Panasonic GF5 vs Sony A6500
The Panasonic Lumix DMC-GF5 and the Sony Alpha A6500 are two digital cameras that were officially introduced, respectively, in April 2012 and October 2016. Both the GF5 and the A6500 are mirrorless interchangeable lens cameras that are based on a Four Thirds (GF5) and an APS-C (A6500) sensor. The Panasonic has a resolution of 12 megapixels, whereas the Sony provides 24 MP.
Below is an overview of the main specs of the two cameras as a starting point for the comparison.
Going beyond this snapshot of core features and characteristics, what are the differences between the Panasonic Lumix DMC-GF5 and the Sony Alpha A6500? Which one should you buy? Read on to find out how these two cameras compare with respect to their body size, their imaging sensors, their shooting features, their input-output connections, and their reception by expert reviewers.
The side-by-side display below illustrates the physical size and weight of the Panasonic GF5 and the Sony A6500. The two cameras are presented according to their relative size. Three consecutive perspectives from the front, the top, and the back are available. All width, height and depth dimensions are rounded to the nearest millimeter.
The GF5 can be obtained in three different colors (black, red, white), while the A6500 is only available in black.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Sony A6500 is notably larger (11 percent) than the Panasonic GF5. Moreover, the A6500 is substantially heavier (70 percent) than the GF5. It is noteworthy in this context that the A6500 is splash and dust-proof, while the GF5 does not feature any corresponding weather-sealing.
The above size and weight comparisons are to some extent incomplete since they do not consider the interchangeable lenses that both of these cameras require. A larger imaging sensor will tend to go along with bigger and heavier lenses, although exceptions exist. You can compare the optics available for the two cameras in the Micro Four Thirds Lens Catalog (GF5) and the Sony E-Mount Lens Catalog (A6500). Mirrorless cameras, such as the two under consideration, have the additional advantage of having a short flange to focal plane distance, which makes it possible to mount many lenses from other systems onto the camera via adapters.
Concerning battery life, the GF5 gets 360 shots out of its DMW-BLE9 battery, while the A6500 can take 350 images on a single charge of its NP-FW50 power pack. The power pack in the A6500 can be charged via the USB port, which can be very convenient when travelling.
The following table provides a synthesis of the main physical specifications of the two cameras and other similar ones. If you would like to visualize and compare a different camera combination, you can navigate to the CAM-parator app and make your selection from a broad list of cameras there.
|1.||Panasonic GF5||108 mm||67 mm||37 mm||267 g||360||n||Apr 2012||499|
|2.||Sony A6500||120 mm||67 mm||53 mm||453 g||350||Y||Oct 2016||1,399|
|3.||Olympus E-PL3||110 mm||64 mm||37 mm||313 g||300||n||Jun 2011||599|
|4.||Olympus E-PM1||110 mm||64 mm||34 mm||265 g||330||n||Jun 2011||499|
|5.||Panasonic GX8||133 mm||78 mm||63 mm||487 g||330||Y||Jul 2015||1,199|
|6.||Panasonic G6||122 mm||85 mm||71 mm||390 g||340||n||Apr 2013||599|
|7.||Panasonic GF6||111 mm||65 mm||38 mm||323 g||340||n||Apr 2013||499|
|8.||Panasonic LX7||111 mm||68 mm||46 mm||298 g||330||n||Jul 2012||499|
|9.||Panasonic GF3||108 mm||67 mm||32 mm||264 g||300||n||Jun 2011||549|
|10.||Panasonic G10||124 mm||84 mm||74 mm||388 g||380||n||Mar 2010||499|
|11.||Panasonic G2||124 mm||84 mm||74 mm||428 g||360||n||Mar 2010||599|
|12.||Panasonic GF2||113 mm||68 mm||33 mm||310 g||300||n||Nov 2010||549|
|13.||Panasonic G1||124 mm||84 mm||45 mm||360 g||410||n||Sep 2008||599|
|14.||Sony A6600||120 mm||67 mm||69 mm||503 g||810||Y||Aug 2019||1,399|
|15.||Sony A6300||120 mm||67 mm||49 mm||404 g||400||Y||Feb 2016||999|
|16.||Sony A77||143 mm||104 mm||81 mm||732 g||470||Y||Aug 2011||1,399|
|17.||Sony NEX-7||120 mm||67 mm||43 mm||400 g||430||n||Aug 2011||1,349|
|Notes: Measurements and pricing do not include easily detachable parts, such as add-on or interchangeable lenses or optional viewfinders.|
Any camera decision will naturally be influenced heavily by the price. The retail prices at the time of the camera’s release place the model in the market relative to other models in the producer’s line-up and the competition. The GF5 was launched at a markedly lower price (by 64 percent) than the A6500, which puts it into a different market segment. Usually, retail prices stay at first close to the launch price, but after several months, discounts become available. Later in the product cycle and, in particular, when the replacement model is about to appear, further discounting and stock clearance sales often push the camera price considerably down. Then, after the new model is out, very good deals can frequently be found on the pre-owned market.
