Sony ILCE-7RM2 – a7R II

      Photo Review 8.8
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      In summary

      The α7R II overtakes its predecessor to provide the highest-resolution currently available in the most compact camera body. It has also introduced more professional video functions that could make it more appealing to some professional photographers and serious enthusiasts.

      It’s designed for experienced photographers and its price tag dictates that most potential purchasers will be well-heeled enthusiasts and professional photographers. Most will be seeking the advantages the new sensor can provide for high-resolution stills photography and professional standard video capabilities. The body needs high-quality lenses that can support such high resolution.

      As well as seeking the benefits of smaller and lighter cameras, buyers of the α7 cameras will be looking for technological advancements that have been lagging in DSLR cameras to date. Sophisticated electronic viewfinders are much easier to use when recording video than DSLR monitors, no matter how high their resolution.

      On the downside, Sony’s menu system is complex and our  review camera’s battery capabilities – although average for a mirrorless camera – provided only 340 shots/charge when using the LCD  monitor and 290 shots with the EVF, which is a lot less than most entry-level DSLRs.

      On paper, the new camera’s AF system is competitive with the best systems in current DSLRs and the body-integrated stabilisation system enables the cameras to be fitted with smaller and lighter lenses and covers all angles of view from ultra-wide to extended telephoto. Sony is gradually building up a portfolio of ‘FE’ lenses for its full frame E-mount cameras.

      When this review was published there were 12 native FE lenses: five primes and seven zooms. Additional lenses are available from third-party manufacturers like Zeiss and Voigtlø¤nder.  Sony has announced plans to increase the line-up to more than 20 different models during 2016.

       

       

      Full review

      Announced in June 2015, the α7R Mark II introduces the first 36 x 24 mm,  back-illuminated CMOS sensor and is Sony’s highest resolution E-mount camera to date. With a resolution of 42.4-megapixels, it’s a step up from the 36 megapixels in the original α7R, which we reviewed in July 2014. The back-illuminated sensor provides better low light shooting and supports extended sensitivities up to ISO 102,400. The sensor also carries an array of 399 embedded phase-detection AF points, which provide the widest coverage for focus detection to date.
       

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       Angled view of the α7R Mark II with the FE 35mm f/1.4 lens. (Source: Sony.)

      Externally, aside from a slightly deeper grip and repositioned shutter button, there’s not much difference between the Mark I and Mark II bodies which, themselves, are very similar to the other members of Sony’s α7 family, which now numbers six models. While not the most expensive model (that honour goes to the 12.2-megapixel α7S Mark II), the α7R II is the flagship model in the line-up, mainly because of its sensor.

      The review camera was supplied with the recently-released FE 28mm f/2.0 lens, which somewhat limited the range of shots we could take. While the fast maximum aperture provided by this lens allowed us to explore the α7R II’s low light capabilities, the fixed focal length provided no scope for evaluating image stabilisation and we were unable to assess general handling with a range of lenses.

      Who’s it For?
       Like its predecessor, the α7R II is designed for experienced photographers and its price tag dictates that most potential purchasers will be well-heeled enthusiasts and professional photographers. Most will be seeking the advantages the new sensor can provide for high-resolution stills photography and professional standard video capabilities. But you’ll need high-quality lenses that can support such high resolution.

      As well as seeking the benefits of smaller and lighter cameras, buyers of the α7 cameras will be looking for technological advancements that have been lagging in DSLR cameras to date. Sophisticated electronic viewfinders are much easier to use when recording video than DSLR monitors, no matter how high their resolution. But be warned: Sony’s menu system is complex and will take time to get used to.

      On paper, the new camera’s AF system is competitive with the best systems in current DSLRs and the body-integrated stabilisation system enables the cameras to be fitted with smaller and lighter lenses and covers all angles of view from ultra-wide to extended telephoto. Sony is gradually building up a portfolio of ‘FE’ lenses for its full frame E-mount cameras.

      When this review was published there were 12 native FE lenses: five primes and seven zooms. Additional lenses are available from third-party manufacturers like Zeiss and Voigtlø¤nder.  Sony has announced plans to increase the line-up to more than 20 different models during 2016.

      Build and Ergonomics
       Both build and ergonomic design are in line with other α7 cameras we’ve reviewed and both are at levels appropriate to the α7R II’s price tag. Produced in the Sony factory in Ayutthaya, Thailand, the α7R II has a rigid magnesium alloy chassis that is light and durable.

