Camera
Sony announces a9 III: World’s first full-frame global shutter camera
| Sony a9 III |
Sony has announced the Alpha 9 Mark III, the world’s first full-frame camera with a global shutter. It can shoot at 120 fps with no blackout and a maximum shutter speed of 1/80,000 sec.
It’s a 24.6MP camera that Sony says doesn’t compromise on ISO performance or dynamic range. The global shutter means photos with zero distortion of movement. It promises 8EV of in-body stabilization.
The a9 II is built around the latest Bionz XR processors, giving eight times as much power as the a9 II.
The a9 III can shoot 120 fps with full AF conducting calculations between each shot. It can continue this for 1.6secs of 14-bit Raw files: 192 frames and 6Gb/s. It can pre-buffer for up to 1 sec, giving a preemptive 120 frames of pre-capture. The camera includes a ‘Speed Boost’ custom button to prompt the camera to jump from a slower rate up to 120 fps.
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CMOS sensors with a global shutter have been available for several years but haven’t been able to offer as much dynamic range as conventional, progressive-scan designs. The emergence of Stacked CMOS technology provides enough space for the added circuitry that global shutter designs need on one layer, while also allowing enough space for electron storage, helping relieve this DR restriction.
The global shutter means the a9 III can sync at up to 1/80,000 sec and eliminates the need for High Speed Sync, and allows this feature with third-party flashes. It also means there’s no risk of banding from artificial lights, but the camera has an ‘Anti-Flicker’ mode that syncs the shutter with the bright point in the light’s cycle, to avoid inconsistent exposure.
It’s rated to focus down to -5EV with an F1.8 aperture lens. It adds smaller AF points, alongside Sony’s subject recognition modes.
On the video side, it can shoot 4K/60p taken from 6K capture and 4K/120p without any crop. It includes options such as 10-bit 4:2:2 capture, the S-Cinetone profile and ’16-bit’ Raw video output over HDMI.
The a9 III has a 2K-dot 3.2″ rear screen with full articulation and a tilt-out cradle. It’s the same setup as the a7R V and includes an LCD panel which covers the DCI P3 color gamut. It features a 9.44M dot OLED viewfinder with 0.9x magnification. It can run at full resolution at 120fps or with a reduced resolution at 240fps.
Sony says it’s moved the shutter button to improve ergonomics, as well as adding a fifth function button to the front of the camera. The optional battery grip’s ergonomics have also been reworked and the battery performance boosted by 15% by treating the two included batteries as a single entity, rather than discharging one and then the other.
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The a9 III will be available from Spring 2024 at a recommended price of $5999.
What is a global shutter?Global shutter is a method of ending an exposure where all the image data is captured simultaneously. This is distinct from most existing shutter systems (electronic and mechanical) that start and end progressively: working their way across the sensor. There are multiple benefits to such a system, with the most obvious being the elimination of the rolling shutter distortion effect often seen on video and with slow electronic (progressive) shutters. But another major benefit is that a global shutter can sync with flash at almost any shutter speed. With global shutter it’s the duration of the flash burst that becomes the limitation, rather than the length of time it takes to close the shutter (which in turn dictates the shortest period where the whole sensor is exposed). Sony says the a9 III can sync at all shutter speed (all the way up to 1/80,000 sec). A global shutter also eliminates the banding that can occur with progressive shutters under flickering lights. Because the image is all captured at exactly the same moment, you don’t capture different parts of a light’s flicker cycle in different parts of the image. You might capture an image of an LED sign board refreshing, if you use a very high shutter speed, but that’s an issue with the LEDs, not the camera, which is accurately capturing a single moment in time. |
It also says it will be introducing firmware updates to the a7S III and the a1, adding features such as breathing compensation. The a7S III will also gain DCI 4K capture. Sony says it will also add the ability to continuously shoot with shutter speeds at up to 1/80,000 sec in a firmware update.
All three cameras will also add C2PA authentication metadata.
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As part of the launch, Sony has announced the FE 300mm F2.8 GM OSS. It weighs 1470g (51.9oz), making it the lightest in its class, the company says. This is the same weight as the original 70-200mm F2.8 GM. The company also says it’s designed to be balanced with the camera attached.
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| FE 300mm F2.8 GM OSS |
The 300mm F2.8 GM OSS has two XD linear motors to allow it to focus fast enough to work with the a9 III.
The 300mm F2.8 will also cost $5999 and will also be available in Spring 2024.
