sony a6500 lcd screen quotation

2023-01-03 12:32:11

Both Sony A6500 and Sony A6000 have APS-C sized 24.0 MP resolution sensors so sensor size and resolution is not a differentiator between these two cameras.

Sony A6500 and Sony A6000 have the same sensor sizes so they will provide same level of control over the depth of field when used with same focal length and aperture.

Both Sony A6500 and Sony A6000 sensors have been tested by DxoMark. DxoMark scores camera sensors for color depth (DXO Portrait), dynamic range (DXO Landscape) and low-light sensitivity (DXO Sports), and also gives them an overall score. Of the two cameras that we are comparing, A6500 has scored 85, 3 points higher than A6000.

sony a6500 lcd screen quotation

offers a clearer and crisper user experience than a lower pixel screen, notably during live view framing and image review. While the physical size of the LCD is naturally limited by the space that is available

The Sony Alpha A6500 is a mirrorless interchangeable lens camera that was announced in October 2016 and is equipped with an APS-C sensor. It offers a resolution of 24 megapixel. In the United States, the Sony A6500 was initially launched at a price of $1,399.

sony a6500 lcd screen quotation

My review of the Sony a6500 is based on using the camera for several weeks for both paid work and personal work. Mainly I wanted to see if it was a viable backup to my main camera, the Sony a7iii and if it would serve as a good option for casual family/travel/adventure photos.

I have been using Sony cameras for several years now, starting with the a6000 and a7ii and more recently the a7iii. With that said, I was also a Canon DSLR shooter for many years.

The build quality on the Sony a6500 appears sturdy and resilient. This is coming from someone who believes in using equipment, not babying it. What’s the point of having the camera if you are afraid to take it out of your bag?

Sure, they might not be as burly as the high end DSLR but they are lightweight making a drop less impactful and ergonomics less vital. More on ergonomics in a minute. My other Sony bodies have handled several drops without consequence. Perhaps I should review camera straps next!

Instead of having a full metal body, the Sony a6500 is a combination of plastic and metal components. Nevertheless it retains a sturdiness that made me feel comfortable about tossing it in my backpack without fear of damaging it.

Generally it felt tougher than the Sony a6000 that I’ve had for a while. Maybe that is because it is new while the my a6000 has taken a beating over the years on skiing and climbing trips. Either way, I was very satisfied with the build quality.

Another thing I was happy with was the weather sealing. It performed well even in a heavy snow storm. I have always been skeptical of Sony’s weather sealing because I felt like there should be a rubber seal like I was familiar with on my old canon lenses.

However, I have taken all of my Sony cameras out in full on downpour rain and never had an issue. The a6500 appears equally weather resistant. It’s nice not to worry about hurting my camera when I need it to help me get the job done.

The main difference between the Sony a6500 and the a7 series is the size of the body. The a6500 is even smaller. Therefore, the controls were a bit more compact and not quite as quick to adjust. There are fewer dedicated custom buttons which is only a concern if you are using the camera at events and need to work very quickly.

The touch screen was an attempt to address this problem. It seemed effective but it just doesn’t fit with my style of shooting. I like to keep my eye on the subject and let my fingers work the controls while waiting for the moment. Pulling back from the viewfinder to use the touch screen was too much of a distraction to be useful for me.

Despite lacking these two things, I was able to customize the buttons and dials to make my main adjustments quickly even for a person with moderate to large hands. The buttons and knobs are small, but are a definite upgrade from the Sony a6000. Each of the dials felt tight and tactile making accurate adjustments easy.

If you’re looking for a camera to shoot more personal work (i.e. family, travel, and adventures etc) the ergonomics and handling on the Sony a6500 are completely adequate.

For the occasional overhead or very low shot, the flip out screen is very handy as well. I sometimes find myself using it to reach up or to the side to get a unique perspective that wouldn’t be possible without the tilt-able rear screen.

The electronic viewfinder on the Sony a6500 is crisp, vibrant, and bright. Even in low light, the viewfinder was accurate and helped me achieve proper exposure. I did find that it is a little dim to shoot in full sun, even with maximum brightness.

On a few occasions the illuminated screen caused me to underexpose a little but that works well with my style of shooting. I often find myself underexposing to preserve the brightest parts of the image. It is easier to recover shadows than highlights.

Both the EVF and the flip out screen are designed with usability in mind. They have the ability to make my job easier and quicker so I can focus on getting the shot.

Along with the small form factor, the Sony a6500 comes with a small battery. This became an issue for me mainly in cold weather. At more comfortable temps, the battery seemed adequate, however, I would definitely recommend keeping a few extras with you, if you plan on shooting a lot.

In future iterations, I hope that Sony will upgrade to the new Z series batteries which I rarely find myself needing more than 2 for a full (10+hr) day of shooting.

The focus on the the Sony a6500 was accurate and faster than I expected, only a slight bit slower than my a7iii. The other big advantage on the Sony a6500 is Eye AF – combine this with tracking AF and you’ve got a powerful combo for tack sharp portraits.

I was very impressed with the images coming out of the Sony a6500. The dynamic range is awesome (13.7 stops) and the color seemed better than I expected (on par with the a7 series).

When shooting side by side with the Sony a7iii, I was able to include both images in a gallery without much color correction (not the case with the a6000).

The Sony a6500 has a wide range of lens options. Though it seems like more recently Sony has focused on their full frame lens lineup (fully compatible with a6500), there are still a wide range of options specifically designed for crop sensors.

The main advantage of crop sensor lenses is their smaller/lighter build. For my style of shooting as a wedding and adventure photographer, my top 3 lenses for the Sony a6500 would be:

1. Sony E 16-70mm f/4 This is a fantastic all around lens with an equivalent focal length of 24-105mm. It’s a sharp and sturdy feeling lens that covers a wide range of focal lengths. A great starting lens for someone just getting into photography or a pro that needs a backup that covers a large range.

