Why we shoot Sony

Every system we've tested comes back to the same shortlist of reasons Sony stays in the bag: a body small enough to move like one person, not a crew, and a sensor that keeps delivering usable footage well after the light most cameras need has gone.

That combination is what makes guerrilla-style shooting possible in the first place - ducking into a crowded alley, following a subject through a doorway, working a scene without a lighting rig to set up first. The gear has to disappear into the moment, not slow it down.

Low light is where it really separates itself. Dusk interiors, dimly lit workshops, a single window's worth of light - situations that would force most systems onto a tripod with a light kit still hold up handheld, in colour, with detail intact. For documentary work shot on the move, that's not a nice-to-have, it's the difference between getting the shot and not.