      A textured cladding on the re-designed grip and the relocated shutter button make it more comfortable to use than its predecessor. Further functionality improvements have been introduced through a locking mode dial and an expanded range of customisable functions and buttons.

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       Front view of the α7R II with no lens fitted. (Source: Sony.)
       

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       Back view of the α7R II. (Source: Sony.)

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      Angled back view of the α7R II showing the tilting monitor screen. (Source: Sony.)

       

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       Top view of the α7R II with no lens fitted. (Source: Sony.)

      Physically, the new camera is slightly taller and deeper (thicker) than previous α7 cameras and   ergonomically it’s something of a ‘mixed bag’. Despite having a more comfortable grip, the size and placement of the control buttons and dials make this camera more suitable for users with smaller hands and fingers. Yet the depth of the grip could be too great for such users. We found it quite comfortable to hold with average sized hands but the buttons and dials were a bit too small and the rear dial in particular was recessed too far into the camera body to be readily adjustable.

      What’s New?
      1. The α7R II’s 42.4-megapixel back-illuminated CMOS sensor is the most advanced and highest resolution ‘full-frame’ sensor Sony has ever created. We’ll cover it in detail in the next section of this review.

      2. The sensor carries an array of 399 focal-plane phase-detection AF points, which work with 25 contrast AF points to achieve 40% faster focusing than the α7R. An advanced motion-detection algorithm uses data from these arrays to support continuous shooting with AF tracking and frame rates of up to 5 frames/second (fps). The AF system is compatible with Sony A-mount lenses when mounted via an LA-EA3 or LA-EA1 mount adapter.  

      3. A new more durable shutter mechanism reduces vibration shutter by 50% compared with the shutter on the α7R. It is rated for approximately 500,000 shots per cycle, as befits a professional camera.

      4. The addition of an electronic first-curtain shutter mode and ability to use only the electronic shutter enables the camera to be set to Silent Shooting mode, which minimises shutter noise, sensor vibration and movement.

      5. The camera’s 5-axis image stabilisation system has been fine-tuned to support the sensor’s high resolution and continuous shooting capabilities. Correction is provided for angular shake (pitch and yaw), shift shake (X and Y axes) and rotational shake (roll) to provide correction equivalent to approximately 4.5 stops. The system also works with Sony α lenses with optical SteadyShot (OSS) and its effects can be previewed on the LCD monitor or in the OLED viewfinder.

      6. The upgraded XGA OLED Tru-Finder has a resolution of 2,359,296 dots and covers the full image frame. It includes a double-sided aspherical lens that delivers a high magnification  of 0.78x and also features ZEISS  T* Coating to suppress unwanted reflections.

      7. Video capabilities have also been upgraded to include the ability to record movies in 4K quality (QFHD 3840×2160) in either Super 35mm crop mode or full-frame mode. In Super 35mm mode, the camera collects information from approximately 1.8x as many pixels as regular 4K by using full pixel readout without pixel binning. The resulting data is  oversampled to produce 4K movies with minimal moirø© and ‘jaggies’. Recording in the advanced XAVC S  codec, movies are captured at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting. An SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording and UHS Speed Class 3 is required for recording at 100 Mbps

      8. The α7R II includes such professional video functions as Picture Profile, S-Log2 Gamma and S-Gamut, 120 fps high frame rate movie shooting in HD (720p), time coding and the ability to output clean HDMI footage to external recorders.

      9. On 19 October, Sony released a firmware update that adds uncompressed 14-Bit RAW image capture to the α7R II. This feature is now selectable (uncompressed/compressed RAW) within the menu system.

      Like previous α7 cameras, the α7R II’s battery can be charged in the camera via the supplied USB cable. Users can also shoot and playback images while the camera is connected to a mains power supply via the supplied AC adaptor  and micro USB cable.  Depending on the camera and battery temperature, the continuous recording time may be  reduced in this configuration.
       
      Sensor and Image Processing
       As noted above, the sensor in the α7R II is the first 36 x 24 mm back-illuminated CMOS sensor and the largest of its type to emerge from Sony’s foundries. Equipped with 43.6 million photosites, it supports an effective resolution of 42.4 megapixels, positioning the camera squarely between the 50.6-megapixel  Canon EOS 5DS R and the 36.3 megapixel Nikon D810.