2. Sony E 10-18mm f/4 Because of my passion for shooting outdoors, this is an awesome lens for capturing the environment. It goes super wide with an equivalent focal length of 15-27mm while staying sharp and feeling like a high quality full frame lens. The extremely wide focal length makes it less ideal for portraits but you won’t have any trouble fitting the all the action into the frame!

3. Sony E 24mm f/1.8 I think this an awesome lens for people to improve their photography with. Many old pros swear by the 35mm focal length (this is a 36mm equivalent). It will inspire you to “zoom with your feet” and fill your frame with your subject. I also really appreciate the fast 1.8 aperture when shooting in low light. This fast & sharp lens pairs well with the a6500.

4. Sony E 35mm f/1.8 Everyone needs a “nifty fifty” and this lens provides an awesome medium focal length with a fast aperture for shooting in low light. It is an inexpensive and popular prime lens. The only downside I experienced was a little softness around the edges of the frame so be sure to keep any important subjects out of the corners when framing up scenes with this lens. A great value to add to your kit.

5. Sigma 16mm f/1.4 This awesome fast, wide angle, prime lens would be my go to for astrophotography with the a6500. At f/1.4, it has the speed to capture the night sky at an equivalent focal length of 24mm. This would also be great for capturing wide landscapes and action/adventure.

One question people often ask is which should I choose, the Sony a7ii or the Sony a6500. I think this question comes up because they are similar in price. The difference lies in their feature set. They are intended for different purposes.

With all the pros and cons, I think the main thing it comes down to is size/money. The Sony a6500 is an amazing camera in a pint sized package. It is the little brother of the full frame a7 lineup.

Therefore, if you want a fast and capable camera, go with the Sony a6500. If you’re getting started as a pro and want to go full frame, get the Sony a7ii.

In many ways the a6500 is quite similar to the a6300 (see review). The 24.2MP APS-C sensor and 4D focus systems the same, as are its video capabilities, 11 FPS, and viewfinder. Its form factor and dial arrangement are also the same as both the a6300 and the entry-level a6000.

Sony has also increased the buffer in the a6500, allowing it to capture up to 307 full-size JPEG files or 107 raws, all at the 11fps burst rate. That’s a huge improvement over the a6300′s 44 JPEG and 22 raw limit.

While the sensor is the same as in the a6300, the a6500 has a faster large-scale integration (LSI) chip and image processing algorithm. This is a serious help in the noise-reduction arena, where it keeps detail while effectively reducing noise at the mid-high ISOs.

Another key difference is price. The while the Sony a6500 is coming in at around $1100 right now (body only), the Sony a6300 is at a quite affordable $822 (with kit zoom lens).

So if touch screens aren’t your thing, you don’t need the IS, and/or you don’t do a lot of low-light photography, you’ll save around $300 going for the a6300.

Personally, I prefer the a6500. The touchscreen really helps with focus and the new LSI chip really makes a huge difference. Add to that the fact that the IS works with both stabilized and non-stabilized lenses and $300 doesn’t really seem like that much of a difference. But I already have FE lenses I can use with it. If you’re starting out from scratch and don’t have much of a budget, the a6300 might be the right choice.

Full frame or crop sensor – which to choose? There are a lot of similarities between the APS-C a6500 and the full-frame Sony a7iii, with a key difference being the price tag. (The a7iii is still hovering just short of $2000, body only.)

Both cameras have an E-mount, have decent continuous burst speeds (10fps for the a7iii and 11fps for the a6500), and live view with blackouts up to 8fps. They also both have WiFi, NFC, Bluetooth connectivity

The a6500 inherited the flat-topped design of the a6300 and a6000 APS-C models. It also has a viewfinder at the top left of the body rather than in the middle. The grip, though larger than the a6300, is still quite a bit smaller than the a7iii as well.

The Sony a7iii, on the other hand, has a bigger, sturdier build. The increased size (and weight!) allow it to offer more dials and buttons for easier control. These include an additional control dial, as well as an AF-ON button and an AF joystick.

The a7iii’s larger body also allow give it room for a dual SD card slot. One slot is standard UHS-I while the other is UHS-II compatible. The a6500 only has one slot and it’s only UHS-I compliant.

As far as the LCD screen is concerned, both cameras have 921k-dot resolution. The a7iii articulates a bit more, but that’s pretty much the only difference.

The Sony a6500, on the other hand, has a smaller, APS-C sized Exmor CMOS sensor. Its maximum native ISO sensitivity is 25600 (51200 when extended). That’s a big difference.

The Sony a6500 uses fewer points (425 phase detection and 169 contrast detection), but still does an amazing job. In normal light I often couldn’t tell the difference.

The buffer capacity is significantly different on each camera. The Sony a7iii can up to 177 frames in JPG format and 89 in Raw format in a single burst, while the a6500 can go up to 233 JPGs or 107 Raw frames. Keep in mind though, with the difference in card slots – the a7iii has a UHS-II compatible option – the difference in performance might not be so noticeable.

Shutter speed is another place where the two cameras differ.They both use an vertical-traverse focal plane type shutter that produces fewer vibrations than previous shutters, but the a7iii is considerably faster, reaching into the 1/8000s. The a6500, in comparison, reaches its limit at 1/4000.

As far as the flash is concerned, the a6500 comes with a built-in flash. The a7iii comes with a hotshoe. (This works for me, as I don’t use built-in flashes much at all.)

One of the biggest advantages the a7iii has over the a6500 (other than sensor size) is battery life. The a6500 uses the older NP-FW50 battery, which has notorious poor performance. The a7iii uses the larger NP-FZ100 battery, which gives an average of 710 photos with the LCD monitor or 610 shots with the EVF. That’s more than double what the a6500’s battery can do.

In the video realm, the a6500 and the a7iii are pretty similar. Both cameras can record in 4K up to 30fps and 100Mbps, and Full HD up to 120fps. (Here, the UHS-II cards will come in handy.) The only real differences that I can see are that the a7iii has HLG (Hybrid Log Gamma) and can record in both full frame and APS-C format.

For travel though – especially in places where I’d worry about the safety of my gear and/or want to carry around less, the Sony a6500 is a strong contender.

