OSS lens. Unfortunately I only had one lens for this review so I couldn't test OSS alone, but if you read my a7R II review then you'll see that I thought in camera steadyshot performed well. I don't expect that you'll pay the penalty of needing faster shutter speeds with this camera like you do a Nikon D850. Here's a 100% zoom of the eye from the above shot to show it's plenty sharp for a hand-held shot:

With this camera, I can no longer make the statement that the extra megapixels means it's really best for only studio shots and tripod shooting as I definitely proved it wasn't the case. This is a big deal for cameras with this many megapixels so I commend Sony for doing a great job here!

Plenty of Practical Benefits

Normally when you get a camera in this category you sacrifice a lot so it becomes a specialized camera. However,  the a7R III offers an astonishing 399-point AF system with 10 fps that makes it half as fast as the incredible Sony a9 that I reviewed. This means you can get edge to edge AF points and incredible action shooting performance in the worst of conditions. To illustrate this, consider some of these shots taken during a parade at night where I'm being bumped and dealing with a large crowd of people around me:

f/2.8 @ 90mm for 1/500 sec at ISO 10000
This guy was dancing around so I just lifted the camera above my head while pressing the Eye AF button and let a burst mode rip - got em

f/2.8 @ 90mm for 1/500 sec at ISO 3200
I was being mobbed with people all around, so I just fired in burst mode to see what I could get - no problem

f/2.8 @ 90mm for 1/500 sec at ISO 5000
This girl was highly animated, but I just pressed eye AF and let burst mode see what it could do

f/2.8 @ 90mm for 1/500 sec at ISO 4000
I honestly don't even remember this person as it was another case where eye AF and burst mode were my spray and pray solution. I was pleased with how well it did even with all of the distractions

f/2.8 @ 90mm for 1/500 sec at ISO 4000
Zoom into this shot - Mrs. Clause eye with glasses on while moving on a parade float was no problem for this camera

f/2.8 @ 90mm for 1/500 sec at ISO 10000
Another spray and pray and this one is even more impressive when you consider how dark her eyes are with the visor on - this is a legit photojournalism camera folks!

f/3.2 @ 90mm for 1/500 sec at ISO 320
This shot is my favorite of the 14 shot burst mode taken below
and look how great the red jacket looks!
Full size originals of all frames are in the gallery associated with this article

Ignore the first shot, but the other 14 were tall taken in one burst at RAW+JPEG X.Fine using Eye AF

So yeah, I found this camera to be just as usable in everyday life as my Canon 1D X Mark II yet it had the advantage of the Eye AF feature. So in my books this is a great event, action, wedding, and kids photography camera - that's saying a lot!

Douglas Dubler - A Top Pro's Perspective on the Sony a7R III

NOTE: The following images are used by permission and may not be linked to, saved, copied or otherwise used without consent from Douglas Dubler.

Ellison Ballet shot by Douglas Dubler 
edited by Irfan Yonac - click for a larger version

My good friend Douglas Dubler is one of the most famous fashion photographers in the industry for decades and was a long-time Nikon and Fujifilm featured photographer. In fact, Douglas Dubler photos have been used to launch many cameras including one example - the Nikon D3x.

However, his camera of choice these days is the Sony a7R III and his trusty RX 100IV - the later of which was used for this article where he destroys most DSLR shooters images! 

He's been amazed at the performance of this camera in extremely low light fast action shots he takes of the prestigious Ellison Ballet.  He's been posting picture after picture of amazing shots like this one on  Instagram and Facebook:

Madison by Douglas Dubler
edited by Irfan Yonac - click for a larger version
 Instagram / Facebook

He feels strongly that the a7R III is definitely an improvement over the II in terms of dynamic range and he considers it to be one of the best cameras he's ever used which is saying quite a lot from a guy who has done quite a few shots with the 100 megapixel Phase One camera system and Broncolor lights!

Sony FE 90mm f/2.8 Macro G OSS Lens Thoughts

It's kinda hard to tell but this review isn't just about the camera, but it's also about the Sony FE 90mm f/2.8 Macro G OSS lens I used for all of my featured photos in the review gallery.

The Sony FE 90mm f/2.8 Macro G OSS features low-dispersion glass glass which has benefits you can read about here. In simple terms all this means that this is a crazy sharp lens with deliciously smooth bokeh as you can see in this handheld shot below:

f/2.8 @ 90mm for 1/160 sec at ISO 2000

I talked about how it makes a heck of a macro lens in part I of this article, but it makes a killer portrait lens too as you can see in this shot and others like it in this article:

f/3.2 @ 90mm for 1/200 sec at ISO 5000
Natural light, unedited, standard camera settings, auto white balance (ambient bias)

Click here to see an edited version of this photo on Instagram or on my portfolio site.

