The Best Sony RX100 VII and VI Accessories
The Sony RX100 VI and VII with their tremendous 24-200mm zoom range are a huge departure from the previous models that they’re now firmly into travel zoom territory.
Here, we round up some of the best accessories for your RX100 VI and VII.
First things first, if you’re new to the Sony RX-100 series, the best accessory to get might be the online manual.
All done? Great. Now, let’s give you a rundown of the best accessories for your Sony RX100 VII and VI.
UPDATE: If you haven’t seen it yet, I have also posted my real world Sony RX100 VII review here.
These cameras might be able and look like point and shoots, but they pack a lot of power and imaging prowess that put larger cameras to shame.
These accessories will help you get the most out of your camera.
Extra battery with compact USB travel charger
If you’ve never used any of the RX100 series cameras, then you should know that they are power hungry little beasts.
It’s amazing what Sony have managed to cram in their compact bodies, but the biggest trade-off has been the decision to continue using the relatively low capacity Sony NP-BX1 battery.
This is the same battery used since the original RX100.
It’s a tiny battery, which keeps the size of the camera down. But it just doesn’t last very long. It’s rated for 260 images or just over 40 minutes of video.
So, extra batteries are pretty much required.
You can grab a couple of third-party batteries such as these ones, which come with a wall charger, too.
But, I recommend the official Sony USB travel charger and battery bundle – the Sony ACCTRDCX Travel Charger Kit. This bundle gives you a compact USB charger, and 1 original Sony NP-BX1 battery.
Although you can charge the battery in-camera, it’s always handy to have an external charger around. This way, you can have one battery charging, and you can still keep shooting.
NOTE: A brand new Sony RX100 M7 does not come with a dedicated charger in the box.
If all you want is an external charger, and you don’t want the compact charger or the extra battery, then you can get the Sony BC-TRX external charger for Sony RX-100 series batteries.
Best Memory Cards for the Sony RX100 VI and VII
The Sony RX-100 Mk 7 and Mk 6 both feature one SD card slot for up to UHS-1 cards.
This means there is no benefit to buying more expensive UHS-II cards, unless you want the faster read speeds (when transferring to your computer.)
As a minimum, I generally recommend 128GB cards, especially if you shoot video.
With their burst shooting capabilities, high quality 4K video and slow-motion video options, the RX100 M7 and M6 will really need high capacity cards.
If you’re primarily shooting video, get at least 256GB capacity cards and consider UHS-II cards, for the faster read speed when transferring to your computer.
Recommended 128GB UHS-1 Cards:
Sandisk 128GB Extreme SDXC UHS-1 – read transfer speeds up to 150MB/s
Lexar Professional 667x 128GB SDXC UHS-1 – read transfer speeds up to 100MB/s
Recommended 256GB UHS-1 Cards:
Sandisk Extreme 256GB SDXC UHS-1 – read transfer speeds up to 150MB/s
Lexar Professional 256GB SDXC UHS-1 – read transfer speeds up to 150MB/s
Recommended 128GB and 256GB UHS-II Cards:
NOTE: In order to reach these read transfer speeds, you MUST have a UHS-II card reader.
Otherwise, there is no point in using them for the RX100 VI or VII. Again, the camera can only WRITE up to UHS-I speeds. The only benefit of UHS-II cards is when you transfer to your computer.
The extra speed is useful if you shoot a lot of video, because the files are frequently very large.
For stills shooters, there is very little benefit, might as well go grab a cup of coffee and wait for your images to transfer.
Sony M-Series 128GB SDXC UHS-II – read transfer speeds up to 260MB/s
Sony M-Series 256GB SDXC UHS-II – read transfer speeds up to 277MB/s
Lexar Professional 128GB SDXC UHS-II – read transfer speeds up to 250MB/s
Lexar Professional 2000x 128GB SDXC UHS-11 – read transfer speeds up to 300MB/s
External Grip for the Sony RX-100 VII
The venerable Sony AGR2 attachment grip has worked for all previous RX-100 models, and so it is with the RX100 VII.
This little grip is made of a rubbery, pleather like elastomer material, which does wonders with improving the handling of the camera.
It attaches via double sided adhesive, and is very easy to put on. Once you’ve got it on, it feels like part of the camera. Why this doesn’t just become a regular part of the camera is beyond me.
If you’re constantly worried about dropping your camera, or just dislike the soap bar feeling of a bare RX100, this is one option.
The big downside is that you will no longer be able to use the LCJ-RXK Jacket Half Case (below), but you can still use a regular camera pouch.
Check the price of the Sony AGR2 attachment grip on Amazon.
Cases and Jackets for the Sony RX100 VI and VII
Sony LCJ-RXK Jacket Half Case for the RX-100 series
This soft carrying case for the Sony RX100 series is made of fake leather, but it still feels high quality.
The best thing about this case is that you can remove the top covering and just use it as a half-case, which also doubles as a nice grip for the camera.
Another bonus is that it comes with a tripod mount on the bottom, so you don’t have to remove the case if you want to mount it on one of the shooting grips (below) or a tripod.
BUT, you do have to remove the case if you want to access your memory card or change the battery.
This case will also NOT work with the Sony AGR2 attachment grip (above).
Check availability and current price of the Sony half-case and camera jacket on Amazon.
Sony LCS-RXG/B Soft Carrying Case for the RX100 Series
This high-quality case is made with real leather and comes with a detachable strap for cross body carry.
Despite the name, it’s not really a “soft” case. If you want a soft case, you’re better off getting a neoprene case or a small pouch.
This one is custom fit for the Sony RX100 series, and fits all models from the original RX100 up to the RX100 VII. And yes, it can fit a camera with the AGR2 attached. It’s a tight fit, but it can fit.
Don’t be confused by the description on the Sony website – there is NO belt loop for this. It’s meant to be carried with the strap over the shoulder or cross body, or used by itself and put in a larger bag.
Check the availability and current price of the Sony LCS-RXG soft case on Amazon.
Sony Shooting and Vlogging Grips for the RX100 VI and VII
Sony’s shooting grips are basically mini tripods with built-in features that makes vlogging or shooting easier.
Designed for Sony’s compact cameras and mirrorless cameras (including their APS-C a6400, a6500 series and the full-frame a7 and a9 series), these grips attach to the tripod mount of your camera.
Aside from giving your fingers more purchase these do double duty as a selfie stick and mini table-top tripod in one.
Best of all, they allow you to control certain camera functions through buttons on the grip.
Sony GP-VPT2BT Wireless Bluetooth Shooting Grip and Tripod with Remote Commander for RX100 VII
NOTE: This wireless grip does NOT work with the Sony RX100 VI. Although the VI has a bluetooth module, it’s used solely for transferring location data (geo-tagging) from a smartphone.
The way the LensMate adapter works is pretty simple – you attach the receiver via adhesive to the front of the lens. This is the only part that stays on the camera all the time. It is about 3mm thick and does NOT interfere with the lens cover or lens retraction at all.
You screw in your 52mm ND filter, or polarizer to the filter holder. You then bayonet this filter holder to the receiver that is already on the camera.
The filter holder attaches on and ff the receiver via a low tension locking system, so there is no force applied to the lens.
LensMate also includes a 52mm pinch-style lens cap so you can protect your filters if you don’t want to remove them all the time.
Check availability and current price of the LensMate filter adapter on Amazon.
XP Photogear MagFilter Threaded Adapter Kit for 52mm filters
Very similar to the LensMate above, this MagFilter Adapter kit allows for the use of 52mm filters on your camera.
There is a small metal ring that attaches via adhesive to the front of the lens, very similar to the LensMate.
The MagFilter itself (where you attach your 52mm filters) then attaches via magnets to the metal ring on your camera.
NOTE: XP Photogear MagFilter also makes a 42mm adapter, with an included CPL filter. I haven’t tried this, as I prefer using my own filters and 52mm filters are much easier to come by.
But based on the measurements, it should fit the RX100 VI and VII. Just be aware that there is a higher chance of vignetting.
Check current price and availability of the MagFilter 52mm adapter kit on Amazon.
Variable ND Filter:
Variable ND filters are great for video shooting. Because you typically want to maintain the 180-degree shutter rule when shooting video, having a vari-ND is almost necessary in bright light.
They are also handy when you want to keep using a faster aperture for better background blur and subject isolation.
Often times, you can actually use it to control your exposure. i.e. you fix your aperture, shutter speed and ISO, and you adjust your exposure simply by turning the ND filter.
Tiffen 52mm Variable ND Filter:
This is an ND-2 to ND-400 filter, meaning it provides 2 to 8 stops of light control.
