Pros & Cons
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- 33MP full-frame sensor leaves room for cropping
- Large EVF and dual articulating rear screen
- 30fps tracking at 14-bit Raw with pre-capture mode
- Robust subject detection with class-leading focus tracking
- Full-width 4K60 video and Super35 4K120 slow motion
- Works with CFe and SDXC memory cards
- Outstanding battery life
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- Video features lag behind competitors
Sony a7 V Specs
| Battery Type | Sony NP-FZ100 |
| Connectivity | HDMI |
| Connectivity | Headphone (3.5mm) |
| Connectivity | Microphone (3.5mm) |
| Connectivity | USB-C |
| Connectivity | Wi-Fi |
| Dimensions | 3.8 by 5.1 by 3.2 inches |
| Display Resolution | 2.1 |
| Display Size | 3.2 inches |
| EVF Resolution | 3.7 |
| Flat Profile | |
| HDMI Output | 4:2:2 10-bit |
| Lens Mount | Sony E |
| Maximum ISO | 204800 |
| Memory Card Format | CFexpress (Type A) |
| Memory Card Format | SDXC (UHS-II) |
| Memory Card Slots | 2 |
| Minimum ISO | 50 |
| Sensor Resolution | 33 |
| Sensor Size | Full-Frame |
| Sensor Type | Partially Stacked BSI CMOS |
| Stabilization | 5-Axis IBIS |
| Touch Screen | |
| Type | Mirrorless |
| Video Resolution | 4K |
| Viewfinder Magnification | 0.78x |
| Viewfinder Type | EVF |
| Weight | 1.5 |
For the first time, Sony is playing catch-up with its mainstream full-frame camera body rather than running out in front of the pack. The a7 V ($2,899.99, body only) debuts a new 33MP Partially Stacked CMOS sensor that rattles off 14-bit Raw pictures at up to 30fps, records full-width 4K60 video with 10-bit color, and improves upon the a7 IV's already fantastic tracking autofocus system. It's a far more capable camera for action photography versus the older a7 IV (still on sale for around $2,000), and leapfrogs the excellent Nikon Z6III ($2,499.95) and Canon EOS R6 Mark III ($2,799). Sony leads the pack among the trio, so the a7 V earns our Editors' Choice award among full-frame generalist cameras, though performance is close enough between the three that you can't go wrong with any of them.
Design: A Midsized Full-Frame Mirrorless
I won't blame you if you mistake the a7 V for an a7 IV or a7 III at first glance. Sony's design language hasn't changed significantly over the years, and while there are changes to the body with each iteration, you'll feel right at home with the a7 V if you're upgrading from an older model. Size is average for the class: The a7 V measures 3.8 by 5.1 by 3.2 inches (HWD) and weighs 1.5 pounds with its battery and a memory card installed, not far off from the Nikon Z6III (4.0 by 5.5 by 2.9 inches, 1.5 pounds) and Canon EOS R6 Mark III (3.9 by 5.4 by 3.5 inches, 1.5 pounds). The a7 IV is a teensy bit slimmer, but only because the a7 V's rear LCD has a more complex dual-axis hinge that adds a couple of millimeters of depth.
(Credit: Jim Fisher)The a7 V has all of the features you'd expect from a nearly $3,000 full-frame camera. Its 33MP Partially Stacked BSI CMOS image sensor is stabilized across five axes and delivers a CIPA-rated 7.5 stops of compensation, and the weather-sealed, magnesium alloy body is meant to last. Likewise, it includes a large, sharp electronic viewfinder, an articulating rear display, and dual memory card slots.
You can get the a7 V as a body only, a good way to go if you already have some Sony E-mount lenses on hand, or in a kit with the new FE 28-70mm F3.5-5.6 OSS II zoom lens for $3,099.99. I haven't used the new lens, but Sony says it has faster autofocus than the original FE 28-70mm F3.5-5.6 OSS that launched along with the a7 line in 2013, so it can support the 30fps drive on the a7 V and the 120fps on the a9 III.
(Credit: Jim Fisher)Photographers who pick up a Sony camera have access to a wider variety of first and third-party lenses versus Canon and Nikon. Sony has a five-year head start versus rivals in mirrorless, and has let third parties make lenses for its system from the start, while Canon and Nikon are both more picky about giving out access to independent lens makers. I used the a7 V with a couple of Sony lenses, the fresh FE 100mm F2.8 Macro GM OSS and classic FE 85mm F1.8, as well as some glass from 7artisans, Sigma, and Viltrox. Typically, third-party lenses work well with Sony cameras despite being restricted to 15fps drive with focus, while the a7 V is able to focus at 30fps with Sony lenses.
