The most exciting change from our perspective is the a6300's new sensor. Although the pixel count remains the same, the a6300's sensor has a whopping 425 phase-detection AF points ranged across the sensor. The a6000 already offered one of the best AF systems in its class, when it comes to identifying and tracking subjects, so an upgrade in this area sounds extremely promising. The sensor is also built using newer fabrication processes that use copper wiring to help improve the sensor's performance and possibly contributing to the camera's slightly improved battery life.
The a6000 has been a huge success and has dominated its field to the extent that its combination of capability and price still looks impressive even as it enters the twilight of its career (Sony says it will live on, alongside the a6300*). That model represented a dip down-market for the series, with a drop in build quality and spec relative to the NEX-6 that preceded it. The a6300 corrects that course, and sees the model regain the high resolution viewfinder and magnesium-alloy build offered by the older NEX-6 (and the level gauge, which was absent from the a6000).
Key features:
- 24MP Exmor CMOS sensor
- 425 phase detection points to give '4D Focus' Hybrid AF
- 4K (UHD) video - 25/24p from full width, 30p from smaller crop
- 2.36M-dot OLED finder with 120 fps mode
- Dust and moisture resistant magnesium-alloy body
- Built-in Wi-Fi with NFC connection option
- Built-in microphone socket
This added emphasis on video makes absolute sense, since the camera's stills performance is likely to be competitive with the best on the market but its video capabilities trounce most of its current rivals. The a6300 not only includes focus peaking and zebra stripes but, if its on-sensor phase detection works well, the ability to re-focus as you shoot with minimal risk of focus wobble and hunting, should make it easier to shoot great-looking footage.
All this makes it hard to overstate how promising the a6300 looks. A latest-generation sensor can only mean good things for the camera's image quality and an autofocus system that moves beyond the performance of one of our benchmark cameras is an enticing prospect. Add to that excellent, well-supported video specifications, a better viewfinder and weather-sealed build, and it's tempting to start planning for the camera's coronation as King of the APS-C ILCs. Perhaps with only the price tag floating over proceedings, threatening just a little rain on that particular parade.
Specifications compared:
As well as comparing the a6300 with the a6000 as its predecessor/sister model, we'll also look at what you get if you save up a bit more money and opt for full-frame, rather than APS-C. We think at least some enthusiast users will find themselves making this decision, so are highlighting the differences.| Sony a6000 | Sony a6300 | Sony a7 II | |
|---|---|---|---|
| MSRP (Body Only) | $650 | $1000 | $1700 |
| Sensor size | APS-C (23.5 x 15.6mm) | APS-C (23.5 x 15.6mm) | Full Frame (35.8 x 23.9 mm) |
| Pixel count | 24MP | 24MP | 24MP |
| AF system | Hybrid AF (with 179 PDAF points) |
Hybrid AF (with 425 PDAF points) |
Hybrid AF (with 117 PDAF points) |
| Continuous shooting rate | 11 fps | 11 fps | 5 fps |
| Screen | 3" tilting 921k dot LCD | 3" tilting 921k dot LCD | 3" tilting 1.23m dot LCD |
| Viewfinder | OLED 1.44M-dot | OLED 2.36M-dot w/120 fps refresh option | OLED 2.36M-dot |
| Movie Resolution | 1920 x 1080 / 60p | 4K 3840 x 2160 / 30p, 1920 x 1080 / 120p, 60p | 1920 x 1080 / 60p |
| Image stabilization | In-lens only | In-lens only | In-body 5-axis |
| Number of dials | Two | Two | Three (plus Exp Comp.) |
| Maximum shutter speed | 1/4000 sec | 1/4000 sec | 1/8000 sec |
| Built-in flash | Yes | Yes | No |
| Hot shoe | Yes | Yes | Yes |
| Flash sync speed | 1/160 sec | 1/160 sec | 1/250 sec |
| Battery life (with EVF) |
360 shots (310 shots) |
400 shots (350 shots) |
350 shots (270 shots) |
| Weight (w/battery) | 344 g (12.1 oz) | 404 g (14.3 oz) | 599 g (21.1 oz) |
| Dimensions | 120 x 67 x 45 mm (4.7 x 2.6 x 1.8 in.) | 120 x 67 x 49 mm (4.7 x 2.6 x 1.9 in.) | 127 x 96 x 60 mm (5 x 3.8 x 2.4 in.) |
A hit-for-six, slam-dunk, home-run?