Check availability and current price of the Tiffen 52mm Variable ND filter on Amazon.
Gobe 52mm Variable ND Filter:
Similar to the Tiffen filter above, this Gobe filter is also an ND-2 to ND-400 filter, allowing you to control up to 8 stops of light.
Made with high quality Japanese glass, this filter features a 24-layer nano-coating that helps with keeping grime and dirt from your filter.
Check availability and current price of the Gobe 52mm Variable ND Filter on Amazon.
Fixed ND filter:
Breakthrough Photography 52mm 6-stop ND filter (fixed)
Breakthrough Photography has fast become my favorite filter maker. They make high quality filters that produce zero color shift.
This 6-stop ultra-slim ND filter is great for landscape shooters who want a true color-neutral filter. If you don’t do video and don’t need a vari-ND filter, this is the one to get.
Check availability and current price of the Breakthrough 52mm 6-Stop fixed ND filter on Amazon.
Recommended polarizers:
Polarizers are used to manage reflections and suppress glare from non-metallic surfaces, e.g. glass such as Windows and buildings, rivers and other bodies of water etc.
Why is that useful? At a minimum, it keeps your images from washing out and looking flat.
At best, it helps you capture detail that you would otherwise not get because of glare and reflections.
This is an effect that cannot be replicated by post-processing software, which is why polarizers are an essential in most photographer’s kits.
They are also useful for darkening skies, to add a bit of pop to your images.
BW Kaesemann Extra Slim Circular Polarizer (XS-PRO)
Made by Schneider Kreuznach in Germany, this ultra slim polarizer is one of the best in the market.
The mounting thread is made of brass and the glass features a multi-resistant nano coating which helps with suppressing reflections.
The XS-Pro version (as opposed to the F-Pro version) is the ultra-slim version, suitable for wider angle lenses because it helps prevent vignetting.
Check availability and current price of the BW Kaesemann XS-Pro CPL 52mm on Amazon.
Gobe 52mm Circular Polarizing Lens Filter
Featuring a 12-layer non-coating that helps reduce lens flare and ghosting, this CPL comes with a lifetime warranty.
Although this is Gobe’s entry-level filter, it still uses high quality made in Japan glass attached to a slim magnalium rim. (Their higher quality, pro-level filters, denoted by their Peak3 designation features branded glass made in Germany by Schott).
Check current price of the Gobe 52mm Circular Polarizer and UV filter kit on Amazon.
Breakthrough Photography 52mm X2 Circular Polarizer
The best of the best. In my experience, Breakthrough Photography always have the most color neutral filters in the market.
This CPL uses made in Japan AGC branded glass with a nanotec coating that helps repel dirt, oil and water by beading instead of smearing them over the glass.
Like all Breakthrough filters, this one comes with a 25 year warranty – but you have to remember to register your warranty after buying.
Check current price and availability of the Breakthrough 52mm X2 Circular Polarizer on Amazon.
Best External Microphones for the RX100 VII
One of the biggest upgrades to the Sony RX100 Mark 7 is the addition of a mic jack.
The bad news is that because it doesn’t have a built-in hot shoe, you can’t use any of Sony’s wireless microphone’s which normally plug into their multi-interface hotshoe.
And because there is no hotshoe, you also can’t mount a microphone on top.
To do that, you’ll need a bracket with a cold shoe mount, such as the UURig RX100 VII Camera Mic extension bottom bracket or a full cage (see the SmallRig cage in the Camera Cage section below).
Rode Video Micro
This is great if you want something simple and small, without spending a lot of money. This is a pretty good quality microphone for the size.
This is a shotgun cardioid microphone. It’s called a cardioid because it picks up sound in a roughly heart (cardio) shaped pattern. Meaning, it’s great for picking up sound directly in front and to the sides, but not too great for picking up sound on the rear.
This connects to the camera via the 3.5mm jack and the mic also includes a dead cat windshield that will help in eliminating wind noise.
This mic does not need external batteries, and is powered from the battery on the camera.
Check current price and availability of the Rode Video Micro on Amazon.
Sony ECMAW4 Wireless Microphone
This is quite a bit more expensive than the Rode above, but it is an excellent wireless mic.
This comes in two pieces – a microphone and a receiver. Each piece is powered by one AAA battery.
The receiver connects via the 3.5mm mini jack on the camera and then it connects wirelessly to the mic which you clip to your shirt.
One extra feature of this wireless mic is that the receiver also has a mic built-in and the microphone unit has a talk-back function, which allows the camera operator (with the receiver unit) to talk with the subject (with the microphone unit) and vice-versa.
Overall, this is a great simple way to get high quality audio for your RX100 VII, without dealing with a lot of wires.
Check availability and current price of the Sony ECM-AW4 Wireless Mic on Amazon.
Sony ECMXYST1M Stereo Mic
This is a great microphone to have if you have another Sony camera with a multi-interface hotshoe, such as an RX10IV, A7III or a7 series, A6600, A6400 etc…
On those cameras, or any Sony camera or camcorder with a multi-interface hotshoe, this works as a “wireless” microphone because the mic interfaces with the camera via Sony’s proprietary multi-interface hotshoe.
This proprietary to Sony hotshoe is a hotshoe with extra electronic contacts.
BUT, because the RX100 VII does NOT have a hot shoe, you’ll be forced to plug this in to your camera via the included 3.5mm cable. So, it’s really only a big plus if you own other Sony cameras.
If you want something small and lightweight (just 100g!), this is a great mic that can add some good quality audio to your videos.
Check availability and current price of the Sony ECMXYST1M Stereo Microphone on Amazon.
Camera Cage
SmallRig Cage for the Sony RX100 VII and RX100 VI (CCS2434)
This is the most popular cage for the RX100 M7 and M6. Made of aluminum alloy with a very nicely done and very ergonomic wooden grip, this weighs a mere 123 grams.
The great thing about this cage is that it still gives you full access to all ports including the battery door and SD card. Even the front control ring is still fully accessible.
It adds a cold shoe mount on the upper right, above the grip and on the lower left side. This allows you to mount a microphone or a small LED light, while still allowing you to flip up the screen, or even use the pop-up EVF.
There are several ¼”-20 threads around the cage, allowing you to install a top handle and many other accessories such as a monitor, and it also allows you to mount the camera on a tripod.
Check the availability and current price of the SmallRig Cage CCS2434 on Amazon.
UURig Microphone Extension Bottom Bracket with add-on grip (R01)
This one is a simpler cage than the SmallRig (above). It’s well made, with lightweight CNC-machined aluminum alloy.
The grip is also nice, though it isn’t wooden like the SmallRig. You also lose the top mounted cold shoe, so your microphone will have to go to the side mounted shoe.
There are no ¼”-20 threads around the cage, so unlike the Smallrig, there also isn’t a place to attach a top handle, or other accessories, aside from the cold shoe.
There are still threads on the bottom, so you can mount this on a tripod or monopod.
Overall, if all you want is more grip and the ability to attach a microphone without interfering with your LCD, this is a great choice that’s cheaper than the SmallRig.
Check availability and current price of the UUrig Extension Bottom Bracket on Amazon.
Underwater housing or case for the RX100 VII
I don’t do much underwater shooting, though I do go to the beach a lot, since I am almost always in South East Asia.
I basically have one rule for shooting underwater, either you get a real housing – not one of those Dicapac bags – or don’t risk your expensive camera and just get a fully waterproof point and shoot like the Olympus TG-6 or the Fujifilm XP140.
The RX100 series has always been popular with divers because of its larger 1-inch sensor which has better low light capabilities.
The RX100 VII is no exception because of the addition of real-time tracking autofocus which practically eliminates the need to fiddle with FOCUS while underwater.
But if you’re not willing to invest in a real underwater housing, you’re better off getting the aforementioned Olympus or Fuji and just sell it when you’re done with your vacation.
Is the Sony MPK-URX100A Underwater Housing compatible with the RX100 VI and RX100 VII?
This does NOT work with the RX100 VI and VII because the new lens physically extends out longer.
This housing fits all older models from the RX100, RX100 II, RX-100 III, RX-100 IV, RX-100 V and RX100 VA.
Nauticam Underwater Housing NA-RX100VII for the RX100 VII
Nauticam has made high quality housings for every model of the RX100 series.
This housing is rated for up to 100 meters and includes their ‘moisture alarm’ which is a vacuum check and leak detection system standard in most of their housings.
This ‘alarm’ allows you to monitor the integrity of the housing to make sure it is safe to dive. It does this via a simple color coded LED that lets you know if the vacuum seals are solid or if there is a potential leak.
