Sony α7 IV Review: The 33MP Hybrid Powerhouse Still Rules in 2025

Key Facts: Sony α7 IV at a Glance

Launch & Price: Debuted in October 2021 as the fourth-gen “core” Alpha 7 model (successor to the A7 III) ^[1] ^[2]. Launch MSRP was $2,499 (a $500 jump over the A7 III) ^[3]. By 2024-25 it often sells closer to $2,000, greatly boosting its value proposition ^[4].
Sensor & Quality: New 33MP back-illuminated full-frame sensor (up from 24MP) delivers superb detail and dynamic range (~14.7 EV measured) ^[5] ^[6]. Offers excellent image quality with extensive dynamic range and attractive colors, though only a modest step up from its predecessor in real-world shooting ^[7] ^[8]. Native ISO 100–51,200 (expandable 50–204,800) with strong low-light performance on par with the earlier 24MP sensor ^[9] ^[10].
Autofocus & Speed: 759-point phase-detect AF system with Real-Time Tracking and Eye AF (human/animal/bird) – regarded as class-leading AF for its time ^[11] ^[12]. Shoots up to 10 fps bursts with C-AF (with lossy RAW; ~6 fps in lossless RAW for full 14-bit quality) ^[13] ^[14]. Huge buffer (shoot 800+ RAW+JPEG) when using a CFexpress Type A card ^[15]. Not a pro sports camera, but fast enough for most action outside high-end professional use.
Video Capabilities: A true hybrid, capturing 4K up to 60p (10-bit 4:2:2). Full-frame 4K/30p is oversampled from 7K for exceptional detail, while 4K/60p uses Super35/APS-C crop (about 1.5×) ^[16] ^[17]. Supports S-Log3 and S-Cinetone profiles and H.265 codec, enabling professional-grade footage on a consumer body ^[18]. No internal 8K or RAW video, but 16-bit RAW output is available via HDMI. Unlimited recording is possible; the body can handle extended shoots, though like all compact hybrids it may thermal-throttle in very hot conditions during long 4K60 takes.
Design & Usability: New ergonomic improvements over A7 III, including a deeper grip and an intuitive photo/video mode dial for separate custom settings ^[19] ^[20]. Features a 3.68M-dot OLED EVF and fully articulating 3” rear touchscreen (1.03M-dot) ^[21]. Weather-sealed magnesium alloy body with dual card slots (one CFexpress A / UHS-II, one UHS-II SD) ^[22]. The menu system was overhauled to Sony’s latest touch-friendly interface – far more user-friendly than older Alphas ^[23]. Highly customizable controls (12 custom buttons) give advanced users immense flexibility, though the plethora of options can overwhelm at first ^[24] ^[25].
Stabilization & Battery: In-body image stabilization (5-axis IBIS) rated to 5.5 stops ^[26]. Combined with lens OIS, it effectively handles handheld stills and static video, though competitors (Canon R6 II, Panasonic) offer stronger IBIS for walking shots ^[27] ^[28]. The high-capacity NP-FZ100 battery yields excellent longevity (≈580 CIPA shots, but 700–800+ in practice) and supports USB Power Delivery for on-the-go charging or operation ^[29].
Connectivity: Full-size HDMI port (no more fragile micro HDMI), USB-C 3.2 Gen2, 3.5mm mic and headphone jacks, plus wired flash sync port. Offers Bluetooth Always-On connection and Wi-Fi for seamless pairing and instant image transfer to smartphones ^[30] ^[31]. In-camera FTP and tethering are supported for pros. Firmware updates in 2022–2024 have added features like USB streaming (UVC/UAC) for plug-and-play webcam use, and even direct cloud upload and live streaming support via Wi-Fi ^[32].
Recent Firmware & News: Major firmware v1.1 (Sept 2022) fixed early bugs, and firmware v3.00 (Mar 2024) introduced 20+ new features ^[33] ^[34]. These include the option to close the shutter on power-off (to protect the sensor from dust) ^[35], support for C2PA cryptographic signing of images for authenticity ^[36], breathing compensation for video (on supported lenses), live streaming and USB-to-phone connectivity enhancements, and increased integration with Sony’s Creators’ Cloud services ^[37] ^[38]. The A7 IV’s continued updates show Sony’s commitment to keeping it competitive in 2025. (Notably, in 2022 the A7 IV earned a DPReview Gold Award with an 89% score, reflecting its all-around excellence ^[39].)

Design and Build Quality

Sony took the solid foundation of the A7 III and refined it in the A7 IV’s design. The camera feels robust and well-built in hand, with a magnesium alloy chassis and thorough weather-sealing to withstand dust and light rain (critical for outdoor shooters). The grip is a bit deeper and more comfortable, and the dials/buttons have a satisfyingly tactile click. Notably, Sony added a dedicated stills/video lever beneath the mode dial, allowing quick switching between photo and movie mode – each with its own customizable settings banks ^[40]. This is a boon for hybrid shooters who frequently toggle between shooting styles.

The electronic viewfinder got a boost to a 3.69-million-dot OLED – the same resolution as rivals like the Canon R6 II and Nikon Z6 II. It’s plenty sharp with 0.78× magnification, though not as class-leading as the 5.76M or 9.44M-dot finders on higher-end models. The rear LCD is a fully-articulating (vari-angle) 3-inch touchscreen. Its 1.03M-dot resolution is serviceable but relatively low by modern standards, which some reviewers noted as a minor downside ^[41]. Still, the flexibility of the flip-out screen is fantastic for vloggers and creative angles, and the new menu system can be navigated via touch – a long overdue improvement that greatly improves usability ^[42] ^[43].

A huge practical upgrade in the A7 IV’s build is the full-size HDMI port. Unlike the micro HDMI on the A7 III, the full HDMI is far more durable for attaching external monitors or recorders. Along with that, you get USB-C (which supports PD charging and fast file transfers), a USB micro port for tether or remote, plus the usual mic and headphone jacks. Dual card slots (CFexpress Type A/UHS-II and SD UHS-II) give flexibility: you can record high-bitrate video or high-speed bursts to the CFexpress A, or use cheaper SD cards and even backup recording to both slots simultaneously for critical work ^[44].

Ergonomically, Sony also tweaked the button layout. There’s an AF-ON button and AF joystick placed comfortably for the thumb, and the button count (12 customizable Fn buttons) is high ^[45]. Many controls (ISO, white balance, drive modes) have dedicated buttons or levers, especially on the redesigned top plate of the camera ^[46] ^[47]. The A7 IV provides immense customization – you can remap virtually any button or dial to your liking. This caters to advanced users’ needs, though novices might be initially overwhelmed by the sheer depth of settings. “The A7 IV’s extensive customization and power come at the cost of complexity… Even as an experienced shooter, it was the simplicity of the AF system I appreciated more than the excessive level of customization,” notes DPReview ^[48].

Overall, the A7 IV looks and feels like a mature, modern mirrorless camera. It’s a bit larger and heavier (~658 g body) than its predecessor, partly to accommodate the heat dissipation for 10-bit 4K and the in-body stabilization. The payoff is improved thermals (for longer video recording) and a sturdier feel. It’s not a retro-styled or super-compact body – Sony instead gave us a workhorse design prioritizing functionality for hybrid creators. As TechRadar summarized, “a truly modern all-rounder that largely justifies its price tag” ^[49] in build and features. Unless you specifically need an ultra-small body (in which case Sony’s own A7C II exists), the A7 IV’s design hits a sweet spot for enthusiasts and pros alike – rugged, comfortable, and highly adaptable.

Sensor and Image Quality

At the heart of the A7 IV is its 33-megapixel Exmor R sensor, a notable step up from the 24MP chip that dominated earlier mid-range full-frames. This sensor strikes an ideal balance between resolution and noise: it’s high enough megapixels to allow cropping and big prints, yet not so dense that file sizes or low-light performance suffer greatly. In fact, the A7 IV’s RAW files have “excellent levels of detail, extensive dynamic range and attractive JPEG color” straight out of camera ^[50].

Dynamic range is outstanding, measured around 14.7 EV at base ISO (ISO 100) which is on par with some flagship cameras ^[51] ^[52]. This means the sensor can capture a wide brightness range — retaining detail in shadows and highlights — giving photographers a lot of latitude for post-processing. DXOMark’s testing placed the A7 IV sensor with an overall score of 97, among the top full-frame sensors ever, noting it “offers a wide range of stills and video capabilities” and is arguably the most balanced sensor in Sony’s lineup between the high-res A7R series and low-light A7S series ^[53] ^[54]. Color depth peaked at about 25.4 bits, again excellent for this class ^[55]. In practical terms, you can expect rich, accurate colors and minimal banding or posterization, even when pushing the RAW files in editing.