The Sony a6500 didn’t gain any additional video capabilities over its predecessor, the a6300. Both cameras shoot amazing video. The main difference is that the a6500 comes with 5-stop IS, which is a big deal.

The only thing really missing is that there’s no headphone jack. The only way to monitor the audio is watching the levels on-screen or by plugging in an external monitor with audio out.

Also, for Vloggers the screen doesn’t articulate all the way up to where you can see it. That’s probably a deal breaker for some folks who vlog a lot, and reason enough to spend a bit more on another certain camera – see the Sony a6400 review.

When it was first released, the Sony a6500 went for around $1,500. Definitely at the upper end of the CMOS world. It’s come down a bit since then to around $1,100, which honestly is a bargain for a camera with all of these features.

If you already use a Sony full-frame mirrorless (i.e. something in the A7 series) and are simply looking for a lighter shooter for travel, you don’t have to invest in any other lenses, as the FE lenses work just fine on the a6500. They’ll be a bit heavier, but can definitely save you both money and hassle.

On the flip side, there’s something to be said for simply slapping on the excellent Sony 35mm f/1.8 and having a tiny, full-functioning setup with you everywhere you go.

The best Sony a6400 bundle I’ve found is this one. It comes with the awesome Sony FE 50mm F1.8 (full-frame) lens and a number of other handy items including: a camera bag

The price seems a little too good to be true, but the seller has a 99% positive rating. Worth a shot if you don’t already have a camera, and the bundled lens will really help you make the most of the a6500’s sensor.

There are a number of great accessories available for the Sony a6500, many of which can seriously augment your camera’s abilities while still maintaining it’s relatively small, compact size.

Check out this guide to accessories for Sony cameras for a more generic look at useful products. For now, let’s take look at a couple of the most popular, both to do with the battery:

Given the Sony a6500’s poor battery performance, it makes a lot fo sense to invest in a third party Sony a5000 battery grip. It can definitely extend your battery time – if you’re shooting video it can turn a 6-battery day into a 4-battery day when doing video.

As mentioned before, the Sony a6500 still uses the smaller batteries that Sony has been moving away from. The a6500’s battery life isn’t particularly impressive. Being used to the a7iii, I definitely noticed a big difference.

I probably had to charge the a6500’s batteries 4x more than the a7iii’s, but it’s not really a fair comparison. The battery technology in the a7iii is still fairly new.

Conversely, the longer lasting batteries of the Sony a7iii are considerably larger and heavier than the 6500’s, and you can pick up third party batteries for the a6500 much cheaper.

The fastest way to drain the a6500’s battery is by shooting 4K video – you’ll get maybe 65 minutes tops. So if you’re planning on doing a lot of video, make sure you buy plenty of extra batteries and/or a battery grip.

Another option is to get a third-party. The a6500 comes with an 1100mAh battery (good for bout 310 shots without strobe) but third party 1500mAh options are easy to find, like these I recommend, which increase battery life by around 30%.

Of course, this isn’t that unusual these days and it is pretty frustrating that Sony’s mirrorless cameras aren’t sold with separate battery chargers. For road trips, though, it’s pretty cool.

That being said, there is indeed a firmware update available for the a6500 that was released just last month – v1.06. The only real change this update makes is improving the overall camera stability (Sony doesn’t go into detail as to what exactly that means.)

If you’re looking for a main body to use professionally, I would say the Sony a7iii is still the best investment, but the Sony a6500 isn’t far behind.

The main advantage of the a6500 is its smaller form factor and thus smaller lenses. In addition to being smaller, the lenses are much more affordable.

The size being the main advantage of the a6500 is also where it falls short for me. The short battery life and too compact controls are enough to make me hesitate to rely on it too much. The last thing I need is to miss a shot because I can’t change my settings fast enough or my battery died.

However, the Sony a6500 certainly works as a viable backup to keep in the bag in case your main body has a problem. Where it really shines is as a small/lightweight camera for traveling or having on you all the time to document the adventures of life.

sony a6500 lcd screen quotation

sony a6500 lcd screen quotation

The Sony a6500 was announced very soon after the a6300; so close in fact that the camera was just becoming available as I was shooting for our a6300 camera review. Needless to say, the Sony a6500 features some nice upgrades.

The a6500 is Sony"s flagship APS-C mirrorless camera, packing a robust set of photo and video features into a very affordable camera body. The camera is much smaller than the full-frame mirrorless Sony a7R II, making it a great choice for those who are looking at mirrorless cameras for their impressive image quality in a small body.

I shot the Sony a6500 in the Fantasea FA6500 housing across 30 dives during Bluewater Photo"s spring workshop in Anilao, Philippines, leading to the insights in the review below.

I used the Sony a6500 for both macro and wide-angle, photo and video, in Anilao a few couple weeks ago. I shot exclusively with the Sony 16-50mm power zoom kit lens, which when combined with Fantasea"s macro diopter and wide angle conversion lens, presented a versatile camera setup.

Image quality of the a6500 is excellent, as you can see in the sample photos throughout this article, however I do think there is some clarity to be gained by shooting higher-quality lenses like the Sony 90mm macro and Sony 16-35mm wide-angle (f/4 or brand new f/2.8 version).

The color delivered into Adobe Lightroom was a little warm for my preferences while using Bluewater"s rental Sea & Sea YS-D1 strobes (camera set to auto white balance), so I created an a6500 preset to set each image at 5000k as an editing starting point. After this, the color really popped (a true hat tip from a guy who shoots Canon DSLRs on land!).

The a6500 defaults to showing the blinking highlight alert during image review, which I find very useful (along with the histogram). This alert has a lower tolerance than Adobe Lightroom, meaning that if an area is just slightly blown out and flashing on the a6500 LCD screen, there may still be recoverable info in the pixels once the .ARW file is opened in Lightroom.

Camera Controls: The Sony a6500 default control functionality is very intuitive, and that is without programming the custom C1 and C2 buttons on top right of the camera.

