Sony A7V VS Canon R6III Photo Battle - Which Camera is Best?

Who's going to take better photos? Fay on the brand new Canon R six Mark III or me using the Sony A7 Mark 5. Why did we pick 120th for this? This is impossible. — Okay. Potential. — Oops. Almost formatted the card just then. — Okay. Get out of the car. — All right. On paper, these two cameras are rivals with their insane autofocus, AI technology, incredibly good inbody stabilization, and stupidly fast burst modes. So, what's a better way to test them than going head-to-head today? We've got Julia and Big Travy, my car, as the subjects, and we're going to see who can capture it best. But there's a catch. To make this a real photography challenge, we can only shoot at 120th of a second or slower to put the stabilization of these cameras to the test and see who's got more steady hands. — Let's flip a coin. — Okay, let's — heads or tails. — Um, I want heads. — You want head? She's holding a Sony and it is Tails. I'm going to go first. — I was hoping that I was going to go first cuz I feel like we have similar ideas. I promise I'm not going to copy his ideas. I've got some ideas up there. — Whatever I shoot, you can't copy. You're going to have something else. — You're only telling me that. No. I drank a can of energy drink before we started. So, you're shaking. — I'm shaking a little. — Like just a little bit. — I have surgeon level hands, so I should be fine. I think we're both going to get great shots today, honestly. I don't think the camera really matters to be honest. But it is nice for once to use a camera that can actually work with me, you know, like having a good camera that can do everything is like a good tool. So every time I do one of these videos, usually I'm using some piece of camera. So for once, it's actually so nice to use a camera that just works the way I want it to. So that's probably the nicest part about shooting today. I've got 30 minutes ready on the clock. Okay, start. — All right, I know this is a competition, but I I'm going to need you to drive the car for me since we're a small crew today. And Julia, what I'm going to get you to do is get into the passenger seat. And I kind of want to do a shot where you're leaning out the car. And what I've got actually is this as well. To do this shot, I also downloaded the app. Connects your phone to the camera that'll work as a sort of remote shutter. — That is so smart. Oh, I didn't think about that. Of course. — Remote shooting. Okay. Technology, don't let me down. Yes. And we're on. Look at that. On the phone. Okay, I'm ready. Oh, this is sick. So cool. Yeah, keep doing that, Y. That's perfect. Sweet. This is amazing. It just like autolocks on. Well done. Okay. Wow, that worked amazingly. Camera is still in one piece. How much time do I have left? How long did that take? — You still have exactly 20 minutes left. — Okay. Wow, that's great. Like one of those, especially when we go into the light here. — Yeah, that's sick. — When we're turning as well, was really cool. Sick. Okay, won't waste any more time. We'll get to the next shot. 50 to 150 is going to go on. I figured this lens is just so versatile for what we're shooting today. 16 to 35 is good for like that one shot, but that's all I really had in mind. All right, I'm just going to move the car down to this section. I'm sort of thinking of shooting through the window here of the car. Uh the only thing is her black pants sort of blend in with the ground there. I'm going to have to take advantage of the full 120th of a second here. And I might see if I can put it on high plus. Oops. Trying to do that. Nice and steady. The AI autofocus as well is just picking her up immediately, which is like so cool. Ah, the only thing is it's so overexposed in some parts. What about through the back window here? Maybe even might work better. I'm actually going to roll the car back a little bit. One second, you don't have a driver. Love manual cars for that. Okay, hold it there. Okay, nice time. — So, you've got 14 minutes left. You're halfway. — Can I get you to just drive down? I'm going to have to direct you from up here, though. So, what I'm thinking of doing is having the car like silhouetted. I might have to direct both of you at the same time. I want to see how that sort of shot looks. Yeah, this is going to look sick. I might try a side profile first, actually. Yeah, hold that there. This is impossible. Do you mind sitting on the ground and leaning on the number plate? Yeah, that's sick. Hold that there. I'm on a slow shutter. Oh, this is a hard lens to hold. What's nice is the roof line of the car is almost perfectly in line with the wall. Yeah, nice. Hold that. You don't have to look at me cuz you're like silhouetted, so you can look straight. Actually, that might work better. I'm going to get really low to the ground here. Hold that. That's kind of cool. The only problem is sick. — It's cool, right? I just don't like this thing here. So, I might try and bring this down. Or maybe we try to get on a level up cuz it's just so overexposed. But, it is a cool shot.