It’s temperature compensated, so you don’t get false alarms due to a change in environmental temperature or if the camera heats up due to extended use.
Made of aluminum alloy, this housing features large, easy to use controls, including a dial to adjust the front control wheel.
This housing also features several ports for attaching additional accessories such as an HDMI bulkhead for attaching an external monitor and additional brackets for attaching strobes.
Check availability and current price on Nauticam.com.
Fantasea FRX100 VI Limited Edition Housing for the RX100 VI and VII
This housing fits both the RX100 M6 and M7. Depth rated for up to 60 meters or 200 feet, this is an excellent housing for those who don’t want to drop the cash for the Nauticam housing (above).
Made from injection molded polycarbonate, this is less featured than the Nauticam (above), but it’s perfect for those who don’t need too many accessories.
This housing allows you to use the RX100 M6 and M7 up to 66mm-equivalent focal length only (limited to 60mm-equivalent only in depths under 40 meters)
If you attempt to zoom beyond this, you might get an error display requiring you to turn your camera on and off.
The front port has a 67mm filter thread that allows you to attach conversion lenses (e.g. wet wide angle and macro lenses)
It also has a cold shoe mount for mounting strobes and LCD rails for attaching an optional LCD magnifier.
Check availability and current price of the Fantasea FRX100 VI Housing on Amazon.
Related Links:
Sony RX100 Mark VII Compact Camera
In Stock
Sony NP-BX1 Battery
In Stock
Hahnel HL-X1 Sony Battery
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Broad zoom range and superior speed performance
Inside its compact body the RX100 VII is packed with everything it takes to deliver gorgeous images. The 24-200mm zoom lens is complemented by 0.02-sec. super fast AF, new Real-time Tracking and Real-time Eye AF, plus enhanced image stabilisation and an external microphone jack for high-quality movie shooting.
Broad zoom capability in a compact body
The high-magnification 24-200mm zoom lens delivers superb image quality. Engineered to achieve maximum resolution and clarity across the entire zoom range, it brings remarkable telephoto capability to a.size package, vastly expanding your options for creative expression.
New Single Burst Shooting function
The newly developed Single Burst Shooting function will capture even very fast-moving action, such as the precise instant a tennis racket hits the ball, taking seven shots in Rapid succession with selectable speeds of 90fps, 60fps or 30fps. It allows you to capture decisive moments that might otherwise be very difficult, and it can be used with the self-timer. Both JPEG and RAW image formats are supported.
Broad AF coverage and fast AF speed
The RX100 VII features a category-leading total of 357 focal-plane phase-detection AF points, covering a total of 68% of the frame. These are complemented by 425 contrast-detection AF points, and AF acquisition is achieved in just 0.02 seconds, the world’s fastest speed.
Real-time Tracking for moving subjects
Real-time Tracking uses subject-recognition algorithms (AI)that draw on colour, pattern (brightness), subject distance (depth) and face/eye information to track your subjects wherever they move. Maintaining a constant, steady FOCUS on a moving subject helps you capture every important moment of action as it happens, whether you’re taking stills or movies.
High-resolution 4K HDR (HLG) recording and stable AF
The camera supports internal 4K (QFHD:3840×2160) movie recording with full pixel readout and no pixel binning. Smooth, stable AF is the result of enhanced AF algorithms, and Real-time Tracking and Real-time Eye AF (human) are also now available for movies. With HLG (Hybrid Log-Gamma) capability you can enjoy HDR images simply by connecting the camera to an HDR (HLG) compatible Sony TV via a USB cable.
Advanced features for creators and vloggers
Step up your vlogging with the go-anywhere RX100 VII. New Touch Tracking for movies gives you fast, easy autofocus you can rely on, while Real-time Eye AF (human) ensures precise FOCUS. Even when you’re walking, image stabilisation “Active” mode produces smooth 4K video and, with a tilting selfie screen and external mic input, both framing and audio are stress-free.
Enhanced image stabilisation during 4K movie recording
Capture smooth 4K video even while walking with newly supported “Active” mode image stabilisation. And for even smoother, gimbal-like stabilisation,simple movie editing is available in the Imaging Edge Movie Edit add-on app.
External mic input, for higher-quality sound
Despite its compact size, the RX100 VII includes a microphone input. Highly appreciated by vloggers and professionals alike, the standard 3.5mm input enables professional audio capture for all your movies and vlogs.
Optical image stabilisation for steadier still shots
Capture high-quality images with compensation for hand-held camera shake, even in dim lighting and at telephoto range. The image-stabilisation algorithm delivers a level of stabilisation equivalent to a 4.0-stop faster shutter speed at 200mm.
| 1.0-type (13.2mm x 8.8mm) Exmor RS CMOS sensor, aspect ratio 3:2 |
| Approx. 20.1 Megapixels |
| ZEISS Vario-Sonnar T Lens, 15 elements in 12 groups (8 aspheric elements including AA lens) |
| F2.8(W)-4.5(T) |
| – |
| f9.0-72mm |
| 84deg.-12deg.30min.(24-200mm) |
| AF (W: Approx. 8cm (0.27 ft.) to Infinity, T: Approx. 100cm (3.29 ft.) to Infinity) |
| 8.0x |
| 20M Approx. 16x / 10M Approx. 22x / 5.0M Approx. 32x / VGA Approx. 121x |
| 4K: Approx. 12x / HD: Approx. 16x |
| 20M Approx. 32x / 10M Approx. 44x / 5.0M Approx. 64x / VGA Approx. 121x |
| Approx. 32x |
| 7.5cm(3.0type)(4:3) / 921,600 dots / Xtra Fine / TFT LCD |
| Up by approx. 180 degrees, down by approx. 90 degrees |
| Auto/EVF(Manual)/Monitor(Manual) |
| 5.3x, 10.7x |
| Yes |
| 0.39-type electronic viewfinder(OLED), 2,359,296 dots |
| 100 |
| Approx. 0.59x with 50mm lens at infinity.1m(diopter) (35mm equiv.) |
| Approx. 20mm from the eyepiece, 19.8mm from the eyepiece frame at.1m(diopter) (CIPA standard) |
| -4.0 to 3.0m |
| Auto, Manual(5steps) |
| Yes (BIONZ X) |
| Optical |
| Yes (Intelligent Active Mode, Optical type with electronic compensation, Anti Rolling type) |
| Fast Hybrid AF(phase-detection AF/contrast-detection AF) |
| Single-shot AF, Automatic AF, Continuous AF, DMF, Manual Focus |
| Wide (357 points (phase-detection AF), 425 points(contrast-detection AF)), Zone, Center, Flexible Spot (S/M/L), Expanded Flexible Spot, Tracking (Wide/Zone/Center/Flexible Spot(S/M/L)/Expanded Flexible Spot) |
| Yes (Tracking) |
| [Still images] Human (Right/Left Eye Select) / Animal;[Movie] Human (Right/Left Eye Select) |
| Multi Pattern, Center Weighted, Spot, Entire Screen Avg, Highlight |
| /- 3.0EV, 1/3EV step |
| Auto(ISO100-12800, selectable with upper / lower limit), 100/125/160/200/250/320/400/500/640/800/1000/1250/1600/2000/2500/3200/4000/5000/6400/8000/10000/12800 (Extendable to ISO64/80), Multi-Frame NR:Auto(ISO100-12800), 100/200/400/800/1600/3200/6400/12800/25600 |
| Auto:(ISO100Level-ISO12800Level, selectable with upper / lower limit), 100/125/160/200/250/320/400/500/640/800/1000/1250/1600/2000/2500/3200/4000/5000/6400/8000/10000/12800 |
| Auto, Daylight, Shade, Cloudy, Incandescent, Fluor.: Warm White, Fluor.: Cool White, Fluor.: Day White, Fluor.: Daylight, Flash, Underwater Auto, C.Temp./Filter, Custom |
| Yes(G7 to M7,57-step)(A7 to B7,29-step) |
| iAuto(4″. 1/2000) / Program Auto(30″. 1/2000) / Manual(Bulb, 30″. 1/2000) / Aperture Priority(30″. 1/2000) / Shutter Priority(30″. 1/2000) |
| [Single Shooting] iAuto (4″. 1/32000) / Program Auto(30″. 1/32000) / Manual(30″. 1/32000) / Aperture Priority(30″. 1/32000) / Shutter Priority(30″. 1/32000);, [Continuous Shooting/Single Burst Shooting] 1/8. 1/32000 |
| iAuto(F2.8/F11(W)) / Program Auto(F2.8/F11(W)) / Manual(F2.8/F11(W)) / Shutter Priority(F2.8/F11(W)) / Aperture Priority(F2.8/F11(W)) |
