Whose inch takes better pictures? A comparative test of Canon, Panasonic and Sony cameras with 1 inch sensors

In this test we will talk about four cameras with 1-inch sensor and 20 MP resolution and built-in zoom lens: Sony Cyber-Shot DSC-RX100 M3

, Sony DSC-RX10, Canon PowerShot G7 X and Panasonic Lumix DMC-FZ1000. Two are compacts and two are pseudo-smirrors. Unlike compact cameras equipped with standard or slightly enlarged sensors all models under consideration provide higher quality level of photography and are worth attention of photo-enthusiasts and even professionals. As far as the same worthy picture give out these “inch” or each has its own characteristics? For the answer we decided to do some research.

Panasonic Lumix DMC-FZ1000

Sony DSC-RX10

Probably every photographer dreams of having a versatile camera that is lightweight, lightweight, smart, flexible, and takes the best shots possible. Unfortunately, various technical limitations have prevented photo makers to create such a miracle until now. But if a photographer is ready to make a compromise, sacrificing some requirements, he will find a suitable camera for his tasks.

For those who want to have their camera with them all the time, the compacts are the obvious choices because they fit in every pocket. And for those who most value the willingness to shoot any scene, the best choice is the ultrazooms, which have a wide range of focal lengths. Until recently, both of these classes, due to their small sensors, had serious limitations in terms of quality of shooting in non-ideal conditions. Additionally, inexpensive compacts have become very competitive with in-camera smartphones and have lost a lot of their appeal. However, two years ago the situation has changed dramatically.

Canon PowerShot G7 X

Sony Cyber-Shot DSC-RX100 M3

History

In the middle of 2012 Sony announced its new 1 inch 13,2×8,8 mm sensor, which was 2 times larger in area than the 2/3″ 8,8×6,6 mm form factor sensor, 2,8 times larger than the 1/1.7″ 7,44×5,58 mm and 4 times the size of the most common in compacts and ultrazooms sensor form factor 1/2.3″ 6.17×4.55mm . The first camera to use a 1-inch sensor, the Sony Cyber-Shot DSC-RX100, was the same size and weight as the best 1/1.7-inch compacts of its day. It was a revolution in the top compact camera segment.

The following year a second version of the RX100 came out with the same 28-100 mm f/1.8-4.9 zoom lens, equipped with a connector for an external electronic viewfinder EVF , and in 2014 Sony released a third version of the camera, already with a built-in EVF and an updated zoom lens, a wider angle and more light, but with a smaller FFR range.

In the fall of 2014, there was another interesting development: Canon began exploring a new market sector and introduced its first compact camera with a one-inch sensor, the PowerShot G7 X. As soon as its photos and specifications became available, it became clear that it was conceived as a response to the arrival of the third model of the Sony Cyber-Shot DSC-RX100 family, the M3.

Having rolled out the one-inch sensor on the DSC-RX100 and DSC-RX100 II, Sony made a successful attempt to revive high-end ultrazooms in the fall of 2013, introducing the DSC-RX10 pseudo-lens reflex camera with a wide-angle and fast Zeiss zoom lens, which, unfortunately, had only an 8x zoom.

This camera attracted the attention of photo enthusiasts, who began to try on its capabilities and get used to the “biting” price of $ 1300, but after eight months there was a formidable rival – Panasonic Lumix DMC-FZ1000, also with a one-inch sensor, but with a 16-fold light zoom.

In this article we will compare ergonomics, design, optics and interesting features of compacts Canon PowerShot G7 X and Sony Cyber-Shot DSC-RX100 M3, which purpose is to be a quality camera that always with you. Then we will evaluate Panasonic Lumix DMC-FZ1000 and its virtual competitor Sony RX10 by the same criteria. After that, based on the results of shooting that we managed to do in the same conditions with the cameras Canon G7 X, Sony RX100 M3 and Panasonic FZ1000, let’s talk about the features of each of them.

Design and ergonomics:

Canon PowerShot G7 X vs Sony Cyber-Shot DSC-RX100 M3

In terms of layout and body design the Canon G7 X and Sony RX100 M3 are very similar: both have a black colored metal body, differing in size by a fraction of a millimeter. The lenses have the same aperture ratio, and there is a control ring at the base of the lenses the hinged LCD screen has the same degree of freedom. But these cameras look like twin sisters only at first glance. If you dig a little deeper, each of them has its own, missing in the competition, advantages.