Sony event video:
| Photo: Dale Baskin |
On a recent trip to Japan, I found myself in one of those situations universally dreaded by travelers: showing up for an international flight with a pocketful of unspent local currency and nowhere to spend it except a duty-free shop. I was swimming in a Scrooge McDuckian sea of unused Yen.
The idea of bringing home yet another Toblerone bar, that triangular brick of duty-free despair, was soul crushing. I desperately searched for something – anything – else to needlessly throw my money at.
Then I saw the Hello Kitty Toy Camera, a small rangefinder-shaped camera complete with an optical viewfinder and removable memory card. You can find these toy cameras all over Japan at stores like Bic Camera, but I never considered buying one until I was in a use-it-or-lose-it cash scenario.
Given the choice of drowning my sorrows in yet another Toblerone bar, snagging a box of Tokyo Bananas or dropping a pocketful of Yen on the Hello Kitty camera, my duty to DPReview came first. Which is why, dear readers, I’m going to tell you about yet another camera you never knew you didn’t want.
Key specifications
- 1.3MP Type 1/10 CMOS sensor (approximately 1.28 x 0.96mm)
- 3.2mm F2.8 fixed-focus lens
- Optical viewfinder
- ISO 100 (fixed)
- Single Micro SDHC card slot
- Video capture (720×480/30p)
- Fake buttons and controls
- Pink Hello Kitty styling
How it compares
It’s hard to find cameras that are directly comparable to the Hello Kitty Toy Camera, so we decided the best course of action would be to compare it to another rangefinder-style camera: the Fujifilm X100VI.
As the table below illustrates, we can make the Hello Kitty camera appear competitive with the more expensive X100VI by picking just the right specs to compare.
| Hello Kitty Toy Camera | Fujifilm X100VI | |
|---|---|---|
| MSRP | $45 | $1599 |
| Sensor size (crop factor) | 1.25mm² * (27x) |
369mm² (1.53x) |
| Resolution | 1.3MP | 40MP |
| Max aperture | F2.8 | F2 |
| Viewfinder | Optical | Optical |
| Hello Kitty-themed art | Yes | No |
| Trendy color options | Yes | No |
| Fake buttons to look more professional | Yes | No |
| Memory card type | Micro SDHC | UHS-I SD |
| Number of existential mid-life crises induced in the average camera reviewer during testing | 3 | 0 |
| Weight | 18g | 521g |
On paper, both cameras earn superlatives in some areas. While the Fujifilm wins on key specs like sensor size and resolution, it’s hard to ignore the price tag and uber-light weight of the Hello Kitty camera. Along with the fact that the Hello Kitty camera can fit in a real pants pocket, not the ambiguous ‘jacket pocket’ reviewers always talk about.
The number of existential mid-life crises induced in a camera reviewer is a spec that’s often overlooked in reviews. The Hello Kitty camera definitely wins here. As long as we’re clear that by ‘wins’, we mean ‘loses’.
Body and handling
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| Photo: Dale Baskin |
The Hello Kitty camera is a rangefinder-shaped camera with silver-colored top and bottom plates and an optical viewfinder. I call it a ‘rangefinder-shaped’ camera because it’s not actually a rangefinder. But, then again, neither is the Fujifilm X100VI.
You won’t use the viewfinder. It’s either so bad that it makes you dizzy, or it’s a window into 4-dimensional space the human brain isn’t wired to comprehend. Either way, it will drive you to madness.
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The optical viewfinder is a nice touch, but trying to use it will drive you to madness.
Photo: Dale Baskin |
The camera includes two functional controls along with two other controls that are just for show. The On/Off button on the top plate doubles as the shutter button, and the Mode button adjacent to it lets you switch the camera between photo, video and audio recording modes.
The other controls are fake, fooling absolutely no one.
The 3.2mm F2.8 lens, which I’m pretty sure is made of a chunk of polished candy, has ridged edges that beg to be rotated. But trying that would be a mistake as it would break the camera. You just have to embrace it for what it is.
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Here’s a picture of the Hello Kitty camera that better illustrates its size. Yep, it’s that small. Also, that lever on the front is fake.
Photo: Dale Baskin |
Taking photos is best accomplished with a ‘spray and pray’ approach. You point, shoot and hope. I say ‘hope’ because the camera doesn’t actually take a photo of what’s in front of you but something off to one side. It’s like having an integrated AI that guesses what you’re trying to photograph, then fails spectacularly every time.
Image quality
No DPReview camera review would be complete without our studio test scene.