| Contrast, Saturation, Sharpness, Creative Style, Color Space(sRGB / Adobe RGB), Quality(RAW / RAWJPEG (Extra fine, Fine, Standard) / JPEG (Extra fine, Fine, Standard) |
| Long exposure NR:On/Off, available of shutter speeds longer than 1/3 sec., high ISO NR:Normal/Low/Off, Multi Frame NR: Auto, ISO100-25600 |
| Off, Dynamic Range Optimizer (Auto/Level 1-5), Auto High Dynamic Range (Auto Exposure Difference, Exposure difference Level (1.0-6.0EV, 1.0EV step) |
| AUTO(Intelligent Auto/Superior Auto), Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure, MR(Memory Recall) [body 3 sets / memory card 4 sets], Movie Mode(Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), HFR Mode(Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), Panorama, Scene Selection |
| Portrait, Sports Action, Macro, Landscape, Sunset, Night Scene, Handheld Twilight, Night Portrait, Anti Motion Blur, Pet Mode, Gourmet, Fireworks, High Sensitivity |
| [AUTO/Electronic Shutter] Continuous Shooting Hi: approx. 20 fps, Continuous Shooting Mid: approx. 10 fps, Continuous Shooting Low: approx. 5.0 fps, Single Burst Shooting Hi: approx. 90fps, Single Burst Shooting Mid: approx. 60fps, Single Burst Shooting Low: approx. 30fps [Mechanical Shutter] Continuous Shooting Hi:., Continuous Shooting Mid: approx. 10 fps, Continuous Shooting Low: approx. 3.0 fps |
| 10sec. / 5sec. / 2sec. / 3 or 5 consecutive shots with 10sec. 5sec. or 2sec. delay selectable / Bracketing shots with 10sec. 5sec. or 2sec. delay selectable / Single Burst shots with 10sec. 5sec. or 2sec. delay selectable |
| Single, Continuous shooting, Single Burst Shooting, Self-timer, Self-timer(cont.), Cont.-bracketing, Single-bracketing, White balance bracketing, DRO bracketing |
| Yes (1-60 sec. interval, 1-9999 shots, AE lock/AE tracking(High/Mid/Low)) |
| Sweep Panorama |
| [Still Image]:Toy camera, Pop Color, Posterization, Retro Photo, Soft High-key, Partial Color, High Contrast Mono., Soft Focus, HDR Painting, Richtone Monochrome, Miniature, Watercolor, Illustration, [Movie]:Toy camera, Pop Color, Posterization, Retro Photo, Soft High-key, Partial Color, High Contrast Mono. |
| Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black White, Sepia, Style Box |
| off/PP1-PP10(Black Level, Gamma(Movie, Still, Cine1-2, ITU709, ITU709 [800], S-Log2, S-log3, HLG, HLG1, HLG2, HLG3), Black Gamma, Knee, Color Mode, Saturation, Color Phase, Color Depth, Detail, Copy, Reset) |
| [Still Image]:Superior Auto: 44 / iAuto: 33, [Movie]:44 |
| Auto / Flash On / Slow Synchro / Rear Sync / Flash Off |
| Built-in, manual pop-up |
| Auto / Off |
| Yes |
| ISO Auto: Approx.0.4m to 5.9m (1.31 ft. to 19.35 ft.) (W) / Approx. 1.0m to 3.1m (3.28 ft. to 10.17 ft.) (T), ISO12800: up to Approx. 12.4m (40.68 ft.) (W) / Approx. 7.0m (22.96 ft.) (T) |
| [XAVC S(100Mbps)] SDXC/SDHC Memory Card (UHS-I U3 or higher); [XAVC S(60Mbps/50Mbps)] SDXC/SDHC Memory Card (Class 10 or higher); [AVCHD/Still image] Memory Stick Duo, Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick Micro, Memory Stick Micro(Mark2), SDXC/SDHC/SD Memory Card (Class 4 or higher), micro SDXC/SDHC/SD Memory Card (Class 4 or higher) |
| [Still Image]:JPEG(DCF Ver.2.0,Exif Ver.2.31,MPF Baseline compliant), RAW(Sony ARW 2.3 format), [Movie]:XAVC S, AVCHD format Ver.2.0 compatible |
| XAVC S:LPCM 2ch, AVCHD:Dolby Digital(AC-3) 2ch(Dolby Digital Stereo Creator) |
| sRGB, Adobe RGB |
| DCF/DPOF/EXIF/MPF |
| 3:2mode:20M(5,4723,648) / 10M(3,8882,592) / 5M(2,7361,824), 4:3mode:18M(4,8643,648) / 10M(3,6482,736) / 5M(2,5921,944) / VGA, 16:9mode:17M(5,4723,080) / 7.5M(3,6482,056) / 4.2M(2,7201,528), 1:1mode:13M(3,6483,648) / 6.5M(2,5442,544) / 3.7M(1,9201,920). Sweep Panorama:Wide(12,4161,856/5,5362,160), Standard(8,1921,856/3,8722,160) |
| NTSC/PAL Selector: [NTSC] AVCHD: 24M FX(1,920×1,080/60i) / 17M FH(1,920×1,080/60i), XAVC S 4K: 30p 100M(3,840×2,160/30p) / 30p 60M(3,840×2,160/30p) / 24p 100M(3,840×2,160/24p) / 24p 60M(3,840×2,160/24p), XAVC S HD:60p 50M(1,920×1,080/60p) / 60p 25M(1,920×1,080/60p) / 30p 50M(1,920×1,080/30p) / 30p 16M(1,920×1,080/30p) / 24p 50M(1,920×1,080/24p) / 120p 100M(1,920×1,080/120p) / 120p 60M(1,920×1,080/120p) |
| NTSC/PAL Selector: [PAL] mode AVCHD: 24M FX(1,920×1,080/50i) / 17M FH(1,920×1,080/50i), XAVC S 4K: 25p 100M(3,840×2,160/25p) / 25p 60M(3,840×2,160/25p), XAVC S HD:50p 50M(1,920×1,080/50p) / 50p 25M(1,920×1,080/50p) / 25p 50M(1,920×1,080/25p) / 25p 16M(1,920×1,080/25p) / 100p 100M(1,920×1,080/100p) / 100p 60M(1,920×1,080/100p) |
| Recording: NTSC/PAL Selector: [PAL] mode XAVC S HD:50p 50M(1,920×1,080/250fps), 50p 50M(1,920×1,080/500fps), 50p 50M(1,920×1,080/1000fps) / 25p 50M(1,920×1,080/250fps), 25p 50M(1,920×1,080/500fps), 25p 50M(1,920×1,080/1000fps), NTSC/PAL Selector: [NTSC] mode XAVC S HD:60p 50M(1,920×1,080/240fps), 60p 50M(1,920×1,080/480fps), 60p 50M(1,920×1,080/960fps) / 30p 50M(1,920×1,080/240fps), 30p 50M(1,920×1,080/480fps), 30p 50M(1,920×1,080/960fps) / 24p 50M(1,920×1,080/240fps), 24p 50M(1,920×1,080/480fps), 24p 50M(1,920×1,080/960fps)Sensor ReadoutNumber of effective pixels: Quality Priority:240fps/250fps(1,824×1,026),480fps/500fps(1,824×616),960fps/1000fps(1,244×420)/Shoot Time Priority:240fps/250fps(1,824×616),480fps/500fps(1,292×436),960fps/1000fps(912×308) |
| 16:9mode:17M(5,4723,080) / 7.5M(3,6482,056) / 4.2M(2,7201,528) |
| Yes(1280 x 720(Approx.9Mbps)) |
| Multi/Micro USB Terminal, Hi-Speed USB (USB2.0), Micro HDMI, Microphone jack (3.5mm Stereo mini jack) |
| NFC forum Type 3 Tag compatible, One-touch remote, One-touch sharing |
| Yes(IEEE802.11b/g/n(2.4GHz Band)) |
| Yes (Bluetooth Standard Ver. 4.1 (2.4GHz Band)) |
| DC3.6V(supplied battery) / DC5.0V(supplied AC Adaptor) |
| Rechargeable battery pack (NP-BX1) |
| Approx. 2.1W with LCD monitor and approx. 2.3W with viewfinder(CIPA standard) |
| Yes (Shooting, Playback) |
| Monitor:Approx. 260 / Approx. 130min., Monitor (When Auto Monitor off is set to 2sec):Approx. 310 / Approx. 155min., ViewFinder:Approx. 240 / Approx. 120min. |
| Monitor:Approx. 40min., ViewFinder:Approx. 40min. |
| Monitor:Approx. 70min., ViewFinder:Approx. 70min. |
| – |
| Face Detection, Face Registration, Still Image Recording (during movie recording), Smile shutter, Grid Line, Quick Navi, Digital Level Gauge (pitch and roll), WB Bracket, DRO Bracketing, MF Assist, Peaking (Display: Off/On) (Level: High/Mid/Low) (Color: Red/Yellow/Blue/White), Zebra, Marker Display, Audio Rec Level, Audio Level Display, Step Zoom / Quick Zoom, Self-portrait timer, TC/UB, Copyright Info, ISO Auto Minimum Shutter Speed, PC Remote Controll, Gamma Disp. Assist, [Mov]AF Tracking Sensitivity, [Mov]AF Drive Speed, Set File Name, Touch Shutter/Touch Focus/Touch Tracking, Touch Pad, My Menu, My Dial |
| Bravia Sync(Control for HDMI), 9/25-frame index view, Auto Orientation, Slide Show, Forward/Rewind (Movie), Delete, Protect, Motion Shot Video, Beatuty Effect, Photo Capture, Rating, Automatic Image Rotation |
| Yes |
| Yes |
| 0 degrees C 40 degrees C. / 32 degrees F 104 degrees F. |
| Exif Print, PRINT Image Matching (PIM3) |
| 101.6 x 58.1 x 42.8 mm(4 in. x 2 3/8 in. x 1 11/16 in.) |
| Approx. 302g (10.7oz.)(Battery and Memory Card are included) / Approx. 275g (9.8oz.)(Body Only) |
Compatible with 35 Sony Camera Models at Launch
In August 2020 Sony announced the release of a new Desktop application, ‘Imaging Edge Webcam’, that allows users to easily transform their Sony digital camera[i] into a high-quality webcam by simply connecting it to a PC[ii] or Mac[iii] via USB[iv], free of cost. ‘Imaging Edge Webcam’ allows users to live stream and video conference in one easy step while also taking full advantage of Sony’s advanced imaging technology, such as industry-leading autofocus, high resolution picture quality and additional unique features of each compatible camera. The new ‘Imaging Edge Webcam’ desktop application is available to download HERE, and you can find full instructions on how to connect HERE.