I made a point to try a few brands as an early report from YouTuber Kai Wong notes that the a7 V in particular has compatibility issues with some. The Sigma lenses I have on hand (the 24mm F2 and 45mm F2.8 Contemporary and 150-600mm Sports) work perfectly, as does a 7artisans 50mm F1.8. However, the Viltrox 35mm F1.2 Lab proved troublesome; the a7 V locked up twice in a span of just 15 minutes using it, and the only way to get the camera working again was to pull the battery. The 35mm F1.2 Lab works without issue with my only other Sony body, the older a7R IV. I reached out to Viltrox, and a representative told me that the company is aware of the issue and working on a firmware update to address compatibility problems with the a7 V. All and all, I consider the noise about lens incompatibility to be much ado about nothing, as firmware updates are no big deal and a fact of life in the digital age.
Controls: Sony's Familiar, Thoughtful Layout Continues On
If you're trying to play a game of spot the difference between the a7 IV and a7 V control scheme, you should be prepared to lose. All of the buttons and dials are in the same place, so creators who are upgrading can pick up the a7 V without missing a beat. If you're stepping up from the compact a7C II or an older Sony, you should feel pretty comfortable too; the a7 V has more buttons and dials, but the same basic interface. Switching from another brand is another matter. Most cameras are similar in form and function, but you'll have to retrain some of your muscle memory if you're stepping away from Canon, Lumix, or Nikon.
(Credit: Jim Fisher)The a7 V has the expected front command dial integrated into its handgrip. It's positioned just above the sculpted indentation where your middle finger rests naturally, so you can easily access it with your index finger. The shutter release, which is collared by the On/Off switch, sits at the top of the grip. Record and C2 buttons are just behind the shutter, as are two dials, one of which is dedicated to EV compensation adjustment and includes a center post lock to prevent accidental adjustments. There's also a PASM Mode dial with three custom slots, but no locking post like you'll find on the pricier a7R V, a9 III, and a1 II. A toggle switch to change between stills, video, and slow and quick motion video is nested at the base of the dial.
Looking to the rear, the C3/Lock and Menu buttons are squeezed into the top left corner, above the LCD and next to the EVF, while C1, AF-ON, and AE-L run along the same row on the right side. An eight-way focus point selector and Fn button are just below AF-ON, along with a flat command dial with four directional presses (Display, ISO, unmarked, and Drive/Self-Timer), and the Play and Delete/C4 buttons are below it.
(Credit: Jim Fisher)If you're not happy with default button functions you can pop into the menu and reconfigure nearly all of them (except Fn, Menu, and the shutter release) to taste. The a7 V uses the same menu system as the a7 IV and other recent Sony cameras. It organizes functions with side tabs and color coding, and includes both a single-page control panel for quick access to card formatting and other common functions, and a configurable My Menu page. There's also a quick on-screen overlay menu, accessed using the Fn button, with 12 configurable banks. Hybrid creators will appreciate that both the buttons and the Fn menu can be independently configured for photography and video.
Displays: Finally, a Fantastic LCD on an a7 Body
Sony has received deserved criticism for putting so-so rear LCDs on midrange full-frame cameras—the older a7 IV's 3-inch, 1.04-million-dot display was a little paltry compared with contemporaries like the Nikon Z 6 II (3.2 inches, 2.1 million dots). The a7 V catches up; its 3.2-inch, 2.1-million-dot touch display is as good as you get with the Z6III and better than the EOS R6 Mark III on its merits, and beats both competitors when it comes to movement.
(Credit: Jim Fisher)The a7 V screen has two points of articulation, so you can pull it straight back from the body and tilt it up or down, while keeping the display centered behind the lens, or swing it out to the side and rotate to face forward, a desirable feature for video. This brings the a7 V up to par with the a7R V, a9 III, and a1 II, and importantly meets the needs of both photographers who want to keep the display on axis with the lens to ease composition, and videographers who want to monitor the frame when self-recording.
(Credit: Jim Fisher)The eye-level viewfinder is excellent as well. It shows a large image (0.78x magnification) with vibrant color, a smooth refresh rate (120fps), and plenty of resolution (3.7 million dots), matching the a7 IV and EOS R6 Mark III. The Nikon Z6III has a slight edge here, as its finder is a teensy bit bigger (0.80x), sharper at 5.8 million dots, and has a brighter HDR OLED that shows the entire DCI-P3 color gamut.
Power and Connectivity: The Best Battery Life Among Its Peers
The a7 V beats every camera in the class in battery life. It uses the same NP-FZ100 battery as most other Sony cameras, but beats them in power efficiency to net a 630 EVF/750 LCD exposure rating. The CIPA estimate is accurate, if a little conservative, if you're using the a7 V in single exposure mode. I took it out for a morning of still-life photography and noted a 33% drop after about 250 photos, right on pace for the 750-exposure rating. I got more longevity when I mixed in continuous drive; I took another 900 pictures over a week and used up 85% of the charge, which puts me on pace for more than 1,000 shots on a charge.