      BSI (backside illuminated) sensors place the wiring behind the photodiodes, improving the chance of an incoming  photon  being captured from about 60% to over 90%, compared with traditional front-illuminated sensors. The greatest difference is realised when the pixel size is small, which is why BSI sensors are more common in high-resolution cameras.

      These sensors are also more sensitive in low light than traditional CMOS chips and their structure supports faster data readout, making them ideal for high-frame-rate video and fast continuous stills shooting. The α7R II’s sensor combines a gapless on-chip microlens design with an anti-reflective coating on the surface of its glass seal to optimise light collection efficiency. This allows it to use higher ISO settings (up to ISO 102400 for stills) than the α7R.

      The back-illuminated structure includes an expanded circuit scale and copper wiring design that enables faster transmission of image data. Sony claims it is approximately 3.5x faster than the original α7R, enabling it to support continuous shooting at five frames/second  (fps) compared with four fps in the α7R.

      Like the α7R, the sensor lacks an optical low-pass filter, although Sony includes moirø© suppression in its JPEG processing.   However, the new camera has on-chip phase-detection AF sensors embedded in the surface of the chip. These weren’t provided on the α7R’s sensor.

      Both cameras have the same BIONZ X image processor, which delivers 16-bit processing and 14-bit ARW.RAW files. Both cameras also enable users to choose between ‘full frame’ and APS-C sizes for image capture and select between 3:2 and 16:9 aspect ratios  with three image sizes available for each.

      Three compression ratios are available for JPEG files and ARW.RAW files can be recorded with or without a JPEG. When recording raw files, the maximum image size is selected automatically for both raw and associated JPEG files. A recent firmware update has added uncompressed 14-bit ARW.RAW image capture to the α7R II’s capabilities, bringing it into line with the high-end cameras in Canon’s and Nikon’s line-ups.

      Sony’s Sweep Panorama function is supported with image sizes depending on the panorama direction setting. Interestingly they are the same as in the α7R. Typical file sizes are shown in the table below.

      Frame size / Aspect ratio

      Pixels

      File size

      Raw

      JPEG Extra-fine

      JPEG Fine

      JPEG Standard

      Full frame / 3:2

      7952 x 5304

      45.5MB

      29.2MB

      15.0MB

      10.2MB

      5168 x 3448

      n.a.

      14.1MB

      7.8MB

      5.4MB

      3984 x 2656

      9.7MB

      5.6MB

      4.1MB

      Full frame / 16:9

      7952 x 4472

       

      25.0MB

      13.0MB

      8.9MB

      5168 x 2912

      n.a.

      12.3MB

      6.9MB

      4.9MB

      3984 x 2240

      8.5MB

      5.1MB

      3.8MB

      APS-C / 3:2

      5168 x 3448  

       

      12.9MB

      6.9MB

      4.8MB

      3984 x 2656

       

      8.8MB

      5.0MB

      3.6MB

      2592 x 1728

       

      4.7MB

      2.9MB

      2.3MB

      APS-C / 16:9

      5168 x 2912  

       

      11.2MB

      6.2MB

      4.4MB

      3984 x 2240

       

      7.8MB

      4.6MB

      3.4MB

      2592 x 1456

       

      3.2MB

      1.8MB

      1.2MB

      Sweep Panorama horizontal

      8192 x 1856

      n.a.

      8.4MB

      12416 x 1856

      12.3MB

      Sweep Panorama vertical

      3872 x 2160

      5.5MB

      5536 x 2160

      7.0MB

      Like other α7 cameras, the α7R II has limited battery capacity, with a CIPA rating of only 290 shots/charge (or 340 if you use the monitor to frame shots). This is about half the capacity of a typical entry-level DSLR.

      However, the review camera was supplied with two batteries plus the BC-VW1 charger unit and these items are listed in the camera’s instruction manual. This is a significant improvement on the kit provided with the α7R, which contained only one battery and an AC adaptor, which was needed to charge the battery in the camera via a micro USB cable.

      Video
       Movie mode is selected via the mode dial and recording is begun and ended by pressing the red button on the upper right hand side of the intersection between the side and rear panels. Being just under the strap loop, it’s not the most convenient position and there’s a risk that noises made by the strap loop can be picked up in movie soundtracks. (You can assign the start/stop movie recording function to a different key to overcome this problem.)