Following a firmware upgrade certain cameras (starting with the ZV-1) can also connect directly with selected Xperia smartphones[iv] for on-the-go livestreaming with high video and audio quality.
“We will continue to adapt and evolve to meet the needs of our customers. Their voice is critical to everything that we do in this industry” said Yann Salmon-Legagneur, Director of Product Marketing, Digital Imaging, Sony Europe. “Given the growing demand for live streaming and video communication, we’re excited to share a new application that give so many loyal Sony’s customers the ability to quickly and easily transform their camera into a highly effective webcam for live streaming, video calls and so much more.”
Some cameras, including the ZV-1 (with v2.0 firmware or later), are also support UVC/UAC and capable of being connected directly to certain Sony Experia mobile phones for streaming.
‘Imaging Edge Webcam’ was compatible with 35 Sony camera models when it launched, including: A9 II, A7R IV, A7R III, A7R II, A7R, A7S III, A7S II, A7S, A7 III, A7 II, A6600, A6400, A6100, RX100 VII, RX100 VI, RX0 II, RX0, and ZV-1. For the full current list of compatible models CLICK HERE.
[i] Please refer to the website for a full list of compatible models. Firmware must be updated on cameras to ensure compatibility.
[ii] Windows 10 64bit required.
[iii] macOS 10.13. 10.15 or macOS 11 required (Excluding Macs with Apple silicon).
[iv] Charges select Sony Camera models while connected via USB. Please refer to the website for a full list of compatible models.
[v] Xperia 1 II or Xperia 5 II required, upgraded to Android 11.
Sony RX100 VI vs RX100 VII – The 10 Main Differences
The RX100 VII is the seventh model in the ever-evolving RX100 series. The RX100 VI was already a little monster in terms of speed and the mark VII can be considered a refinement of this model. It incorporates some technology from the flagship A9, as well as a few tweaks here and there that should please video-makers. If you’re curious to discover all the main differences between the two, then keep on reading!
What the RX100 VI and VII have in common:
- 1-inch sensor format with 20.1MP of resolution
- 24-200mm (equivalent) F2.8-4.5 zoom lens
- up to 1/32000s with the electronic shutter
- 4K video with full pixel readout
- S-Log2, S-Log3 and HLG profiles
- HFR mode up to 960/1000fps
- pop-up EVF with 2.36M dots
- 180° up / 90˚ down tilting LCD screen with touch sensitivity
- Wi-Fi, NFC and Bluetooth
- same design, dimensions and weight
- same NP-BX1 battery
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Sensor
The two cameras feature a 1-inch stacked sensor with a resolution of 20.1 megapixels. Stacked means that there is a DRAM memory attached to the back of the chip to process more data simultaneously. (The technology was first introduced to the mark IV generation.)
The version found on the mark VII model has been newly developed to further improve the readout speed. It also comes with an updated Bionz X processor.
ISO sensitivity
The sensitivity range benefits from a minor change thanks to the updated sensor.
The RX100 VI goes from ISO 125 to 12800, with low values down to ISO 80 and push values up to 25600 with the Multi NR mode.
The RX100 VII starts from ISO 100 with pull values down to ISO 64. The high values remain the same.
Continuous shooting speed
The RX100 VI has a maximum burst of 24fps and can maintain AF and AE tracking at that speed which is quite impressive.
The RX100 VII can do an incredible 90fps with a new mode called Single Burst Shooting but FOCUS and exposure are fixed on the first frame. It looks as if you are taking a single shot, but in fact the camera takes even more and retains seven frames so that the user can select the perfect moment.
If you want continuous AF, the VII manages a very respectable 20fps and what’s more, it inherits the same blackout-free live view capabilities of the flagship Sony A9 E-mount camera.
This fast performance is possible thanks to the use of the electronic shutter and the super fast sensor readout that guarantees no distortion when panning quickly.
Autofocus
The RX100 VI features 315 phase and 25 contrast detection points. The phase detection points cover 65% of the sensor’s surface.
The RX100 VII has 357 phase and 425 contrast detection AF points.
The updated stacked sensor and processor allow the new camera to achieve the world’s fastest AF acquisition speed of 0.02s, and can calculate up to 60 times per second. It inherits the latest algorithm and AI technology which includes real time tracking and real time Eye AF, as well as Eye AF for animals.
The RX100 VI is not far off with a FOCUS acquisition speed of 0.03s. Eye AF is also present but works with humans only.
Eye AF for video
The hybrid AF system works for video too and once again the RX100 VII benefits from the latest updates which include real time tracking and Eye AF.
The latter is a first for the RX100 series, and it is the second Sony camera to receive this function after the A7R IV full frame model.
Image stabilisation for video
The lens found on both cameras features optical stabilisation (Steadyshot) which works for stills and video.
The RX100 VII introduces a new Active SteadyShot mode. It is available when recording video and is said to be 8 times more effective. It combines optical with electronic IS which means that the field of view is cropped.
Microphone input
A first for an RX100 camera is the VII’s 3.5mm microphone input. This makes things much easier for V-Loggers who want to use a high quality compact camera for their work.
As you will have already guessed, the RX100 VI doesn’t have a mic port.
Vertical-format movie recording
With the RX100 VII, you can record in vertical orientation and the camera retains the correct metadata for the vertical format. This means that the footage doesn’t need to be rotated when edited in the timeline or when transferred to a mobile device.
The RX100 VI doesn’t have this option.
Time-lapse
The RX100 VII has a built-in time-lapse function and can preview a time-lapse video in camera.
The RX100 VI doesn’t have a built-in option and has lost compatibility with the PlayMemories apps that offered this extra feature.
Price
The RX100 VI can be found for around 1100, whereas the mark VII model starts from 1200. The are similar but the VI might receive more instant rebates in the near future.
It is also worth remembering that Sony is keeping most of the older models on the market, which means that you can find a RX100 III for half the price.
Conclusion
I think that the most interesting differences on the new model are video related. Having a 3.5mm input for the microphone is helpful and it’s nice to see Sony trying to improve the stabilisation for movie recording.
The blackout-free live view experience that mimics the Sony A9 doesn’t seem all that necessary to me for a camera of this type, and in terms of burst speeds, the mark VI does very well too.
So specific video features aside, I would advise you to go with the one that costs less.
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Sony RX100 VII Review
The Sony RX100 VII’s performs great underwater! Sony made spectacular updates to autofocus and burst shooting.