— It is. — So, one of the things I'm surprised about is that Mike's not using a tripod. I really thought he was going to use it, which makes me question if the photos are actually in focus. But, I will say I did hear him shoot in very high burst mode. And Mike once told me that if you shoot high burst in a lot of photos, the middle photo out of all of those photos is usually in focus. So, let's hope for the best, but also not because I want to have better photos. I also noticed that Mike's shooting a lot more wider shots. So, actually including the scenery of the garage in his photos, and I think it's because Mike shoots a lot more cars. And I feel like I've got the upper hand in that because I shoot a lot more models and cars. And it's also my sister, so we've shot a lot together. I feel like I've got an advanced chair. — Just go up one level. We'll meet you up there. Do you mind leaning on that white wall back there? — Head back a tiny bit. Yeah. Too much. Too much. — Yeah. Perfect. Hold it right there. It's definitely different to my usual kind of photos, but that's why I wanted your head like in the white. — You've got 4 minutes left. — Okay. We're going to spin this around. We're going to park it on the double lines here. And I'm going to stand from on that level down and shoot down. You got to sit a little bit over you. Just a tiny bit over this way. I have no idea. I'm just taking something before I run out of time. I think I've already got my shots. I just didn't want to make FA feel bad. — 1 minute. Okay, last shot. Stop it there. Yeah, we tried it again. You'll — I'm surely allowed to Photoshop these. — Three, two, one. — Okay, I'm done. That's it. Wow, that half an hour went by really quickly, but I got some really cool shots I'm actually pretty happy with. I don't really shoot that many portraits these days. Definitely more cars. And those kind of shots I just got were more like bit more atmospheric. They weren't really focused on the car or Ulia. They were kind of a mix of both. I was kind of shooting scenes which I really liked. I didn't even use a tripod. I forgot to use a tripod. That's how good the inbuilt stabilization is. Didn't even need a tripod. Who needs them? — Yeah, these ones. — These are sick. — I have a picture just like this on my vision board last year. — No way. — And it didn't happen, but now it did. So, — I wish we could have done it in like a tunnel cuz that would have been really cool. Kind of wish I shot it landscape though. This way would have been even cooler. So, — I guess with this uh with the shutter speed now it's less hard to pick the photo. — Yeah, exactly. So much easier this way. Yeah. Yeah, exactly. There's only going to be like a handful that are actually in. And then this one's probably my favorite actually. So, it's just a cool scene. — The one that's more about the car. — One that has more of Travy in it. The last one. This was kind of a throwaway. Like I This is what everyone shoots when they shoot a car with a model. It's kind of like, you know, I wanted to shoot something a little bit different. — Yeah, it's too easy. So, I probably won't use that one there. But the other three or four really good. So, nice work. — Well done. Great modeling. — All right, round two. — You're up. — Yep. — Cannon. — Well, you're I you did one idea that I really wanted to try, but I forgot that this is a How do you say that? Like a — a coupe. It's a coupe. And I don't have the tripod thing. So, I am not going to use your tripod, obviously. So, I've come up with some different ideas, but I'm kind of bummed because I really wanted to try that. — Yeah, — I've got maybe a couple ideas. The rest I'm just going to wing. freeball it. — Let's do it in three 2 1 30 minutes on the clock. — Okay. First things first, can you drive the car? — Yeah, sure. — Then I want to ask your opinion on something. So, I really want Julia to either hang out of the car or potentially sit here. — Oh, yeah. Maybe. So, I'm going to use my 24 to 105. It has three stabilization modes on this lens. It's a very heavy lens, so it's going to be hard to keep it steady, but because of this little handle here, I hope I can sort of keep it straight. I'm going to shoot at 1 over 15th of a second. Hold on tight. Eh, — they always make the dangerous stuff. I sprained my ankles for a video that — Yeah, true story. Sorry, not sorry. Yep. Ready? I'm going to try and spend a lot of time on this shot because if it works out, it would be really, really cool. and then move on to the next ideas. It's working. It's just my composition I need to change. I'm not getting her face in focus and I feel like a good padding shot, the main subject is in focus. Otherwise, it's just like blurry and artsy, but I don't that's not really my style. I'm going to do it one more time and then I feel like I should move on. — How much time do I have left? You have 20 minutes. — Okay. Okay, that's perfect. Let's move on. I reckon I got it. One of these is semi in focus. One of these as well. — I think I like it better when I'm looking away. But that's sick. It's in there for sure. — You reckon we should move on? — Yeah, I think so because I climbed out of the car all the way now. So — that's true. If you just keep driving forwards and backwards on this straight, — might be easier for me to just do laps. Now I forwards and backwards. Otherwise, I'm losing quite a bit of time. I think it'd be cool also if the car is driving in front of you.

