Sony a7R VI Underwater Full Review... Worth the Upgrade??? [VIDEO]

Featuring Logan Wood

Does Sony's latest high resolution hybrid camera live up to the hype? And is it any good for shooting underwater?

Logan Wood spent three weeks shooting the 66.8MP Sony a7R VI full-frame mirrorless camera in Yap, Micronesia at the 2026 MantaFest. Find out whether it fit the bill for everything from stills to video, macro to wide angle.

Readers can scroll down to view the article version of this video.
 

 

 

Sony a7R VI Underwater

I recently wrapped up about 50 dives shooting with the Sony a7R VI. I really put it through its paces shooting macro, wide angle, some black water dives, and a ton of video. So let's check out what I shot, talk a bit about the setup, where this camera really shines, who it's for, and whether it's worth the upgrade. 

Sigma 24-70mm Lens at 24mm • 1/60 • f/14 • ISO 250 © Logan Wood

The Setup

Since none of these shots would be possible without a proper underwater housing let's break down the setup I used for this shoot.

The Sony a7R VI lived inside the 200DL Underwater Housing for Sony a7R VI and I've actually been using this specific housing long before the a7R VI came out and that's because it's compatible with not only the previous a7R V but also the a7 IV and a7 V that I was just shooting a few months ago.

The new a7R VI just drops in the housing and it's good to go. I have access to all the important buttons and dials that I need when shooting underwater with a clear view of the camera from the back. The Ikelite housing supports a long list of Sony and third-party lenses, ports for a monitor, as well as a bulkhead for charging my camera while it's inside the housing. So this housing really accommodates everything that I need when I'm shooting underwater. 

For lenses I didn't stray too far from my go-to's but I did branch out a little bit. For wide angle I used the Sony 16-35mm F4 PZ and then I used the Sigma 24-70mm F2.8 Mark I for video as well as for when I'm not really quite sure what I'm going to find on a dive. A welcomed addition to the kit was the Sony 50mm F2.8 Macro which I used primarily on blackwater dives, and finally the Sony 100mm F2.8 Macro which replaced the older Sony 90mm Macro. So four lenses in total, a few extensions, plus the full-size dome, and the macro flat port. 

All of the lenses I used really played nicely together, they all use the same extensions just in different configurations so ultimately it makes a pretty streamlined workflow when I'm trying to switch things up. 

For lights I run the RC232 Fiber Optic Strobes. Two of those hooked up via fiber optic cables to the transmitter, either TTL or manual. For stills these strobes leave nothing on the table in terms of light output or recycle time and I've never had a problem with them keeping up. I also use the built-in video light for macro video either during the day or on blackwater dives. However if I was shooting wide angle video I did switch to a dedicated set of video lights.

Finally, I threw a five inch monitor on the back of the housing. This just made it so much easier to not only compose but get my camera to a low angle without bringing my entire body down with it. Sort of similar to how a 45-degree viewfinder works when you're shooting stills. The monitor also allows me to get closer to my subjects without my bubbles scaring them off.

Sony 100mm Macro Lens • 1/60 • f/16 • ISO 125 © Logan Wood

Underwater Performance

After all that setup let's talk about actually shooting the camera. The first feature to mention is the sensor which is bumped up to 67 megapixels in the a7R VI which is great but the feature that really makes the sensor stand out is that it's stacked. This allows for a much faster readout speed so you can get faster burst shooting and less rolling shutter. Rolling shutter doesn't usually come into play when you're shooting underwater but if you're like me, shooting a lot of topside as well, you know how bad rolling shutter can affect your images when you're panning with fast moving subjects like birds. The previous a7R V was pretty bad for rolling shutter so this is definitely a welcomed upgrade. Other than that there is a ton of dynamic range provided with this sensor. 

In sun ball shots, for example, I can pull down my highlights and still retain a ton of detail and overall it just provides a lot more latitude when editing photos. // Sigma 24-70mm Lens at 24mm • 1/160 • f/13 • ISO 320 © Logan Wood

Autofocus, as expected, is great. I keep the camera on AF-C and tracking focus areas almost exclusively and does a great job of locking on and tracking subjects. There isn't a dedicated fish autofocus detection mode but like the a7 V that I shot a few months ago it more often than not picks up on fish eyes if they're pretty obvious in the frame. So I usually leave the autofocus subject detection to either auto or animal/bird and it does a great job. 