      Recording movies in the normal ‘full frame’ mode uses the entire pixel array on the sensor. Downsampling is required to produce 4K clips at the maximum resolution of 3840 x 2160 pixels/frame. We didn’t notice artefacts like moirø© and aliasing in the footage we recorded, although Sony makes no claims of eliminating them.

      The α7R II also includes a Super 35mm Equivalent crop function that is designed for use when APS-C lenses   are fitted via an adapter. Without a suitable lens, we couldn’t test this feature but believe it delivers a 3840 x 2160 pixel (4K) video frame downsampled from a 15-megapixel (5K) area in the centre of the frame. No line skipping or binning is involved in producing the footage, which is said to be free of rolling shutter effects.

      Photographers can choose from three movie recording formats: XAVC S, AVCHD and MP4. XAVC S was first introduced in the α7s camera (which we haven’t reviewed) and also available on the α7 II, although we weren’t able to test it. It’s the file format used by the α7R II for K4 movie recording, which is a step up from the capabilities of the α7 II.

      XAVC-S has been derived from Sony’s professional XAVC system, which was introduced late in 2012 to support higher resolutions (up to 4K at 4096 x 2160  pixels) and frame rates. The α7R II provides two recording options in this format, along with Full HD 1080-pixel settings in the AVCHD format and Full HD and HD (720p) in the MP4 format.

      You need an SDXC card with a capacity of 64GB or  higher to record 4K movie clips and a UHS Speed Class 3 card is required for the highest resolution. We used a Lexar Professional SDXC UHS-II card with a 2000x speed rating and the ability to record at 300MB/second for our recording tests.

      The table below shows the options available for movie recording in PAL format countries.

      Movie format

      Resolution

      Record setting

      Bit-rate

      XAVC S 4K

      3840 x 2160

      25p 100M

      Approx. 100Mbps

      25p 60M

      Approx. 60Mbps

      XAVC S HD

      1920 x 1080

      50p 50M

      Approx. 50Mbps

      25p 50M

      100p 50M

      AVCHD

      FX

      1920 x 1080

      50i 24M

      Approx. 24Mbps

      FH

      50i 17M

      Approx. 17Mbps

      PS

      50p 28M

      Approx. 28Mbps

      FX

      25p 24M

      Approx. 24Mbps

      FH

      25p 17M

      Approx. 17Mbps

      MP4

      1920 x 1080

      50p 28M

      Approx. 28Mbps

      25p 16M

      Approx. 16Mbps

      1280 x 720

      25p 6M

      Approx. 6Mbps

      The P, A, S and M shooting modes can be used for recording movie clips, giving photographers plenty of control over exposure levels. Note, these are the only modes that support 120p or100p recording.

      With camera’s default settings, continuous shooting is possible for approximately 29 minutes at normal temperatures.  The maximum file size for AVCHD movies is 2GB, while MP4 movie recording will stop when the file size reached 4GB.

      The camera will become quite warm during extended movie clip recordings, particularly if you use the highest resolution settings which require a lot of power. If the temperature rises above a certain point (which isn’t specified), the camera may turn off automatically.

      The Dual Video REC mode in the Camera Settings menu lets users simultaneously record an XAVC S movie and an MP4 movie, or an AVCHD movie and an MP4 movie. When played back in the Date View mode, both clips will be played back side-by-side.

      Sony has added a range of functions to support a professional video workflow. Picture Profile lets users adjust and save parameters for selecting basic contrast and colour tone, adjusting gradation (darkness-brightness) and colouring and emphasising image edges.

      Users can also select from three AF drive speeds ( Fast, Normal and Slow) and High or Normal tracking sensitivity. The Auto Slow Shutter function (which reduces the shutter speed in low light conditions) is also available. Wind noise suppression can be switched on or off and silent recording is also supported.

      Two settings are provided for Audio Out Timing, which selects echo cancellation during audio monitoring to prevent undesirable deviations between video and audio during HDMI output. The default Live mode outputs audio without delay, while the Lip Sync mode delivers   audio and video in sync.

      Multiple combinations of settings can be stored in the internal memory as PP1, PP2, PP3, etc for subsequent use or users can select from a range of pre-sets. These include the standard ITU709 gamma and colour tone settings, Cine1 and Cine 2 gamma and several versions of the S-Log gamma (which preserves highlight and shadow information for colour-grading in post production).