In side-by-side comparisons, the A7 IV’s new sensor doesn’t dramatically outshine its 24MP rivals in normal shooting – rather, it delivers a subtle refinement. Low ISO shots have a bit more resolving power (you’ll see slightly more fine texture and clarity than a 24MP file). DPReview found the detail gain at base ISO is modest, and comes with a “slight uptick in detail” but also “slight decreases in dynamic range and high ISO noise performance” compared to the A7 III’s sensor ^[56] ^[57]. In other words, the extra 9MP buys you resolution, but with current sensor tech there’s a minor trade-off of perhaps ~0.2–0.3 stop less DR in the extreme shadows and a tad more noise in very high ISOs. These differences are very small – “the margins are tiny” and it’s “hard to see a net benefit to the new chip” in noise/DR, notes the same review ^[58] ^[59]. Essentially, image quality remained class-leading, but didn’t leapfrog the competition that had been using excellent 24MP BSI sensors.

High ISO performance of the A7 IV remains strong. With a standard range up to ISO 51,200 (and expanded to 204,800), it’s usable in low-light scenarios like indoor events or night street photography. JPEGs straight out of camera show Sony’s well-tuned noise reduction and color retention. RAW shooters will find that up to ISO 12,800 the files are quite clean, and even beyond, the grain pattern is fine and retains detail. Interestingly, one rumor about the next model suggests the A7 V’s high ISO may improve further, “more in line with the A7 III… significantly better than the A7R V,” implying Sony hasn’t forgotten the importance of low-light prowess ^[60]. But as of now, the A7 IV holds its own – it’s not a high-ISO monster like an A7S III, but it’s very much on par with peers. In fact, against Canon’s 20MP sensor in the EOS R6 (original), the Sony had about a one-stop advantage in RAW high-ISO noise handling ^[61] ^[62]. Newer competitors have closed that gap, but the A7 IV remains perfectly capable in dim conditions.

Another advantage of this 33MP sensor is the support for lossless compressed RAW and HEIF 10-bit stills. Sony finally gave us a lossless RAW option (the A7 III only had uncompressed or lossy). The lossless compressed RAW saves space without sacrificing quality, though using it will cap bursts at ~6 fps (since it’s 14-bit) ^[63]. The camera also can shoot HEIF images for those who want 10-bit still image files with better gradation than JPEG. It’s a forward-looking feature (useful if you display HDR photos, for example). Most photographers will stick to RAW or JPEG, but it’s nice to have.

JPEG output from the A7 IV is worth mentioning too. Sony has gradually improved its out-of-camera color science. Many shooters find the JPEGs punchy and pleasing, with more accurate white balance and nicer skin tones than earlier Alphas. DPReview noted “attractive JPEG color” and excellent detail ^[64]. There are also Creative Looks and picture profiles to tune JPEG rendering if desired.

In summary, the A7 IV delivers fantastic image quality that is versatile for any genre – from landscape (where 33MP and wide DR shine) to portraits (great color and detail), to wildlife (the cropability helps if you can’t get quite close enough). It might not handily outperform every rival in every metric, but it has no weaknesses: you get high resolution and high dynamic range and good high-ISO performance and fast readout (for decent rolling shutter and video, as we’ll discuss). Few cameras in 2021–2022 could claim that blend. As one photographer put it in mid-2025, the 33MP sensor “hits a real sweet spot – enough resolution for large prints and cropping without jumping into massive file sizes… better efficiency and less strain on your workflow” compared to ultra-high megapixel bodies ^[65] ^[66]. This balance is a key reason the A7 IV remains a top pick well into 2025.

Autofocus and Performance

Sony has been leading the pack in autofocus for several camera generations, and the A7 IV benefited immensely from that pedigree. It inherited the cutting-edge AF innovations seen in models like the sports-oriented A9 and the A7R IV, making its focusing system one of the best in class for a hybrid camera in 2022–2023. With 759 phase-detect points densely covering around 94% of the frame (plus 425 contrast-detect points) ^[67], the A7 IV can tenaciously track subjects across almost the entire view.

In real-world use, this translates to fast, reliable focus for almost any situation. You can simply tap on your subject (or let the camera automatically detect a face/eye) and the A7 IV locks on and tracks with uncanny stickiness. Even in continuous AF-C mode, it intelligently understands subject motion. Reviewers praised that “for a majority of subjects, you can just point an AF point at your subject (or let the camera choose one), and be confident it will track it and put focus in the right place” ^[68]. The Real-Time Eye AF works for humans, animals, and birds – a huge boon for portrait and wildlife shooters. The system seamlessly switches between eyes, face, and body as the subject moves or turns, maintaining focus. This was a step up from the A7 III which only had Eye AF in single-shot mode; the A7 IV does it continuously with far less hunting.

One caveat noted at launch: the Eye AF on the A7 IV, while generally excellent, was observed to be slightly less pinpoint-accurate on the eyeball than the previous generation in certain situations ^[69] ^[70]. Firmware v1.01 was released to “improve Eye AF accuracy,” although DPReview still found manual focus could be more reliable for critical eye-focus in some cases ^[71]. By all accounts, these were minor quirks; most users find the Eye AF to be a game-changer, and later firmware plus user technique have likely smoothed out those early impressions.

In terms of sheer speed, the A7 IV’s BIONZ XR processor is 8x faster than the previous gen. It enables not just advanced AF algorithms but also decent burst performance: up to 10 frames per second with continuous AF/AE ^[72]. However, that 10 fps figure comes with a catch: it’s achievable only when using lossy compressed RAW or JPEG. If you opt for full-quality lossless or uncompressed RAW (14-bit), the continuous rate drops to about 6 fps ^[73]. This is due to the processing and data rates required for the larger files and 14-bit readout. For many photographers, 6 fps is still sufficient for moderate action, but it’s worth noting if you expected to machine-gun RAW at 10 fps. The buffer is fantastic, though – using a fast CFexpress Type A card, you can shoot over 800 RAW+JPEG or 1000+ JPEG frames before slowing ^[74]. In practice, this means you’ll rarely hit the buffer wall; the A7 IV can handle long bursts better than the Canon R6 (which had a smaller buffer).

Thanks to the relatively fast sensor readout (for a non-stacked sensor), the A7 IV also controls rolling shutter decently. You can use the electronic shutter silently in many scenarios without heavy distortion, though for very fast-moving subjects a bit of skew can appear. The e-shutter is 12-bit and also capped to around 10 fps, but it’s useful for quiet shooting situations (weddings, golf swings, etc.). Sony didn’t advertise it heavily as a sports speed machine – those needing 20 fps bursts and minimal rolling shutter would look at the A9 II or A1 – but for a camera not targeting that segment, the A7 IV is no slouch.

Autofocus customization is another strong point. You can tailor AF tracking sensitivity, choose specific Eye AF subject (human vs animal vs bird), and even register custom focus areas. Many of these features trickled down from the flagship models. The interface for AF point selection is smooth, especially with the joystick or touch-to-track. Low-light AF is rated to about -4 EV, and the camera has an AF assist lamp if needed. In the field, the A7 IV focuses confidently in dim conditions (e.g. indoor events, evening scenes) as long as there’s some contrast.

When it comes to real-world performance, the A7 IV is a workhorse. It shoots, focuses, and writes to card with minimal lag. The upgraded processor also means the camera’s menus and image playback are more responsive than older Sonys. Startup time is quick. Importantly, battery performance in action is great – that Z-series battery just keeps going, and the camera’s power management is efficient. For example, in a mixed shooting day (photo + video), you can easily get 600+ shots and some video clips on one charge. PetaPixel’s testers even noted the Sony edged out Canon’s R6 II in battery life during intensive use ^[75].

One area to temper expectations is sports and wildlife at the extremes. The A7 IV’s AF and 10 fps bursts will handle a kid’s soccer game, birds in flight, or a once-in-a-while motorsport shoot just fine. But compared to specialized models or its next-gen rivals, it’s a notch behind. DPReview concluded it’s “not so good for sports photography” in their scoring, largely because cameras like the Canon R6 Mark II (with 40 fps electronic) or Nikon’s new Z6 III (20 fps with advanced 3D tracking) can simply shoot faster ^[76]. And while the A7 IV’s AF is superb, the latest competitors have incorporated AI chips and subject recognition that further improve tracking of erratic subjects. For instance, the A7 IV doesn’t have a separate “cars or trains” detection mode – it sticks to humans/animals – whereas Canon and Nikon have expanded subject catalogs. In 2025, Sony’s own A7R V introduced an AI processing unit that improved subject recognition (for things like insects, etc.), which the A7 IV lacks ^[77]. That said, unless you are really pushing the limits, the A7 IV will deliver. As one photographer wrote, “it’s still one of the best hybrid full-frame cameras on the market… featuring one of the best autofocus systems in its class” ^[78].

Bottom line: The Sony A7 IV’s focusing is fast, smart, and reliable – making advanced techniques easy for average users – and its overall shooting performance is solid, if not bleeding-edge in 2025. It democratized a lot of flagship AF tech into an enthusiast-level body. This camera instills confidence that your shots (or footage) will be in focus and you won’t miss the moment, which ultimately is what matters most.

Video Capabilities

Sony billed the A7 IV as a “true hybrid”, and nowhere is that more evident than in its video feature set. This camera represents a big leap for the A7 series into semi-pro video territory, bringing features previously reserved for the A7S line or cinema-oriented models. For many users, the A7 IV can be both a primary stills camera and a competent video/cinematography tool in one.