Canon PowerShot G7 X: Front view with flash up

Sony Cyber-Shot DSC-RX100 M3: Front view with flash and EVF up

The main, and so far unique advantage of the camera Sony Cyber-Shot DSC-RX100 M3, including, and before its two predecessors, is the built-in EVI. The first time you get acquainted with this neat design decision, you come to admiration. I bet you are: If you didn’t know beforehand about the existence of this spotlight in the RX100 M3, a quick look around the camera would leave you in the dark.

The fact that the EVI is located on the left, in the usual place of the built-in flash. It has an elevator design, t.e. it goes up thanks to a spring after pressing a tiny lever. The EVI is then brought into operation by pulling back the eyepiece and adjusting the diopter, if necessary . Half a minute for the whole operation with diopter adjustment , and five seconds when all is set.

And it turns the camera on when you’ve just taken it out of your pocket. The EVI is retracted manually also in two steps and the camera is switched off.

Sony Cyber-Shot DSC-RX100 M3: Back view with EVI up

Sony Cyber-Shot DSC-RX100 M3: Back view

Canon PowerShot G7 X: Back view

The Canon PowerShot G7 X has no such ultra-compact viewfinder. Of course, most young photographers will find it redundant. They’re used to shooting with the camera the same way they shoot with a smartphone, holding it in front of them and looking at the LCD screen. But it is difficult to do it in bright sunlight because of glare and visual deterioration of screen brightness. In that case, the EVF is a much better alternative. And for many farsighted photographers most over the age of 40 the viewfinder is quite a sighting tool as well as a strong argument for choosing a one-inch compact.

In terms of ergonomics, the Canon G7 X has something to say about the lack of an EVF. One of the advantages of this model came to light when tested in the chilly New York autumn. It turned out that the Canon G7 X buttons are large enough and comfortable enough to control camera settings with gloves. At the same time, the buttons have protective strips that prevent them from being damaged or accidentally pressed when you often put the camera in your pocket or bag and take it out of there.

In the same challenging shooting conditions, the Canon G7 X’s suggested method of exposure compensation using a separate dial on the top panel proved to be more adequate than that of the RX100 M3.

Canon PowerShot G7 X: Top view

Sony Cyber-Shot DSC-RX100 M3: Top view

Sony’s rival uses the usual combination of pressing the lower edge “button” of the slim multi selector ring and then rotating it. However, you can also use the control ring on the lens there, but it’s easy enough to knock such a setting down – the ring is smooth and easy to rotate, after all.

A similar control ring on the lens of the Canon G7 X camera is a powerful adjustment tool, which is also handy when working with gloves on. To quickly change the function it performs on the back panel dedicated special Ring Func. Unlike the Sony RX100 M3, where the ring is smooth, on the Canon camera the ring switch is discrete with clicks , which is more suitable for adjusting photo settings such as shutter speed, aperture, focal length and more.

Canon PowerShot G7 X: Top view with lens extended

Sony Cyber-Shot DSC-RX100 M3: top view with lens extended

The smooth stroke ring in the Sony camera in some situations still has an advantage: it will be more in demand in the video, for example, to perform manual focus.

Experienced photographers probably know the way to lock the focus and exposure by half-pressing the shutter button. Usually SLR cameras use more accurate central sensor. It often requires subsequent recomposition and wastes precious moments.

This can be avoided by selecting another focus point beforehand, which saves time when shooting a known scene e.g., a portrait . The problem of quick adjustment for unexpected scenes is easily solved by the one-touch AF-area selection function.

That was a seamless lead-in to mention another competitive advantage of the Canon G7 X – its touchscreen feature, which the Sony RX100 M3 doesn’t have. In addition to changing the AF point, the touch screen allows you to adjust settings more quickly via the context menu and, thanks to the hinged design of the LCD screen, to shoot discreetly with a single touch on its surface.

Canon PowerShot G7 X: view with the LCD up

It’s worth mentioning the parity between the Canon G7 X and Sony RX100 M3 cameras – the equally handy design of the tilting LCD screen. In both cameras, it’s capable of tilting back 45 degrees and forward 180 degrees, allowing the photographer to see themselves in the frame when taking selfies, group portraits, and videos with an audience address.