      Because Picture Profile processes video signals before compressing, it changes the gamma curve and corrects colours before image quality is damaged by compression. This allows for highly precise image adjustments while keeping the quality of the subject intact.

      Other functions supported include a 120 fps high frame rate movie mode, which records with HD (720p) resolution and is useful for motion analysis and slow-motion recordings. Time coding is also available and users can connect a 4K-compatible external recording/playback device  to the camera via the HDMI interface to record ‘clean’ output without recording on the camera’s memory card.

      Wi-Fi and NFC
       Both functions are similar to those on the α7R  and both require the free PlayMemories Mobile app to be installed on the smart device to which the camera will be connected. As with the α7R, the camera can transfer both JPEG images and MP4 movie clips but not AVCHD and XAVC S movie clips. ARW.RAW files can’t be transferred, either.

      The tap-to-transfer function only works with Android devices but it’s simple, straightforward and many photographers will find it useful. Once it’s been set up, tapping the phone against the camera will transfer the last image recorded across for quick and easy sharing.

      The PlayMemories Mobile app lets you choose whether to downsample images to be transferred to 2-megapixel or VGA size. The original 42-megapixel files are too large for online use and take about 10 seconds to copy via Wi-Fi so it makes sense to select one of the smaller file sizes.

      If you want to control  aperture, shutter speed and ISO settings from a smart device or set the AF point via touch control you’ll need to download and install the Smart Remote app from Sony’s website. This is one of a number of apps that can extend the capabilities of the camera. Some free, while others require payment, usually less than US$10.  
       
      Performance
      Using the FE 28mm f/2 lens supplied with the review camera we obtained images that were highly detailed with a natural colour balance when shooting in the default Standard Creative Style mode. Unlike the α7R, which produced rather contrasty images with the default settings, the review camera appeared to be tuned to deliver a good balance between highlights and shadows, which meant even JPEGs recorded in contrasty lighting had a good chance of containing a full tonal range.

      Straight from the camera images also appeared to be sharper than those from the α7R, probably through a combination of higher sensor resolution and improved processing algorithms. Imatest showed saturation to be well controlled and similar to the α7R’s but closer to natural saturation levels.

      We had to update the firmware in the review camera in order to access the uncompressed raw capabilities it added before embarking on our Imatest tests. Initially we tried converting ARW.RAW files from the camera with Adobe Camera Raw, our preferred raw file converter.

      But, upon discovering the end results weren’t up to our expectations we swapped to Capture One Express for Sony, which is a free download bundled with the camera. The resulting 16-bit TIFF files delivered the resolution we expected from this camera so we have used them as the basis of our assessments.

      Imatest showed the camera-plus-lens combination was not quite capable of meeting expectations for JPEG files but just up to standard with raw files. This is no mean feat for a camera with 42.2-megapixel resolution and a modestly-priced lens.

      Resolution remained high for both file types across the camera’s sensitivity range, with only the highest settings (ISO 6400   and above), showing a gradual falling off. The graph below shows the results of our Imatest tests.

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      Low light performance was outstanding. Plenty of detail was captured in 30-second exposures at ISO 50 and ISO 100 and colours were natural-looking right up to ISO 51200. Noise was barely visible at ISO 6400 and only just discernible at ISO 12800.

      From that point, images became progressively more granular although, interestingly, there was very little loss of colour at the highest sensitivity setting, which in our tests was ISO 65535. We can’t explain why we were unable to reach the claimed maximum sensitivity of ISO 102400 because stopping down failed to achieve it.

      The camera’s AF system performed flawlessly after dark and we experienced no incidence of hunting, even when shooting in very low light levels with very little to lock onto. The new camera is noticeably better than its predecessor in this respect.

      Exposure metering is also very good, both in brilliant summer sunshine and after dark. Exposures were also consistent across a very wide brightness range. The auto DRO (dynamic range optimiser) setting (which is engaged by default) did a superb job of balancing highlights and shadows and consistently delivered usable shots in all types of lighting.

      White balance performance was similar to the α7R’s and generally very good. The auto setting delivered almost neutral colour rendition under fluorescent lighting and removed most of the warm cast imparted by incandescent lights. Both presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement produced neutral colour rendition.

