In summary
Like the original model, the Alpha 1 II has been designed for professional users, specifically photo and video journalists and sports shooters. The magnesium-alloy body is robust enough to tolerate hard usage in challenging environments, which makes it a potential choice for adventure and wildlife photographers and vloggers.
Wedding photographers could also find it useful for its capabilities and handling, not to mention its impressive, professional appearance.
Full review
Announced in November 2024, the Alpha 1 II (α1 II) replaces its predecessor, the Alpha 1 as Sony’s flagship full-frame camera without changing the 50.1-megapixel sensor or BIONZ XR processor and with only a marginal increase in the RRP. However, Sony claims to have boosted the image processing engine, which should lead to improvements in image quality, especially towards the upper end of the camera’s sensitivity range. We received the review camera with the Sony FE 85mm f/1.4 GM II (SEL85F14GM2) and FE 28-70mm f/2 GM (SEL2870GM) lenses, which are reviewed separately.
Angled view of the Sony Alpha 1 II camera fitted with the FE 24mm f/1.4 GM (SEL24S14GM) lens. (Source: Sony.)
Who’s it For?
Like the original model, the Alpha 1 II has been designed for professional users, specifically photo and video journalists and sports shooters. The magnesium-alloy body is robust enough to tolerate hard usage in challenging environments, which makes it a potential choice for adventure and wildlife photographers and vloggers (although it may be over-kill for the latter).
Wedding photographers could also find it useful for its capabilities and handling, not to mention its impressive, professional appearance. As before, its high price tag will probably put it beyond the reach of most photo enthusiasts, who won’t need many of its capabilities.
We wouldn’t recommend this camera as a first camera for anyone starting out in photography because the online user manual is so complex, poorly laid out and indexed and insufficiently illustrated it makes it difficult to obtain useful information on how to operate the camera. There’s really no excuse for such poor user support in this modern day and age.
What’s New?
The second-generation model comes with the following improvements on its predecessor:
1. AI-based processing, ported across from the α9 III and α7R V models, provides improved subject recognition AF and adds the ability to ‘recognise’ cars, trains and airplanes as well as insects (which rate a separate category in the menu page). Users can define the subject they want the camera to recognise in advance by selecting Subject Recog in AF and then the subject type. This setting ensures the camera will focus on the eye, head or body of the defined subject when the shutter is half-pressed. Users can assign it to a Custom Key to make it faster to access, although when the Custom Key is used, the focus area temporarily becomes the entire screen, regardless of the subject selected. Focus bracketing has also been added to the bracketing options.
2. New to the α1 II is the Auto Framing function that was introduced on the ZV-E1 vlogging camera and allows users to set the camera to crop in on part of the frame and follow the subject as they move around. Ideal for solitary vloggers, it ensures the framing is continually adjusted so that the recorded footage looks like the subject was being followed by an experienced camera operator.
3. A new pre-capture function in the drive mode sub-menu enables the camera to record up to 30 frames when the shutter is half-pressed. Users can set the pre-record time length between 0.03 seconds and one second and choose whether to assign the trigger to the shutter or AF Assign button. Focusing is locked on the first frame when the AF-C mode is selected.
4. The α1 II’s pixel-shift high-resolution mode has been extended through the addition of a noise-reduction mode that captures between 4 and 32 JPEG frames in continuous succession and then requiring the user to combine them. It appears to be restricted to ARW.RAW files, and users can choose between uncompressed, losslessly-compressed and lossy files. This mode requires the electronic shutter and users can choose to record 4, 8, 16 or 32 shots per bust. Focus is locked on the first frame in the sequence and you’ll need to confirm the buffer memory has enough space for the number of frames you’ve set or recording won’t start.
5. The in-built image stabilisation (IBIS) rating has been boosted from 5.5 stops to 8.5 stops maximum in the centre of the frame. Dynamic Active and Active IS modes are available for recording movies, although it’s limited to 4K clips at frame rates less than 120 fps. Frames are cropped slightly in both modes, with more cropping in the Dynamic Active mode.
6. Little has changed on the video front with respect to resolutions and frame rates, although 4K is no longer produced by cropping 8K frames (so you don’t benefit from 2x over-sampling). Sony has also dropped support for the S-Log2 profile, a feature few potential users will miss, since the company has introduced a more flexible S-Cinetone profile instead. Users can also import up to 16 custom LUTs that allow them to see how Log footage will appear when graded. Selected LUTs can be embedded in video files to enable third-party editors to view footage as the creator recorded it, making team collaborations easier and more effective.