If it's successful in its attempts to step up from the performance of the a6000 then the a6300 could be sensational. However, there are three questions that we'd like to see addressed. The first relates to handling: why does a camera costing this much only have one dial that you can access without changing the position of your grip? The rear dial isn't the worst we've encountered, but at this price point, we'd usually expect to find a dial under the forefinger and another under the thumb while maintaining a shooting grip.The second relates to lenses. Sony is bundling the a6300 with the 16-50mm power zoom that's far more notable for its convenience than its optical consistency, a move that's likely to raise the question of what other lenses to fit. Sony offers a handful of reasonably priced APS-C-specific prime lenses as well as some more expensive FE-compatible full-frame primes. However, in terms of standard zooms, you're currently limited to the inexpensive 16-50mm, the older 18-55mm at aftermarket prices or considerably more expensive options such as the 18-105mm F4 or the 16-70mm F4 Zeiss that costs around the same amount as the camera again. The success of Sony's full frame a7 cameras is only likely to improve third-party lens availability but there's a risk that Sony's focus will be on those full frame users for the foreseeable future.
Our final concern is the lack of joystick or touchscreen to re-position the AF point. This may be mitigated during stills shooting if the lock-on AF system works well enough (starting AF tracking and then recompose your shot in the knowledge that the AF point will stay where you want it), but it appears to be a real omission for refocusing while shooting video. The a6300 is improved over previous models, in that pressing the center button on the four-way controller toggles into AF point selection mode, a decision that's retained even if you turn the camera off and on again. We'll see how significant all these concerns turn out to be, as the review unfolds.
Price and kit options
 |
| The 16-50mm power zoom is far more notable for its convenience than its optical consistency. |
| Review History | |
|---|---|
| 17 March 2016 | Intro, Specs, Body and Handling, Operations and Control and Studio Comparison published |
| 22 March 2016 | Updated studio scene images published (inc electronic-shutter and better lens) |
| 31 March 2016 | Video and Video Shooting Experience pages added |
| 6 April 2016 | Autofocus, Image Quality, Raw Dynamic Range and Conclusion published |
*Unusually, the manufacturer's claim that it'll live
on, alongside its apparent replacement model seems plausible. The
differences in spec and price could allow them to sit fairly comfortably
alongside one another, rather than the claim simply meaning 'we'll keep
saying it's a current model until most of the unsold stock has gone, to
avoid angering retailers.'
Sony a6300 specifications
 |
| Price | |
|---|---|
| MSRP | $1000/£1000/€1250 (body only), $1150/£1100/€1400 (w/16-50mm lens) |
| Body type | |
| Body type | Rangefinder-style mirrorless |
| Body material | Magnesium-alloy |
| Sensor | |
| Max resolution | 6000 x 4000 |
| Other resolutions | 3:2 (4240 x 2832, 3008 x 2000), 16:9 (6000 x 3376, 4240 x 2400, 3008 x 1688) |
| Image ratio w:h | 3:2, 16:9 |
| Effective pixels | 24 megapixels |
| Sensor photo detectors | 25 megapixels |
| Sensor size | APS-C (23.5 x 15.6 mm) |
| Sensor type | CMOS |
| Processor | BIONZ X |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, 100-25600, expandable to 51200 |
| Boosted ISO (maximum) | 51200 |
| White balance presets | 10 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Extra fine, fine, normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Digital zoom | Yes (2x-8x) |
| Manual focus | Yes |
| Number of focus points | 425 |
| Lens mount | Sony E (NEX) |
| Focal length multiplier | 1.5× |
| Screen / viewfinder | |
| Articulated LCD | Tilting |
| Screen size | 3″ |
| Screen dots | 921,600 |
| Touch screen | No |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.7× |
| Viewfinder resolution | 2,359,296 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/4000 sec |
| Exposure modes |
|
| Scene modes |
|
| Built-in flash | Yes |
| Flash range | 6.00 m (at ISO 100) |
| External flash | Yes |
| Flash modes | Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction, Hi-speed sync, Wireless |
| Flash X sync speed | 1/160 sec |
| Drive modes |
|
| Continuous drive | 11.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Resolutions | 4K (3840 x 2160 @ 30p/24p), 1920 x 1080 (120p, 60p, 60i, 30p, 24p), 1280 x 720 (24p) |
| Format | MPEG-4, AVCHD, XAVC S, H.264 |
| Videography notes | Supports X-AVC S up t0 100 Mbps, ACHD to 28Mbps |
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC |
| Connectivity | |
| USB | USB 2.0 (480 Mbit/sec) |