Sony is known for updating their hugely popular RX100 compact camera line on a yearly basis, so the recent release of the Sony RX100 VII did not come as much of a surprise. However, the RX100 VII announcement followed hard hitting camera announcements from Sony including the Sony A7R IV and the Sony a6400 – both game-changing cameras in the full frame mirrorless and mid-range/budget mirrorless fields.
Is the RX100 VII, Sony’s lucky number 7 for underwater photography? Well, the timing was certainly lucky. The announcement of the RX100 VII follows exciting innovations from Sony in autofocus and burst shooting. These new technologies have been integrated into Sony’s higher end cameras such as the A9, A6600, and A7R IV and are now generously adapted to the RX100 VII. With an improved autofocus tracking system, including animal eye autofocus, the Sony RX100 VII is going to be a top choice for underwater photographers shooting compact cameras. You won’t find more useful technology for photographing fish and other underwater creatures on any other compact camera. Other upgrades include burst shooting without blackout (great for photographing quick critters like dolphins and schools of fish) and improved low light capability with a lower native ISO.
As with the recent announcement of the Olympus TG-6, the Sony RX100 VII is mostly a firmware update. The camera is essentially the same as the Sony RX100 VI in all other aspects. That being said, for underwater photography, the RX100 VII is going to be a must-have camera for anyone who wants an easy and accurate underwater shooting experience.
U.S. MSRP Sony RX100 VII: 1,299
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Purchase the Sony RX100 VII Camera, Housing, and Packages at Bluewater Photo:
Sony RX100 VII Compared with RX100 VI
As a whole, the Sony RX100 VII only has a few key differences from the RX100 VI. Physically, the cameras are almost exactly the same. The RX100 VII is compatible in some RX100 VI housings, but not all. The RX100 VII is compatible with Ikelite and Fantasea RX100 VI housings.
There are a couple of hardware differences between the two models. The most apparent is the addition of a microphone jack which is an exciting development for vloggers. The sensor and processor have also been updated to improve readout speed.
On the firmware side, exciting updates from the RX100 VI for underwater photography include a native ISO of 100, no blackout in burst mode, more phase and contrast detection autofocus points, improved autofocus (AF) capability and AF tracking, eye AF (including animal eye AF) for photo and video, Active SteadyShot mode (electronic image stabilization) for video, unlimited recording time in 4K, and vertical video recording. Although the hardware updates are lackluster, we have to admit, the firmware updates are exciting for both photo and video. As with any other technology, these improvements come at a price – The RX100 VII is about 100 more than the RX100 VI.
Sony RX100 VII Specifications
Key Upgrades from the Sony RX100 VI
Updated sensor and BIONZ X processor
357 phase detection and 425 contrast detection autofocus points!
World’s fasted AF acquisition speed of 0.02 seconds.
Improved autofocus tracking including Animal Eye AF tracking – for photo and video
20fps burst mode (down from 24 fps burst in the RX100 VI) without blackout
90fps burst mode for 7 frames
Unlimited 4K recording time (though the camera can get hot)
Active SteadyShot mode for video shooting (electronic image stabilization)
Timelapse with interval shooting
Native ISO range of 100 – 12800 (RX100 VI was 125-12800)
Additional Key Sony RX100 VII Specs
1-inch 20.1 MP stacked CMOS sensor
Built-in 24-200mm (equivalent) f/2.8-4.5 zoom lens – same as the RX100 VI
Electronic shutter up to 1/32000s
4K video with full pixel readout (no pixel binning)
S-LOG2, S-Log3, and HLG picture profiles
Pop-up EVF (2.36 million dots)
No more built-in ND filter
Wi-Fi and Bluetooth capability
Sony RX100 VII Key Features
Body and Build
As we’ve mentioned before, the body and build of the RX100 VII is essentially the same as the RX100 VI. For a camera of such caliber, the Sony RX100 VII is amazingly compact – weighing in at 2/3rd of a pound. At this size it is a great camera for traveling if you don’t want to lug around a lot of gear and lenses. The RX100 VII also fits into compact underwater camera housings that are far smaller than larger mirrorless and DSLR housings. The RX100 VII is a fairly sturdy camera though it doesn’t have much of a grip so it can be a little slippery to handle.
Enhanced Optical Zoom
As with the RX100 VI, the VII features a new 24-200mm f/2.8-4.5 lens. The optical quality on this lens is excellent and capable of producing stunning, detailed macro and super-macro images. This is especially true when it’s paired with a we macro lens like the Bluewater 7 and the Nauticam CMC. You will not find any other series of compact camera that offers macro and supermacro images at this level of quality.
Unfortunately, enhanced zoom capability comes with underwater challenges. When the lens is zoomed all the way in, it extends farther than most underwater port systems for compact cameras. Therefor, as with the RX100 VI, you will need a separate long port for shooting macro and a shorter wide port for shooting wide angle. If you would like to shoot macro and wide angle with the same port, on the same dive, then we recommend checking out the Sony RX100 V and VA.
Improved Autofocus Capability
The Sony RX100 VII really shines when it comes to autofocus – causing Sony and many others to dub the camera “the mini A9.” Indeed, all the best of Sony’s autofocus technology has been incorporated into this camera. First, Sony provided the RX100 VII with a massive update in the number of AF points – it now has 357 phase detect and 425 contrast detection AF points! Sony is claiming that the RX100 VII also has the world’s fastest AF acquisition speed at 0.02 seconds.
The RX100 VII puts these AF points to use. It now includes realtime autofocus tracking with Eye AF and animal eye AF tracking! This will be extremely useful for underwater photographers photographing quick reef fish and other underwater critters. We tried the animal eye AF on the Sony a6400. It worked great in some cases and not great in others. We found that it was actually extremely useful in macro photography.
Burst Shooting
The Sony RX100 VII’s burst shooting can capture 20 frames per second with continuous autofocus and no blackout. This means that you will see a continuous image on your LCD or EVF as you shoot! Sony also included a new burst shooting mode that can capture 90fps RAW files for 7 frames. Although this doesn’t seem too useful for underwater photography (except when shooting fast schools of fish), not having blackout is great for properly composing and capturing action. It’s worth the loss of 4 fps from the RX100 VI. If you are looking to shoot quick pelagic animals and action shots of dolphins, sharks, and schools of fish, the RX100 VII will do a great job.
Improved Video Capability
The RX100 VII’s improved video capability is just as exciting as improvements to autofocus – especially for underwater video shooters. As with the RX100 VI, the RX100 VII takes beautiful 4K video footage with a full pixel readout and no pixel binning. It can now record indefinitely in 4K (at the risk of getting hot). Autofocus improvements apply to video as well including realtime AF tracking and animal eye AF. Sony also introduced and Active SteadyShot mode for video shooting which is essentially electronic image stabilization.
Improved Low Light Performance
Another welcomed benefit for underwater photography is the RX100 VII’s improved lowlight performance. The benefits aren’t huge from the RX100 VI, however you can now shoot a native ISO range of 100 – 12800. This translates to better dynamic range underwater, which means even more details when you’re shooting sunballs, reefscapes, and other wide angle photos.
Sony RX100 VII for Underwater Photography
The Sony RX100 VII is a great choice as the highest end compact camera available for underwater photography. Underwater photographers will get the same tried and true image quality as other recent models in the RX100 line with massive improvements in autofocus and burst shooting. This will only make it easier to capture every underwater moment, no matter the speed!
We had a blast shooting it in Maui, Hawaii. The image quality was beautiful and detailed, though the FOCUS acquisition is still a little slow compared to higher end Sony models like the Sony A6100 and Sony A7R IV. The RX100 VII really exceeds in the middle and supermacro focal ranges, due to it’s long focal length lens. The long focal length means that the camera has a longer minimum focusing distance which can make macro photography tricky, unless you use a wet macro lens. If you want to shoot both wide and macro photos in the same dive with wet lenses than we recommend using the RX100 V/VA, which doesn’t have quite as long of a focal length lens. For supermacro photgoraphy, the RX100 VII excels.
Sony RX100 VII for Underwater Video
Underwater video is really where the RX100 VII is going to shine. Autofocus improvements and realtime AF tracking in video is going to make it a breeze to follow your subjects through submarine canyons and across eelgrass beds no matter the swimming speeds. Without any recording limit in 4K, you won’t have to worry about your video shutting off.
Is it worth the price?
This brings us to the downside of the RX100 VII – the price tag. Like the RX100 VI, the Sony RX100 VII is retailing at 1200. It is significantly more expensive than the Sony RX100 V and VA, the Canon G7X Mark III, the Olympus TG-6, and even the Sony a6100. With a price range equivalent to some mirrorless cameras (albeit without lenses), it might be a better option consider going mirrorless. However, that mid-range market has also shrunk. At this price point the Sony a6100 and Canon SL3 are probably the best options.