The size of the imaging sensor is a crucial determinant of image quality. A large sensor will tend to have larger individual pixels that provide better low-light sensitivity, wider dynamic range, and richer color-depth than smaller pixel-units in a sensor of the same technological generation. Moreover, a large sensor camera will give the photographer more control over depth-of-field in the image and, thus, the ability to better isolate a subject from the background. On the downside, larger sensors tend to be more expensive and lead to bigger and heavier cameras and lenses.
Of the two cameras under consideration, the Panasonic GF5 features a Four Thirds sensor and the Sony A6500 an APS-C sensor. The sensor area in the A6500 is 63 percent bigger. As a result of these sensor size differences, the cameras have a format factor of, respectively, 2.0 and 1.5. The sensor in the GF5 has a native 4:3 aspect ratio, while the one in the A6500 offers a 3:2 aspect.
Technology-wise, both cameras are equipped with CMOS (Complementary Metal–Oxide–Semiconductor) sensors.
With 24MP, the A6500 offers a higher resolution than the GF5 (12MP), but the A6500 has smaller individual pixels (pixel pitch of 3.91μm versus 4.33μm for the GF5). Yet, the A6500 is a much more recent model (by 4 years and 6 months) than the GF5, and its sensor will have benefitted from technological advances during this time that enhance the light gathering capacity of its pixel-units.
The resolution advantage of the Sony A6500 implies greater flexibility for cropping images or the possibility to print larger pictures. The maximum print size of the A6500 for good quality output (200 dots per inch) amounts to 30 x 20 inches or 76.2 x 50.8 cm, for very good quality (250 dpi) 24 x 16 inches or 61 x 40.6 cm, and for excellent quality (300 dpi) 20 x 13.3 inches or 50.8 x 33.9 cm. The corresponding values for the Panasonic GF5 are 20 x 15 inches or 50.8 x 38.1 cm for good quality, 16 x 12 inches or 40.6 x 30.5 cm for very good quality, and 13.3 x 10 inches or 33.9 x 25.4 cm for excellent quality prints.
The A6500 has on-sensor phase detect pixels, which results in fast and reliable autofocus acquisition even during live view operation.
The Panasonic Lumix DMC-GF5 has a native sensitivity range from ISO 160 to ISO 6400, which can be extended to ISO 160-12800. The corresponding ISO settings for the Sony Alpha A6500 are ISO 100 to ISO 25600, with the possibility to increase the ISO range to 100-51200.
Consistent information on actual sensor performance is available from DXO Mark for many cameras. This service determines an overall sensor rating, as well as sub-scores for low-light sensitivity ("DXO Sports"), dynamic range ("DXO Landscape"), and color depth ("DXO Portrait"). Of the two cameras under consideration, the A6500 offers substantially better image quality than the GF5 (overall score 24 points higher). The advantage is based on 3.1 bits higher color depth, 2.1 EV in additional dynamic range, and 1.2 stops in additional low light sensitivity. The following table provides an overview of the physical sensor characteristics, as well as the sensor quality measurements for a selection of comparators.