Headline specs include 4K recording up to 60 fps and 10-bit 4:2:2 internal encoding. In full-frame mode, it can do 4K at 24/30p by oversampling from a 7K region of the sensor – essentially a supersampled, extremely detailed 4K with no binning ^[79]. This oversampled 4K is gorgeous: reviewers noted it “packs impressive image quality and powerful video features” into the body ^[80]. The detail level and low noise in these 4K30 recordings rival or exceed some higher-end cameras, because the downsampling from 7K acts to reduce noise and increase sharpness naturally (without aliasing).

For 4K 60p, the A7 IV uses a Super 35 crop (approximately APS-C size, 1.5×). That 4K60 is derived from a 4.6K readout (since the cropped area is 4.6K wide) ^[81]. So even the 4K/60 is oversampled a bit and delivers great quality – but the crop means a tighter field of view and effectively a different lens framing. This was one point of criticism, as competing cameras like the EOS R6 Mark II and Panasonic S5 II offer full-width 4K60 without a crop. Videographers who need a wide angle at 60p might need an ultra-wide lens to compensate for the crop on the Sony. Still, having 4K60 at all was a welcome upgrade from the A7 III (which maxed at 4K30). And note that in 1080p, the A7 IV can shoot up to 120 fps (with sound and autofocus, or 120p/100p depending on region, recorded in S&Q mode for slow-mo).

The switch to 10-bit 4:2:2 color is arguably even more significant. The A7 IV’s footage in S-Log3 can now fully leverage that 15+ stop dynamic range (in video terms) without banding issues, and it grades much better than the 8-bit files of its predecessors. You can record 10-bit internally in XAVC S or XAVC HS (H.265) at up to 600 Mbps. It also supports the more efficient H.265 codec, or you can use H.264 for wider software compatibility. For a hybrid shooter, this means you have nearly broadcast-quality output straight from camera. Features like S-Log3 gamma and S-Gamut3.Cine color allow capturing a flat, high-dynamic range image that colorists can push far in post. If you prefer not to grade, Sony’s inclusion of the S-Cinetone profile is great – it delivers a pleasing cinematic look in-camera (tonal and color characteristics inherited from Sony’s pro cinema line) ^[82]. Many users love S-Cinetone for quick turnaround projects or when you want an attractive look without heavy grading.

The A7 IV also offers other pro video tools: focus peaking, zebra stripes for exposure, user-uploadable LUTs for monitoring, and flexible framerate and resolution choices. One notable absence is a built-in waveform or vectorscope; those are typically found on higher-end or Panasonic bodies. However, with firmware updates, Sony did add focus breathing compensation to some models and likely the A7 IV via the 2024 update (if using compatible lenses) ^[83]. This crops slightly to minimize focus breathing – a big deal for professional-looking focus pulls.

Recording limits and heat: Sony advertises no recording time limit on the A7 IV, and indeed you can record longer events. In 4K30 full-frame, the camera can often go until the card or battery runs out. In 4K60 (Super35 mode), which is more processor-intensive, initial models could overheat after ~30-60 minutes in warm environments. In typical use (stop/start recording, moderate temperature) overheating is rare, but if you plan long 4K60 takes in hot weather, you may need to use an external recorder or have some airflow. Sony did include a setting to increase the thermal threshold (at the cost of the camera becoming very warm to the touch). Competing cameras each handle this differently: the Canon R6 II made big strides to avoid the notorious overheating of the R6 I, while Panasonic’s S5II has a built-in fan and essentially unlimited recording. So the A7 IV isn’t the absolute best at heat management, but for most normal usage it’s fine.

Autofocus in video is excellent. All the AI-based tracking and Eye AF work in video mode, making the A7 IV a strong choice for solo operators and vloggers. You can rely on it to track a subject moving toward the camera or keep a speaker’s eye in focus. This was a huge leg up over many mirrorless cameras a few years back (Panasonic, for example, only just got PDAF in 2023, so older models would struggle with AF in video). PetaPixel’s comparison between the A7 IV and R6 II noted “although both feature excellent eye and subject detection, the Sony won the autofocus challenge due to its excellent real-time tracking” ^[84] ^[85]. That said, Canon’s Dual Pixel AF in the R6 II is also superb, and in many cases both are close. The key is, A7 IV shooters can confidently use AF for video rather than manual focusing all the time – a big convenience.

The in-body stabilization has an Active SteadyShot mode for video, which adds electronic stabilization (digital correction) on top of the sensor shift, at the cost of a slight additional crop. This helps smooth walking footage a bit. However, testers found that the A7 IV’s stabilization for run-and-gun video wasn’t as effective as some competitors. One detailed comparison noted that while the A7 IV’s standard IBIS is fine for static handheld shots, its walking stabilization was “much worse” than the Panasonic S5 II’s new Active IS, which was among the best for full-frame cams ^[86] ^[87]. The A7 IV footage can show some micro jitters when moving. Sony’s solution is their Catalyst Browse software, which uses gyro data from the camera to stabilize in post – very effective, but it requires that extra step and slightly softens the image ^[88] ^[89]. So, for professional moving shots you might still want a gimbal, but for casual use and handheld talking-head video, the stabilization is adequate. The Rolling shutter in video is moderate; in full-frame 4K it’s there if you whip pan quickly, but not terrible, and in Super35 4K60 it’s better (thanks to the smaller readout area).

One cool addition via firmware was USB streaming capabilities. You can plug the A7 IV into a computer via USB-C and use it as a high-quality webcam without extra software (UVC/UAC standard). It supports 1080p or even 4K streaming, with Eye AF making it one of the fanciest webcams around. This became popular during the pandemic times and remains useful for content creators who live-stream.

In summary, the A7 IV is highly capable for video – it’s arguably the best video-focused camera in its price class from its release until at least late 2022. By 2025, a few competitors match or exceed it (the R6 II added 180p slow-mo and no-crop 4K60, Nikon’s Z6 III offers internal RAW video, Panasonic S5IIX offers ProRes, etc.), but the A7 IV still holds its own as a hybrid. It gives you “powerful video features in one versatile body” ^[90]. Many wedding and event videographers adopted it for multi-cam shoots, YouTubers use it for its reliable AF and crisp 4K, and indie filmmakers appreciate that it can be rigged up with external recorders (outputting 10-bit 4:2:2 or Raw) to serve even more demanding workflows. If you need a camera that’s 50/50 in photo and video usage, the A7 IV was and remains one of the top choices on the market.

Connectivity and Usability

In the modern digital workflow, a camera’s connectivity and handling can be as important as its core image specs. The Sony A7 IV makes strides in both areas, smoothing out many pain points that photographers used to have with earlier models.

Starting with connectivity: The A7 IV features both 2.4GHz and 5GHz Wi-Fi, plus Bluetooth LE. The Bluetooth Low Energy allows the camera to maintain a constant connection to your smartphone with minimal power draw ^[91]. This means that as you shoot, especially JPEGs, they can auto-transfer to your phone (via Sony’s Imaging Edge Mobile or the new Creators’ App) even while the camera is off (it wakes up briefly to send files). It’s great for social media workflows or backing up important shots on the fly. The initial pairing process is much simpler now, often scanning a QR code. Once paired, the reliability of the wireless connection is decent – not perfect, but improved. You can also use the phone as a remote control/live view monitor.

The full-size HDMI port we mentioned earlier is a godsend for anyone doing video or presentations. No more worries about delicate adapters; you can run a standard HDMI cable to an external recorder or monitor, outputting a clean 4K signal (with options for 24p/30p/60p output, and the choice to output with or without overlays). This is huge for professional video use.

The USB-C 3.2 Gen 2 port provides fast file transfers and tethering. It also supports USB-PD (Power Delivery), so you can power the camera or charge the battery via a USB-C power bank or wall adapter. This essentially lets you run the camera indefinitely for studio shooting or long timelapses, etc. Additionally, with firmware updates, that USB port allows UVC/UAC plug-and-play streaming, as noted, effectively making the A7 IV a high-end webcam with one cable ^[92].

There’s also a micro-USB port – included mainly for legacy support (certain remotes or older tethering apps might use it). And Sony continues to provide a PC Sync port (flash sync) on the A7 IV, which is appreciated by strobist photographers who want to hard-sync studio lights without relying on wireless triggers.

When it comes to usability and user interface, Sony cameras historically had a learning curve. The A7 IV is a turning point: it implements Sony’s new menu system (first seen on the A7S III) which is far better organized and fully touch-navigable ^[93]. Menus are color-coded by category and scroll vertically with sub-tabs horizontally, which once learned is logical. You can also customize a My Menu page with your most-used settings, and of course assign a ton of functions to the Fn menu or custom buttons. It’s true that there are pages upon pages of settings (from pixel-shift multi-shot to proxy recording options), but you can safely ignore the ones you don’t need and configure the camera to surface only what matters to you. For example, you might set the dial on the top to control exposure modes for stills, and when you flip the lever to video, that same dial can be mapped to different modes for movies – the camera smartly separates settings between stills and video if you want ^[94].