      Having access to a Lexar Professional SDXC UHS-II card with a speed rating of 2000x (300 MB/second) enabled us to test 4K movie recording for the first time in a Sony camera and the results were, in a word, superb. The camera became quite warm while recording 4K movies for more than a couple of minutes, which is something to watch out for on hot, sunny days.

      Movie clips recorded in the AVCHD and MP4 formats were also nice and clean, with plenty of detail captured and natural-looking colours. There was a slight tendency towards blown-out highlights and blocked up shadows, although neither was as obvious as we’ve seen from other cameras we’ve reviewed.

      Autofocusing while recording movie clips was noticeably faster and more accurate than we found with the α7R. Soundtrack quality was similar in both cameras.

      Our timing tests were carried out with the same 64GB Lexar Professional SDXC UHS-II card as we used for recording 4K movies, which claims a transfer speed of 300 MB/second. The review camera took around 1.5 seconds to power-up ready for the first shot.

      Average capture lag was 0.2 seconds, which was eliminated by pre-focusing. Shot-to-shot times averaged 0.8 seconds. Processing times were faster than those we measured for the original α7R. On average, it took 3.5 seconds to process each Large/Super Fine JPEG and also for each compressed ARW.RAW file and RAW+JPEG pair. With uncompressed ARW.RAW files, processing times were 4.9 seconds for single raw files and 5.2 seconds for each RAW+JPEG pair.

      In the Continuous High shooting mode, the camera could record a burst of 25 Large/Super Fine JPEGs in 4.8 seconds before slowing. It took 23.2 seconds to process this burst. With compressed ARW.RAW files, the buffer filled at 23 frames. Processing them took 22.7 seconds. Ten uncompressed ARW.RAW files filled the buffer memory, which took 21.3 seconds to clear.

      With RAW+JPEG pairs, the buffer memory filled after 11 frames regardless of whether the raw files were compressed. In each case, the burst was recorded in 1.7 seconds and burst containing the compressed raw files took 22.7 seconds to process, while the one with uncompressed raw files took 25.3 seconds.

      Burst speeds were consistently slightly faster than five frames/second. The camera also includes a Continuous Low shooting mode, which is rated at 2.5 fps. We didn’t test it but assume it would be similar to the α7R.

      Conclusion
       The α7R II overtakes its predecessor to provide the highest-resolution currently available in the most compact camera body. It has also introduced more professional video functions that could make it more appealing to some professional photographers and serious enthusiasts.

      However, battery capacity remains problematic, even though the review camera’s capabilities are average for a mirrorless camera. But at only 340 shots/charge when using the LCD  monitor and 290 shots with the EVF, it’s much less than most entry-level DSLRs.

      By providing an additional NP-FW50 battery bundled with the camera and including a battery charger instead of relying on USB charging, Sony goes part of the way to solving this problem. But it doesn’t eliminate chances that the battery will need replacing at inconvenient times. (An optional VG-C2EM vertical grip that accommodates two batteries is available for AU$449 RRP to double battery life.)

      There’s a lot to like about the α7R II ““ and plenty to justify the hype that has surrounded its release. But the menu system is complex and with a body-only RRP of more than AU$4000 the asking price of the α7R will be an insurmountable barrier for some photographers ““ regardless of where the camera is purchased.

      We’ve found the camera listed at between AU$3575 and just under AU$4000 on several Australian retailers’ websites so it’s worth shopping around. At the prevailing exchange rate you’re unlikely to find it cheaper by shopping off-shore. Camera plus lens kits are also available at competitive prices for photographers starting out with a new system.

       