|1.||Panasonic GF5||Four Thirds||12.0||4000||3000||1080/60i||21.4||11.6||618||61|
|3.||Olympus E-PL3||Four Thirds||12.2||4032||3024||1080/60i||20.9||10.3||499||52|
|4.||Olympus E-PM1||Four Thirds||12.2||4032||3024||1080/60i||21.0||10.3||499||52|
|5.||Panasonic GX8||Four Thirds||20.2||5184||3888||4K/30p||23.5||12.6||806||75|
|6.||Panasonic G6||Four Thirds||15.9||4608||3456||1080/60p||21.3||11.5||639||61|
|7.||Panasonic GF6||Four Thirds||15.8||4592||3448||1080/60i||20.7||10.6||622||54|
|9.||Panasonic GF3||Four Thirds||12.0||4000||3000||1080/60i||20.6||10.0||458||49|
|10.||Panasonic G10||Four Thirds||12.0||4000||3000||720/30p||21.2||10.1||411||52|
|11.||Panasonic G2||Four Thirds||12.0||4000||3000||720/30p||21.2||10.3||493||53|
|12.||Panasonic GF2||Four Thirds||12.0||4000||3000||1080/60i||21.2||10.3||506||54|
|13.||Panasonic G1||Four Thirds||12.0||4000||3000||none||21.1||10.3||463||53|
Many modern cameras are not only capable of taking still images, but also of capturing video footage. Both cameras under consideration have a sensor with sufficiently fast read-out times for moving pictures, but the A6500 provides a better video resolution than the GF5. It can shoot movie footage at 4K/30p, while the Panasonic is limited to 1080/60i.
Apart from body and sensor, cameras can and do differ across a range of features. For example, the A6500 has an electronic viewfinder (2359k dots), which can be very helpful when shooting in bright sunlight. In contrast, the GF5 relies on live view and the rear LCD for framing. The following table reports on some other key feature differences and similarities of the Panasonic GF5, the Sony A6500, and comparable cameras.
|1.||Panasonic GF5||none||n||3.0 / 920||fixed||Y||1/4000s||4.0||Y||n|
|2.||Sony A6500||2359||n||3.0 / 922||tilting||Y||1/4000s||11.0||Y||Y|
|3.||Olympus E-PL3||optional||n||3.0 / 460||tilting||n||1/4000s||5.5||n||Y|
|4.||Olympus E-PM1||optional||n||3.0 / 460||fixed||n||1/4000s||5.5||n||Y|
|5.||Panasonic GX8||2360||n||3.0 / 1040||swivel||Y||1/8000s||10.0||n||Y|
|6.||Panasonic G6||1440||n||3.0 / 1036||swivel||Y||1/4000s||7.0||Y||n|
|7.||Panasonic GF6||none||n||3.0 / 1040||tilting||Y||1/4000s||4.2||Y||n|
|8.||Panasonic LX7||optional||n||3.0 / 920||fixed||n||1/4000s||11.0||Y||Y|
|9.||Panasonic GF3||none||n||3.0 / 460||fixed||Y||1/4000s||3.2||Y||n|
|10.||Panasonic G10||202||n||3.0 / 460||fixed||n||1/4000s||2.6||Y||n|
|11.||Panasonic G2||1440||n||3.0 / 460||swivel||Y||1/4000s||2.6||Y||n|
|12.||Panasonic GF2||optional||n||3.0 / 460||fixed||Y||1/4000s||2.6||Y||n|
|13.||Panasonic G1||1440||n||3.0 / 460||swivel||n||1/4000s||3.0||Y||n|
|14.||Sony A6600||2359||n||3.0 / 922||tilting||Y||1/4000s||11.0||n||Y|
|15.||Sony A6300||2359||n||3.0 / 922||tilting||n||1/4000s||11.0||Y||n|
|16.||Sony A77||2359||Y||3.0 / 921||full-flex||n||1/8000s||12.0||Y||Y|
|17.||Sony NEX-7||2359||n||3.0 / 921||tilting||n||1/4000s||10.0||Y||n|
One feature that differentiates the A6500 and the GF5 is in-body image stabilization (IBIS). The A6500 reduces the risk of handshake-induced blur with all attached lenses, while the GF5 offers no blur reduction with lenses that themselves do not provide optical image stabilization.
The reported shutter speed information refers to the use of the mechanical shutter. Yet, some cameras only have an electronic shutter, while others have an electronic shutter in addition to a mechanical one. In fact, the A6500 is one of those camera that have an additional electronic shutter, which makes completely silent shooting possible. However, this mode is less suitable for photographing moving objects (risk of rolling shutter) or shooting under artificial light sources (risk of flickering).
The GF5 writes its imaging data to SDXC cards, while the A6500 uses SDXC or Memory Stick PRO Duo cards. Both cameras can use UHS-I cards, which provide for Ultra High Speed data transfer of up to 104 MB/s.