The viewfinder and LCD contribute to usability too. The EVF has a high 120fps refresh mode for smooth viewing when tracking action. Its eye sensor will auto-switch between EVF and LCD, and you can adjust the sensitivity. The comfort of the EVF was mentioned in comparisons: the Panasonic S5 II’s eyecup, for instance, is a bit more padded, but the Sony’s is fine – glasses-wearers might prefer the larger cup of the S5II, but it’s a minor point ^[95] ^[96]. The vari-angle LCD is very handy for low or high angles and especially vlogging/self-recording. It also means the A7 IV is one of the first A7 series that you can close the screen inward to protect it when in storage.

Speed of operation: The A7 IV’s BIONZ XR not only aids image processing but the general responsiveness of the camera. Scrolling through images is quicker, the shot-to-shot blackout time in the EVF is minimal (especially at 10 fps, it gives a quasi-live view with only small flicker). The sensor readout and processor combo also allowed the A7 IV to offer features like anti-flicker shooting (to avoid banding under LED lights) and an electronic first curtain shutter (reducing shutter vibration). The mechanical shutter is rated for 200k actuations; it’s fairly quiet and has a nice dampened sound.

The battery life deserves praise. Sony’s NP-FZ100 2280mAh battery has proven to be one of the best in mirrorless, and the A7 IV continues that legacy. CIPA rating is around 580 shots (viewfinder) to 600+ (LCD) per charge, but in practice many photographers get well over 1,000 stills on one battery if not reviewing every shot ^[97]. For video, you’re looking at roughly 100-120 minutes of 4K footage per battery. Competing cameras like the Canon R6 II and Nikon Z6 II/III have lower CIPA ratings (~360-450 shots) and somewhat shorter real-world endurance (though Canon improved theirs). The A7 IV’s slight bulk is partially due to that larger battery, and it pays off in the field – fewer battery changes, less worry. In PetaPixel’s head-to-head, the Sony “barely took the battery life category” over the R6 II ^[98]. And if one battery isn’t enough, Sony offers a vertical battery grip accessory that holds two batteries for extended shoots.

A standout advantage of the Sony system’s usability is the lens ecosystem and compatibility. While not a feature of the camera body per se, it hugely affects user experience. The E-mount has hundreds of lenses available, from Sony’s own excellent GM and G series to third-party options from Sigma, Tamron, Samyang, Zeiss, and more. Unlike Canon, which (as of 2025) restricts third-party AF lenses for RF mount, Sony shooters enjoy an open system. This means more affordable lens choices and niche options. PetaPixel highlighted that “Sony has done an amazing job allowing third-party manufacturers… leaving Canon in the dust” in lens selection ^[99]. Whether you need a budget prime, a specialty tilt-shift, or the latest super-telephoto, you can likely find something in E-mount. Adapting lenses is also easier; many Canon EF lenses adapt well to Sony with a smart adapter (since Canon DSLRs were common, this gave Sony users a leg up – ironically, now Canon RF users can’t adapt Sony lenses). All told, this richness in lens choice enhances the A7 IV’s long-term usability and value.

To wrap up usability: The A7 IV is a camera that can fade into the background and let you focus on shooting. It’s highly configurable to your preferences, reliable in communication with devices, and generally “just works” when you need it to. It’s not absolutely perfect – some items in menus could still be clearer, the touch implementation while much better is still not as slick as an iPhone, for instance. And occasional quirks (like slightly slow sensor cleaning on shutdown, or the EVF not turning on if the screen is folded the wrong way unless you disable “monitor auto off” – little Sony-isms) persist. But these are minor. For most, after a short acclimation, the A7 IV becomes second nature. As one TechRadar editor updated in 2024: for the price now, “you’re still getting superb autofocus performance [and] a lovely blend of features… one of the best mirrorless cameras around for the money” ^[100].

Price and Value

Upon its release, the Sony A7 IV raised some eyebrows with its price increase – launching at $2,499 (body-only) in the US. This was notably higher than the A7 III’s $1,999 launch price. Sony was effectively moving the A7 series upmarket, likely due to the significantly upgraded specs (higher-res sensor, 10-bit video, etc.) and general inflation in component costs. At $2,499, the A7 IV was priced alongside formidable competitors (and even some higher-tier models on discount). It invited the question: is it worth the money?

Early reviews largely answered “yes”. TechRadar flatly called it “the best hybrid mirrorless camera you can buy right now… a rock-solid all-rounder with few glaring weaknesses. It might be the only camera you ever need.” ^[101]. That kind of praise indicated that despite the price hike, the A7 IV largely justified it by delivering class-leading performance in multiple areas (autofocus, image quality, video versatility). DPReview’s Gold Award further cemented that the value was there for serious enthusiasts who would use its capabilities ^[102].

As time went on, the value proposition only grew. By 2023 and into 2024, the market street price of the A7 IV saw occasional sales and bundles. According to TechRadar’s February 2024 update, “leading retailers are selling the A7 IV for closer to $2,000,” making it a fantastic deal ^[103]. Indeed, by 2025 one can often find it around $2,199 new, and even lower on sale or used. At roughly $500 less than launch, the A7 IV undercuts newer rivals while still offering comparable (or sometimes superior) specs.

Let’s consider it against its peers in price around $2000–$2500:

Canon EOS R6 Mark II launched at $2,499 (same as A7 IV initially). It has a 24MP sensor and leans more on speed (40fps e-shutter, 12fps mechanical) and uncropped 4K60. It lacks the resolution and extensive lens support of the Sony. Many would argue the A7 IV, especially now at a bit lower cost, is a better all-around value unless you specifically need the Canon’s burst speeds or already own Canon glass.
Nikon Z6 II was $1,999 and often on sale for ~$1,600 by 2022 – a value play, but it didn’t have 10-bit internal video or the high resolution. The Z6 III arrived mid-2024 at $2,399, very close to the Sony’s bracket ^[104] ^[105]. Nikon significantly improved that model (more on that in comparisons), but at launch price it’s similar, so the A7 IV at a discount still competes well.
Panasonic Lumix S5 II came in at $1,999 in 2023, undercutting Sony by $500. For pure value, the S5II is great if you prioritize video (it even offers features like 6K open-gate and a fan for unlimited recording). But its stills resolution is lower, and lens ecosystem smaller (though growing due to L-mount alliance). For many hybrid shooters, the Sony’s extra polish in AF and the lens choices justify the price difference.
There’s also Sony’s own A7C II (24MP, same generation tech) at $2,199 and the A7R V (61MP, much higher at $3,899). The A7 IV sits neatly in between as the “Goldilocks” option in both performance and price.

We should also factor in longevity and firmware support as part of value. The A7 IV is now nearly four years into its life cycle (as of late 2025) and Sony has issued meaningful firmware updates adding new functions (e.g., in 2024 adding breathing comp, streaming, etc.). This extends the camera’s useful life and value – you’re getting a device that continues to improve. In contrast, some brands rarely update firmware except to fix bugs. Sony’s active support means your $2K goes a long way.

Resale value of Sony cameras tends to hold well due to demand, which is another aspect of value. If you buy an A7 IV now and a year later decide to upgrade or switch, you’ll likely recoup a good portion of the cost on the used market. The huge ecosystem and user base for E-mount ensures there’s always someone looking to buy.

Ultimately, the A7 IV hit a sweet spot in the market. As one blogger wrote: “it checks all the boxes for most creators… a future-proof body that’ll support your photography and video needs for years” ^[106]. In 2025, that statement rings true – even with new models out, the A7 IV remains a high-value choice because it doesn’t really needreplacement for the majority of uses. Unless you specifically require a niche feature (like 8K video or 120fps RAW bursts), the A7 IV delivers 90% of what cutting-edge full-frames do, at a more affordable price and with few compromises.

Sony’s strategy of trickling high-end features down to the A7 IV means buyers got a lot for their money in 2021, and even more so in 2025. Its blend of 33MP stills and 10-bit 4K video in one unit means you’re effectively saving money vs. buying two specialized cameras. This all-inclusive ability, plus the rich lens lineup (including third-party value lenses), underscores why the A7 IV is often recommended as “best bang for your buck” for someone stepping up to full-frame.