| HDMI | Yes (micro-HDMI) |
| Microphone port | Yes |
| Headphone port | No |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n with NFC |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Battery Pack |
| Battery description | NP-FW50 lithium-ion battery & charger |
| Battery Life (CIPA) | 400 |
| Weight (inc. batteries) | 404 g (0.89 lb / 14.25 oz) |
| Dimensions | 120 x 67 x 49 mm (4.72 x 2.64 x 1.93″) |
| Other features | |
| Orientation sensor | Yes |
| Timelapse recording | Yes (downloadable app) |
| GPS | None |
Pros:
Cons:
Overall ConclusionThe a6300 represents a step back upmarket, after the more cost-conscious a6000. This higher price tag puts it up against some very capable competition, which makes it harder for the camera to dominate its class in the same way the a6000 has.However, just about every aspect of the camera, from build quality to viewfinder refresh, video capability to autofocus has been improved, along with a small fishing vessel's worth of little feature additions that quickly add up to make it a much better camera. As a stills camera, the Sony faces the likes of Nikon's D7200, which offers better battery life, a pair of at-your-fingers dials and a more conventional shooting experience. However, with Samsung's NX1 seemingly stepping out of the way, the a6300's video capabilities are only really challenged by Panasonic's GX and GH models. If you're looking for a camera with great image quality, excellent autofocus and top-notch video, it's the strongest all-rounder. Body and handlingThe a6300 is the latest iteration of a design that stems from the original Sony NEX-5. With each generation they have become a little more conventional and, with that, a little more pleasant to shoot with. The a6300 has a comfortable grip and some well-placed buttons, along with an easily accessible dial on its right shoulder. Having to shift your hand position to reach a second dial feels unusual at this price point, but the camera can be set up to make shooting pretty quick and easy.
It's a common complaint from us here at DPReview that many cameras' menus are being overwhelmed by the number of available options, but it's acutely noticeable with the a6300. The menus are long and the logic behind the grouping of options isn't always clear. But we think the biggest problem is that it's sometimes hard to recognize (and, hence, remember) where an option lives in the confusingly organized menu structure. Without color-coding or other obvious signposts, the first 17 pages of the menus (the Camera and Settings tabs) can run together, making it difficult to find the setting you want to change. Sadly there's also a significant shift in camera behavior when you switch to video shooting: turning the focus ring doesn't engage magnified live view any more, most of the camera's tracking options vanish and the camera won't stay in AF point selection mode, even if you want it to. This is especially disappointing because, if you assign focus magnification to a Fn button, the a6300 is one of the few cameras to let you magnify live view to check or change focus while you're recording.
When we reviewed Samsung's NX1 (RIP...) we said that it was a camera about which we didn't care whether it was mirrorless or not, because it just got on with doing whatever we asked of it. The a6300 offers similar capabilities yet the experience isn't quite so unobtrusive. Instead, you do get the occasional reminder that you're using a complex electronic device. Not because of its lack of mirror, but from the Sony user interface and user experience. And no matter how hard we try, the warning messages if you try to enter playback or check focus as the camera is writing to the card, never gets more palatable. AutofocusThe a6300's autofocus is very impressive, when used with native lenses. It can follow subjects in depth and around the frame with apparent ease, and the huge AF region of its sensor makes it supremely flexible (though this behavior can become erratic if the subject isn't well isolated from its surroundings). We were also pretty impressed by the camera's ability to refocus on an approaching subject at 11 fps, and you can get a good hit rate if you can keep your AF point on the subject.Eye AF in AF-C can also be very good. You'll need to configure a function button to access the feature but its ability to find and follow a subject's eye is very impressive and helps you get perfectly placed focus even when using large aperture lenses with shallow depth-of-field. You can even quickly select the person you want the camera to target if you have more than one person in a scene. The AF system could be easier to operate, though. The a6300 would probably benefit from a rethink of the AF options, so that there were fewer choices to make and, perhaps, a better way of positioning the AF point.
