The Sony a6300 is a mirrorless camera for those who have pro-level ambitions. Building on the achievement of the Sony a6000, this premium cousin sports activities the same 24-megapixel resolution, but with a fresh sensor that provides improved photo quality in low light. The a6300 also sticks out because of its great 4K video, exterior mic jack and sturdier metal design. Nevertheless, the a6300 costs nearly twice as very much as the a6000, which explains why it’s the greatest mirrorless camera for individuals who aren’t quite beginner photographers, but don’t wish to invest a lot more than $1,000.
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The a6300’s biggest design improvement is the upgrade from a composite materials (reinforced plastic) body to magnesium alloy. That provides 0.63 ounces (for a complete of 14.25 ounces), but it’s a positive transformation. Although it’s pretty long lasting, the a6000 always felt fragile; the a6300’s heft removes the uneasy sense that you may break the camera. The others is actually the same, for better or even worse. The a6300 has slightly smaller sized (4.7 x 2.6 x 1.9 inches) dimensions, a deep handgrip, popup flash for fill light and a popular shoe for a far more effective strobe (or mounting a mic).
Some small tweaks mean a whole lot. The OLED digital viewfinder (EVF), currently quite nice, gets an answer update to 1024 x 768 pixels (XGA) from 800 x 600 pixels (SVGA), along with a choice to bump screen refresh from 60 to 120 fps (fps) to keep carefully the preview from blurring when you pan.
Control keys and menus continue being a mix of bad and the good on the Sony a6300. Good may be the freedom to program the C1 and C2 control keys as shortcuts. Plus, almost every button could be reassigned to trigger nearly any menu choice. A fresh combo button and change near the right part of the LCD toggles between autofocus and manual focus and activates auto exposure lock.
Great photos (and videos) replace the a6300’s lackluster interface. This mirrorless camera retains the 24-megapixel quality of its forerunner. It comes with an improved APS-C CMOS sensor (same size as generally in most DLSRs) that provides an increased max ISO of 51,200 – up from 12,800 on the a6000. That’s one f-stop (lighting level), so it is not as dramatic since it appears, and the images aren’t pretty at that max setting.
I shot pictures with the 3X (16-50mm) kit contact lens, in addition to a snazzy 4.4x (16-70mm) Zeiss zoom lens, which retails for approximately $900. The camera captured simultaneous JPEG and uncompressed Natural images, to be able to measure the in-camera processing – that was quite great. Light metering and concentrate setting depended about them matter, but were mainly Multi (aka evaluative or matrix) metering and Wide AF.
The a6000 is an outstanding HD (up to 1880p, 60 fps) video camera. The a6300 proceeds that quality, as you can plainly see in this clip of volleyball players. In addition, it provides a new 4K/UHD option (up to 30 fps) with video so sharp you could trim yourself on it.
Nighttime 4K video is equally stunning. The 30-fps limit (normal for 4K/UHD digital cameras) can be an asset, because it enables a slower shutter speed than HD clips I shot at 60 fps. The whooshing sound in the second and third clips, triggered by a good slight breeze, shows the limitations of the built-in microphones. The choice to connect an external mic, such as for example one with a noise-limiting windsock, is quite handy.
Another fun upgrade is the capability to shoot HD video in HFR (high frame price) at 120 fps, which gives 4x slow motion if you are playing it back again at 30 fps. This video displays a snippet of the same volleyball game, the first shot with the a6000 at normal velocity and the next with the a6300 at 4x slow movement. (One curious artifact can be the way the slowed down audio makes the shrieking players appear to be demons from The Exorcist.)
Using the industry-regular CIPA method, Sony prices a6300 battery life at approximately 400 shots if you’re using the LCD, and 350 shots if you are using the power-starving viewfinder. I acquired 153 shots in a single program, 218 in another and 513 in a third. (Within the last case, I shot in burst setting, getting plenty of photos when compared to downtime when the LCD was on.)
You can goose battery in a number of ways, like dimming the screen and viewfinder, and using the default Standard LCD quality setting, rather than the High choice. Setting a short while for the camera to “fall asleep” between shots helps, in addition to programing a shortcut button to result in Deactivate Monitor, so that you can switch off the LCD and viewfinder between photos.
Though you might not be a fan of labeling yourself, it might be a good exercise if you want to decide between your new Sony a6300 and the older and cheaper a6000. If you consider yourself an extremely “serious” photographer who would like the absolute, best value, the better low-light functionality and slight autofocus improvement will probably be worth it. The case for the a6300 grows if video is important, because you can shoot in 4K and get respectable sound from the exterior mic jack.
The a6000 may be the better option if you would like to spend less but nonetheless enjoy great picture quality and speed. Whichever model you select, you’ll have a large amount of fun capturing beautiful images.