If you are looking for just any compact camera to use underwater, then we recommend the G7X Mark III and the Olympus TG-6. If you are looking for a small camera with amazing image quality than the Sony RX100 VII is the camera for you. Go with the RX100 V/VA if you are looking for a camera that can take both wide and macro on the same dive.
Who Should Consider Purchasing the Sony RX100 VII?
Macro photographers. The RX100 VII is a macro and supermacro powerhouse. The zoom and detail is unbeatable when compared to other compact cameras, except the Sony RX100 VI.
Underwater videographers are sure to benefit from the RX100 VII’s upgrades to autofocus and 4K recording time. With amazing animal eye AF and realtime AF tracking available in video, the results are sure to be spectacular, even with moving objects.
Underwater photographers who shoot quick subjects like pelagic animals, dolphins, sharks, whales, and schools of fish will benefit from the lack of blackout in burst shooting modes. 20fps is very fast. Combined with great autofocus, it’s easy to capture anything swimming by.
Best Lenses for the Sony RX100 VII
As we mentioned before, due to the extension of the lens when fully zoomed in, different ports are necessary when shooting with macro or wide-angle wet lenses and the RX100 VII. This means that the type of wet lenses used will need to chosen prior to diving and limits the diver to shooting either macro or wide-angle during a dive – not both.
Macro wet lenses allow you to get even closer and more detailed photos than the already capable 200 mm zoom on the RX100 VI. A strong diopter such as the Nauticam Super Macro Converter or the Kraken KRL-03 12 can be a great way to open up the realm of super macro photography. Going for something with a little less magnification such as the Bluewater 7 is an easier option for beginner macro photographers.
Bluewater 7 Macro Lens. The Bluewater 7 is a high-quality two-element macro lens made of optical glass. It is UV-coated and anti-reflective. It offers a much cheaper price point than the Nauticam lenses, although it also offers slightly less magnification. Slightly less magnification is great if you are just starting out in the world of macro photography. The zoom capability of the RX100 VI is very good, so this can be all that you need to take beautiful macro photos. Bluewater 7
Nauticam Compact Macro Converters (CMC-1 CMC-2). Both Nauticam CMC lenses offer amazing sharpness, with varying strengths of magnification. 4.5 2.8 average magnification respectively, it’s great to have both within your quiver of lenses for maximum versatility while diving and shooting macro. Nauticam CMC-2 or Nauticam CMC 1.These are the highest quality macro lenses for taking supermacro images with the RX100 VI.
Without a wide angle wet lens, compact cameras tend to struggle in the area of wide angle underwater photography. A wide angle wet lens allows the photographer to take photos with a wider field of view and get closer for more color and detail in the image.
Fantasea UWL-09 Wide Angle Lens. This wide-angle option provides a great 130-degree Field of View, allowing you to switch over to wide angle for reefscapes, large animals coming in close, etc. Image results are sharp from corner to corner with minimal abberations. In addition, the lens will FOCUS through out the zoom range of your camera.
Kraken Sports KRL-01. The KRL-01 was designed to work with a variety of cameras at 24mm focal length, and features full zoom through capability. It has a multi-layer BBAR coating for anti-reflection and improved optical clarity. It is even compatible with micro 4/3 and full frame cameras, providing a great choice for anyone who may upgrade in the future. The KRL-01 offers a whopping 145-degree filed of view!
Underwater Housings for the Sony RX100 VII
Due to its similarity in size, weight, and build, the Sony RX100 VII is compatible with Sony RX100 VI housings from Ikelite and Fantasea. Housings are now available from top brands like Nauticam, Fantasea, and Ikelite.
Nauticam RX100 VII Housing
Nauticam housings are crafted from high quality aluminum, with controls and dials designed for great ergonomics. This housing features the N50 standard port system which allows for a full range of zoom with the lens. This compact port system allows the shooter to change ports like a Mirrorless or DSLR camera, in order to achieve the best quality optics underwater.
Nauticam N50 Short Port With Bayonet Mount
The Nauticam N50 Short Port with Bayonet Mount is designed to allow for fast port changes underwater when using a camera housing with the N50 port system and wet lenses such as the WWL-1 and CMC along with the Nauticam bayonet system. A short port is necessary for these wet lenses as the normal N50 port that is included with the housing is long enough for the full range of zoom, but too long for wet wide angle lenses.
Nauticam N50 Original Short Port
The original Nauticam N50 Short Port is great for threading wet wide angle lenses such as the AOI UWL-09 and Kraken KRL-01 onto your RX100 VI Nauticam Housing for amazing wide angle images. The thread is 67mm, and fits with many wet wide angle lenses. A short port is necessary for these wet lenses as the normal N50 port that is included with the housing is long enough for the full range of zoom, but too long for wet wide angle lenses
Nauticam Flip Diopter Holder
If you’re a macro junkie, Nauticam’s flip diopter holder will enable you to capture amazing macro photographs with underwater diopters. The diopter screws into a universal 67mm thread and is flipped in front or away from the port at will.
Ikelite RX100 VII Housing
This housing is crafted from lightweight, strong ABS Polycarbonate and ready for any in or near water use such as scuba diving, pool photography, surf photography and more.The Sony RX100 VII has an extended zoom lens in addition to many other new features. To make it useable underwater with such a long zoom range, Ikelite has developed a removeable port for the Ikelite Sony RX100 VII Underwater Housing.
Ikelite Wide Angle Port M67 for Sony RX100 Mark VI/VII Underwater Housing
The Ikelite Wide Angle Port M67 for Sony RX100 Mark VI and VII Underwater Housings is designed to be used with your wet lenses for capturing beautiful wide angle scenes. like reefs and big animals like sharks. It also has a shorter port length and can be used for both wide angle and macro wet lenses. The camera cannot be zoomed past 70mm with this port.
Ikelite Macro Adapter
The Ikelite macro adapter allows for the attachment of 67mm threaded macro wet lenses to the Ikelite RX100 VII housing. The adapter slides onto the front of the existing lens port without modification. As the adapter may be removed and replaced while underwater, there is no limit to the camera’s zoom capabilities. This is the perfect accessory for taking beautiful close up images underwater of small creatures. especially super macro photos!
Ikelite WD-4 Wide Angle Dome
The Ikelite WD-4 Wide Angle Dome is a useful tool to convert your standard RX100 VII Ikelite flat port to a wide angle dome port. This port simply slides onto the standard port of the Ikelite housing— no modification to or replacement of the housing’s original port is necessary. The WD-4 can be removed and replaced underwater so there is no limit to the camera’s zoom or macro capabilities. Approximately 3/4 of the camera’s zoom range can be used with the dome in place. The dome is great for wide angle photography as it corrects for the magnifying affect of a flat port in water.
Fantasea RX100 VII Housing
The Fanstasea RX100 VII housing is an excellent underwater housing for the Sony RX100 Mark VII camera. Fantasea has been known to produce robust, sturdy, and lightweight underwater housings at an affordable price. They design their underwater housings to have great ergonomics.
Price: 399.99. on sale at Bluewater for 359.95!
Underwater Settings for the Sony RX100 VII
Check that these key function are set on your camera menu before diving with the Sony RX100 VII:
- The most important menu setting is to make sure the AF Illuminator is turned off, otherwise your camera will have trouble focusing once inside the underwater housing.
- Select Raw JPEG so that you can easily share JPEGs but also edit RAW files more effectively
- Select AVCHD for video file setting
- Set creative style to vivid if you want more reds to come out underwater in your JPEG or neutral if you will be editing all your files
- Turn on Auto Review if you want to view each photo immediately after capturing it. The suggested time is 2 seconds.
- Flash mode: fill flash, flash compensation to 0.0
- Red Eye Reduction: off
Memory Recall Function: Due to the RX100 VII’s amazing zoom capability, when in a housing in a standard port, the lens can actually hit the port glass when zoomed in all the way. Using the memory recall function you can set the camera so that it “remembers” specific zoom levels and does not hit the port.
Shooting Macro
Remember that apterture controls your depth of field, choosing a larger number aperture will mean more of the image will be in FOCUS. For starting settings on the RX100 VI we recommend at least F8. In addition we always recommend using a FOCUS light when shooting macro in order to help your camera lock FOCUS more quickly and accurately.
Best Macro Settings with a strobe (no wet lens):
Make sure you are zoomed out all the way for best focusing and image quality. If using a strobe, Auto White Balance delivers accurate color balance. just remember to set the internal flash to forced flash mode and your strobe to TTL (or manual if you’re comfortable with more adjustments).