Build and Ergonomics
Like its predecessor, the Alpha 1 II’s body has a durable magnesium alloy chassis with dust- and moisture-resistant sealing and is made in Sony’s factory in Ayutthaya, Thailand. A deeper grip adds about six millimetres to the body dimensions and roughly six grams to overall weight, making it more comfortable to use.
There have also been a few changes to the dial controls, although they mostly remain in the same locations. However, a new C5 button has been added to the front panel between the grip and the lens mount. Its default setting is as a ‘speed boost’ but, like the other Custom buttons, it is re-programmable.
Front view of the new Sony Alpha 1 II camera with no lens fitted. (Source: Sony.)
Most changes have taken place on the top panel, where the Still/Movie/S&Q settings gain a separate sub-dial below the mode dial on the right-hand side of the EVF housing. The exposure compensation dial to its right has had its labelling removed and is now a second customisable rear dial. Exposure compensation is now set via the touch controls on the monitor screen or the shooting menu – unless it has been assigned to one of the Custom controls.
Top view of the Alpha 1 II camera with no lens fitted. (Source: Sony.)
The drive mode dial on the opposite side of the top panel gains an asterix (*) setting which disables the dial to allow settings to be changed via the camera’s menus, which means they should be included among the programmable Custom menu functions. The focus mode dial, which sits below it is essentially unchanged.
The rear panel of the Alpha 1 II camera. (Source: Sony.)
The 3.2-inch rear monitor is larger and boasts a higher resolution of 2,095,104 dots. It also pulls out and tilts, providing additional adjustability. In addition, the EVF has the same Quad-XGA OLED screen with 9,437,184 dots, but the camera is now supplied with an additional, deeper eyecup that provides better sealing from stray light.
The dual media slots are unchanged and both card slots can accept UHS-II SD cards or CFexpress Type A cards. As before, you can set the camera to record the same files to both cards (backup), specify which file types go to each card or record both types to one card and switch automatically to the other card when the first card is full.
The layout of the interface terminals on the left side panel is largely unchanged, although Sony has swapped the positions of the micro-USB and flash sync terminals without compromising the ability for the micro-USB port to be used to supply power to the camera while the main USB-C port is free for other purposes, like connecting the camera to a computer for streaming or tethering applications.
With the Sony α1 II, you have two options for streaming with the camera: USB or Network. USB streaming is straightforward; you simply connect the camera to your computer via a USB-C cab; and select Live Stream (USB Streaming) from the three options offered. To stream using the network/internet, you must have your camera set up with Sony’s Creator App on your Android or Apple device. You then select the Camera tab and the Network streaming button and follow the on-screen instructions.
Interestingly, the Ethernet port has gained a speed boost from 1Gbps to 2.5Gbps and the USB-C port has doubled its speed from 5Gbps to 10Gbps. Both speed boosts will be handy for users who want to stream content directly from the camera.
The battery in the new camera is the same NP-FZ100 rechargeable Li-ion unit as used in the Alpha 1. Power consumption in the Mark II is slightly higher. It’s rated for 420 shots/charge or 85 minutes of video with EVF or 520 shots/charge or 90 minutes video with monitor, compared with 430/520, respectively for the Alpha 1.
Sony also offers an optional VG-C5 grip that holds two batteries and also duplicates the main body controls in vertical alignment including adding a duplicate C5 custom button. The camera is bundled with a charger that holds two battery packs, although not the USB-C power cable to go with it.
Sensor and Image Processing
With no change in the sensor or image processor, the image sizes, file formats, aspect ratios, ISO sensitivity range and continuous shooting speeds in the Sony α1 II are unchanged from the original Alpha 1.
So, too, is the multi-frame Pixel Shift mode, which can record bursts of four or 16 ARW.RAW images while shifting the image sensor one pixel or half a pixel at a time. With the four-shot option, the camera records RGBG for every pixel, giving you four times the single-shot data. This additional information can be used for reducing image noise or capturing more details in the scene.