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A quick glance at the studio scene doesn’t reveal anything except digital despair. The camera captures light, but it’s notably short on fine detail. Or any detail. The sensor’s dynamic range can best be described as ‘on’ or ‘off’.
I have to come clean. I didn’t take this photo in our studio because I couldn’t justify the time it would have taken to do so. Instead, I used a life-sized print of the studio scene I keep at home, captured using a $45,000, 150MP Phase One camera. Don’t worry; you won’t be able to tell the difference in the images from the Hello Kitty camera.
For that matter, you probably wouldn’t be able to tell the difference between the real studio scene and an impressionist painting of it.
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The photos from the Hello Kitty camera are so bad as to border on some kind of avant-garde art.
Photo: Dale Baskin |
The one redeeming quality I can see in the images is that they’re so bad as to border on some kind of avant-garde art. They have a certain je ne sais quoi, if the ‘quoi’ is ‘blurry, pixelated and eye watering.’
Video
It’s incredible that this camera even shoots video, capturing 720×480 resolution, which I’m pretty sure is the same resolution my not-inexpensive Panasonic DVX100 vIdeo camera captured about 20 years ago. Though the Panasonic had the advantage of being a 3-CCD system. And having a lens that could fully resolve an image of an avocado.
If your idea of quality video is watching a bootleg copy of the movie ET your parents recorded on network television in 1984, you’ll be delighted with the results.
Conclusion
With my journalistic integrity now hanging by a thread – or a pink piece of yarn – I have to find some way to wrap up this review. My professional reputation is in the hands of an animated cat, and I’m strangely OK with that.
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| Photo: Dale Baskin |
I’m not sure if this camera is a toy or a subtle form of psychological warfare aimed at photographers. I’ve temporarily convinced myself it was a sound purchase, knowing a crushing pink wave of buyer’s remorse will eventually hit me like a pixelated tsunami; after all, this is one of the worst photography products I’ve ever used.
And yet, I have a weird affinity for it.
My six-year-old niece loves using the Hello Kitty camera. So does my cat. But instead of taking photos, he mostly just wants to kill it. I don’t know if he has some kind of Hello Kitty issue he’s working through or if it’s just because cats are basically little killing machines who happen to be cute.
But it does make me wonder if it might actually be possible to put a price on happiness: $45 (plus the cost of therapy).
Sample Gallery
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| Photo: Abby Ferguson |
As Women’s History Month comes to a close, it’s a fitting time to celebrate the incredible contributions of women in photography. Despite gains, women still face significant underrepresentation and inequality in the photography industry. A study by Women Photograph found that in 2023, only 21.5% of front-page images in major newspapers were taken by women. Euro News reported in 2022 that only 15% of professional photographers worldwide are women, even though roughly three-quarters of photography students are women.
We’ve rounded up some outstanding women photographers worth following on Instagram (and beyond). There are, however, countless more, so feel free to share your favorite women photographers in the comments as well.
Lynsey Addario
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Lynsey Addario is a renowned photojournalist whose work has been published in prominent publications like The New York Times, National Geographic, and Time. She documents conflicts, humanitarian crises and women’s issues around the Middle East and Africa, highlighting the human elements of war and crisis. She wrote a New York Times Bestselling memoir in 2025 and has received numerous awards, including a MacArthur fellowship and two Emmy nominations. She was also part of the New York Times team to win a Pulitzer prize for overseas reporting from Afghanistan and Pakistan and holds three Honorary Doctorate Degrees.
Patience Zalanga
Patience Zalanga is a freelance photographer from Minneapolis-St. Paul, Minnesota. Her work is documentary in style, and, for the past six years, primarily focuses on capturing social movements across the United States. Zalanga’s images have been featured in Time, The New York Times, NPR, Buzzfeed News and more.
Luisa Dörr
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Luisa Dörr is a Brazilian photographer known for her powerful portraiture and storytelling, which often focuses on themes of femininity, cultural identity and resilience. She has been widely published in outlets such as Time, National Geographic and The New York Times. Additionally, she has received international recognition for her Firsts project with Time magazine, where she photographed 46 trailblazing women and has received numerous awards, including a World Press Photo Award for her series on Falleras.
Cassy Athena
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Cassy Athena is a Los Angeles, California-based photographer renowned for her sports photography, specifically with the NBA. She has captured candid and personal moments of some of the NBA’s biggest stars, including LeBron James, Kevin Durant and Stephen Curry. Her work has been featured in Sports Illustrated, Slam Magazine and Billboard, and she is also a Getty Images contributor. Athena has also collaborated with brands like Nike, Under Armour and Jordan Brand.