Camera Operation & Processing: The a6500 takes a few seconds to boot up, and controls also take a split-second to respond. This lag will be unnoticeable (or even much faster than normal) for most compact and mirrorless shooters, but might might bug some DSLR shooters who are used to buzzing in between settings, photo to video, and menu changes. This is the only reason I point it out.

Max Sync Speed:This is 1/160s on the Sony a6500. The camera actually limits your shutter speed to 1/160 when the pop-up flash is up, which prevents you from bumping up the shutter by accident. For shooting video at 1/250s (manual setting for recording at 120 frames per second), I simply pushed the flash down, which then opened up the full range of shutter speeds.

Autofocus:4D autofocus performed accurately on the Sony a6500 for both wide-angle and macro. There is a definite improvement in ability to lock focus when shooting macro, but note that I was using the 16-50mm (I had used the 90mm for reviewing the a6300). Given that the a6500 was marketed as the fastest camera in the world at launch, I would expect nothing less.

I shot the a6500 using Single AF. I did try tracking a few different times on some very camouflaged subjects (network pipefish, ghost pipefish, juvenile sweetlips) but found it wasn"t any more successful delivering images than Single AF. The tracking works much better on subjects with a clear contrast difference from their background.

Battery Life: The Sony a6500 battery lasted about two macro dives with the pop-up flash set to Fill Flash. When shooting video, I would recommend changing the battery after every dive.

Known for macro, Anilao also is home to gorgeous reefs. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UWL-09F wide-angle conversion lens, dual Sea & Sea YS-D1 strobes. @18mm, ISO 320, f/13, 1/100. Photo: Brent Durand

A mototi octopus crawls across the sand while hunting. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, dual Sea & Sea YS-D1 strobes. @33mm, ISO 100, f/14, 1/160. Photo: Brent Durand

The Sony a6500 is a powerful video machine. 4K at 30fps and 1080p at 120fps make the a6500 versatile for beginners and pros alike, those making long-form films or those aiming for short clips.

If you"re a casual video shooter, simply push the red button when the action starts. More advanced shooters will be pleased to know that the Sony a6500 features 4K Super 35 mode (popular in the a7 II series), which records video across the entire 6k sensor (full pixel readout, no binning). This oversampling results in crisp 4K (3840x2160p) imagery, and when combined with flat gamma curve profiles like S-Log 3, contains much more dynamic range to work with while editing and color grading. The a6500 records 8-bit, 4:2:0 4K at up to 100Mb/s. Adding an external HDMI recording device increases this to uncompressed 4:2:2 4K (although still 8-bit).

Sony a6500 Video Settings: I set the camera to record in XAVC S HD format, 120fps at 100Mb/s. Why no 4K? Aside from the fact that my laptop can"t process it, most of us can"t view true 4K resolution anyways. There is a valid argument that you"ll see better image quality when shooting 4K (and resizing to 1080p during post), however the maximum frame rate on the Sony a6500 is 30fps. Since I only use short unedited clips for social media (and was looking for action to replay in slo-mo), shooting 1080 at 120fps made far more sense.

Image Stabilization: The new 5-axis image stabilization in the a6500 body is apparent when filming underwater video. It"s most noticeable when handholding the system, rotating around the subject, and slowly moving in and out. The IS serves to minimize the shake, resulting in smooth motion. I didn"t notice it as much when the camera was filming on a tripod.

A nudibranch reaches out across a sponge. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UCL-09LF diopter, dual Sea & Sea YS-D1 strobes. @39mm, ISO 100, f/16, 1/160. Photo: Brent Durand

While we love to dive with Sony lenses, they perform to the same high standard on dry land too. If you"re considering adding to your topside kit bag, look through the options below.

Individual housing manufacturers may offer macro and wide-angle wet lens options. For example, Fantasea a6500 housing shooters can use the Sony 16-50mm lens inside a small flat port, donning the UCL-09LF macro dioptor or UWL-09F wide-angle conversion lens depending on the shot.

Shooting a zoom lens with wet lens conversion setup makes you ready for anything. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UWL-09F wide-angle conversion lens, dual Sea & Sea YS-D1 strobes. @23mm, ISO 320, f/13, 1/100. Photo: Brent Durand

Aquatica designed this housing to retain the small, easy-to-use size of the a6500. Robust in build with ergonomics at the forefront of design, this housing features various strobe connectors, M16 bulkhead for a monitor, vacuum capabilities and many other great features.

The Fantasea FA6500 fits both the a6500 and a6300, with a functional and sleek design that blends ergonomics with great value. A wide range of accessories, including TTL converter and wet lenses complement the housing.

The Ikelite a6500 housing delivers great value in their iconic polycarbonate housing, complete with an integrated TTL circuit that"s powered by the strobe - no extra batteries needed. A wide range of ports complements the a6500"s arsenal of lenses.

The Nauticam NA-A6500 housing is precision engineered to provide the most ergonomic control of the camera. Nauticam has moved camera controls to positions at the fingertips and offers many accessories to build this kit for beginners and pros alike.

The Sony a6500 is a great camera in a small package. The flagship Olympus and Sony a7 II series are big cameras, and while the performance is there, their housings look more like those of DSLRs than small mirrorless cameras.

Excellent image quality, fast autofocus, video image stabilization and a quickly growing selection of lenses make the Sony a6500 a great choice for underwater photo and video shooters. Housing prices start at $975 and go up from there, so you can build a very affordable underwater system around the a6500 - a huge PRO in my book.

Less experienced shooters will not see many cons with the a6500. Shooters coming from DSLRs will need to adjust to the slightly slower operating speed (menus, startup, button controls) and the fact that everything in the LCD screen and EFV is digital instead of the real scene reflected in a mirror.