The 16-shot with half-pixel positioning setting can be used to create images with resolutions of up to 200 megapixels. Whichever of the three options you choose, you’ll need Sony’s Imaging Edge Desktop application (Viewer) to combine the images because it can’t be done in the camera.
As in the α1, the fast electronic shutter means flash can be used – as long as it can recycle fast enough. However, you’ll need to mount the camera on a tripod; hand-held shooting isn’t supported and the camera can’t eliminate blurring due to movement within the scene, so it’s best used for static scenes where movement is limited.
The other changes to image capture and processing have been outlined in the What’s New? section above. Playback settings are much the same as for the αI and not particularly well covered in the basic printed manual that comes with the camera – or in the online user guide.
The software must be downloaded from the support page of Sony’s website, where you’ll find the following applications: Imaging Edge Desktop, Imaging Edge Webcam, Catalyst Browser / Catalyst Prepare, Remote Camera Tool and IPTC Metadata Preset, along with the new applications Creators’ App, Creators’ Cloud Web and Master Cut (Beta).
Video
Video capabilities are essentially the same as the original α1, with the same resolutions, frame rate and relatively low rolling shutter effects, even with 8K recording. Sony has added two high-performance IS modes to the movie menu: Dynamic active and Active, although they’re not available with the 8K XAVC HS format.
The α1 II also offers improved S-Log3 matching and the in-built S-Cinetone support eliminates the need for post-capture colour grading. Direct UVC/UAC USB streaming from the camera is supported at up to 4K 30p/25p. The built-in microphone can also be used for voice memo recording.
Performance
Subjective assessments of stills taken with the two lenses supplied for us to test showed JPEGs to be similar in tone and recorded details to those we recorded with the original Alpha 1. As with that camera, the ARW.RAW files we recorded provided plenty of scope for post-capture adjustments to bring out shadow details without compromising highlights. Fortunately, raw files from the α1 II are fully supported in the latest version of Adobe camera Raw, our recommended raw file processor.
We used the FE 85mm f/1.4 GM II lens for our Imatest tests since it delivered slightly higher resolution than the FE 28-70mm f/2 GM lens. These tests showed the review camera to be capable of coming close to meeting expectations for the sensor’s resolution with JPEGs and comfortably exceeded expectations with raw files.
Resolution remained high for both file types across the camera’s sensitivity range, with a slow decline starting at ISO 32800 but a significant plunge at ISO 102400 (the top setting), especially for JPEG files. The effects of noise-reduction processing only became visible in shots taken at ISO 51200 and above. The graph below shows the results of our Imatest tests.
Long exposures at night were similar to those we recorded with the α1. We found no evidence of noise right up to ISO 6400 and only a slight increase through to ISO 51200. Softening started to become visible at ISO 12800, with a visible loss of fine structural details. This increased progressively through the remaining sensitivity settings.
Interestingly, the reduction in contrast was less than we found in the α1, suggesting some improvements in image processing. Sony also appears to have dropped that camera’s ISO 204800 maximum setting, which produced rather flat and fuzzy images – although we think the top ISO setting should only be used when there’s no alternative. As before, colour reproduction was close to the subject’s normal range and remained constant throughout the sensitivity range.
We noticed some improvements in autofocusing speeds and accuracy in the new camera – and they persisted with both of the lenses we tested. There was no hunting during any of our tests, including in very low light levels and with subjects of high and low contrast.
Subject-detection AF provide unfailingly reliable when shooting human subjects, in particular. It locked on regardless of the lighting conditions or whether there was an intervening translucent layer between the lens and the people behind it, as illustrated in some of our test shots.
Tracking AF was also impressive when recording video, where the new model retained the ‘outstanding’ performance of its predecessor – and was, if anything, a little more accomplished. The camera was quick to focus on the nearest human on start-up and could track them reliably as they moved across the frame, even when another person walked in front of the lens.
Our timing tests were carried out with a Lexar Professional 128GB Gold Series CFexpress card with read/write ratings of 900/800MB/second, respectively plus the FE 28-70mm f/2 GM lens. The camera started up ready to take an exposure in less than half a second, which is what we expected for this camera’s processor.
With the camera’s default settings, we measured an average capture lag of 0.05 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.5 seconds, which was about as fast as we could keep pressing the shutter button.