Design and ergonomics:

Panasonic Lumix DMC-FZ1000 vs Sony Cyber-Shot DSC-RX10

Now let’s look at the Panasonic Lumix DMC-FZ1000 camera and compare it to a virtual not in the comparison test competitor Sony Cyber-Shot DSC-RX10. Here you can draw parallels to the previous couple of compacts. Just as the Canon G7 X was the answer to the Sony RX100 M3, the Panasonic FZ1000 was the answer to the Sony RX10. This pair also has a lot in common, besides the one-inch sensor.

Panasonic Lumix DMC-FZ1000: General view with flash up

Sony Cyber-Shot DSC-RX10: overall view with flash up

The layout of the pseudo-serial cameras SLR-like in English , as well as compacts, has long been thoroughly refined and involves a body with a large grip, where there is a shutter button, combined with the zoom lever, the ledge above the lens with a “hot shoe” connector, the shooting mode selector dial on the top panel.

Panasonic Lumix DMC-FZ1000: top view

Sony Cyber-Shot DSC-RX10: top view

The Panasonic FZ1000 also has a second dial for selecting shooting types: single, continuous, autotimer, bracketing, interval shooting. There is a second dial on the camera RX10, it serves to enter the exposure correction. And the developers from Panasonic applied a control wheel “with a secret” for this purpose: when you press it the function is switched from the main adjustment of the main parameter to the auxiliary exposure correction . According to the author, it’s even more convenient than a separate dial.

Panasonic Lumix DMC-FZ1000: Back view

Sony Cyber-Shot DSC-RX10: Back view

Both pseudo-smoke cameras have a zoom lens with a wide, smooth-rolling ring. In the Panasonic FZ1000 camera, it can be used for both manual focusing and zooming. Lever on the barrel toggles the ring function. I should add that Panasonic FZ1000 lens design provides five zoom speeds. In addition, you can select a step change through the menu according to a number of standard equivalent FRs, which are plotted on the lens for convenience 25, 50, 70, 90, 135, 200, 300, 400 mm .

Panasonic Lumix DMC-FZ1000: top view with lens in extreme teleposition

Sony Cyber-Shot DSC-RX10: Top view with the lens in extreme teleposition

Sony RX10 has a second ring – with aperture number marking. It has two operating modes switchable with the lever . The first one, with clicks, is for controlling the aperture when shooting stills, and the second one, with a smooth stroke, is for video shooting. The two pseudo-submersibles also differ in the design of the LCD screen. The Panasonic FZ1000 has a flip-up ring that swivels to the side and swivels to either side on a hinge.

Panasonic Lumix DMC-FZ1000: a view with the LCD screen tilted back

Sony Cyber-Shot DSC-RX10: view with the LCD screen folded down

With Sony RX10 – just a flip, t.e. is behind the camera and can be tilted up and down. Built-in electronic viewfinders – another reason to compete. The Panasonic FZ1000 wins here without any doubts because its viewfinder has a resolution of 1024 x 768 XGA , i.e.e. holds 2.36 million dots, while the Sony RX10 can only offer 800 x 600 SVGA , t.e. 1.44 million points.

Functional Features

All three cameras we’re talking about in this article are quite modern in terms of the possibilities for creative experimentation and dissemination of results. Without going into detail, we can state that each of the participants allows you to transform your photos by applying effect filters and applying different styles that change the color rendering. Built-in Wi-Fi and NFC allows participants to share data with external devices, as well as access to the Internet for posting their work on popular resources.

Another common and very important feature of all review participants is a built-in optical stabilization system with at least 3 steps efficiency. In many shooting situations this allows you to do without a tripod and shoot at slower shutter speeds without raising the ISO to values that critically increase the level of digital noise.

In addition to the general features mentioned above, the Canon G7 X has something special to offer. For example, “Hybrid Auto Mode” allows you to create a video report of a photo shoot, even if it lasts all day, from 2-4-second clips recorded before each photo is taken. With the touch screen display, Canon G7 X owners have full manual control of shutter speed and aperture for movies. That’s where Canon excels.

At the same time, the Sony compact outperforms the Canon G7 X in continuous shooting speed 10 fps vs. 6.5 fps . Other advantages of the Sony RX100 M3 include four reprogrammable buttons the ability to record in the professional XAVC S high bitrate video recording format, and dual parallel video recording in XAVC S + MP4 or AVCHD + MP4 formats.