Hawkfish, while common, are a fun portrait subject. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UCL-09LF diopter, dual Sea & Sea YS-D1 strobes. @28mm, ISO 100, f/16, 1/160. Photo: Brent Durand

Anemone shrimp are commonly found with eggs. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UCL-09LF diopter, dual Sea & Sea YS-D1 strobes. @41mm, ISO 100, f/29, 1/160. Photo: Brent Durand

A friendly green turtle hangs out for a portrait. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, dual Sea & Sea YS-D1 strobes. @37mm, ISO 100, f/16, 1/125. Photo: Brent Durand

Two clownfish swim the same path through their host. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, dual Sea & Sea YS-D1 strobes. @25mm, ISO 125, f/16, 1/160. Photo: Brent Durand

A nudibranch perches on a rock as current rips by. Sony a6500, Sony 16-50mm lens, Fantasea FA6500 housing, Fantasea UCL-09LF diopter, dual Sea & Sea YS-D1 strobes. @45mm, ISO 100, f/20, 1/160. Photo: Brent Durand

sony a6500 lcd screen quotation

If I had to rely on the LCD screen for shooting, I think I"d buy a Canon 80D. The display is much bigger and brighter plus the touch screen functions are more mature. The LCD quality is the one thing I really hate about my A6300.

I use two A6300s and an A6500. Curious about your post and TNs comment I pulled them out and I"m looking at them right now. I don"t depend on the LCD since I prefer using the EVF, but what quality of LCD screen image is he talking about because I"m not seeing any difference.

I just spun ahead in his review to the "Screen" section where he complains about the view-ability of the A6500 LCD in bright sunlight. I can"t check that now since, while it"s cloudless here, the Sun is not up high enough yet to effect the screens.

And yes, the A6500 LCD is more difficult to see than the A6300 LCD in bright sunlight but the A6300 LCD still isn"t good enough for my to use in bright sunlight.

I would seem with a6500 you are looking through an extra touch layer maybe that has some impact and in movie filming the screen is dimmed a bit more in Sony"s efforts to reduce power consumption and the overheating.

I am betting that someone did set up the A6300 in "Sunny Day Mode" and that the A6500 was in "normal" mode (or someone just made this remark based on this?).

Unless you are using a hoodman or something equivalent, I would contend the LCD is pretty useless for checking focus regardless -- unless you are talking about observing focus peaking, in which case sunny day makes little difference anyway.

I absolutely agree with you. When trying to frame a shot and get critical focus, see the histogram, using an LCD vs EVF is pretty much useless. I have been using DMF and with magnification lately and you can really tell the difference between the EVF (2,359,296 dots) vs LCD (921,600 dots).

It"s pretty much a day and night difference, pun intended. I have a Sony 5T with an LCD hood on it & when it is sunny outside, I can still hardly see the LCD. I will NEVER use another camera without a high quality EVF ever again!

Yes, Sony is really lagging behind in this regard. I think they should communicate a bit more with their smartphone division. Glass covered OLED (or LCD IPS is also very good and can be made very bright ... last (?) iPhone still has an IPS screen and it"s pretty good) FullHD displays with capacitive (not the old resistive) touch are the norm nowadays.

I don"t have the a6300 and the a6500 to compare... but I suppose that the extra touch layer, while being very transparent, reflects sunlight to the user and thus makes the display appear dimmer in sunlight.

As some others already said, the LCD is indeed very difficult to use compared to the EVF. So for me a better EVF is more important than a better LCD however for video AF a capacitive touchscreen is just great.

I am betting that someone did set up the A6300 in "Sunny Day Mode" and that the A6500 was in "normal" mode (or someone just made this remark based on this?).

A few youtube reviews have stated that there"s considerable dimming of the lcd screen when recording in 4k. The a6300 experienced this dimming too but not as bad as the a6500.

On my a6500 through the very short time I"ve had with using it I didn"t really notice this dimming but I was using mainly the 1080p fast and slow motion. Also this was a very overcast day so that probably helped.

Even on my A65 which has a larger EVF than the A6x00 series I mainly use the LCD. I do find I occasionally miss having an EVF on the A5000, but the rear screen works fine with magnification. Now since it doesn"t have an EVF the magnification factors are optimized for the LCD on that body.

sony a6500 lcd screen quotation

Sony Alpha a6500 Digital Camera features a 24.2 megapixel Exmor CMOS image sensor. This CMOS sensor features copper wiring and increases circuit processing to minimize the depth of the wiring layer. Moreover, its ISO range is around 100-512005, which reduces noise. Again, this camera also comes with a good number of phase-detection AF points and offers the world’s fastest AF speed yet.

The latest price of Sony Alpha a6500 Digital Camera in BD is 85,000৳. You can buy this Sony Alpha a6500 Digital Camera in Bangladesh at the best quality and price from our website or visit any of our showrooms. You can also check ourRefund and Returns Policy.

