Image Quality

All of the sample images in this review were taken using the 24.2 megapixel Fine JPEG setting, which gives an average image size of around 7Mb.

At 24.2MP, the Sony A6300’s sensor resolution is almost identical to that of the A6000, but there are hidden new depths to the A6300’s hardware. By replacing the aluminium data transfer wire that surrounds each photosite on the sensor with a copper alternative has enabled Sony to achieve the same data transfer speed using thinner gauge wiring. This frees up space to enlarge the size of the photosites and increase their light sensitivity, in turn improving the sensor’s signal to noise ratio and reducing image noise. It’s the tech that explains how Sony was able to up the A6300’s maximum sensor sensitivity to ISO 51200.

This all translates to some seriously impressive image quality. We tested the Sony A6300 back to back with a Canon 1300D that was also being reviewed, and while these cameras occupy very different market segments, it clearly illustrated the advancements in APS-C image quality. Where Canon’s aging 18MP sensor struggles to produce acceptable low light image quality at ISO 3200, the A6300 generates impressively clean results at the same sensitivity with minimal grain and detail loss. At ISO 6400 there’s only a slight increase in noise and reduction in detail, making this sensitivity completely usable. Only at ISO 12800 does grain and detail smoothing become more severe, although it’s by no means unsightly. ISO 25600 is really the ceiling for acceptable image quality, such is the high level of grain, loss of detail and reduced dynamic range. ISO 51200 is best avoided due to the intrusive grain and colour speckling.

But dial things down to more sensible sensitivities and the A6300 records excellent dynamic range, especially when assisted by Sony’s Dynamic Range Optimisation. Good colour vibrancy adds extra visual appeal while maintaining accurate colour reproduction, though this of course can be adjusted to your own preference in the camera settings. Detail capture will depend quite a bit on your choice of lens, but our Vario-Tessar 16-70mm f/4 ZA OSS test glass certainly helped maximise the A6300’s potential to resolve a superb amount of detail. It is however worth noting that the A6300’s kit lens is the slightly less impressive 16-50mm f/3.5-5.6 OSS Power Zoom optic. You’d have to shell out a hefty £549/$748 over the kit price to spec an A6300 body with the 16-70mm lens.

It’s worth noting that unlike Alpha bodies such as the a7 II, the A6300 doesn’t incorporate sensor-shift stabilisation and instead relies on conventional lens-based optical stabilisation. But even if you don’t have an optically-stabilised lens fitted, upping the camera’s sensor sensitivity to compensate for camera shake isn’t a big deal thanks to the A6300’s respectable high ISO image quality.

Noise

The Sony A6300 has a standard sensitivity range of ISO 100 to 25600, expandable to ISO 51200. Auto ISO operates within an ISO 100-6400 range and has selectable upper and lower limits. Two levels of high ISO noise reduction can be selected – Normal, or Low – or the processing can be disabled.

JPEG	RAW
ISO 100 (100% Crop)	ISO 100 (100% Crop)
ISO 200 (100% Crop)	ISO 200 (100% Crop)
ISO 400 (100% Crop)	ISO 400 (100% Crop)
ISO 800 (100% Crop)	ISO 800 (100% Crop)
ISO 1600 (100% Crop)	ISO 1600 (100% Crop)
ISO 3200 (100% Crop)	ISO 3200 (100% Crop)
ISO 6400 (100% Crop)	ISO 6400 (100% Crop)
ISO 12800 (100% Crop)	ISO 12800 (100% Crop)
ISO 25600 (100% Crop)	ISO 25600 (100% Crop)
ISO 51200 (100% Crop)	ISO 51200 (100% Crop)

File Quality

Five quality settings are available: RAW, RAW+JPEG (Extra fine, Fine and Standard JPEG compression options), JPEG Extra fine, JPEG Fine and JPEG Standard. RAW files average around 24MB each, Extra Fine JPEGs roughly 15MB, Fine JPEGs are in the region of 7.5MB, and Standard quality JPEGs weigh in at approximately 4.5MB each.

24M Extra Fine (14.8Mb) (100% Crop)	24M Fine (7.5Mb) (100% Crop)
24M Standard (4.78Mb) (100% Crop)	24M RAW (23.8Mb) (100% Crop)

Flash

Five flash settings are available: Autoflash, Fill-flash, Slow Sync and Rear Sync, Wireless, and High speed synchronization (although this mode can only be used when an external flashgun is fitted).

With our 16-70mm lens fitted, the pop-up flash produced noticeable vignetting with the lens set to maximum wide angle when shooting a white surface from a distance of 1.5m. The flash is also too short when extended to prevent it casting an obvious lens shadow, making an external flashgun essential when shooting with wide or ultrawide lenses.

Flash Off - Wide Angle	Flash On - Wide Angle
Flash Off - Telephoto	Flash On - Telephoto

And here are a couple of portrait shots. A separate menu option controls whether or not red-eye reduction is active, but even without this enabled, the camera successfully avoided red-eye in our testing.

Flash On	Flash On (100% Crop)
Red-eye reduction	Red-eye reduction (100% Crop)

Night

This night-time scene was captured hand held at f/4, ISO 6400, with a 1/6-second exposure. The result is perfectly exposed with good detail and little image noise, although the stabilised test lens should also be credited for the lack of visible camera shake.

Night	Night (100% Crop)

Picture Effects

The A6300 contains 13 Picture Effects, some with additional sub options: Toy camera (normal, cool, warm, green, magenta), Pop color, Posterization (mono, colour), Retro photo, Soft high-key, Partial color (red, green, blue, yellow), High-contrast mono, Soft focus (low, mid, high), HDR painting (low, mid, high), Rich-tone mono, Miniature (top, middle horizontal, bottom, left, middle vertical, right), Watercolor, and Illustration (low, mid, high).

Off	Toy Camera
Pop Color	Posterization
Retro	Soft High-key
Partial Color (Red)	High Contrast Mono
Soft Focus	HDR Painting
Rich-tone Mono	Miniature
Watercolor	Illustration