We wouldn't expect the a6300 to challenge pro-grade cameras in sports settings, where similar uniforms and complex movements of players make things more challenging for AF tracking systems, and where a top-end DSLR will give a clearer impression of subject movement between captures. Overall, though, it's a very good result for any consumer camera, and in some cases even challenges cameras well above its class.
Click here to read more about the a6300's autofocus performance
Image qualityThe a6300's image quality is excellent - as good as any we've seen from an APS-C camera of any type, from any manufacturer. The Raw files are still subject to Sony's lossy compression system and the camera will still drop to 12-bit mode (which slightly lowers dynamic range) if you enter certain modes or engage full electronic shutter, but the dynamic range and noise performance of the sensor are as good as things get in an APS-C camera.
The obvious missing feature, then, is in-camera Raw conversion. It's rare, especially at this price-point, to find a modern camera that doesn't let you tweak and finesse your JPEGs before you transmit them by Wi-Fi and share them with the world (or your circle of friends via social networks). The option to apply more or less DRO, noise reduction, or to adjust white balance, picture style or aspect ratio looks like a stranger omission with every generation of Sony camera.
Click here to read more about the a6300's image quality
Video performanceIt's interesting to note how different Sony's approach is to that taken by Canon with the EOS 80D. Where the Canon has a stripped-down, simplified touchscreen video mode, Sony has borrowed extensively from its professional range of video cameras, giving a potentially bewildering, but exceptionally powerful set of video capture tools. Panasonic is the only other major player delivering this level of sophistication for video shooting, but the a6300's larger 'Super 35' format sensor allows it to keep shooting in a wider range of lighting conditions. The fact that the footage is oversampled from a 6K region to output 4K video means the video is staggeringly detailed and low in noise, even at high ISOs.The support features extend beyond focus peaking and zebra exposure warnings to include a series of pro-level Picture Profile options that let you adjust the camera's response in incredible detail. There's even a Gamma Display Assist function to give a useful preview if you're using one of the camera's very flat gamma curves to squeeze a broad range of tones into an 8-bit file. The only disappointments I encountered in the a6300's video mode are partly a reflection of its excellence. The camera's unexceptional 1080p footage is no worse than you'll get from most of its DSLR or mirrorless rivals, but it feels like a big step down from the impressive quality and detail that the camera can capture in 4K mode. Secondly, being impressed by the video autofocus's lack of hunting just makes the lack of touchscreen control seem all the more egregious Overall, though, the a6300 inspired me to be more ambitious about video and produced footage that makes me just want to go and shoot more.
Click here to read more about the camera's video capabilities and what it's like to shoot with.
The Final WordThe a6300 an exceptionally strong all-round camera. Its still images are a match for the best in its class, its autofocus is similarly strong and its video features and quality are unsurpassed at this price point. I've previously found myself admiring Sony cameras more than I enjoyed them, but that video capability and features such as Eye-AF have meant I enjoyed the a6300 in spite of the slightly clumsy user interface.There are only two other things that risk taking the gloss off the a6300's all-around excellence: a relatively small and often expensive selection of lenses, and the continued availability of the less expensive and very capable a6000. While the a6300 is a better camera in every possible respect, the a6000 is still a tempting option just because it's so keenly priced. However, the a6300 outperforms its similarly-priced peers and I think I'd miss the myriad improvements that the a6300 offers if I went for the cheaper sister model. Overall, then, the a6300 is a camera where you benefit from putting in the work required to get the best out of it. It's worth it, though, since it's probably the most capable stills/video camera I've ever used. If the lenses you want are available, unless you really need a specific feature of one of its rivals, it should be at or very near the top of your list. Samples galleryPlease do not reproduce any of these images on a website or any newsletter / magazine without prior permission . We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don't abuse it.Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the 'galleries' section of dpreview.com, you can enjoy all of the new galleries functionality when browsing these samples. |