(Credit: Jim Fisher)For comparison, the Nikon Z6III (390 LCD/360 EVF) and EOS R6 Mark III (620 LCD/390 EVF) don't last nearly as long. I'd still recommend carrying a spare battery for travel and for pros covering events. The NP-FZ100 costs $89.99, but it's not absolutely necessary, especially since you can charge on the go via either of its USB-C ports. The dual USB-C configuration is also a plus for vloggers who want a camera for live streaming, as you can connect one to your computer and send 4K30 video out via the UVC/UAC protocol, and use the second to plug into power.
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Additionally, the a7 V has discrete 3.5mm microphone and headphone jacks and a full-size HDMI port that outputs a clean 10-bit 4:2:2 signal. It has dual memory card slots, one that takes either a CFexpress (Type A) or UHS-II SDXC card, and another that works with UHS-II SDXC cards but doesn't support CFe. The a7 V does not have a built-in flash (no camera in this class does), but includes a hot shoe that works with flashes, wireless transmitters, and digital microphones.
(Credit: Jim Fisher)Bluetooth and Wi-Fi are built in as well. The a7 V connects to Android and iOS devices wirelessly via the Sony Creators' app. The app supports file transfers, remote control with live view, and firmware updates. The pairing process is painless: I already had the app loaded on my iPhone 13, and it took less than a minute to walk through the steps to connect the camera.
Autofocus: Simply the Best, and Now With Insect Detection
The a7 V builds on the already fantastic Real Time Tracking focus system from the a7 IV, with a few new subject recognition modes. In addition to people, pets and animals, and birds, it adds special modes for insects, cars and trains, and airplanes, bringing it up to level with more recent releases. It adds some value to an autofocus system that I consider best in class, though to be fair, Sony is now only slightly ahead of Canon and Nikon. Macro photographers will appreciate the insect detection, which I've used to easily find focus on the compound eyes of bees pollinating flowers with other Sony cameras, but everyone will like how well it works in general. In its tracking mode, the a7 V keeps up with moving targets, and subject detection reliably places focus on the eyes of people, pets, and birds.
Aside from the new subject detection modes, autofocus maintains the status quo. The a7 V gets a couple of tracing areas that the a7 IV doesn't have—an extra small option that I found handy when trying to take photos of sparrows in heavy brush, and an extra large box that's handy for larger targets. The camera also supports a flexible zone (about twice as big as the extra-large box), an expanded spot that puts an emphasis on the center of the focus box but also looks around, as well as automatic focus selection across the frame, among others. And the camera has focus modes that don't track, so if you don't want the focus point to follow a subject as it moves through the frame, you have that option too. Canon and Nikon use very similar focus systems in recent cameras, and while Sony's system is reliable and doesn't require fine-tuning to get accurate results, they're all excellent.
Canon is currently the leader in burst speed in this price class. Its EOS R6 Mark III focuses at up to 40fps at 12-bit Raw quality, while the Nikon Z6III hits 20fps in Raw and 60fps for JPGs. The a7 V splits the difference; it focuses at up to 30fps with no loss of picture quality (14-bit Raw), plus includes a pre-shooting buffer mode with a configurable duration (0.3-1.0 seconds). The pre-shot mode is handy for sports photography—you can keep focus on a player by half-pressing the shutter and fully pressing it to save images when an exciting play happens—as well as for wildlife. I like using it for birding as it can help me catch a good moment of action without filling up the memory card, for instance, it's especially useful to get a shot of an egret's bill hitting the surface of the water to catch a fish.
The a7 V rattles off photos at 30fps, but its buffer fills up pretty quickly at top speed. I got about 42 images before the burst rate started to slow down when capturing Lossless Compressed Raw images, and noted a 7-second clear time with a Sony Tough UHS-II 299MBps SDXC card and a 3-second delay with a Sony Tough 700MBps CFe card. It goes longer for JPGs—105 with SDXC and 210 with CFe—with the same clear times. If you plan on using the a7 V for sports photography, I think it's worth it to spend the extra money on a fast CFe card, but a good SDXC will be fine in most scenarios, and understand that the buffer won't fill up nearly as quickly if you opt for a slower capture rate. The a7 V lets you ratchet down the drive speed to 20, 15, 10, or 5fps if desired. The mechanical shutter is available for bursts, too, but it tops out at 10fps.
