I got the sense that more and more “influencers” and reviewers started to like the camera. Dpreview shared a shooting experience review and concluded:
In practice, it’s probably the most purely photography-focused camera Sony is ever going to make. And, while its menus and interface aren’t as dedicated to that cause as Leica’s are on the Q3 series, the experience is still one that puts photography to the fore.
While despite the initial rant Terry W. is going to buy the camera:
PetaPixel reviewed the new Sony camera and concludes:
In 2025, it feels like a nostalgic blast from the past with some nice but minor quality-of-life improvements. That said, for almost as many nice things that we gained, we lost others.
There is no denying that it is a fun and handy camera to carry around, with the power to take some great images. This camera doesn’t fall far from the 2016 camera bag, and whether you will justify the $5,100 cost depends on how much you really pined for that RX1R II experience back in the day and how much more resolution really means to you.
ThePhoBlographer shared his first impressions of the Sony RX1R III. While acknowledging the camera’s limitations, he writes:
I’m really not sure it was worth the wait. And more importantly, I’m not sure that it’s worth the price. But at the same time, I’d be telling you a total lie if I told you that I’m not totally infatuated with this camera…
There’s a lot to love about it. It’s small, it can deliver beautiful image quality with the film looks built into it, and it doesn’t get in the way of you making good images. You have to shoot with this camera in a very old-school film-style way because there is no tilting screen. So you have to get into an odd position of some sort or do what photographers have called a, “Hail Mary” for years. That’s where you point the camera at something, shoot, and pray that you got the shot.
He’s also aware of the criticism voiced by many influencers about this camera during the Sony press event, and he shared this interesting thought:
I don’t consider those people in the meeting to be photographers, first and foremost. They’re primarily making videos, and I’m primarily writing articles. On the side, I bring in taxable income via my photography services. And sometimes, I want a pleasure camera to bring around with me. This is that camera.
Cam Mackey had the chance to play with the Sony RX1r III and I tend ot agree with his critics and conclusion. So let’s sum it up:
Strengths of Sony RX1R III:
• Smallest full-frame camera, unique in its niche.
• Excellent 61MP sensor and sharp Zeiss 35mm f/2 lens with character.
• Autofocus is industry-leading, especially for tracking and subject detection (better than Leica and Nikon).
• Some charm in its older Zeiss lens and improved JPEG film-look presets.
• Unique option for Sony shooters who want a compact, high-quality camera.
Weaknesses & Critiques:
• Feels overpriced ($5,100), better suited at ~$3,500.
• Build quality and feel not premium enough for its price — feels plasticky and uninspiring compared to Leica.
• Viewfinder and LCD are small, dated, and less satisfying than competitors.
• Fixed screen, no IBIS, and ergonomics make it less pleasant to use for long sessions.
• Accessories (grip, hood) are pricey, mimicking Leica’s niche but without Leica’s craftsmanship or ecosystem.
• JPEG film looks are improved but still feel sterile compared to Fujifilm.
Compared with the Leica Q3 the Leica feels:
• premium, inspiring, and beautifully crafted.
• Incredible lens character with sharpness and bokeh that still feels natural.
• Viewfinder and controls feel luxurious, and the shooting experience is unmatched.
• Justifies its even higher price (~$7–8K) by delivering emotional connection and artistry.
Overall Verdict:
• RX1R III is technically impressive but lacks emotional appeal, premium feel, and inspiration for the price.
• Best suited for Sony loyalists or those wanting a compact, high-res, AF powerhouse — but most would find better value and experience in a used Leica Q3 or cheaper alternatives.
• The reviewer emphasizes that cameras at this level are luxuries meant to inspire and create joy, not just deliver specs.
Closing Thought: Future camera buyers will prioritize inspiration, feel, and unique rendering over clinical perfection. Cameras should motivate and feel authentic — a quality the Leica delivers far better than Sony in this segment.
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I fully agree that people now want cameras that are not only technically capable but also give you the feeling you own something special. I think the RX1rIII is technically a marvel but Sony needs ot understand we need more than this. We need a beautiful design, easy usability and proper Kodak film simulations built into our Sony cameras.
Chris Nichols reviews the new Tamron 16–30mm f/2.8 Di III VXD G2, the successor to the 17–28mm f/2.8, completing Tamron’s lightweight f/2.8 zoom “trinity” (16–30, 28–75, 70–180). Despite the confusing name (no prior 16–30 mirrorless version existed), it’s positioned as a more versatile replacement for the older 17–28mm. The lens is compact, lightweight, weather-sealed, with a 67mm filter thread matching the other Tamron zooms.
Build quality: plastic hood, smooth zoom and focus rings, customizable button, and USB-C port for firmware and app customization. Optics: sharp at 16mm wide open, good corners, but at 30mm wide open suffers some softness and glow; improves stopped down. Bokeh is decent but not exceptional — some harshness and cat’s eye shapes at f/2.8, but backgrounds remain soft for an ultra-wide. Autofocus is much improved with a linear motor, making it fast and quiet for stills and video. Video performance: excellent for gimbal work, minimal focus breathing, fast AF tracking, though no optical stabilization (relies on IBIS). Compared to rivals: sharper and more modern than the old 17–28mm, more affordable and compact than OEM options, but with competition from Sony 16–25mm and Sigma 16–28mm. Conclusion: a solid choice if you want an affordable, reliable, and compact ultra-wide f/2.8 zoom, especially if you already own Tamron’s 28–75 and 70–180 G2 lenses.