For some imaging applications, the extent to which a camera can communicate with its environment can be an important aspect in the camera decision process. The table below provides an overview of the connectivity of the Panasonic Lumix DMC-GF5 and Sony Alpha A6500 and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
Mic / Speaker
|1.||Panasonic GF5||-||stereo / mono||-||-||mini||2.0||-||-||-|
|2.||Sony A6500||Y||stereo / mono||Y||-||micro||2.0||Y||Y||-|
|3.||Olympus E-PL3||Y||stereo / -||-||-||mini||2.0||-||-||-|
|4.||Olympus E-PM1||Y||stereo / mono||-||-||mini||2.0||-||-||-|
|5.||Panasonic GX8||Y||stereo / mono||Y||-||micro||2.0||Y||Y||-|
|6.||Panasonic G6||Y||stereo / mono||Y||-||mini||2.0||Y||Y||-|
|7.||Panasonic GF6||-||stereo / mono||-||-||mini||2.0||Y||Y||-|
|8.||Panasonic LX7||Y||stereo / mono||-||-||mini||2.0||-||-||-|
|9.||Panasonic GF3||-||stereo / mono||-||-||mini||2.0||-||-||-|
|10.||Panasonic G10||Y||mono / -||-||-||mini||2.0||-||-||-|
|11.||Panasonic G2||Y||stereo / mono||-||-||mini||2.0||-||-||-|
|12.||Panasonic GF2||Y||stereo / mono||-||-||mini||2.0||-||-||-|
|13.||Panasonic G1||Y||- / -||-||-||mini||2.0||-||-||-|
|14.||Sony A6600||Y||stereo / mono||Y||Y||YES||2.0||Y||Y||Y|
|15.||Sony A6300||Y||stereo / mono||Y||-||micro||2.0||Y||Y||-|
|16.||Sony A77||Y||stereo / mono||Y||-||mini||2.0||-||-||-|
|17.||Sony NEX-7||Y||stereo / mono||Y||-||mini||2.0||-||-||-|
It is notable that the A6500 offers wifi support, which can be a very convenient means to transfer image data to an off-camera location. In contrast, the GF5 does not provide wifi capability.
Both the GF5 and the A6500 have been discontinued, but can regularly be found used on eBay. The GF5 was replaced by the Panasonic GF6, while the A6500 was followed by the Sony A6600. Further information on the two cameras (e.g. user guides, manuals), as well as related accessories, can be found on the official Panasonic and Sony websites.
So what conclusions can be drawn? Which of the two cameras – the Panasonic GF5 or the Sony A6500 – has the upper hand? Is one clearly better than the other? Below is a summary of the relative strengths of each of the two contestants.
Reasons to prefer the Panasonic Lumix DMC-GF5:
- Less heavy: Is lighter (by 186g or 41 percent) and hence easier to carry around.
- More affordable: Was introduced into a lower priced category (64 percent cheaper at launch).
- More heavily discounted: Has been available for much longer (launched in April 2012).
Arguments in favor of the Sony Alpha A6500:
- More detail: Has more megapixels (24 vs 12MP), which boosts linear resolution by 44%.
- Better image quality: Scores substantially higher (24 points) in the DXO overall evaluation.
- Richer colors: Generates noticeably more natural colors (3.1 bits more color depth).
- More dynamic range: Captures a broader range of light and dark details (2.1 EV of extra DR).
- Better low-light sensitivity: Can shoot in dim conditions (1.2 stops ISO advantage).
- Better video: Provides higher definition movie capture (4K/30p vs 1080/60i).
- Better live-view autofocus: Features on-sensor phase-detection for more confident autofocus.
- Better sound: Can connect to an external microphone for higher quality sound recording.
- Easier framing: Has an electronic viewfinder for image composition and settings control.
- More flexible LCD: Has a tilting screen for odd-angle shots in landscape orientation.
- Faster burst: Shoots at higher frequency (11 vs 4 flaps/sec) to capture the decisive moment.
- Less disturbing: Has an electronic shutter option for completely silent shooting.
- Easier travel charging: Can be conveniently charged via its USB port.
- Better sealing: Is splash and dust sealed for shooting in inclement weather conditions.
- Sharper images: Has stabilization technology built-in to reduce the impact of hand-shake.
- Better lighting: Features a hotshoe and can thus hold and trigger an external flash gun.
- Easier file upload: Has wifi built in for automatic backup or image transfer to the web.
