Even 8192×5120 still (slightly) crops a Z7 image, and crops an A7rIV image by a little more. Nikon Z7 and Sony Alpha A7R IV compared objectively by Camerarace. vs. Sony Alpha a7 III. Having a lot of screw-drive lenses, or one or two particularly valuable ones (an old exotic telephoto you don’t want to replace that is neither the current AF-S nor the intermediate AF-I type, for example) is one of the best reasons to look at the D850. As you can see, each camera and camera system has its pros and cons. Mine is joining me on hundreds of miles of the Pacific Crest Trail as soon as the trail opens. While it’s not technically a rangefinder, having a perfectly standard electronic viewfinder, the GFX 50R really does handle like a Texas Leica. The goal will not be narrative film, but the fascinating art to be found on the edge between stills and motion – landscapes with blowing leaves, running rivers, rippling lakes or shifting dunes. I suspect so (in the next year or two), and if not, the other possibility is a really modern sensor in the 60-75 MP range, which should have image quality a significant step above the best of full-frame. Panasonic could either choose to drop the still and hybrid camera business entirely, or they could give it to the pro video division (it’s oddly buried in consumer appliances right now). There is a small, intermediate class of lenses in the 4-6 lb weight range (mostly very long consumer zooms like the Nikkor 200-500 f5.6 and its competitors from Sigma and Tamron) that demand extra care on the FTZ – just throw a Blackrapid strap on the lens. vs. Nikon D5. Now that Nikon has entered the full-frame mirrorless camera market, the natural question that comes up is how its first model, the Z7, compares to Sony's high resolution king, the a7R III. The Sony A7r IV was provided by Sony USA, through Lensrentals. Will we see the 100 MP sensor in less expensive bodies? Some will be slow-motion, some will be real-time, and some will be time-lapse. The Z7 is very much a part of “modern Nikon” design language, going back to Giorgetto Guigiaro’s design for the F5 in 1996. (video by Tony Northrup) LensRental compares the best ultra-wide […] Physically mounting the print becomes a challenge (where are you going to find a dry mount press that big, and tape mounting becomes much harder on heavy supersize prints). The headline specification everybody’s talking about has to do with video, rather than stills. The 8k video mode will probably require a sensor at least 8192 pixels across (most speculation is assuming “true 8k” at 8192 pixels, rather than Quad UHD at 7680 pixels, although I haven’t seen that absolutely confirmed). Until this release, those video specs have been the province of RED digital cinema cameras (and very little else). The order below is Panasonic S1R, Sony A7R IV, Nikon Z7: Outstanding image quality; Excellent high ISOs; Fast AF performance with Eye-AF tracking; 10fps bursts at full-resolution; Improved ergonomics; Dual UHS-II card slots; Higher-res EVF. The other major drawback of L-mount is whether it will continue to be actively developed. The step above the two Panasonic hybrids is occupied by RED, the Sony F55, Cinema EOS, Blackmagic and the like – and Panasonic’s pro video division is an important player in that world. They were large, but relatively traditional rangefinders, with a shutter speed dial on the top, and focusing and aperture controls on lens rings (a few of the later 645 models were autofocus and had slightly different controls). vs. Nikon Z7. It is assumed to be a relatively standard Canon-feeling body, probably the size of a small DSLR, maybe the size of a Z7 or A7r IV, maybe a bit bigger. However, there is still a lot of talk about that is new with the system, most notably the latest sensor. The S1R probably appeals to two groups of users – the most obvious is folks who shoot a lot of video, have or plan to buy S1H bodies (and/or the lower-end but highly capable S1), and want a high-resolution body as part of a system that was really chosen for its video chops. Beyond the sensor performance, what will other aspects of the camera’s performance be like? If you speak Nikonese, the Z7 does too, and that’s a big advantage. However, the megapixel count is not the only important element determining the quality of an image. I wish I had the best of Sony’s 50mm primes, to compare against my bitingly sharp 50mm f1.8 Z Nikkor in some test shots, and I wish I had a long lens for the Sony. Talking about has to be an extremely fast sensor, to keep with... S supporting it – video-loving Panasonic, elite Leica and lensmaker Sigma most photographers, it be. 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