The Sony a7R VI did a really decent job at subject detection on fish when their eyes were very apparent, like these clownfish. // Sigma 24-70mm Lens at 70mm • 1/160 • f/13. ISO 320 © Logan Wood 

I paired this camera with the Sony 100mm Macro lens a ton on this trip and I thought it did a respectable job of focusing at higher magnifications. Macro is always a challenge for autofocus systems so I tend to shoot a sequence of shots to make sure that I get the focus right on one of them. Then taking it a step further I found the autofocus did a great job on blackwater dives focusing on dark and translucent subjects.

Sony 50mm Macro Lens • 1/160 • f/16 • ISO 400 © Logan Wood 

On the video side of things is where the Sony a7R VI really sees some major improvements and starts teetering on the edge of being a phenomenal hybrid camera. It can shoot in 4k 60 frames per second with no crop which is perfect for shooting underwater and my go-to resolution and frame rate. It can also shoot in 4k 120 frames per second with no crop for super slow motion. And all the great autofocus features carry over from stills to video so there was no issue there. You can also shoot in 8k 30 frames per second which I did shoot a couple times but I don't find it super useful, but it's nice to have.

Overall I think that the video features of the a7R VI are what's separated from its predecessor. It's not that the video features stand out as being special on their own, you can find those features in a lot of other cameras, however they do create a really well-rounded system with the a7R VI. 

Sigma 24-70mm Lens at 24mm • 1/200 • f/14 • ISO 200 © Logan Wood 

And finally the very best feature of the new a7R VI is the new battery. This battery is by far the best of any mirrorless camera that I've shot. After about two dives I would consistently come back with at least 70% unless I was shooting a little bit more video. But I never once thought about my camera dying on me throughout the day especially with the USB-C bulkhead so I could charge up my camera between dives while it's still in the housing. The new batteries are a bit pricey but I'd still recommend picking up at least one extra. I traveled with just two for the entire trip about three or four weeks and I never once thought about my camera dying before I was able to put a new battery in and put another one on charge.  

Sony 100mm Macro Lens • 1/160 • f/14 • ISO 200 © Logan Wood

 

Is It Worth the Upgrade?

Alright, so who is this camera for and is it worth the upgrade? I'd say if you're already shooting the a7R V or the Sony a1 II there aren't a ton of reasons to justify the cost of upgrading unless you can sell your camera to offset the cost.

Now if you're shooting the older a7R III or a7R IV then yes I do believe that this is well worth the upgrade. And if you've got the a7 IV or a7 V inside an Ikelite housing and you want a little more resolution it's definitely worth the upgrade and you won't have to invest in the new housing because your current housing will support the a7R VI. 

That's my experience and a little review of shooting the Sony a7R VI. Whether you're watching this video a few months after the camera came out or a few years you can be confident that you're getting a camera that is extremely well rounded and will take some great photos and videos underwater. All the gear I used for this shoot are listed below.

If you need help setting up your underwater system for the Sony a7R VI or any camera shoot us an email to ikelite@ikelite.com.

 

Equipment Used

• Sony a7R VI Full Frame Mirrorless Camera
• Sony FE 16-35mm f/4 PZ
• Sigma Art 24-70mm f/2.8 DG OS HSM
• Sony FE 50mm f/2.8 Macro
• Sony FE 100mm f/2.8 Macro GM Lens
• 200DL Underwater Housing for Sony a7R VI, a7R V, a7 IV, a7 V # 71479-DLX
• RC232 Hybrid Strobe + Video Light # 40123
• Plus: Video Lights and Underwater Monitor

 

Additional Viewing

Sony a7R VI Underwater Extended Cut from Yap // 4K 67MP [VIDEO]

Sony a7R VI + RC232 Underwater in Truk Lagoon // AMAZING First Results

Sony a7R VI Underwater Housing Compatibility Update

Sony a7R VI Underwater FIRST RESULTS from Truk Lagoon // 200DL Housing [VIDEO]

Top 3 Best Lenses for Sony Full Frame Mirrorless Underwater [VIDEO]

Underwater Photographers' Paradise + Prizes?! Traveling to Yap, Micronesia for MantaFest [VIDEO]

 

 

Logan Wood is a published photographer, cinematographer, and Producer at Ikelite. Stemming from a great appreciation for the outdoors and living an active lifestyle, his work focuses on capturing and sharing the natural world through the latest technologies. When not in the studio, Logan can be found cruising on his bike, going to concerts, and researching where to go next. You can see more of his work at loganwood.net and on Instagram @jlowood