      SPECS

       Image sensor: 35.9 x 24.0 mm  ExmorR CMOS sensor with 43.6 million photosites (42.4 megapixels effective)
       Image processor:  BIONZ X
       A/D processing: 14-bit RAW
       Lens mount: Sony FE-mount
       Focal length crop factor: 1x
       Digital zoom: up to 4x; Clear Image Zoom:2x (stills and movies)
       Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant), RAW (Sony ARW 2.3 format); Movies: XAVC S, AVCHD (Ver. 2.0 compliant), MPEG-4 AVC/H.264
       Image Sizes: Stills ““ 3:2 aspect: 7952 x 5304, 5168 x 3448, 3984 x 2656; 16:9 aspect: 7952 x 4472,   5168 x 2912,     3984 x 2240 (APS-C crops also available);  Sweep Panorama -horizontal: 12416 x 1856, 8192 x 1856; Vertical: 5536 x 2160, 3872 x 2160; Movies: [4K]   3840 x 2160 at 30/25/24p, 100/60 Mbps; [Full HD] 1920 x 1080: 50p/28 or 24 Mbps, 50i/24 or 17Mbps, 25p/24 or 17Mbps; [HD] 1280 x 720 30/25p at 6Mbps
       Image Stabilisation: Image Sensor-Shift mechanism with 5-axis compensation (4.5 steps)
       Dust removal: Charge protection coating on optical filter and image sensor shift mechanism
       Shutter (speed range): Electronically-controlled, vertical-traverse, focal-plane type shutter (1/8000 to 30 sec, Bulb); flash synch at 1/250 sec.
       Exposure Compensation: +/- 5EV in 1/3 or 1/3EV steps
       Exposure bracketing: With 3 or 5 frames, in 1/3, 1/2, 2/3, 1.0, 2.0, or 3.0 EV increments, with 9 frames, in 1/3, 1/2, 2/3, or 1.0 EV increments
       Other bracketing options: White balance (3 frames, H/L selectable); Flash ( 3/5/9 frames selectable)
       Self-timer: 2, 5 or 10 seconds delay plus Continuous slef-timer
       Focus system: Fast Hybrid AF(phase-detection AF/contrast-detection AF) with 399 points (phase-detection AF) 25 points (contrast-detection AF)
       Focus modes: AF-A(Automatic AF), AF-S (Single-shot AF), AF-C (Continuous AF), DMF (Direct Manual Focus), Manual Focus; Face Detection, Auto Object Framing, Lock-on AF, Eye AF and Predictive control supported
       Exposure metering:   1200-zone evaluative metering   with Multi-segment, Centre-weighted and Spot metering patterns
       Shooting modes: AUTO (iAuto/Superior Auto), P, A, S, M, Movie, Sweep Panorama, Scene Selection (Portrait, Sports Action, Macro, Landscape, Sunset, Night Scene, Hand-held Twilight, Night Portrait, Anti Motion Blur)
       Picture Effect modes: Posterisation (Colour), Posterisation (B/W), Pop Colour, Retro Photo, Partial Colour (R/G/B/Y), High Contrast Monochrome, Toy Camera (Normal, Cool, Warm, Green, Magenta) Soft High-key, Soft Focus, HDR Painting (High/Mid/Low), Rich-tone Monochrome, Miniature, Watercolour, Illustration
       Creative Style modes: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn leaves, Black & White, Sepia, Style Box(1-6), Contrast (-3 to +3 steps), Saturation (-3 to +3 steps), Sharpness (-3 to +3 steps)
       Picture Profile modes: Black level, Gamma (Movie, Still, Cine1-4, ITU709, ITU709 [800%], S-Log2), Black Gamma, Knee, Colour Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset
       Colour space options: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Colour
       ISO range: Auto, ISO 100-25600 (expandable to ISO 50 and ISO 102400 for stills)
       White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (Warm White/ Cool White/ Day White/ Daylight), Flash, Underwater; Colour Temperature & colour filter, Custom, AWB micro adjustment
       Flash: External Sony α System Flash  only
       Flash modes: Flash off, Autoflash, Fill-flash, Slow Sync., Rear Sync., Red-eye reduction (on/off selectable), Wireless, Hi-speed sync
       Flash exposure adjustment: +/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)
       Sequence shooting: Max. 5 shots/sec.  
       Buffer capacity: Max. 24 Large/Fine JPEGs, 23 RAW files or 22 RAW+JPEG pairs
       Storage Media: Single slot for Memory Stick PRO Duo, Memory Stick PRO-HG Duo, SD/SDHC/ SDXC (UHS-II compliant) or Memory Stick Micro (M2), microSD/SDHC/SDXC via adapter
       Viewfinder: 1.3 cm (0.5 type) electronic viewfinder with 2,359,296 dots. 100% frame coverage, Approx. 0.78x magnification (with 50mm lens at infinity), approx. 23mm eyepoint, -4.0 to +3.0 dioptre adjustment
       LCD monitor: Tilting 3-inch TFT screen with 1,228,800 dots
       Playback functions: Single (with or without shooting information Y RGB histogram & highlight/shadow warning), 9/25-frame index view, Enlarged display mode (L: 24.9x, M: 16.2x, S: 12.5x, Panorama (Standard): 25.6x, Panorama (Wide): 38.8x), Auto Review (10/5/2 sec, Off), Image orientation (Auto/Manual/Off selectable), Slideshow, Panorama scrolling, Folder selection (Date/ Still/ MP4/ AVCHD/ XAVC S HD/ XAVC S 4K), Forward/Rewind (movie), Delete, Protect
       Interface terminals: PC interface (Mass-storage, MTP, PC remote), Multi / Micro USB, NFC forum Type 3,  Wi-Fi, HDMI micro connector (Type-D), Multi Interface Shoe, 3.5 mm Stereo minijack for microphone, 3.5 mm Stereo minijack headphone terminal, Vertical Grip Connector
       Wi-Fi function: IEEE 802.11b/g/n, 2.4GHz band
       Power supply: NP-FW50 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 290 shots/charge with EVF, 340 shots/charge with monitor
       Dimensions (wxhxd): Approx. 126.9 x 95.7 x 60.3 mm (excluding protrusions)
       Weight: Approx. 582 grams (body only); 625 grams with battery and card