High-resolution JPEGs took less than one second to process on average, while ARW.RAW files and RAW+JPEG pairs took only a little longer. In the Continuous Hi+ mode with the silent electronic shutter, the review camera recorded 181 Large/Fine JPEG frames in 9.8 seconds, which represents a little under 20 frames/second. Processing was completed within seven seconds of the last frame recorded.
Swapping to raw file capture, the camera recorded 172 ARW.RAW files in 9.9 seconds without hesitating. It took 6.4 seconds to complete processing this burst. Similar results were obtained with RAW+JPEG capture, where the camera recorded 168 pairs in 102 seconds. It took 6.8 seconds to process this burst. As with the previous model, the camera body became slightly warm during burst shooting.
Conclusion
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SPECS
Image sensor: 35.9 x 24.0 mm Exmor RS CMOS sensor with 50.5 million photosites (50.1 megapixels effective)
Image processor: BIONZ XR
Lens mount: Sony FE
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF V. 2.0, Exif Ver. 2.32), HEIF (MPEG-A MIAF compliant), ARW.RAW V. 5.0, RAW+JPEG/HEIF; Movies: XAVC S: MPEG-4 AVC/H.264,XAVC HS: MPEG-H HEVC/H.265
Audio: LPCM 2ch (48 kHz 16 bit), LPCM 2ch (48 kHz 24 bit), LPCM 4ch (48 kHz 24 bit)
Image Sizes: Stills (3:2) L: 8640 x 5760 (50 M), M: 5616 x 3744 (21 M), S: 4320 x 2880 (12 M): Movies (PAL system): 8K 7680 x 4320 (4:2:0/4:2:2, 10bit) at 25p, 3840 x 2160 (100p, 50p, 25p), 2560 x 1440 (100p, 50p, 25p), 1920 x 1080 (25p / 50p), 1280 x 720 (25p / 50p)
Movie functions: Slow & Quick Motion, TC/UB, Proxy recording, RAW output via HDMI
Aspect ratios: 4:3, 3:2, 16:9, 1:1
Image Stabilisation: Image sensor-shift mechanism with 5-axis compensation; up to 8.5 stops of shake correction
Shutter: Mechanical shutter (1/8000 to 30 sec. plus Bulb; Electronic shutter: 1/32000 to 30 seconds; Movies: 1/8000 to 1 sec.; Flash sync. 1/400 s (35mm full frame), 1/500 s (APS-C)
Exposure Compensation: +/- 5EV in 1/3 EV, 1/2 EV steps
Exposure bracketing: images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
Other bracketing options: Aperture, Focus, White Balance
Self-timer: 2 or 10 seconds delay plus 10sec, 3 images and Custom settings
Interval recording: Yes, for time-lapse
Focus system: Fast Hybrid AF (phase-detection AF / contrast-detection AF), 759 points PD & CD
AF selection: Zone / 1-Area+ / 1-Area / Pinpoint; Tracking / Full Area AF / Zone (Horizontal/Vertical); Subject Detection settings: Auto, Human, Animal, Bird, Insect, Car, Train, Airplane
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: 1200-zone evaluative metering
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure plus Creative Video (P/A/S/M) / Slow&Quick / Custom 1, 2, 3 / Intelligent Auto
Special effects & modes: Soft Skin Effect, Creative Look, Custom function, Picture Profile, Time-lapse, Auto Framing, Pre-Capture, Continuous Shooting Speed Boost, NR Shooting, Framing Stabiliser, Clear Image zoom: approx. 2x for stills & HD movies, 1.5x for 4K movies; HLG (Hybrid Log-Gamma) for HDR images
Colour space options: sRGB and Adobe RGB
ISO range: Still images: ISO 100-32000 (expandable to ISO 50-102400), AUTO (ISO 100-12800, selectable lower limit and upper limit), Movies: ISO 100-32000 equivalent, AUTO (ISO 100-12800, selectable lower limit and upper limit)
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
Flash: External flashguns only
Flash exposure adjustment: +/-3 EV in 1/3 EV & ½ EV steps