At the moment, the Panasonic Lumix DMC-FZ1000 is quite attractive not only because of its combination of a powerful zoom lens and a fairly large sensor, but also because of its ability to record 4K video. Not forgetting the continuous shooting speed of 12 fps.

Optics

The lens plays just as important a role as the sensor in ensuring picture quality. All three cameras in question have high-end variable aperture zoom lenses. Canon traditionally has its own optics but Sony and Panasonic cameras are equipped with lenses with such famous names as Zeiss and Leica accordingly. But it’s better to trust your eyes, so let’s make conclusions based on comparative test pictures.

G7X – F2.8

RX100m3 – F2.8

G7X – F2.8

RX100m3 – F2.8

Comparative bokeh examples with Canon G7 X and Sony RX100 M3 at open aperture f/2.8

Both compacts have the same f/1.8-2.8 aperture range, but the Canon G7 X lens offers a wider FFR range than the Sony RX100 M3 24-100 mm versus 24-70 mm . Judging by the test pictures, the lenses of both compacts are almost equal in resolution and bokeh blur in the out-of-focus zone . Thus, Canon G7 X has an advantage in optics and is better adapted to shooting various subjects due to the wider range of f/stops.

RX100m3 – 24mm

G7X – 24mm

Examples of compact Sony RX100 M3 and Canon G7 X with zoom lens 24 mm at its lowest setting

RX100m3 – 38mm

G7 X – 50mm

Examples of compact Sony RX100 M3 and Canon G7 X with medium zoom 38mm and 50mm

RX100m3 – 70mm

G7X at 100mm

Examples of shooting with Sony RX100 M3 and Canon G7 X at maximum zoom 70 and 100 mm

The Leica DC Vario-Elmarit 16x zoom lens that the Panasonic FZ1000 is equipped with can be unambiguously described as having a universal maximum optical zoom range 25-400 mm because it covers all types of scenes. In wide angle it’s perfect for landscapes and architecture, in medium for portraits, and in long focus it’s good for reportage and hunting.

FZ1000 – 25mm

FZ1000 47mm

FZ1000 – 78mm

FZ1000 – 144mm

FZ1000 – 200mm

FZ1000 – 400mm

Panasonic Lumix DMC-FZ1000 at different focal lengths 25, 47, 78, 114, 200, 400 mm

Rather high aperture ratio of Panasonic FZ1000 zoom lens f/2,8-4,0 allows the camera to focus steadily even in the dim light. In spite of the fact that already at medium values of FR 200 mm aperture ratio is equal to f/4,0, the lens in teleposition is pleasant both with low depth of field and beautiful bokeh.

FZ1000 AT F4

G7 X – F4

RX100m3 – F4

FZ1000 – F4

G7 X – F4

RX100m3 – F4

Comparative bokeh examples with Panasonic FZ1000, Canon G7 X and Sony RX100 M3 at f/4.0 aperture

What’s more, with the aperture fully open, the Panasonic FZ1000 lens is sharp throughout the frame at all fronts. In a word, the optical properties of the Panasonic FZ1000’s zoom lens aren’t inferior to the Zeiss in the Sony RX10, and at the same time it has twice the magnification.

FTR range from 200mm to 400mm – just what the Sony RX10 lacked. The high zoom ratio makes it really easy to capture shy animals and birds, to capture interesting architectural details or an interesting character in great detail, to capture the most interesting action or phenomenon out of the hustle and bustle of a city or the exuberance of tropical nature.

Quality of Imagery

If different manufacturers use the same grade of optics and have the same form factors and resolutions or even the same sensors , they do not necessarily have the same imaging results, because the manufacturer’s digitization and post-processing technologies make a significant contribution to the imaging performance. The results of a study involving the Canon G7 X, Sony RX100 M3 and Panasonic FZ1000 confirm this.

In order to show the personal nature of each camera’s image, we took samples at 3200 ISO, when the influence of digital noise becomes apparent not only in night scenes, but also in daytime. If we compare the RAW versions of the photos taken under the same conditions, it becomes obvious that they are similar in terms of digital noise and differ slightly in terms of color rendering. The latter is also true for the JPG versions, but they are much more different in other parameters.