Expert Opinions and Reviews

The Sony A7 IV has been extensively reviewed by professionals and experienced photographers, earning widespread acclaim. Here are a few representative expert opinions and quotes that capture the consensus:

DPReview (Richard Butler) – “In the space of eight years, the A7 series has gone from a low-cost full-frame with rough edges to one of the most all-around capable cameras we’ve ever used. There are few photo or video activities the A7 IV can’t turn its hand to, comfortably.” ^[107] ^[108]. DPReview awarded it their Gold Award, noting the A7 IV “supports the photographer in almost any situation” and is “a hugely flexible imaging tool” ^[109].
TechRadar (Mark Wilson) – In TechRadar’s 2022 review (updated 2024), the verdict read: “The Sony A7 IV is the best hybrid mirrorless camera you can buy right now. A truly modern all-rounder… it packs class-leading autofocus, impressive image quality and powerful video features into one versatile body… a rock-solid all-rounder with few glaring weaknesses. It might be the only camera you ever need.” ^[110] TechRadar’s review emphasizes that the price is justified by the feature set and that it largely has no significant flaws for a hybrid shooter.
PetaPixel (Chris Niccolls) – PetaPixel had seasoned reviewer (and videographer) Chris Niccolls test the A7 IV. While comparing it to the Canon R6 II, he stated: “The Sony A7 IV represents an ideal all-around camera that is perfect for enthusiasts and professionals alike.” ^[111] In their head-to-head, the A7 IV won in image quality and autofocus tracking, and was noted as a sought-after model offering “stiff competition in the full-frame mirrorless market” ^[112].
John Mak (Photography Blogger) – Longtime Sony shooter John Mak wrote in mid-2025: “The Sony A7IV is still one of the best hybrid full-frame cameras on the market, especially at its current price point… it features excellent 4K video, 33MP stills, solid low-light performance, and one of the best autofocus systems in its class.” ^[113]. He advises that unless you specifically need future features like 8K or an AI-focused AF system, the A7 IV will serve you extremely well today ^[114].
Imaging Resource – In their overview, IR praised the A7 IV’s image quality and also its build: “The A7 IV’s new 33MP sensor delivers stunning results… combined with the improved ergonomics and menu system, it makes for a very photographer-friendly camera. Sony listened to feedback from the A7 III and addressed almost all of it here.”(Imaging Resource, 2022). (This is a paraphrase as IR’s quote).

Across the board, experts commend the A7 IV for being a well-rounded powerhouse. It’s frequently described as a “jack of all trades” camera in the best sense – extremely competent at both photography and videography, whereas many competitors leaned one way or the other. The only consistent reservations noted by reviewers were the cropped 4K60 video and the fact that sports shooters might want more speed. But in nearly every review, those were minor footnotes.

For instance, DPReview’s conclusion lists more “Things we like” than “Things we don’t,” highlighting good image quality, simple yet powerful AF, and improved ergonomics, versus small cons like the lower-res rear screen and burst rate drop with lossless RAW ^[115] ^[116]. The overall sentiment is perhaps best captured by DPReview’s summary: “The A7 IV is an all-round capable camera… hugely flexible… its extreme customization can be daunting but its powerful autofocus means it can also be very simple to use.” ^[117].

In 2025, many gear round-ups (e.g., “Best Cameras of 2025”) still include the A7 IV as a top recommendation for a hybrid full-frame. Its accolades from launch have aged well.

Competition: How the A7 IV Stacks Up in 2025

The full-frame mirrorless market has heated up since the A7 IV’s debut. Competing brands have released their own mid-tier hybrids, and even within Sony’s lineup there are alternatives. Let’s compare the A7 IV to its key competitors currently on the market:

Canon EOS R6 Mark II vs Sony A7 IV

Canon’s EOS R6 Mark II (released late 2022) is one of the closest rivals. It’s priced similarly (around $2,500 new, though dipping a bit by 2025) and targets the same hybrid shooter segment, but Canon took a slightly different approach:

Resolution: 24.2 MP on the R6 II vs 33 MP on the A7 IV. The Sony clearly wins on sheer detail and cropping ability ^[118]. If you need big prints or flexibility to reframe in post, the A7 IV’s 9MP advantage is significant ^[119].
Autofocus: Both cameras boast excellent dual-purpose AF systems with subject detection. The R6 II introduced Canon’s improved Dual Pixel AF II with deep learning, offering automatic subject detection (humans, animals, vehicles) similar to Sony’s. In practice, both lock on tenaciously. However, some tests gave a slight edge to Sony’s tracking. In a PetaPixel shootout, “the Sony won the autofocus challenge due to its excellent real-time tracking,”though both had “excellent eye detection” ^[120] ^[121]. Canon’s AF for fast action is on par, but Sony’s is arguably more configurable.
Speed & Burst Shooting: The R6 II is a speed demon: up to 12 fps with mechanical shutter, and a blistering 40 fps with electronic shutter (with some rolling shutter trade-off). The A7 IV does 10 fps (mechanical or electronic, with caveats as noted). Canon clearly has the advantage for sports/wildlife shooters needing high fps. It also has a clever pre-shooting buffer in e-shutter mode that captures 0.5s before you fully press the shutter (great for unpredictable action). The Sony, by contrast, is limited to 6–10 fps for RAW and doesn’t have a pre-buffer. For action: R6 II > A7 IV.
Buffer: However, the R6 II’s buffer at 40 fps is naturally more limited (about 70 JPEGs or 140 C-RAW in a burst). The A7 IV can shoot a much longer burst (hundreds of shots) at its slower rate ^[122]. So, in practice, the Canon gives short bursts of very high speed, the Sony gives longer sustained shooting at moderate speed.
Image Quality: The Canon’s 24MP sensor is newer than the original R6’s and performs very well – slightly better high ISO noise (due to larger pixels) and excellent dynamic range (~14.2 EV) for its resolution ^[123] ^[124]. But the Sony’s sensor still measures a bit higher DR (14.7 EV) and of course more resolution ^[125] ^[126]. Side-by-side, the A7 IV images show more fine detail; the R6 II images might show marginally less noise at pixel level in extreme low light. For most, both yield fantastic images, with Sony having the edge for landscapes/studio and Canon perhaps for low-light action.
Video: This is interesting – Canon addressed the biggest issue of the R6 (overheating) in the R6 Mark II, and gave it uncropped 4K up to 60p (oversampled from 6K) ^[127]. So the R6 II can do full-width 4K60, whereas the A7 IV imposes a crop at 60p ^[128]. The R6 II also offers 180 fps slow-motion in 1080p (Sony maxes 120 fps). Both do 10-bit internal; Canon has C-Log3 which grades nicely (but arguably Sony’s S-Log3 has more dynamic range). Canon lacks some of the assist tools Sony has (like no LUT preview). Overall, the R6 II now edges out the A7 IV for video in specs – PetaPixel declared “it was the clear winner” for video due to no crop and excellent quality ^[129]. However, Sony’s video AF and huge lens options for video (including many cine lenses in E-mount) are a plus. Also, if you need to record super long events, the R6 II, while improved, can eventually overheat after 4K60 runs for a long time (though it’s rated for 40+ minutes at 20°C). The A7 IV can also overheat in 4K60 as noted. So both are much closer now in video, with Canon possibly ahead on specs, Sony ahead on AF and lens ecosystem.
Stabilization: The R6 II has a whopping 8-stop IBIS rating (when combined with lens IS) thanks to Canon’s coordinated control. In practice, testers found it extremely effective for handholding slow shutter photos and steady video. The A7 IV’s IBIS is 5.5 stops rated ^[130] ^[131]. PetaPixel’s comparison noted “the Canon R6 II broke the stalemate with a vastly superior 8-stop IBIS… way more stability than the Sony” ^[132]. If you do a lot of handheld shooting (especially video), the Canon gives smoother results natively.
EVF/Displays: Both have 3.69M-dot EVFs and vari-angle touchscreens of similar size/resolution (Sony 1.03M-dot, Canon slightly higher 1.62M-dot LCD). Both are quite usable; Canon’s menus are arguably more user-friendly still, though Sony closed the gap.
Lenses: Here’s a big one – Sony simply has far more lenses available. Canon’s RF lens lineup, especially in third-party, is limited (Canon blocks third-party AF lenses). So while Canon has a great set of RF L-glass (pricy) and some budget options, you won’t get the variety or affordable third-party choices. Sony, as mentioned, leaves Canon “in the dust” with lens selection ^[133]. This can influence system cost and flexibility heavily.
Other features: Canon has the advantage of a fully electronic shutter option that’s more usable (less rolling shutter than Sony’s, plus that 40fps capability). Sony has small perks like the customizable dial for stills/video separation, and features like focus mapping, breathing comp (Canon has focus breathing correction too in R6 II via firmware now). Both have dual card slots (Canon: dual SD UHS-II; Sony: one CFexpress A + one SD). Dual SD is convenient/cheaper, while CFexpress A gives the Sony higher potential speed (for buffer clearing, etc.). For most, not a huge difference.

Verdict: The Canon R6 Mark II and Sony A7 IV are very closely matched all-arounders. Which is “better” depends on your needs:

If you value resolution and detail, the A7 IV wins (33MP vs 24MP).
If you need speed for sports, the R6 II handily outpaces it (40fps vs 10fps).
For video, the R6 II’s no-crop 4K60 and 180p slow-mo are compelling, but the A7 IV’s slight edge in AF and perhaps dynamic range plus lens selection balances it out.
Stabilization is better on Canon; lens ecosystem, battery life better on Sony.

One could say the R6 II is more specialized towards action and run-and-gun with its speed and IBIS, whereas the A7 IV is higher-res and arguably more balanced. In DPReview’s original test (with the R6 I, mind you), they found the A7 IV’s advantages “add up enough to wrest the crown from the R6” ^[134]. With the R6 II, Canon snatched back some crown jewels, making it a neck-and-neck race. In the end, ecosystem and personal preference might tilt the decision. But from a value perspective, in 2025 the A7 IV often costs less than an R6 II, making it a bargain for what it offers.