- Easier device pairing: Supports NFC for fast wireless image transfer over short distances.
- More modern: Reflects 4 years and 6 months of technical progress since the GF5 launch.
If the number of relative strengths (bullet points above) is taken as a guide, the A6500 is the clear winner of the contest (19 : 3 points). However, the relevance of individual strengths will vary across photographers, so that you might want to apply your own weighing scheme to the summary points when reflecting and deciding on a new camera. A professional wildlife photographer will view the differences between cameras in a way that diverges from the perspective of a family photog, and a person interested in architecture has distinct needs from a sports shooter. Hence, the decision which camera is best and worth buying is often a very personal one.
How about other alternatives? Do the specifications of the Panasonic GF5 and the Sony A6500 place the cameras among the top in their class? Find out in the latest Best Mirrorless Interchangeable Lens Camera listing whether the two cameras rank among the cream of the crop.
In any case, while the specs-based evaluation of cameras can be instructive in revealing their potential as photographic tools, it remains partial and cannot reveal, for example, the shooting experience and imaging performance when actually working with the GF5 or the A6500. At times, user reviews, such as those published at amazon, address these issues in a useful manner, but such feedback is on many occasions incomplete, inconsistent, and unreliable.
This is why expert reviews are important. The table below provides a synthesis of the camera assessments of some of the best known photo-gear review sites (amateurphotographer [AP], cameralabs [CL], digitalcameraworld [DCW], dpreview [DPR], ephotozine [EPZ], photographyblog [PB]). As can be seen, the professional reviewers agree in many cases on the quality of different cameras, but sometimes their assessments diverge, reinforcing the earlier point that a camera decision is often a very personal choice.
|1.||Panasonic GF5||3/5||..||..||..||4.5/5||4.5/5||Apr 2012||499|
|2.||Sony A6500||5/5||+ +||3.5/5||85/100||4.5/5||4.5/5||Oct 2016||1,399|
|3.||Olympus E-PL3||3/5||+ +||..||72/100||4.5/5||4/5||Jun 2011||599|
|4.||Olympus E-PM1||..||86/100||..||71/100||4.5/5||4.5/5||Jun 2011||499|
|5.||Panasonic GX8||5/5||+||..||82/100||4.5/5||4.5/5||Jul 2015||1,199|
|6.||Panasonic G6||4/5||+ +||..||..||5/5||4.5/5||Apr 2013||599|
|7.||Panasonic GF6||..||+ +||..||..||4.5/5||4.5/5||Apr 2013||499|
|8.||Panasonic LX7||3/5||+ +||..||75/100||4/5||4.5/5||Jul 2012||499|
|9.||Panasonic GF3||3/5||82/100||..||71/100||4.5/5||4/5||Jun 2011||549|
|10.||Panasonic G10||3/5||..||..||70/100||4/5||4/5||Mar 2010||499|
|11.||Panasonic G2||..||..||..||72/100||4/5||4.5/5||Mar 2010||599|
|12.||Panasonic GF2||3/5||82/100||..||70/100||4.5/5||4.5/5||Nov 2010||549|
|13.||Panasonic G1||..||+ +||..||70/100||4/5||4.5/5||Sep 2008||599|
|14.||Sony A6600||4/5||+||4/5||83/100||4.5/5||4/5||Aug 2019||1,399|
|15.||Sony A6300||4.5/5||+||..||85/100||5/5||5/5||Feb 2016||999|
|16.||Sony A77||5/5||91/100||..||81/100||..||5/5||Aug 2011||1,399|
|17.||Sony NEX-7||5/5||+ +||..||81/100||4.5/5||5/5||Aug 2011||1,349|
|Notes: (+ +) highly recommended; (+) recommended; (o) reviewed; (..) not available.|
Care should be taken when interpreting the review scores above, though. The ratings were established in reference to similarly priced cameras that were available in the market at the time of the review. Hence, a score should always be seen in the context of the camera's market launch date and its price, and comparing ratings of very distinct cameras or ones that are far apart in terms of their release date have little meaning. It should also be noted that some of the review sites have over time altered the way they render their verdicts.
Other camera comparisons
Did this review help to inform your camera decision process? In case you are interested in seeing how other cameras pair up, just make a corresponding selection in the search boxes below. Alternatively, you can follow any of the listed hyperlinks for comparisons that others found interesting.