sony a6500 lcd screen quotation

Stable, fast, and versatile, the Alpha a6500 from Sony is an apt APS-C-format mirrorless camera well-suited for both photo and video applications. Revolving around a 24.2MP Exmor CMOS sensor and BIONZ X image processor, clean image quality is provided with a wide expandable sensitivity range to ISO 51200, along with accelerated readout speeds for internal 4K30 and Full HD 1080p120 video recording with full pixel readout. The processor further benefits videographers with the inclusion of an S&Q (Slow & Quick) Motion setting that permits capturing Full HD video at a variety of frame rates ranging from 1-120 fps. Stills shooters also benefit from the apt processing speed, which enables continuous shooting at 11 fps for up to 301 JPEGs in a burst, as well as 14-bit raw file output. Complementing both stills and video, 5-axis SteadyShot INSIDE image stabilization minimizes the appearance of camera shake with all mounted lenses to support working with slower shutter speeds. The sensor and processor combination also avails 4D FOCUS, which utilizes a wide-coverage 425-point phase-detection system with a 169-area contrast detection system for quick and precise focusing performance. This focusing system also enables High-density Tracking AF for more efficient and accurate tracking of moving subjects across the image frame. Increasingly versatile and fully featured in both photo and video realms, the a6500 is a fast and precise imaging tool for multimedia capture. Complementing the imaging assets, the a6500 also sports a robust magnesium alloy body that is dust- and moisture-resistant to permit working in harsh environments. The compact profile incorporates a high-resolution XGA Tru-Finder 2.36m-dot OLED electronic viewfinder for bright, clear, eye-level viewing, and this EVF features a 120 fps viewing mode for smooth tracking of fast-moving subjects. A rear 3.0″ 921.6k-dot touchscreen LCD monitor is also available and has a tilting design to benefit shooting from high and low working angles, and the touchscreen design allows for intuitive touch-to-focus control. Additionally, for wireless remote control over the camera, or for just sharing imagery online, built-in Wi-Fi with NFC permits linking with a mobile device for intuitive wireless control. 24.2MP Exmor CMOS Sensor and BIONZ X Processor The APS-C-format 24.2MP Exmor CMOS sensor pairs with the BIONZ X image processor to realize smooth, nuanced image quality with minimal noise and high sensitivity from ISO 100-25600, which can further be expanded to ISO 51200 for working in low-light conditions. The sensor features a unique design that utilizes thin copper wiring, enhanced circuit processing, and an enhanced front-end LSI to boost light-gathering abilities, reduce noise, and increase readout speeds to benefit video recording. The sensor and processor combination also avails a top continuous shooting rate of 11 fps for up to 301 standard JPEG frames or 107 raw frames in a single burst with AF and AE, and permits 14-bit raw file output for a wider tonal and color scale. 5-Axis SteadyShot INSIDE Image Stabilization Packed into the svelte a6500 is a 5-stop effective 5-axis SteadyShot INSIDE image stabilization system that compensates for five different types of camera shake encountered during handheld shooting of stills and video. This allows users to confidently use any lens, even adapted lenses, for critical imaging without encountering blur from camera shake. For long focal lengths, the system will correct for pitch and yaw adjustments. Macro and high-magnification imagery, on the other hand, will benefit from the inclusion of horizontal and vertical shift compensation. All shooting styles will get usage out of the roll compensation. All 5 axes of stabilization will function at all times, even when used with third-party lenses and adapters or lenses with built-in optical stabilization. 4D FOCUS Covering nearly the entire sensor area, a powerful 4D FOCUS system incorporates 425 on-chip phase-detection points along with 169 contrast-detection areas for precise focusing in as little as 0.05 seconds. The density of focusing points from this hybrid AF system also enables High-density Tracking AF Technology, which is adept at tracking moving subjects in a variety of lighting conditions. The use of phase-detection points also enables the use of A-mount lenses via the optional LA-EA3 or LA-EA1 lens mount adapters with full AF compatibility. The apt 4D FOCUS system also lends itself to a variety of focusing functions for refined accuracy, including Lock-on AF, which maintains focus on moving subjects throughout the use of a configurable frame that is set over the desired moving subject, and Expand Flexible Spot, which employs neighboring focus points to retain focus on moving subjects even if the originally selected point loses focus. Additionally, Eye AF can be used to base focus on recognized subjects’ eyes for portraits and is available in both AF-S and AF-C modes. Autofocus can also be used in conjunction with the Focus Magnifier function for critical focus when homing in on minute subject details. In addition to autofocus, the a6500 also features a Peaking MF function to benefit manual focus control by highlighted sharp edges of contrast for a more objective means of acquiring sharp focus. UHD 4K Video Recording Internal recording of UHD 4K movies is possible in multiple frame rates up to 30 fps and, based on the Super35mm recording area and effective 20MP (6000 x 3376) resolution, 2.4x oversampling renders greater detail and full pixel readout is possible, that is void of pixel binning, for higher quality imagery with reduced moiré and aliasing. Full HD 1080p recording is also supported in frame rates up to 120 fps, and both resolutions utilize the 100 Mbps XAVC S format contained within an MP4 wrapper with 4:2:0 sampling. The high-speed, 120 fps recording also enables 4x and 5x slow-motion movie recording with the frame rate set to either 30p or 24p. In addition to high-resolution internal recording, uncompressed HDMI output also enables the use of an optional external recorder for clean 4K recording with 4:2:2 sampling. 4K video recording also avails the ability to produce 8MP stills during playback by taking a frame grab from a movie and storing it as a separate file. Custom Color Profiles and S-Log3 Gamma Support is available for the S-Gamut3.Cine/S-Log-3 and S-Gamut3/S-Log3 profiles that enable up to a 1300% wider dynamic range for smoother tonal and color gradations, along with enhanced sensitivity and clarity in shadows and mid-tones. These profiles also lend themselves to greater compatibility within a professional workflow and are well-paired to the Cineon Log gamma curve for versatile post-production grading and color control. The S-Log3 gamma setting also offers an impressive 14-stop wide dynamic range for greater control over the highlights and shadows, while the S-Gamut3.Cine profile can be used to mimic the qualities of scanned negative film with a wide gamut comparable to the DCI-P3 color space. Additionally, the popular S-Log2 setting is also available. Slow & Quick Motion Take more control over your video capture capabilities with a variety of new frame rates available in an S&Q mode. This will allow shooters to capture Full HD video at one of either steps between 1-120 fps. These settings will allow you to slow down action as well as speed up a slow moving scene. This setting is also NTSC/PAL switchable. Zebra and Gamma Display Assist An enhanced Zebra function is ideally suited to working with S-Log gamma profiles and aids in monitoring exposure values in high-contrast scenes. Video