Kim Powell
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Kim Powell is an architectural photographer based in Greece. She, along with her partner, Thomas, captures a variety of projects, working with architects, interior designers and home builders. Her imagery is clean and fresh, highlighting the unique characteristics of each space.
Tawni Bannister
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Tawni Bannister is a photographer and director based in Los Angeles and New York. She works across various genres, including commercial, editorial and fashion. Her photographs blend elements of fine art and documentary photography, embracing color and texture to showcase personality. Bannister’s images have been featured in publications like Vogue, Harper’s Bazaar and The New York Times, and she has worked with Allbirds, Allure, Athleta, Climique, J.Crew, Samsung and more.
Jamie Beck
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Jamie Beck is an American photographer, visual artist and author who is currently living and working in Provence, France. She is known for her romantic and expressive style, drawing inspiration from classical art and nature. Her floral still-life images and self-portraits are reminiscent of classical paintings, with rich texture and dramatic light. Beck’s photographs have been featured in Vogue, The New York Times, Fobes, Travel + Leisure and more. She, along with her husband, Kevin Burg, created the Cinemagraph, a hybrid of photography and video.
Emily Maye
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Emily Maye is a photographer and film director known for her narrative-driven approach to capturing athletes. Her images show the humanity behind the athletes’ discipline, focusing on intimate, behind-the-scenes moments rather than traditional action shots. She has photographed Serena Williams, Usain Bolt, Jayson Tatum, Steve Nash and more and has collaborated with Nike, Adidas, Lululemon, Rapha, The North Face, Gatorade and Puma.
Cig Harvey
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Cig Harvey is a fine art photographer, writer and educator. Her imagery is deeply personal and evocative, exploring themes of nature, family, belonging and the passage of time. She is known for her rich use of color and natural light, capturing the magic in the mundane with a dreamlike quality. Harvey has exhibited her work internationally and received numerous awards.
Alison Arena
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Alison Arena is a professional photographer and founder of Ignite Media, a full-service agency. Much of her work is centered around motorsports, creating photographs and videos for clients such as Mazda, Red Bull, Ferrari NA and Wired. She travels around the country to capture IMSA events, the Spec Miata Series, the 24 Hours of Daytona and more.
Emily Howe
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Emily Howe is a Brooklyn-based photographer and award-winning creative. Her photographs span multiple genres, including portraiture, travel and street photography, all with a focus on storytelling. Her work has been featured in Time, NY Mag, Refinery29, Google and Netflix.
Jasmine Quiñones
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Jasmine Quiñones is a Texas-based filmmaker and director. She crafts commercial and narrative film projects with a gritty, documentary-based style. Quiñones often combines sports and urban lifestyle into her projects and has worked with various clients, including Fujifilm, Nike, Ladder and more.
Mykim Dang
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Mykim Dang is a media producer and full stack creator who works across mediums. She is currently the Director of Video and Voices here at Gear Patrol and DPReview, crafting much of the video content that you see on the site and our social media channels. Beyond her video work, she also takes spectacular photos with an eye for storytelling.
| Image: TTArtisan |
TTArtisan is no stranger to making L-mount lenses, but those have always been manual focus options. That’s no longer the case, though, as the budget third-party lens maker has released an autofocus lens for L-mount cameras. TTArtisan originally released the AF 75mm F2 prime lens in September 2024 for Sony E and Nikon Z-mount.
The L-mount version of the AF 75mm F2 weighs 329g (11.6oz), which is slightly less than the Z-mount model. Aside from the weight difference, the L-mount version shares the same specifications as the other mounts. It uses a stepper motor for autofocus, which TTArtisan says is fast, quiet and accurate. The lens supports eye, animal and vehicle AF detection as well, and it can focus as close as 0.75m (2.5′).
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| Image: TTArtisan |
The lens features ten elements in seven groups, including one extra-low dispersion (ED) element and four high index elements, promising to reduce chromatic aberration and improve overall image quality. It has nine diaphragm blades and an aperture range of F2 to F16.
TTArtisan’s AF 75mm F2 offers a clicked aperture ring, with no option to de-click it for silent operation. It uses all-metal construction for better durability, and a USB-C port allows for firmware updates.
The TTArtisan AF 75mm F2 lens is available for purchase today for $178.
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