Image Quality: Sony's 33MP Sensor Delivers Resolution, Speed, and Dynamic Range
The a7 V marks the debut of a new 33MP Partially Stacked BSI CMOS image sensor and Bionz XR2 image processor. The sensor matches the chip in the a7C II and a7 IV in resolution, but integrates memory for a brisker readout speed to support faster frame rates for stills and video alike and reduce instances of rolling shutter motion distortion. It scans from top to bottom in about 12ms for stills (about 1/80-second) and 10ms (1/100-second) for video, both excellent marks. In practical terms, this means that you can use the a7 V in its electronic shutter without having to worry about seeing jello effects for most scenes. It also has a mechanical shutter that passes over the sensor in about 4ms for even more motion-stopping power and 1/250-second flash sync speed.
The camera supports a few different image formats. It records 8-bit JPGs that are easily shareable, but are compressed and processed in-camera, so they don't leave much room for exposure or color edits. Its 10-bit HEIF format captures more color information and looks better on HDR displays. Experts and pros will want to use Raw, which captures 14-bit color and relies on desktop or mobile software for editing and processing, so you can get creative with color, recover a photo that's over- or underexposed, or adjust highlights and shadows in software like Adobe Lightroom Classic. There are three Raw options from which to choose: Lossless Compressed, Compressed High Quality, and Compressed.
The updated sensor isn't just fast, it also delivers fantastic picture quality. I'm waiting on Adobe to add support for the camera to make an apples-to-apples comparison with other models, but the out-of-camera JPGs impress me. The sensor supports a wide ISO 50-204800 sensitivity range, and shows exquisite detail with very little loss of quality up through ISO 12800. I see some smudging of fine detail at ISO 25600-51200, but not that much. There's a loss of fidelity at ISO 102400—details are blurry, but colors hold up. I consider ISO 204800 an emergency setting for use in near dark environments, as noise wipes away most fine detail, and colors are a little washed out.
I typically use Lightroom Classic to examine and compare Raw images, but it hasn't yet been updated to support the a7 V's files. I took a peek at my ISO tests in Sony Imaging Edge Desktop, but its noise reduction isn't nearly as good as Lightroom so I can't make a direct comparison with other cameras. Lightroom's Raw processing typically follows JPG results, but shows stronger detail and more grain at higher ISO settings. Likewise, I haven't had a chance to see how much dynamic range the Raw images provide for editing, but an early report from Photons to Photos shows that the a7 V is excellent. At base ISO, it delivers more than 12 stops with its mechanical shutter and 11 stops with its electronic shutter. That means you'll have ample room to open up details in shadows and rein in highlights.
If you don't want to deal with editing Raw images, you can still get stylized color out of the a7 V. In addition to the basic profiles (Standard, Neutral, Portrait, Vivid, Black and White, Sepia), it has three different film look options (FL, FL2, FL3) with high, medium, and low contrast, respectively, an instant camera profile (IN), and a soft highkey (SH) mode. I swapped between FL and the black-and-white (BW) profiles for the most part.
Video: Full-Width 4K60 and Cropped 4K120
The a7 V leads the pack in picture quality, but it's a little behind for video when compared with the Canon EOS R6 Mark III, Nikon Z6III, and Panasonic Lumix S1II. Content creators may prefer one of these other cameras for their difference-making features—the R6 supports 3:2 aspect open gate video at 7K30 and 16:9 7K60 Raw video, the Z6III does 6K60 in Raw or ProRes, and the Lumix S1II supports open gate at 6K30 and has ProRes in standard, HQ, or Raw quality.
Sony's video engine isn't quite as impressive, but it's still darned good. The a7 V skips Raw video encoding entirely and doesn't have a 3:2 open gate mode. Instead, it uses XAVC S (H.265) for full-width 4K60 at a widescreen aspect and crops into a Super35 (APS-C) sensor area for 4K120 slow-motion. Open gate is a popular option for content creators who need to pull out a widescreen image (for YouTube) and a tall crop (for TikTok or Instagram) from the same take, and for cinematographers who want to use an anamorphic lens like the Sirui Venus 50mm. The a7 V also sports a new microphone system with a pickup that's dedicated to noise and wind reduction. You'll still want to connect an external mic to get crystal clear audio, but external mics also benefit from the built-in noise reduction system.
While the a7 V doesn't support 3:2 recording or 6K resolution, its 4K picture quality is excellent, and the sensor is fast enough to avoid rolling shutter distortion in most instances. You can choose from any of the still picture profiles for movies, or switch over to a cinematic look (S-Cinetone 3). Editors who prefer to color correct can opt for a flat S-Log3 profile with 10-bit 4:2:2 color. It's up to you if 4K at 16:9 is enough to meet your standards, but I'll say that while the a7 V isn't the best video camera in this class, it's more than capable.