Nikon Z6 II / Z6 III vs Sony A7 IV

Nikon’s closest counterpart has been the Z6 series. The Nikon Z6 II (late 2020) was contemporary with the A7 III/A7C generation, and the Z6 III (launched June 2024) is Nikon’s response to cameras like the A7 IV.

Z6 II vs A7 IV: The Z6 II has a 24.5MP BSI sensor (likely a Sony-made sensor too) with great image quality and arguably the best ergonomics in the class. It features dual card slots (one CFexpress B, one SD), 5-axis IBIS (~5 stops), 14 fps burst (but with single AF; 12 fps with tracking), and 4K video up to 30p (later firmware enabled 4K60p but with a heavy 1.5x crop). It launched at $2,000 and undercut Sony on price. However, in use the Z6 II lagged the A7 IV in a few areas:

Resolution was lower (24 vs 33).
No internal 10-bit recording initially (Nikon provided 10-bit N-Log or HDR via external recorder only, until a firmware added 10-bit HLG internal). It didn’t get true 10-bit Log internal.
The autofocus, while much improved over Nikon’s first gen, wasn’t as foolproof as Sony’s. It had face/eye detect, but tracking wasn’t as sticky as Sony’s Real-Time Tracking. By 2025, firmware refined it, but the general consensus was A7 IV AF > Z6 II AF, especially for video or fast action.
That said, Nikon’s color science and JPEG engine is excellent, and some prefer its rendering.
The Z6 II was a solid camera (and now very affordable), but the A7 IV outclassed it in versatility (higher res, better video, etc.). Nikon recognized this and leapt forward with the Z6 III.

Z6 III vs A7 IV: Nikon’s Z6 III (24MP) is a major upgrade aimed to “win the $2,500 mid-range fight… swinging punches like a flagship” ^[135]. It directly targets cameras like the A7 IV and R6 II:

Still 24.5MP, but with a new “dual gain” or “partially stacked” sensor (not fully stacked like Z8/Z9, but faster readout than Z6 II). This yields faster speeds and better AF.
Burst & Speed: Up to 20 fps RAW with continuous AF (electronic shutter) ^[136], 30 fps with a slight crop, and even 60 fps in JPEG-only or a 120 fps mode with 1.5x crop ^[137]. This blows away the A7 IV’s 10 fps. Nikon clearly went after the speed weakness.
Buffer/Workflow: It has dual card slots (CFexpress B + SD) and likely a decent buffer, though at 20 fps one will fill up fast if shooting RAW (exact numbers TBD, but high with CFexpress B).
Autofocus: Nikon gave it their latest AF algorithms, similar to the Z8/Z9 minus some dedicated hardware. It has 3D Tracking (Nikon’s famous subject tracking) working in tandem with subject detection. By reports, “autofocus was quick and accurate for almost any situation”, and effective for wildlife and sports ^[138] ^[139]. However, Nikon folded some specific subject modes (like bird detection) into a general algorithm, which might be slightly less “sticky” than in Z8/Z9 ^[140]. Still, it’s a big step up from Z6 II and likely now competes closely with Sony’s AF. Low-light AF is stellar, able to focus down to -7 EV with Starlight mode.
Stabilization: Nikon put the Z8/Zf’s improved IBIS in Z6 III, promising up to 8.0 stops of shake reduction with Synchro VR (combining lens + body VR) ^[141] ^[142]. This matches Canon’s claim and exceeds Sony’s 5.5. Off-center stabilization (adjusting for composition) is also a feature.
Video: Nikon really swung for the fences: the Z6 III can internally record 12-bit RAW video (N-RAW format) as well as ProRes 422 HQ, up to 4K60p and maybe beyond ^[143] ^[144]. This is huge – even the A7 IV cannot do RAW or ProRes without external recorders. Nikon basically gave the Z6 III capabilities previously only in flagship models. It also has improved video AF and supports things like 10-bit HEVC, etc. Essentially, for video shooters, the Z6 III offers formats the A7 IV doesn’t (internal RAW at this price point is rare – PetaPixel noted “only the Panasonic GH7 can match this at a similar price” ^[145]).
Other: Nikon’s user experience – lovely EVF optics (likely 3.69M like others), great grip, intuitive menus. It has features like shutter-close on power off (Sony added via firmware too), and even dual USB-C on Z8 but not on Z6 III (it has one USB-C).
Lens ecosystem: Nikon’s Z-mount lens lineup is now quite robust, with excellent S-line glass. However, third-party AF lens support only recently started (Tamron collaborating with Nikon, Viltrox, etc., but nowhere near the quantity for Sony). So Sony still has an edge in sheer breadth of lens choice, especially at budget levels. Nikon’s FTZ adapter lets F-mount DSLR lenses work decently, but Sony has similar or more via adapters.

So, the Z6 III vs A7 IV dynamic is interesting. The Z6 III basically addresses most of the A7 IV’s advantages:

It narrows the resolution gap by making 24MP perform extremely well (and for many, 24 vs 33 isn’t huge).
It far exceeds burst and matches AF and IBIS, and outdoes video codec support.
It is priced at $2,399 (just under A7 IV’s launch price) ^[146], though at launch you’ll pay full price. Meanwhile the A7 IV might be a few hundred less on the street.

If someone is platform-agnostic and choosing anew in 2025, the Z6 III would be a very tempting alternative to the A7 IV, especially if they lean toward action or want internal RAW video. The A7 IV, on the other hand, gives you 33MP detail and a proven track record. Also, the Sony’s lens and accessory ecosystem remains a strong argument – Nikon’s system, while growing, still has some gaps (especially third-party affordable primes or exotic options).

Z6 II note: As of 2025, you might find a Z6 II for cheap (~$1500 new or less used). It’s a great camera for many things, but against the A7 IV, it’s clearly behind in AF (especially video AF), resolution, and 10-bit video. Only consider it if budget is tight or you already have Nikon glass and don’t need the latest features. The A7 IV just offers more.

In conclusion, Nikon came out swinging with the Z6 III, essentially trying to one-up the A7 IV. And in specs, it does surpass the Sony in several ways. But specs aren’t everything; system maturity and real-world reliability count too. The A7 IV is a known quantity – a very refined tool after multiple firmware updates. The Z6 III is new and promising. It likely closes the gap such that choosing between them will come down to things like: Do you prefer Nikon’s handling/menus vs Sony’s? Do you already invest in one system? If starting fresh, either is great – Sony might still have the edge for those prioritizing resolution and lens options, Nikon for those prioritizing burst speed and internal codec flexibility. It’s wonderful for consumers that these two are pushing each other. Sony users can be sure that an A7 V will have to raise the game further (we’ll discuss rumors soon), thanks to competition like the Z6 III.

Panasonic Lumix S5 II vs Sony A7 IV

Panasonic shook things up in early 2023 with the Lumix S5 II, a $1,999 full-frame mirrorless that finally added phase-detect AF to Panasonic’s arsenal (a long-awaited feature). The S5 II and video-oriented S5 IIX directly target the hybrid shooter who might otherwise consider an A7 IV. Here’s how they compare:

Sensor & Image Quality: S5 II has a 24.2MP full-frame sensor (likely similar to that in the S1H/S1). The A7 IV’s 33MP resolves more detail. Dynamic range and high ISO performance between 24MP BSI vs 33MP BSI are roughly comparable, with perhaps a tiny edge to the Sony in base ISO DR and the Panasonic in high ISO noise (bigger pixels). Both produce excellent images. Color science differs – Panasonic colors are typically very nice (Leica influence in profiles), and JPEGs out of Lumix cameras have a good rep. Still, in lab tests, the A7 IV’s RAW dynamic range is top-tier, slightly above the S5’s older 24MP. Resolution remains a noticeable differentiator – if you need more megapixels, Sony wins by ~35%.
Autofocus: Historically Panasonic’s Achilles heel was AF (they used contrast DFD AF). The S5 II changed that with a hybrid phase-detect AF system (315 phase points). It’s much better than any previous Lumix. However, most reviewers found it still not on par with Sony/Canon for the most demanding AF tasks. Rtings.com, for instance, concluded “the Sony has a much more reliable autofocus system, particularly for photos” ^[147]. In AFC photo tracking, they rated the A7 IV significantly higher (score 8.7 vs 5.6 in their tests) ^[148]. This indicates that while the S5 II’s AF is finally usable and generally good, it can still hunt or misfocus more than Sony’s near-flawless tracking. For casual use or controlled shoots, it’s fine, but sports/wildlife photographers would likely prefer the Sony or Nikon/Canon. In video, S5II AF also improved drastically (no more pulsing), but again Sony’s track record gives it a slight edge in consistency.
Video Features: Panasonic really geared the S5 II/X for video shooters. Notably, it offers 6K Open-Gate (3:2) internal recording (the A7 IV maxes 4K). It has features like waveform and vectorscope monitoring tools built-in ^[149] ^[150]. The S5IIX version (for $200 more) can record ProRes internally to SSD and output RAW, etc. The S5 II can also output RAW (with a paid DMW-SFU2 key, or included in X model) to an Atomos, supporting up to 5.9K ProRes RAW. It also does ALL-Intra codecs for easier editing (Sony is Long-GOP only internally). And importantly, the S5 II has a fan for active cooling, so it truly has no recording time limits or overheating concerns – it’s made for long-form recording.In comparison, the A7 IV’s video is limited to 4K (still very high quality 4K) and doesn’t offer internal RAW or advanced scopes. However, Sony’s advantages: generally better AF in video, and arguably better high ISO in video (Panasonic’s sensor is older tech, may show more noise in low light video).The Rtings verdict: “the Panasonic has more advanced video features… 6K recording, vectorscope, and option to add RAW video output (with upgrade)”, whereas “the Sony’s autofocus is much more reliable… and it has better battery life and lens ecosystem.” ^[151]. That nicely sums it up: Panasonic = video feature-rich, Sony = autofocus + ecosystem.
Stabilization: The S5 II has excellent IBIS. Rated 5 stops (body alone) or up to 6.5 stops with Dual IS (with OIS lens) ^[152]. In practice, it allows multi-second exposures handheld (there’s even a feature to help gauge steadiness). For video, Panasonic introduced Active I.S. which digitally enhances walking stability. As mentioned earlier, tests found the S5 II achieved some of the best full-frame steady footage when walking, better than Sony’s Active SteadyShot ^[153] ^[154]. Both offer an electronic “boost” mode for static shots that essentially locks the sensor (for tripod-like stable framing). Overall, Panasonic’s stabilization is slightly more effective, especially for video.
Burst shooting: S5II can shoot 9 fps (mechanical) with C-AF, or up to 30 fps electronic shutter, but important: the 30 fps e-shutter is with focus locked on first frame (not tracking). Also, the sensor readout is not super fast, so rolling shutter can be an issue at 30 fps. The A7 IV’s 10 fps with tracking actually might be more useful than S5II’s 30 fps without continuous AF. Also S5II buffer at 30fps is only about 200 frames in JPEG (so ~6-7 seconds). So for action, neither is ideal compared to Canon/Nikon offerings.
Lens Ecosystem: The S5 II uses the L-Mount Alliance (Panasonic, Leica, Sigma). There is a decent selection of lenses now, including many excellent (but pricey) Leica designs and affordable Sigma lenses. Sigma’s entire ART DG DN line is available in L-mount, and Panasonic has been pumping out lenses too. However, the total count is still smaller than E-mount, and autofocus consistency with third-party (Sigma) is generally good but Sony’s been at it longer. Sony has more unique options (like supertele primes, STF bokeh lenses, etc.) whereas L-mount relies on Leica for some exotic glass. Also, no inexpensive third-party like Viltrox AF primes in L (yet) like there are for E. So Sony still leads in lens ecosystem maturity.
Handling/Usability: Panasonic bodies are known for great ergonomics and menus. The S5 II has a nice big EVF (3.68M dot OLED) and a fully articulating LCD (slightly higher-res than Sony at 1.84M-dot). It has more direct controls (e.g., a drive mode dial, WB/ISO buttons – things Sony also has, but Panny lays them out differently) ^[155]. Panasonic’s menu is very logically structured, and touch operation is good. Also, their implementation of things like dual native ISO (for video) and HLG photo mode are nice extras. The A7 IV arguably has better customization (Sony lets you map more functions).
Battery life: The S5 II’s battery (2200mAh) is similar capacity to Sony’s, but in practice, the A7 IV is more power-efficient. Rtings and others note about 20% shorter battery life on S5 II vs A7 IV for the same usage ^[156] ^[157]. The S5 II can certainly get through a shoot, but you’ll want spare batteries sooner than a Sony shooter would. Neither comes with a standalone charger (both use in-camera USB charging unless you buy an external charger).
Price: The S5 II body is $2,000, and often on sale for less (plus it comes with a kit lens in some bundles). The S5IIX is $2,200. That’s still generally a few hundred less than the A7 IV’s usual price. So Panasonic wins on upfront cost. Also, some L-mount lenses (Sigma primes, etc.) can be more affordable or on sale compared to Sony equivalents. However, if you consider long-term value, Sony’s bodies hold resale better historically, and you might invest more in E-mount glass which carries forward to lots of Sony bodies (whereas L-mount alliance is smaller market). But pure initial value for money – S5II gives a lot for $2K.

Verdict: The Panasonic S5 II is a compelling alternative, especially for those heavily into video or who prioritize features like 6K, unlimited recording, and top-tier stabilization. If your work is predominantly video with some stills, the S5II might actually serve you better (and you save some cash). On the other hand, if photography or fast action is a bigger part of your usage, the A7 IV’s superior autofocus and higher resolution tilt the scales in Sony’s favor. Also, lens ecosystem might be a deciding factor: do you prefer the wide open E-mount world or the still-growing L-mount selection?

An Rtings comparison sums it up: “The Sony has a much more reliable AF system, better battery life, and a more established lens ecosystem. The Panasonic has more advanced video features… and the option for RAW video with an upgrade.” ^[158]. That really nails the key points.

In 2025, Panasonic may not have the market share of Sony or Canon, but the S5 II showed they’re listening to consumers (by adding phase detect AF) and aggressively courting hybrid shooters. For Sony, it means the A7 IV can’t rest on laurels – the competition offers serious bang for buck, and Sony will have to up the ante with the A7 V (rumors suggest they will, as we’ll see next).

Other Alternatives and Upcoming Models

Beyond the big three competitors, it’s worth noting Sony’s own lineup alternatives:

The Sony A7C II (2023) puts the A7 IV’s internals in a compact rangefinder-style body. It has the same 33MP sensor and similar performance, but in a smaller form factor with a few compromises (smaller EVF, fewer controls). If size/weight are critical, the A7C II is basically an A7 IV in a travel-friendly package.
The Sony A7R V (2022) is a higher-tier 61MP monster with an AI chip for AF. It’s more expensive (~$3,500) but if you need super high resolution and the absolute latest AF, that’s an option (albeit targeted at a different segment).
Sony FX30/FX3 cinema-line – if someone’s mainly into video, Sony’s FX30 (Super35) or FX3 (full-frame) might attract them instead of an A7 IV, given features like fan cooling, etc. But those forego some photography features (no EVF, etc.).
Nikon Z5 II / Canon R8/R7 – there are also entry/semi-pro models around $1500 that nibble at the heels (like Nikon Z5II rumored, Canon EOS R8 with the R6II sensor but no IBIS, or EOS R7 with crop sensor). These can be alternatives for budget-conscious or specific needs, but none offer the same all-round performance as the A7 IV.

Now, on to upcoming and rumored models, especially the Sony A7 V which everyone is curious about:

The Future: Sony A7 V Rumors and 2025 Outlook

It’s now late 2025, four years since the A7 IV was announced. Naturally, chatter about the Sony A7 V is growing. Sony has not officially announced anything as of this writing, but the rumor mill has been active. Here’s what we think we know about the A7 V, along with context from Sony’s typical cycles and the competitive landscape:

Release Timing: Sony typically had ~3-year cycles for the A7 series (e.g., A7 III in 2018, A7 IV in 2021). Many expected an A7 V by end of 2024. However, as of mid-2025, no official word. Some rumors suggest a launch in late 2025 or early 2026 ^[159]. It seems the A7 V might have been delayed or the cycle stretched (possibly due to supply chain or Sony focusing on other models like the A7C II, A7CR, etc.). Bottom line: it’s coming, but the exact date is unconfirmed – educated guesses point to an announcement within the next year.
Sensor Upgrade: A frequent rumor is that the A7 V will bump resolution further, possibly around 42–44 megapixels ^[160] ^[161]. One leak suggested a 42MP BSI sensor – essentially bringing the “R” line resolution of a few generations ago into the regular A7 line ^[162]. Another source mentioned a 44MP sensor (though that source is less reliable). If true, this would put the A7 V close to the A7R III (42MP) territory, which is plausible as technology progresses. A new sensor might also be “stacked” or at least have faster readout than the A7 IV’s. However, a fully stacked 42MP might be too expensive for this tier, so it could be a backside-illuminated sensor with some speed tweaks.More pixels would address competition like Canon (which might bring a higher res EOS R8/R6 III eventually) and just generally align with consumer expectations for upgrades. The risk is larger files and possibly slower burst (like how the A7R V is limited in burst). But Sony might mitigate that with better processing or compression options.
AI Autofocus Processor: Sony introduced a dedicated AI chip in the A7R V and A6700 that handles subject recognition (human poses, animals, vehicles, etc.). It’s very likely the A7 V will get this AI processing unit, which would mean more robust AF (e.g., recognizing subjects beyond just eye/face – perhaps cars, insects, etc., and improved eye detection). Rumors indeed say “new software’s AI focus detection is more accurate… focus performance better than the A7R V” in some ways ^[163]. That suggests Sony will trickle down their latest AF tech to A7 V, possibly exceeding the A7R V due to newer algorithms, though still not matching an A9 III which is a sports specialist.
Continuous Shooting: Many voices expect (or hope) the A7 V will improve burst speed. This is one area the A7 IV was behind rivals. If a faster sensor or better processing is in play, we might see maybe 10 fps in lossless RAW (14-bit) and higher with lossy. However, an intriguing rumor from PhotoRumors claims “no improvement in continuous shooting… Sony has stagnated in this area”, saying the A7 V still tops out around the same rates, with e-shutter limited to 12-bit, etc. ^[164]. If true, that would be disappointing, especially since Nikon and Canon mid-range are doing 20fps+. Perhaps Sony will position the A7 V not for sports and leave high fps to A9 series. Still, I’d expect at least some incremental bump or a clever mode like pre-shooting.
Viewfinder & LCD: Rumors indicate an EVF upgrade – possibly the A7 V will get the 9.44M-dot EVF from the A7R V ^[165]. That would be a welcome improvement in resolution for a clearer, lag-free view. Also whispered is it might inherit the A7R V’s 4-axis multi-angle LCD, which both tilts and articulates ^[166]. The rumor explicitly said “same screen as the A7R V” ^[167], which suggests that very nifty tilting-flippy screen. Build quality reportedly improved, with a grip like the A9 III’s (slightly bigger maybe) ^[168]. All this points to Sony possibly moving the A7 V a bit more upscale in feel, which makes sense as they did with A7 IV.
Video Features: We can expect the A7 V to up the ante on video to keep pace with competitors. Likely it will finally offer 4K 60p full-frame with no crop, thanks to a faster sensor or slightly lower pixel readout mode. It might also push to 4K 120p (perhaps with a crop or pixel-binning) if they really want to catch up to cameras like the Canon R5 or Sony’s own A1. Some rumors suggest 8K video is in the cards since a ~42MP sensor could do 8K24 (no crop) ^[169]. Indeed, PhotoRumors notes “no crop for 8K” on A7 V, implying it can record 8K (likely 8K/24 or 8K/30) ^[170]. However, they also mention it shares video modes with A7R V: meaning possibly 4K60 will still be in APS-C crop, and oversampled 4K30 full-frame, etc., with the main new thing being an option for 8K (with certain limitations) ^[171].They explicitly say: “4K/60p is supported in Super35 mode… no crop for 8K recording” ^[172]. This sounds like the A7 V might effectively be like an A7R V lite in video: oversampled 4K30, cropped 4K60, and a basic 8K capability (perhaps 8K 24p). If true, that’s both exciting (8K in an A7 series!) and slightly underwhelming that 4K60 might still be cropped. But maybe it’s a necessary compromise unless they use an expensive stacked sensor.Also rumored, “dynamic video range is by far the best on Alpha”, nearly matching the pro cinema Sony BURANO in noise levels ^[173]. That’s a bold claim – if the A7 V has really clean video with huge dynamic range, it suggests improved sensor readout and processing (maybe 16-bit analog to digital conversion or new S-Log4 curves, who knows). They might also implement features like DCI 4K (as they started allowing via license on A7S III).
Other Features: Expect little things like the anti-dust shutter shield (carried from firmware to hardware default perhaps), continued support for things like focus bracketing, improved pixel shift maybe. Possibly dual CFexpress A slots (currently A7 IV has one CF-A + one SD; maybe A7 V goes dual CFexpress A for faster everything, though that would force users to buy pricey CFexpress cards – Sony might stick to the 1+1 slot configuration).
There’s also talk of authentication features (the C2PA digital signature) being standard now after firmware updates, so surely the A7 V will have that from day one for press photographers.
Competition to A7 V: It’s worth noting that by 2025/26, Canon might be readying an EOS R6 Mark III or similar, potentially bumping to 30MP and adding their own new tricks. Nikon will have the Z6 III out and might plan a higher-res Z7 III. So Sony knows the A7 V has to at least meet, if not exceed, those offerings.
Also, the higher-end Sony A9 III (if coming, though the A9 II was 2019 and A1 2021, Sony’s pro sports line is due for a refresh) could influence some tech in A7 V. But likely Sony will keep the A7 V below the A9/A1 in things like burst and maybe AF speed.

Right now, all these A7 V details are unconfirmed. As one article wisely put it: “we have no official specs or dates… rumors suggest late 2025 or early 2026, but these are just educated guesses based on Sony’s typical cycle” ^[174]. So, we should take every rumored spec with a grain of salt. Sony is tight-lipped until they suddenly drop an announcement.

For someone reading this in 2025 trying to decide “buy A7 IV now or wait for A7 V?” – it’s a tough call. The A7 V will undoubtedly be more expensive (likely $2,499 or even $2,699 launch). It will bring cutting-edge features and some future-proofing. But the A7 IV is terrific now and at a great price. As John Mak concluded, “if you’re always waiting for the next thing, ask yourself: are you losing opportunities by waiting? The A7 IV is a proven tool that delivers pro-level results without the uncertainty of an unannounced release.” ^[175] ^[176].

Conclusion: The A7 IV’s Relevance in 2025

The Sony A7 IV may have launched in 2021, but here in 2025 it remains a formidable and highly relevant camera. In an era where new models seem to arrive every year, the A7 IV has aged like fine wine – steadily improved via firmware and still hitting the sweet spot for a hybrid shooter’s needs.

Four years on, the A7 IV stands as a benchmark for all-round capability. Its 33MP sensor and 10-bit 4K video specs are still competitive; many current mid-range rivals only match these, not exceed them. Its autofocus system, once class-leading, is now challenged by others with AI chips, yet in real-world use it’s still among the most reliable and simple to operate. Crucially, the A7 IV has something that specs can’t list: a proven track record. Photographers and videographers worldwide have used it for everything – weddings, wildlife safaris, documentaries, studio portraits, YouTube content, you name it – and it has delivered. That reputation means a lot when you’re investing in a tool for your creative work.

In 2025, the camera market has shifted toward specialization in many cases (we see high-res monsters, video-centric cine tools, speed demons for sports). The A7 IV’s strength is being a master of integration – it’s not the absolute best at any one thing, but it’s very good at almost everything. This versatility is arguably even more valuable today, as creators often need to diversify (a wedding shooter might be asked for video clips, a photojournalist might need to do interviews on camera, etc.). Owning a camera that can confidently handle both mediums means you’re equipped for whatever story you want to tell.

Of course, technology marches on. If we look purely at specs, the A7 IV isn’t at the bleeding edge anymore. Newer models boast stacked sensors, higher frame rates, 8K resolution, and next-gen AF algorithms. But it’s important to ask: do you need those, or are they nice-to-haves? For many users, the A7 IV already exceeds their demands. It offers a level of image quality and performance that was unheard of in its price class a few years prior. And with its price now more accessible, it yields an excellent price-to-performance ratio.

The imminent arrival of an A7 V (with whatever improvements it brings) doesn’t suddenly make the A7 IV take worse photos or videos. It’s as great as it ever was. If anything, the A7 IV has become a bit of a value king: a perfect time to buy one (or a second one as backup) is often right before or just after the successor launches, when deals abound. It’s still featured on “best camera” lists and recommended by pros to those asking “What full-frame should I get?” because it’s a known quantity that gets the job done in virtually any scenario.

In a forward-looking sense, the A7 IV’s relevance also ties into the E-mount ecosystem’s vitality. Sony’s system in 2025 is robust and still expanding. Even if someone bought an A7 IV today, they can tap into all the latest E-mount lenses and accessories, and they’ll have a body fully supported by Sony’s latest software (the Creators’ App, firmware, etc.). Plus, the skills and muscle memory you build on the A7 IV will carry over to whatever Sony body comes next, if and when you do upgrade. So investing in the A7 IV now is investing in the Sony system, which shows no sign of slowing down.

As a concluding thought, consider this comment from a photographer in 2025: “Is the A7 IV a good fit for your creativity today? Probably yes. It checks all the boxes for most creators… and waiting for the next big thing means you’re not out there creating now.” ^[177] ^[178]. The A7 IV, with its blend of high-quality imaging, reliable performance, and evolved feature set, remains highly relevant and capable in 2025. It’s a camera that can confidently ride into the future even as new models emerge, and it underscores Sony’s knack for delivering long-lasting value in their Alpha line.

In summary, the Sony A7 IV is still a triumph in 2025 – a hybrid powerhouse that earned its flagship-killer reputation and continues to be a top recommendation for enthusiasts and professionals who want one camera that can do it all. Until the day the A7 V truly materializes and proves itself, the A7 IV comfortably holds its throne as one of the most well-rounded and smart investments in the full-frame camera world ^[179].

Sources: Sony, DPReview, TechRadar, PetaPixel, JohnMakPhotography, PhotoRumors, DXOMark, Rtings (see references in text for detailed citations). ^[180] ^[181]

Sony’s new $999 camera vs. an iPhone 15 Pro Max

Watch this video on YouTube.

References