signal level targets can be set from 0 to 109, and specific ranges can be set to make exposure level adjustments easier. In contrast, a Gamma Display Assist function is also available that displays scenes with natural contrast when recording with S-Log settings. This function converts imagery to the ITU709 profile for easier on-camera monitoring. Time Code and User Bit Settings A time code can be used to record hours, minutes, seconds, frames on image data for more precise editing while the User Bit function can record date, time, and scene number to aid in editing together footage from multiple cameras. Body Design and Built-In Wi-Fi A robust magnesium alloy body offers a durable profile, and also incorporates dust and moisture seals to protect against harsh environments. This durability is carried over to the shutter’s design, too, which is rated to withstand more than 200,000 cycles. The XGA Tru-Finder 2.36m-dot OLED electronic viewfinder offers a bright, high-resolution means for eye-level monitoring, and also sports a dedicated 120 fps mode for smoother viewing when tracking moving subjects. A 3.0″ 921.6k-dot LCD touchscreen can be tilted 90° upward or 45° downward to suit working from high and low angles. The screen also incorporates White Magic technology with an RGBW pixel structure for increased brightness to support use in daylight conditions. The touchscreen design avails access to Touch Focus control, for immediate focus point selection, as well as a Touchpad function which lets you smoothly and intuitively select a focus point on the screen while you’re looking into the viewfinder. Nine customizable buttons can be set to control more than 64 functions for more intuitive handling. The included NP-FW50 rechargeable lithium-ion is rated for 350 shots per charge when working with the viewfinder, or 400 shots per charge with the LCD screen. In addition to the battery, the a6500 can also be powered via a USB connection to a computer or mobile battery. This connection can also be used to charge the battery. A rigid metal lens mount better supports working with larger, heavier lens designs. An ergonomic grip structure is ideal for long shooting sessions and facilitates easy access to the main control buttons and dials. Built-in Wi-Fi enables the a6500 to instantly share imagery to mobile devices for direct sharing online to social networking, via email, and to cloud storage sites. NFC (Near Field Communication) is also supported, which allows for one-touch connection between the camera and compatible mobile devices; no complex set-up is required. Once connected, the linked mobile device can also display a live view image on its screen and remotely control the camera’s shutter. Bluetooth connectivity allows for location data acquisition. PlayMemories Camera Apps are also supported via the built-in Wi-Fi connection, and allow you to personalize the camera’s features depending on specific shooting styles. Apps are available to suit creating portraits, detailed close-ups, sports, time lapse, motion shot, and other specific types of imagery. Other Camera Features Highlight and Average metering modes helps avoid blown-out highlights and provide stable auto exposure, respectively. Exposure standard adjustment allows you to tween exposure parameters for each metering mode independently from -1 to +1 EV in 1/6-stop increments. A Silent Shooting mode makes use of an electronic shutter function for completely silent performance that is ideal for photographing in noise-sensitive areas. When using this mode, up to 3 fps continuous shooting is available with autofocus and auto-exposure. Multi Frame NR records consecutive images at a reduced ISO sensitivity and then composites them into a single image to realize higher effective sensitivity with minimal image noise. Dynamic Range Optimizer (DRO) works to improve images featuring backlit subjects or scenes with high contrast where details can be lost in the shadows or highlights. This mode can be controlled automatically or fine-tuned using five settings. Auto HDR automatically records three sequential frames of an image and composites them into a single frame to realize greater shadow and highlight detail with an extended range of mid-tones. An advanced 1200-zone evaluative exposure metering sensor delivers consistent and accurate results using multi-segment, center-weighted, or spot metering modes. When working with ISO Auto settings, you can configure a minimum shutter speed setting to better ensure sharp imagery. Clear Image Zoom can be used to magnify the center of scenes by 2x to effectively extend the reach of any focal length lens. This digital zoom technology uses an intelligent interpolation process to minimize the amount of image degradation in order to produce realistic, high-quality images. Picture Effect: Posterization (Color, B/W), Pop Color, Retro Photo, Partial Color (R, G, B, Y), High Contrast Monochrome, Toy Camera, Soft High-key, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, and Illustration. Creative Style: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, and Sepia; contrast, saturation, and sharpness can be adjusted across +/- 3 steps. UPC: 027242895706 Sony E PZ 16-50mm f/3.5-5.6 OSS Lens An ideal companion for your compact, APS-C mirrorless camera, the E PZ 16-50mm f/3.5-5.6 OSS Lens from Sony offers a versatile equivalent zoom range of 24-75mm as well as a retractable design that makes your system much more manageable when not in use. Helping to deliver excellent optical quality throughout the range are an extra-low dispersion element and four aspherical elements to combat various aberrations and improve contrast. The lens also incorporates Optical SteadyShot image stabilization and a power zoom mechanism, both of which will help you capture smooth and steady stills and video. Additionally, it has an internal focus design, a minimum focus distance of 9.8″, and uses a seven-blade circular aperture for smooth bokeh. Designed for APS-C-format E-mount cameras, this 16-50mm lens will provide a versatile standard zoom range that is equivalent to 24-75mm. A variable aperture of f/3.5-5.6 helps keep the lens’ overall size and weight to a minimum. One extra-low dispersion glass element is featured in the lens design to help reduce chromatic aberrations and color fringing for improved clarity and color neutrality. Four aspherical elements are incorporated in the lens design to reduce astigmatism, field curvature, coma, and other monochromatic aberrations. Optical SteadyShot image stabilization helps to minimize the appearance of camera shake for sharper imagery when shooting handheld with slower shutter speeds. This stabilization system can also be combined with select camera’s sensor-shift type image stabilization for more effective control of camera blur. Enjoy smooth zooms ideal for shooting movies with the power zoom mechanism available in this lens. Due to a retractable design, this lens can be made to be extremely compact when not in use. An internal focus design contributes to fast autofocus speeds and the minimum focus distance of 9.8″. Rounded seven-blade diaphragm contributes to a pleasing bokeh quality when employing selective focus techniques.PRODUCT HIGHLIGHTS: 24.2MP APS-C Exmor CMOS Sensor XGA Tru-Finder 2.36m-Dot OLED EVF 3.0″ 921.6k-Dot Tilting Touchscreen LCD Internal UHD 4K Video & S-Log3 Gamma S&Q Motion in Full HD from 1-120 fps 5-Axis SteadyShot INSIDE Stabilization Built-In Wi-Fi with NFC 4D FOCUS with 425 Phase-Detect Points Up to 11 fps Shooting and ISO 51200 E 16-50mm f/3.5-5.6 OSS Lens. Brands Sony Product Code: SA6500MDCWL Reward Points: 400 Delievery Time: 3 To 5 Days