For comparison we took day and night test pictures recorded in RAW and JPG formats, as well as pictures obtained by converting RAW versions in Adobe Camera RAW program with appliance of noise reduction function for brightness and color components of digital noise . Three distinctive fragments were taken out of the “test shots”, which best illustrate the quality of images taken with each of the cameras. For the convenience of comparison, the samples are combined into strips where the order of the cameras is the same: Panasonic Lumix DMC-FZ1000, Canon PowerShot G7 X and Sony Cyber-Shot DSC-RX100 M3.

FZ1000, G7 X and RX100m3: to

High contrast detail on light background in RAW mode at 3200 ISO

FZ1000, G7 X and RX100m3: To

The contrast in details on the light background when shooting in JPG at 3200 ISO

FZ1000, G7 X and RX100m3: to

The sharp details on the light background in the pictures taken at 3200 ISO in RAW

and conversion to Adobe Camera RAW with noise reduction settings – luminosity 25% and color 50%.

FZ1000, G7 X and RX100m3: To

High contrast in mid light areas and shallow shadows in RAW mode at 3200 ISO

FZ1000, G7 X and RX100m3: to

High contrast in the mid light areas and shallow shadows in JPG at 3200 ISO

FZ1000, G7 X and RX100m3: To

High contrast in the mid-range brightness and shallow shadows at 3200 ISO in RAW

and converting to Adobe Camera RAW with the noise reduction option at 25% lightness and 50% chromaticity.

FZ1000, G7 X and RX100m3: x

Picture quality in mid and deep shadows with RAW at 3200 IS

O

FZ1000, G7 X and RX100m3: x

How the image looks in the mid and deep shadows when shooting in JPG at 3200 ISO

FZ1000, G7 X and RX100m3: x

Picture quality in mid and deep shadows when shooting at 3200 ISO in RAW

and converting to Adobe Camera RAW with the noise reduction settings of luminosity 25% and chromaticity 50%.

FZ1000, G7 X and RX100m3: at

Noise levels in the bright areas when shooting in RAW at 3200 ISO

FZ1000, G7 X and RX100m3: at

Noise in the bright areas when shooting in JPG at 3200 ISO

FZ1000, G7 X and RX100m3:

Noise in the bright areas when shooting at 3200 ISO in RAW

and converted to Adobe Camera RAW with the noise reduction settings of 50% luminosity and 50% color.

FZ1000, G7 X and RX100m3: Noise in the mid-bright areas in RAW at 3200 ISO

FZ1000, G7 X and RX100m3: at

Noise level in the middle bright areas when shooting in JPG at 3200 ISO

FZ1000, G7 X and RX100m3: y

Noise levels in the mid-brightness areas when shooting at 3200 ISO in RAW

and converting it into Adobe Camera RAW with the noise reduction settings of 50% luminosity and 50% chromaticity.

FZ1000, G7 X and RX100m3: at

Noise levels in shadows and highlights in dark areas when shooting RAW at 3200 ISO

FZ1000, G7 X and RX100m3: for

Noise in shadows and highlights in dark background in JPG mode at 3200 ISO

FZ1000, G7 X and RX100m3: y

Noise level in shadows and highlights in the dark background when shooting at 3200 ISO in RAW

and converted to Adobe Camera RAW with the noise reduction setting 50% luminance and 50% chrominance.

Sony Cyber-Shot DSC-RX100 M3

Let’s start with the Sony RX100 M3, which allegedly produces sensors for all three in this review.

On the “raw” RAW and on the processed JPG versions of photos there is a shift to blue, which is slight and subjectively noticeable only when comparing in parallel with photos from other participating cameras.

Thanks to local digital noise reduction, JPG images show almost no artifacts in the bright uniform areas as well as in the shadow areas. This is especially advantageous in the case of the night sky, which looks quite smooth when the sensitivity is increased to 3200 ISO. Dark details on light such as tree branches against the sky appear sharp due to good contrast, but suffer from overly aggressive sharpening. Bright details on dark backgrounds and not so contrasty transitions on the contrary seem to be a bit washed out. At high ISO from 1600 and over large artifacts are seen on the borders of light and dark zones halo from night lights and around the dark subjects on light and not so homogeneous background.