— Let's do one more straight away. — Yeah. Hold that pose. Stay still. Okay. That was way too high. — Yeah. Go. — Yeah, it's working out. Let's do that again. I'm trying to get like you can see the movement of the cars, but it's actually really difficult. — That was some precision driving. I've never concentrated so much reversing. — First of all, we're in New Zealand, by the way. We're in a different country. This is AI generated and we're in a private facility where we have a permit to do this. you, Australian government. — You, can you get on the other side? Okay, get out of the car. — All right. — Oh, love that. Okay, I'm going to shoot really slow. You stay still. Your hair is moving. Love that. — Um, she's definitely stressing. I think that first shot would be really cool, actually. Definitely. Sometimes it's more difficult going second because you don't want to copy the other person. You want to be original and then half an hour is a long time for one location, but also it's not a lot. Especially if like one or two of your shots don't work and you get off to kind of a bad start. Then you start stressing and you start thinking about the time and it gets harder and harder. But I've got faith. She always pulls through. She's great at this. — Oh, okay. That looks pretty sick. We can also maybe bring this arm in. Let's try one more time and then I want to move on. Oh yeah. Yes. I love this. The wind was really cool when it happens. Yeah. Wind. Yes. Let's get to the darkest spot in this car park. And I feel like it might be over there. So, I'm going to use a red light just to add a pop of color. And I brought something I haven't actually properly used before. And it's a flash. And I feel like with slow shutter that's really cool, but it's kind of risky cuz I don't know it's going to work out. I'm going to aim it directly at Julia. Idea here is getting caught in the moment. Almost like paparazzi. Slow shutter. Okay. Potential. How much time do I have left? — 4 and 1/2 minutes. — You're looking around. Not even looking at the camera. You're just like sort of like as if you're getting caught like doing something, you know? Really love the red. Bit of a Dutch tilt. Slow shutter just adds to that almost like vintage feel. Really nice. I've got one other idea. What if you sort of stand like this and I'm going to shoot from here? Almost as if I'm in the trunk and you're like about to bury me or something like that. — Okay. — Oh, yep. Yep. Love that. Nice. Really nice. — Three. — Yeah. Let's go. Let's go. Last one. Yeah. Look at the camera. — You're done. This was like a shot in the dark cuz I literally was just shooting. I don't even know if it's going to work out. At some point, I start like twitching my camera. When I shoot it, I freeze the frame and by dragging it, then you get those like long exposure lines. But I have never done that before. — I like it. Ooh. — I hope one of some of these turned out the way I wanted. I love that your hair is like sort of moving. It's like out of focus. — Yep. — And then your eyes are fully in focus. It's like super grungy. — You heard the sound? I like it. That's a fresh camera. — You definitely shot more portraits, which I didn't really do. I shot like scenes. I tried to get more of the car and model, but like you were shooting a bit closer. I was shooting a bit further away. Nice work. Let's go look at each other's photos. Wait, this month we're giving away three Sony A75s. Attached to each one of the cameras is a Sony 7200 F/2. 8 M I G Master lens. And each one of these setups are also going to come with their own MacBook Pro. On top of that, if you win this month, each one of the three winners will also be flown to England to attend Goodwood Festival of Speed this year with me in July 2026. flights, accommodation, food, transport, tickets, everything is paid for if you win. Inside the Discord for our monthly photo competition, we have another 7200 F/2. 8G Master lens up for grabs for first place. Also, quick shout out to PT Photos from Brisbane who won last month's Discord photo competition with this awesome shot and he took home a Sony 100 mil macro G Master lens. Congratulations, Phil. Hope you're enjoying the new lens. If you want to know more details about how you can enter or how you can join the Discord, it's all linked in my description or you can head over to my website, northboarders. co. Thanks for supporting the channel. And back to the video. So, this is my first photo. That's sick. I love the edits. — I put some like yellow tint in the highlights. I feel like it looks very filmish, a bit old school, but I feel like I've got a better one. So, this one is a little bit blurry. Your face is not fully in focus, but this one is and it's my favorite from that set. — Yeah, you can look at it for a while. There's a lot happening. Thank you.