sony a6500 lcd screen quotation

I say surprising because although it sits below the Sony a6500 in the line-up and costs around $300 / £300 less, in many ways the newer a6400 is actually the better camera, and not just a little bit better either, it’s a LOT better!

In this comparison article I’m going to be taking a closer look at 15 key differences between the Sony a6400 and the a6500, and hopefully help you to decide which one is best for you.

I think it’s worth mentioning that the Sony a6400 was announced in January, 2019 and the Sony a6500 was announced in October, 2016. So the a6400 is the newest of these two cameras by quite some margin.

Both the a6400 and the a6500 feature a Sony APS-C Exmor CMOS sensor with approximately 24 megapixels, the BIONZ X image processor and a front-end LSI. Unfortunately Sony does not provide the exact specifications of their sensors or processors and often just mentions “new generation or newly developed” in their marketing literature.

The processor in the a6400 is capable of driving Sony’s real-time Eye AF and tracking, along with the new Animal Eye AF which the a6500 does not support. So we know that the processor in the a6400 has been improved dramatically over the one found in the older a6500.

Autofocus performance is one area where we start to see some very clear differences between the a6400 and a6500. These differences include the time taken to acquire focus, the number of phase and contrast detection points, as well as features like real-time eye AF, animal eye AF, and real-time tracking.

According to Sony the a6500 takes 0.05s to acquire autofocus, yet incredibly the a6400 requires just 0.02 seconds. Since I’m fortunate to own both of these cameras (although my a6500 will soon be sold), I can definitely attest to the improvement in AF performance that the a6400 delivers.

Both cameras have the same number of phase-detection points (425) that cover 84% of the image area and help to capture subjects more accurately no matter where they are positioned in the frame. When we look at the number of contrast detection points the a6400 beats the a6500 with 425 points vs 169 points.

Both cameras support Human Eye AF (images only), but only the a6400 supports real-time eye AF which works together with the shutter button. With the a6500 you need to press an additional button to enable eye AF. The a6400 also allows you to specify 3 different options: left eye tracking, right eye tracking, or auto. Eye AF is supported in both AF-S and AF-C modes but is not supported when shooting video.

The Sony a6500 does not support Animal Eye AF and Sony has not announced any plans to add this support via firmware update. Most likely the processor in the a6500 is simply too slow to support it. Whereas the a6400 has been designed with Animal Eye AF in mind from the ground up.

Another feature that the a6400 boasts that the a6500 doesn’t is Real-Time Tracking. With the real-time tracking function you can simply touch the monitor to activate Real-time Tracking for either stills or movies. The camera will instantly lock onto the target subject and keep it in constant focus. This is possible due to a newly developed subject recognition algorithm that processes spatial information based on color, subject distance (depth), pattern (brightness), and face and eye information at high speed in real-time.

The Sony a6500 has a native ISO range from a base ISO of 100 up to 25600, it’s also expandable to 51200. The a6400 trumps the a6500 here again with a native ISO range of 100-32000 which is also expandable up to ISO 102400.

In the following video from Jason Vong he mentions that the a6400 performs slightly better than the a6500 in low light between ISO 1600 and ISO 6400, but beyond this the a6500 appeared to have slightly sharper images with less noise reduction.

Both the a6400 and the a6500 use the same Sony NP-FW50 battery. However the processor in the a6400 has been improved considerably, not only is it faster but it’s also more power efficient. One of the simplest battery life tests is to see how long each camera will shoot 4k video before the battery is exhausted.

The a6500 will shoot 4k video for approximately 1 hour and 7 minutes before the battery is exhausted (you need to restart at 30 minute limit), whereas the a6400 will shoot 4k video for 1 hour and 22 minutes before the battery is exhausted, an improvement of around 15 minutes over the a6500.

However, not having IBIS in the a6400 is really not a big deal at all. A lot of lenses including the popular Sony E 18-135mm and 18-105mm all feature Optical Image Stabilization (OSS) built into the lenses themselves, therefore IBIS in the camera body is not required.

I mounted my Sony FE 100-400 OSS lens to both my a6400 without IBIS and my a6500 with IBIS to see if it made any difference, but even at 400mm I didn’t notice any significant improvement in stabilization with the a6500.

Both cameras also feature a touch sensitive 3-inch LCD screen with 921k dots of resolution. The a6400 touch screen is the most advanced as this also lets you trigger the shutter by touch and also control the new real-time tracking feature by touch.

Only the Sony a6400 will let you rotate the screen up 180° for selfies and vlogging. The a6500 only allows you to tilt the screen up by approximately 90 degrees and down by approximately 45 degrees.

With both cameras when using the mechanical shutter can you achieve the maximum speed of 11fps (Hi+), but at this setting you will lose live-view (you see the last picture taken instead of a live view of your scene) and will notice more blackouts on the EVF or LCD screen. When you select 8fps (Hi) then you get live-view and very short blackouts making it far easier to track subjects such as birds in flight.

If you switch to silent shooting mode by using the electronic shutter, then the a6400 yet again trumps the a6500 since it can shoot at 8fps, whereas the a6500 only supports 3fps.

The a6500 does win when it comes to the buffer size since it will shoot 233 extra fine JPGs or 107 raw files before the buffer is full. The a6400 will shoot 99 extra fine JPGs or 46 raw files before the buffer is full.

The Sony a6400 is the only camera that supports interval shooting (time-lapse) in the camera itself. If you want to create time-lapses with the a6500 then you will either need to purchase the Play Memories Time-Lapse App which costs around $10 or purchase an external intervalometer like the PIXEL FSK *.

Here’s the first time-lapse that I shot with the Sony a6400. I know it’s not the most exciting of time-lapses so hopefully I’ll be improving upon this very soon.

With the a6500 there is a video recording limit of 29:50 when the camera will stop recording and you’ll need to hit the record button again. Thankfully with the a6400 this limit has now been removed and you can record for as long as you like, or at least as long as your battery or memory card will last. The a6400 also gets improved autofocus performance for movie recording, touch to track, and as mentioned earlier the battery will last for around 15 minutes longer when shooting 4k video.

Overheating has also been improved with the a6400 and although in my own tests it did still overheat it lasted twice as long as my a6500 before the overheating war

sony a6500 lcd screen quotation

You Might Also Be Interested In