When converting RAW files yourself using such a popular converter as Adobe Camera RAW, you can use moderate noise reduction settings to obtain images without the above defects, but the picture will generally remain grainier, and you will not get the same smoothness in the uniform sections sky, deep shadows without additional processing.

Canon PowerShot G7 X

JPG-photos which are received by this camera resemble very much the results of work of RAW-converter described above: they always effectively remove small color digital noise, but with increasing ISO markup the “filmic” graininess grows. Apparently, for the sake of preserving fine detail, the brightness component of digital noise is not too intensely suppressed. In general, the JPG-version of photos look decent, and graininess is not too noticeable without a strong increase in image size downsampling and almost disappears when recalculated with size reduction.

When comparing the JPG versions of a photograph with the ones obtained by converting it from a RAW file CR2 , you can see that the in-camera processing functions ensure greater uniformity of non-contrast and monochrome parts: you can get more detailed images from a RAW file at the expense of artifacts in the aforementioned parts. In general, the quality of JPG-photos from this camera is the most balanced on several criteria of evaluation. Finally, note that the lens of Canon G7 X is the most beautiful way to draw bright lights, turning them into multi-beam stars.

Panasonic Lumix DMC-FZ1000

Looking at the test shots of Panasonic FZ1000 and comparing them with the ones of the other participants of the review, it becomes evident that Panasonic camera uses different processing techniques than the other two manufacturers do. Judge for yourself: in the pictures taken by Panasonic FZ1000, as the ISO is increased quite early on the light evenly colored areas of images, such as the sky, appear inhomogeneity in the form of artifacts. With Sony RX100 M3 the situation is reversed: the sky is smooth for a long time and artifacts appear rather early in the light and mid shadows.

Also, Panasonic FZ1000’s JPG-versions show fuzzy color spots – low-frequency color noise – a little earlier than the other two cameras approximately from 1600 ISO in the mid-tones and light shadows. On the Canon G7 X they also appear, but with a one step lag at 3200 ISO , but on the Sony RX100 M3 they only appear with a one step lag at 6400 ISO .

As in the case with other cameras, when processing in Panasonic RAW-converter the “raw” format manages to get rid of high-frequency digital noise it looks like bright colored grains . However, in photos taken at 1600 ISO or higher, with the same noise reduction settings, artifacts in the form of bright irregularities remain slightly more noticeable than with other cameras, although in general this processing noticeably improves image quality compared to JPG-versions.

Videotaping

All three cameras are capable of capturing video in the currently most popular Full HD format at 50 or 60 fps. Panasonic Lumix DMC-FZ1000 camera can shoot even 4K-video, but now this is the groundwork for the future as TV sets with corresponding screens are not wide spread yet.

FZ1000 – Night Kremlin

G7 X – Night Kremlin

RX100 M3 – Night Kremlin

Bottom line

Summing up, we can confidently say that the new cameras with one-inch sensors are worthy of increased attention of photo-enthusiasts, that is, those who shoot for fun, but are demanding about the quality of pictures. And even though you’ll notice that images with one-inch sensors start to suffer from digital noise much sooner at higher ISO settings, it’s not a reason to jump to the conclusion that you shouldn’t buy anything other than a DSLR, especially a full-frame DSLR.

The artifacts detected on JPG images become appreciable only around 1600-3200 ISO depending on camera , and RAW files let neutralize the majority of problems with quality of the photos taken. Besides, the built-in optical stabilization systems of all “one-inch” cameras provide for shooting without a tripod at much slower shutter speeds than the SLR owners can afford in such situations.

Do you always dare to take SLR camera with two or three lenses plus tripod on the walk or on the trip?? In the case of the compacts Canon PowerShot G7 X and Sony Cyber-Shot DSC-RX100 M3 the question “to take or not to take?” is definitely out of the question. These babies are a great everyday camera choice. Always with the photographer, they allow not to miss any interesting scene and capture it with a decent quality.

In the case of pseudo-serial ultrazooms the situation is somewhat different: here already have to put up with hanging on the neck of a large camera. But first of all Panasonic Lumix DMC-FZ1000 is half as light as any kit from any cropped DSLR and quality not kit zoom lens not to mention full-frame DSLR . And secondly, this camera is equipped with a high-class universal prime lens that allows you to capture the vast majority of subjects. At present it is the easiest all-purpose device and very attractive option for photo hunters.