Sequence shooting: Max. 30 frames/sec. with electronic shutter; 10 fps with mechanical shutter; Pixel-shift multi-shooting – 4 shots / 16 shots
Buffer capacity: Max. 190 Large/Extra Fine JPEGs, 240 compressed RAW files, 84 uncompressed RAW files
Storage Media: Dual slots for SD (UHS-I / UHS-II compliant) and CFexpress 2.0 Type A cards
Viewfinder: 1.6 cm (0.64 type) Quad-XGA OLED EVF with 9,437,184 dots, 25mm eyepoint, 50/100 fps frame rate, -4.0 to +3.0 m-1 dioptre adjustment, approx 0.9x magnification
LCD monitor: Vari-angle 8.0 cm (3.2-type) type TFT touch panel LCD with 2,095,104 dots
Weather sealing: Yes
Interface terminals: SuperSpeed USB Type C (10 Gbps USB 3.2 compatible), HDMI Type-A, Mass-storage / MTP interface, Multi-interface shoe with Digital Audio Interface. 3.5 mm stereo microphone & headphone terminals, LAN terminal (2.5GBASE-T, 1000BASE-T, 100BASE-TX)
Wi-Fi function: Built-in Wi-Fi (IEEE 802.11a/b/g/n/ac; 2.4 GHz band/5 GHz band); Bluetooth v5.0(Bluetooth Low Energy)
Power supply: NP-FZ100 rechargeable Li-ion battery; CIPA rated for approx. 520 shots/charge or 90 min. video with monitor, 420 shots/charge or 85 min. video with EVF
Dimensions (wxhxd): Approx. 136.1 x 96.9 x 82.9 mm
Weight: Approx. 743 grams with battery and card
Distributor: Sony Australia
TESTS
Based on JPEG files taken with the FE 85mm f/1.4 GM II (SEL85F14GM2) lens.
Based on ARW.RAW files processed with Adobe Camera Raw.
SAMPLES
The images below were taken with the FE 85mm f/1.4 GM II lens.
30-second exposure at ISO 50, f/3.5.
30-second exposure at ISO 100, f/5.
13-second exposure at ISO 800, f/5.6.
5-second exposure at ISO 6400, f/8.
3-second exposure at ISO 12800, f/11.
3-second exposure at ISO 25600, f/16.
1-second exposure at ISO 51200, f/16.
1/2-second exposure at ISO 102400, f/16.
The images below were taken with the FE 28-70mm f/2 GM lens.
28mm focal length, ISO 1600, 1/160 second at f/4.
49mm focal length, ISO 51200, 1/640 second at f/8.
49mm focal length, ISO 102400, 1/640 second at f/11.
70mm focal length, ISO 125, 1/160 second at f/4.
Strong backlighting; 70mm focal length, ISO 800, 1/160 second at f/4.
70mm focal length, ISO 100, 1/250 second at f/5.
70mm focal length, ISO 100, 1/320 second at f/4.
67mm focal length, ISO 800, 1/80 second at f/8.
65mm focal length, ISO 640, 1/60 second at f/4.5.
The images below were taken with the FE 85mm f/1.4 GM II lens.
ISO 200, 1/125 second at f/11.
ISO 640, 1/100 second at f/3.5.
ISO 800, 1/80 second at f/4.
ISO 640, 1/100 second at f/11.
ISO 100, 1/320 second at f/5.
ISO 100, 1/125 second at f/3.5.
The video frames below were taken with the FE 28-70mm f/2 GM lens.
Still frame from XAVC HS 8K (7680 x 4320) movie at 25p.
Still frame from XAVC HS 4K (3840 x 2160) movie at 50p.
Still frame from XAVC HS 4K (3840 x 2160) movie at 25p.
Still frame from XAVC HS 4K (3840 x 2160) movie at 100p.
Still frame from XAVC S 4K (3840 x 2160) movie at 50p.
Still frame from XAVC S 4K (3840 x 2160) movie at 25p
Still frame from XAVC S-1 FHD (1920 x 1080) movie at 50p.
Still frame from XAVC S FHD (1920 x 1080) movie at 50p with S-Gamut3.Cine/S-Log3 colour gamut.
Still frame from XAVC S FHD (3840 x 2160) movie at 50p with S-Gamut3/S-Log3 colour gamut.
Additional image samples can be found with our reviews of the Sony FE 85mm f/1.4 GM II (SEL85F14GM2) and FE 28-70mm f/2 GM (SEL2870GM) lenses.
Rating
RRP: AU$10,989 (body only)
- Build: 9.0
- Features: 8.9
- Ease of use: 8.9
- Autofocusing: 9.2
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 9.0
BUY