- Canon M vs Panasonic GF5
- Fujifilm X-Pro2 vs Sony A6500
- Leica M Typ 262 vs Panasonic GF5
- Nikon A1000 vs Sony A6500
- Nikon D750 vs Panasonic GF5
- Panasonic FZ1000 II vs Sony A6500
- Panasonic GF5 vs Panasonic TZ90
- Panasonic GF5 vs Sony HX90V
- Panasonic GF5 vs Sony RX100 VI
- Panasonic L10 vs Sony A6500
- Samsung NX500 vs Sony A6500
- Sony A6500 vs Sony H200
Specifications: Panasonic GF5 vs Sony A6500
Below is a side-by-side comparison of the specs of the two cameras to facilitate a quick review of their differences and common features.
|Camera Model||Panasonic GF5||Sony A6500|
|Camera Type||Mirrorless system camera||Mirrorless system camera|
|Camera Lens||Micro Four Thirds lenses||Sony E mount lenses|
|Launch Date||April 2012||October 2016|
|Launch Price||USD 499||USD 1,399|
|Sensor Specs||Panasonic GF5||Sony A6500|
|Sensor Format||Four Thirds Sensor||APS-C Sensor|
|Sensor Size||17.3 x 13.0 mm||23.5 x 15.6 mm|
|Sensor Area||224.9 mm2||366.6 mm2|
|Sensor Diagonal||21.6 mm||28.2 mm|
|Sensor Resolution||12 Megapixels||24 Megapixels|
|Image Resolution||4000 x 3000 pixels||6000 x 4000 pixels|
|Pixel Pitch||4.33 μm||3.91 μm|
|Pixel Density||5.34 MP/cm2||6.55 MP/cm2|
|Moiré control||Anti-Alias filter||Anti-Alias filter|
|Movie Capability||1080/60i Video||4K/30p Video|
|ISO Setting||160 - 6,400 ISO||100 - 25,600 ISO|
|ISO Boost||160 - 12,800 ISO||100 - 51,200 ISO|
|Image Processor||Venus FHD||BIONZ X|
|DXO Sensor Quality (score)||61||85|
|DXO Color Depth (bits)||21.4||24.5|
|DXO Dynamic Range (EV)||11.6||13.7|
|DXO Low Light (ISO)||618||1405|
|Screen Specs||Panasonic GF5||Sony A6500|
|Viewfinder Type||no viewfinder||Electronic viewfinder|
|Viewfinder Field of View||100%|
|Viewfinder Resolution||2359k dots|
|LCD Framing||Live View||Live View|
|Rear LCD Size||3.0inch||3.0inch|
|LCD Resolution||920k dots||922k dots|
|LCD Attachment||Fixed screen||Tilting screen|
|Shooting Specs||Panasonic GF5||Sony A6500|
|Focus System||Contrast-detect AF||On-Sensor Phase-detect|
|Manual Focusing Aid||no Peaking Feature||Focus Peaking|
|Max Shutter Speed (mechanical)||1/4000s||1/4000s|
|Continuous Shooting||4 shutter flaps/s||11 shutter flaps/s|
|Electronic Shutter||no E-Shutter||YES|
|Image Stabilization||Lens stabilization only||In-body stabilization|
|Fill Flash||Built-in Flash||Built-in Flash|
|Storage Medium||SDXC cards||MS or SDXC cards|
|Second Storage Option||Single card slot||Single card slot|
|UHS card support||UHS-I||UHS-I|
|Connectivity Specs||Panasonic GF5||Sony A6500|
|External Flash||no Hotshoe||Hotshoe|
|USB Connector||USB 2.0||USB 2.0|
|HDMI Port||mini HDMI||micro HDMI|
|Microphone Port||no MIC socket||External MIC port|
|Wifi Support||no Wifi||Wifi built-in|
|Near-Field Communication||no NFC||NFC built-in|
|Body Specs||Panasonic GF5||Sony A6500|
|Environmental Sealing||not weather sealed||Weathersealed body|
|Battery Life (CIPA)||360 shots per charge||350 shots per charge|
|In-Camera Charging||no USB charging||USB charging|
108 x 67 x 37 mm
(4.3 x 2.6 x 1.5 in)
120 x 67 x 53 mm
(4.7 x 2.6 x 2.1 in)
|Camera Weight||267 g (9.4 oz)||453 g (16.0 oz)|
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