Remember that shooting at an aperture of F8 will allow for much of the subject to be in FOCUS. You can also experiment with opening the aperture down to F2.8 for a shallow depth of field.
Best Super Macro Settings with a strobe (using a wet lens):
When shooting with a macro diopter, you will want to zoom in to create as much magnification as possible of the subject. Because of the increased magnification, stop down the aperture to create more depth of field. Our recommended starting settings are:
Shooting Wide Angle
Remember that shutter speed controls the amount of ambient light in the photograph. The faster the shutter speed, the less light in the background. This is important primarily when shooting wide angle with a strobe. Zoom the camera all the way out and get closer to your subject for best lighting. Shooting with a wet wide lens allows you to get a wider field of view while being very close to your subject and is recommended for the best wide angle shots.
Some wet wide lenses may vignette on the RX100 VII (dark corners), if this is the case zoom in as little as possible until the vignetting is gone.
Overall, the image quality is best when zoomed all the way out at 24mm. The Sony RX100 VII closest focal range is just over 3” which is considerably close without a macro wet lens attached. Getting close to your subject also allows for the best lighting as it gives the strobes the power to light your subject without having to travel far through the water column.
Best Wide Angle Starting Settings, with a Strobe:
- Manual Mode
- Auto White Balance
- F6.3
- 1/125s
- ISO 80
- Camera on Forced Flash (not auto or it may not flash!)
- Strobe on TTL (auto controls) or Manual with Preflash (adjust power as needed)
TIP: Use strobe power to control the light on your subject, adjust shutter speed to control the light in the background.
Shooting Wide Angle with Ambient Light:
- Adjust your aperture and shutter speed from the settings above to properly expose the foreground (ie: let in more light).
- Shoot with the sun behind you for better colors and less shadows.
For shooting creative wide-angle such as a sunburst or silhouette, stop down the aperture to F11 and/or increase your shutter speed to 1/1000s or faster. This will decrease the light entering the camera and help freeze the water to capture stunning sun rays.
Sony is clearly the most innovative camera company of 2019, and the release of the RX100 VII has been no exception. Many recent innovations have been shared universally among Sony cameras, a rare quality for a camera manufacturer. Although the RX100 VII isn’t much of a hardware upgrade like its predecessor was, it bridges the gap between high-end compact cameras and professional systems with professional level autofocus and video capability. Yes, it’s an expensive camera. But you are going to get your value for the money. So if you are looking for something small to take with you on your adventures that gives you a clear improvement in quality and ease of use from other compact cameras, the RX100 VII is the camera for you.
The Sony RX100 VII: An Adventure-Ready Camera in a Truly Compact Package
The Sony DSC-RX100 VII is the newest iteration of the popular compact RX100 series. Marketed as a A9, it has a new stacked CMOS sensor created with the idea of faster, more accurate autofocus and high speed photographing without any blackout that, before now, was only offered on their high-end mirrorless cameras.
One of the main reasons this camera is so impressive for travel is the truly compact form factor mixed with best-in-class image quality. The 1” sensor and 24-200mm zoom lens give this camera a competitive edge over your smartphone during your land adventures and the articulating screen paired with the addition of a microphone jack make this a great camera for vlogging. If you do enjoy partaking in the occasional safari, the 24-200mm (35mm equivalent) lens impresses for both landscapes and for animals at some distance. The Sony RX100 VII fits the bill as a very versatile camera that’s easy to slip in your or backpack.
For underwater use, a 200mm focal length may not be used frequently, but add a macro wet lens like Nauticam’s SMC-1 in combination with this long zoom and the macro results can be excellent. The 24mm wide-angle end of the zoom works well for wide portrait use underwater, and there are wide-angle wet lens options for many of the housings that support this camera to expand that field of view considerably.
We carry three housings for the Sony RX-100 VII: Ikelite, Fantasea, and Nauticam
Ikelite Underwater Housing for Sony Cyber-shot RX100 Mark VI, VII
The Ikelite housing is a lightweight, polycarbonate housing that utilizes the full zoom range of the Sony’s 24-200mm lens. With the use of the press-fit Macro Adapter # 9306.82 you can utilize any macro wet lens with a 67mm thread. For wide-angle photography, you can simply slide on the optional WD-4 Wide Angle Dome # 6430.4 for a.75x conversion or swap out the port completely with the DC3 6” dome port #6403 to achieve your full 24mm field of view you are used to seeing in air. This would be the ticket if you enjoy split shots. It is important to note that if you intend to use an Ikelite rx100 VI housing that was created before the release of the RX100vii you might need to make some minor adjustments to the housing before it functions properly with the rx100vii camera.
Fantasea FRX100 VI Limited Edition Housing for Sony RX100 VI/VII
The Fantasea housing is a polycarbonate housing that features a compact, ergonomic design. The housing is manufactured to use the lens within the 24-66mm focal range, making it ideal to use with external wet wide-angle lenses such as the Fantasea UWL-09F Wide Angle Wet Mate Lens or other large sensor wide angle optics that fit a 67mm thread. There is also the opportunity to use a macro wet lens on the 67mm threaded port at the 66mm focal length, making this rx100VII housing ready to “do everything”; assuming the photographer is up for the task.
Nauticam NA-RX100VII Housing
The NA-Rx100VII housing is machined aluminum with an anodized finish. A rigid aluminum housing allows for more compact dimensions and greater freedom to position controls ergonomically. With their interchangeable m50 port system, it provides the ability to utilize the RX100VII’s full zoom range with the standard port and additional m67 accessories with the N50 short port. If you want to keep the Standard port and retain your zoom range you can use the Nauticam m67 flip diopter holder with the Super Macro Converter-1 (SMC-1) to reduce your minimum focal distance by about 10x at 200mm, making it an excellent macro combination. The N50 short port with bayonet mount allows for the use of Nauticam’s bayonet mounting system for the ultimate versatile system. Nauticam’s Wet Wide Lens-1 can be used for super-wide-angle and then get swapped out for the Compact Macro Converter-2 (CMC-2) for a great macro solution all on the same dive. The optional pro package comes with a tray, two handles with ball mounts and a vacuum valve to ensure your housing is properly sealed.
Some takeaways on the RX100 VII with the NA-RX100VII Housing
I recently took the RX100 VII in the NA-RX100VII to the Blue Heron Bridge in West Palm Beach Florida to see how this exciting new camera performs underwater. I took the system on two dives, each with a different configuration; the first was the standard port with the M67 flip adaptor and the SMC-1 and the second was the short port with the bayonet mount adaptor, the WWL-1, and the CMC-2.
During the first dive, I enjoyed the ease of the flip adaptor paired with the SMC-1. You cannot use the SMC-1 with the RX100 VII’s widest focal length of 24mm, therefore you’ll need to zoom in to around 50mm to get rid of any vignetting. Each focal length after that provided a different depth of field and minimum FOCUS distance. This allowed me to cater my minimum focal distance to the individual critter; whether or not they would allow me to get close and how large or small they were. I enjoyed this freedom that I don’t typically get when working with a prime lens combined with a wet macro lens and it was a nice change of pace.
The second dive was a very different experience with the N50 short port, WWL-1, and CMC-2.
The WWL-1 created a beautiful 130-degree field of view and sharpened my wide-angle imagery, especially in the corners. The CMC-2 with the limited zoom range to 65mm did not give me as much versatility with my macro photography as the previous configuration had, but it was easier to use than the SMC-1 and of course, I was able to switch from Wide-angle, to portrait, to macro. For this configuration to work best I would recommend setting the Memory Recalls on the Sony to 28mm and 65mm so you can quickly jump between these two focal lengths. This eliminates any vignetting on the wide end and prevents the lens from running into the glass while zooming with the short port.
During my time with this camera, I had very few issues with the autofocus, even when photographing on a day with a lot of particulates in the water. I mainly used single-point autofocus for my macro photography but I did test out the new and improved continuous tracking autofocus and was pleasantly surprised with how well it works. It does struggle in areas of low contrast so a FOCUS light certainly helps keep it working properly and I wouldn’t recommend using this mode for macro photography due to the short working distances that the wet macro lenses provide. This setting would probably work best with wide-angle photography in blue water though: you might be pleasantly surprised!
Overall this little camera has a lot going for it. If I was going to take this camera for macro photography, I would probably reach for the standard port with the SMC-1, but for any other type of dive I would probably end up using the short port with the WWL-1 and either CMC-1 or CMC-2 (or both!). I like the versatility that you get in such a compact package with either option and as far as compacts go- this is about as advanced as it gets right now.