Here's an impromptu handheld macro shot I did in the kitchen while my wife as cooking:

f/2.8 @ 90mm for 1/200 sec at ISO 5000

I could have got much closer and filled the frame with the main subject (I don't know what that food is called either - ha ha). However, I love the shallow depth of field I got from the f/2.8 lens yet my subject is super sharp.

Here's one of the few stabilized shots I took where I was trying to see how well it did at f/22:

f/22 @ 90mm for 1 sec at ISO 640

I have three other versions of this shot in the gallery at f/9.0,  f/11 and f/16. While diffraction definitely kicks in and isn't handled as nicely as I've seen on the best Fujifilm X-Series cameras, there's no doubt this is a proper landscape camera!

Here's a portrait shot out in the snow which surprised me for how blue it was despite using the auto white balance with the warmer ambient setting. Sony seems to favor cooler temps in the snow in its auto white balance algorithm, but that's easy to fix with the RAW:

f/5.6 @ 90mm for 1/200 sec at ISO 640
Click for original or go check out the edited version

My camera settings were such that my exposure compensation got ignored, so wintery scene turned out darker than I wanted:

f/4 @ 90mm for 1/200 sec at ISO 100
See the edited version here and the higher ISO variant

Marrying the worlds of landscape, macro and portrait, this shot of a fallen tree is a visual feast for pixel peepers who enjoy seeing the details that this sensor can capture:

f/8 @ 90mm for 1/60 sec at ISO 4000 

Like snow, rushing water is always tough to shoot because it's easy to blow out your highlights. Since I was handheld for the shot below I couldn't do a long exposure so I went for capturing the power of the water:

f/8 @ 90mm for 1/160 sec at ISO 640
This is a fun shot to explore for all of the detail in the water droplets and rock textures!
I can't wait to edit this one as the RAW file gives me so much I can do to make this shot be exactly what I want it to be thanks to the incredible dynamic range of the a7R III

See more than 110 unedited sample photos at http://photos.ronmartblog.com/sony/a7riii.  All photos here and in the gallery are copyright Ron Martinsen - ALL RIGHTS RESERVED (or Douglas Dubler where noted). You may view the photos while your browser is open to this article, but you must delete all copies from your machine when you leave the article.

You may not print, edit, link to, repost, or otherwise use any images from this article without consent from Ron Martinsen (or Douglas Dubler where applicable). Contact me for more details.

Conclusion

I wish I had more lenses for this review, as being limited to the 90mm really hindered what I could do.

I wish I had more time with this camera as I have a lot of ideas of what I could do to show it off.

I wish you'd buy my Canon gear so I could buy this camera - it really is that good. This is why I'm proud to give the Sony a7R III my highest recommendation by naming it my 2017 Camera of the Year!

While Sony still has plenty of gaps in terms of lenses offered for this camera and its flash system is nothing compared to the Canon 600EX II-RT or Nikon SB-5000, there's enough goodness with the Sony a7R III that I'm officially recommending those that can afford it to switch camps. That isn't something I do lightly or have ever done before, but in the world of amazing cell phones like the iPhone X and the Samsung S8 the advantage of big bulky DSLR's is fading fast. As a result, your camera should do more and only the Sony a9 and a7R III are legitimately doing that in my opinion.

While I haven't owned a Sony camera since 2006, that is very likely to change in 2018 when I've sold enough gear to make the switch. When I do, you can bet that the Sony FE 90mm f/2.8 Macro G OSS lens will be high on my wish list. I'd also love to see Sony work on these things in 2018 to make this platform better:

1. Please make E-Mount versions of your best lenses and move third parties like Sigma to do the same.
2. Please build a killer radio frequency ETTL flash system.
3. Continue to make improvements on the painful menu system such that it has fewer pages. I like Canon's system best - especially with the Q button jump feature.
4. Make it easier to one tap (rather than hold) to engage and disengage Eye AF.
5. Learn from Fujifilm and offer a left vs right eye option for Eye AF.
6. Continue to improve the high ISO performance and metering.
7. Make it cheaper so more people can enjoy the best camera on the market! :)

Where to Buy?

CLICK HERE to learn more or buy Sony a7R III from B&H.

CLICK HERE to learn more or buy the Sony FE 90mm f/2.8 Macro G OSS lens from B&H.

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• REVIEW: Sony a7R III - The Best Camera on the Market in 2017 - Period (Part I of II)
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• Canon 5Ds
• Canon 5DsR
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Enjoy these and more on the Reviews tab as well as Ron's Recommendations.

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.