— I love it. It's like a movie. — And then this was mine with the suction mount. — That's sick. — Oh, that's a nice reaction. There's that one, too. — The other one has more wool factor. The first one I think. — Yeah, I agree. I think this with like the lighting cuz there's light just falling onto you on that window there. Whereas this is like more directed. — Only thing I would have changed is maybe the dirt on the ceiling. — Yeah. Well, that's why I cropped it out. I wish I shot it horizontal instead of vertical. But I kind of like it kind of grungy — at the same time. But this is probably my favorite one. — I like it. I like it a lot. — Well, we can show the ones that didn't work out so good. — Yeah. — Okay. — Yeah. — Is it like I love your expression. Your face is beautiful, but I feel like it's very flat. I feel like the background is very distracting. What do you think? I like it for my Instagram, but — I kind of had Well, not a similar shot, but this is sort of not really my favorite as well. I feel like you get lost a little bit. You're too far away. I don't really like the highlight to shadow as well. Like there's a lot of highlights coming from these windows here, which are overexposed. I just wanted to try this shot, but I kind of wish Yeah. I got you closer to the car. — M — Yeah, — you live and you learn, huh? — So, — ah yeah, that one is sick. One of my favorite ones in this set. I find it hard to choose because they're all very different from each other. — I feel like this one could be in a magazine like it would be a watchl — like a like an ad. — Thank you. Mike said it looks very high fashion. I love the little glow behind you and we use the light so it accentuates your eye just here like you get that little flare in your eye which I feel like adds a lot to the photo. And my bicep is huge. I just see that now. — And then this was my photo with the silhouette. Yeah, that's sick. — That's what I was trying to work with you before about — when I was like you were going to be silhouetted and I know you probably weren't really understanding in the moment what we were shooting but then that was like the final shot. — No, I love this. — Was this one of those scenarios you were like, "Oh, I don't know how this is going to turn out and then now you see it. " — But it turned out so great. Did you cropped the other space? — Yeah, above. Yeah, exactly. So, it's a lot more punched in. We're looking at the light falling over the car and yourself and creating a silhouette. — So, I'm really happy with it. But again, like it's full car and full body. So it's like it's a wider shot in that scenario like in that sense where FA has focused more on you whereas I've tried to like shoot a scene. — Yeah. You're more of a car photographer. — Yeah. Exactly. You can tell. — And then lastly — Yeah. Sick. — Yeah. This is definitely my favorite. — This one's cool, eh? I'm glad it worked out this way cuz it was a bit tricky. I only had like 5 minutes left and I never really done this before. — Great time to test the waters. a bit of a risk. I will say though, I literally went on Chad GBT before the photo shoot. I said, "I want to get this effect. How do I get it? " And Chad's like, "I got you. " And he wrote down everything I needed to do and this is the result. — Wow. So, using AI to help get your shots. — I mean, it works. It works. It works great. — I'm very happy with it. And just that the touch of red of the light in the corner adds like a glow to her face and her shirt as well because it looks like the tail lights reflecting on her, but it's actually the light that I added to it. — Gotcha. subtle point, but it actually helps a lot. — Yeah, I love it from a photographer point of view, but my face is very unsymmetrical. Asymmetrical. — Oh, I see what you mean. I wouldn't even noticed. — Oh, now the whole YouTube's going to notice. Yeah. — Well, you like this one because you can't even see your face this one. — Exactly. Yeah, it's really good. — This is actually one of my favorites just because it shows off the wheels. — I like all the signs as well. — And I do like the four windows as well. Your style is kind of shooting really dark, isn't it? — Yeah. — Sony shooter. — If you have to put — Sony vers cannon right here. I will say though, my photos are usually also quite dark. — Not as dark as mine. — True. You have to put up brightness for my photos. — I don't even think I can say if there's a winner because they're also so different. — Yeah, they're pretty diverse. Both all the shots. — They are really, really good. They're all ending up on my Instagram for sure. — Oh, yeah. — Let the people decide who won. Yeah, you can decide. Who do you think won it?