       

      TESTS

       

       Based on JPEG files.

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      Based on ARW.RAW files processed with Capture One Express for Sony.

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      SAMPLES

      NOTE: All test shots taken with the Sony FE 28mm f/2.0 lens, which is reviewed separately.

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       Auto white balance with incandescent lighting.  

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      Auto white balance with fluorescent lighting.

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      30-second exposure at ISO 50; f/4.
       

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      30-second exposure at ISO 1600; f/4.5.
       

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      13-second exposure at ISO 6400; f/4.5.
       

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      8-second exposure at ISO 12800; f/9.
       
       

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      5-second exposure at ISO 25600; f/11.

       

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      3.2-second exposure at ISO 51200; f/11.
       

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      1.6-second exposure at ISO 65535; f/11.
       

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      Sweep Panorama mode, Standard setting; ISO 100, 1/200 second at f/13.
       

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      Sweep Panorama mode, Wide setting; ISO 100, 1/200 second at f/13.
       

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      Strong backlighting; ISO 100, 1/1000 second at f/8.
       

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      The top frame shows the scene as photographed with the DRO switched off; the lower frame has Auto DRO engaged. ISO 100, 1/60 second at f/5. Note the discontinuity (circled in red) caused because subjects moved during the multiple exposure.
       

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      ISO 100, 1/200 second at f/7.1.
       

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      ISO 200, 1/60 second at f/5.

       

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      ISO 100, 1/400 second at f/8.
       

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      ISO 200, 1/500 second at f/7.1.
       

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      ISO 100, 1/160 second at f/6.3.
       

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      ISO 400, 1/60 second at f/5.6.

       

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      ISO 100, 1/125 second at f/5.6.
       

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      ISO 100, 1/100 second at f/9.
       

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      ISO 51200, 1/80 second at f/4.5.
       

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      ISO 64000, 1/10 second at f/5.6.
       

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      ISO 40000, 1/10 second at f/8.
       

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       Still frame from XAVC S 4K video clip; 25p 100Mbps.
       

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       Still frame from XAVC S 4K video clip; 25p 60Mbps.
       

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       Still frame from XAVC S HD  video clip; 50p 50Mbps.
       

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       Still frame from XAVC S HD video clip; 25p 50Mbps.
       

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       Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 24Mbps.
       

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       Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 17Mbps.
       

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       Still frame from AVCHD Full HD (1920 x 1080) video clip; 50p at 28Mbps.
       

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       Still frame from AVCHD Full HD (1920 x 1080) video clip; 25p at   24Mbps.
       

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       Still frame from AVCHD Full HD (1920 x 1080) video clip; 25p at 17Mbps.
       

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       Still frame from MP4 Full HD (1920 x 1080) video clip; 50p 28Mbps.
       

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       Still frame from MP4 Full HD (1920 x 1080) video clip; 25p 16Mbps.
       

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       Still frame from MP4 HD (1280 x 720) video clip; 25p at 6Mbps.
       
       Additional image samples can be found with our review of the Sony FE   28mm f/2.0 lens.

       

      Rating

      RRP: AU$4499; US$3199.99

      • Build: 9.0
      • Ease of use: 8.5
      • Autofocusing: 9.0
      • Still image quality JPEG: 8.7
      • Still image quality RAW: 8.9
      • Video quality: 9.0

       

      Buy