Sony Alpha 7R (A7R) Review- What Digital Camera
Sony Alpha 7R (A7R) Review - The Sony Alpha 7R joins the Alpha 7 as the first CSC to feature a full frame sensor, differing from its sister camera through a higher resolution. Does it impress as much as its partner? Read the full WDC review to find out
Product Overview
Sony Alpha 7R (A7R)
Pros:Fan High- Solid Robust buildCons:AF performance not as strong as Alpha 7; Currently a limited native lens line-up
Sony Alpha 7R (A7R) Review
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In recent years Sony has gained a reputation for developing high-end cameras with specifications to match, as well as something of a penchant for innovation.
A prime example of this is the recent
– a camera notable insofar as it is the first compact to feature a full frame sensor
At the time of the
launch it was mooted that Sony were now working on a CSC which also incorporated a full frame sensor. As it turned out, when this came to pass Sony ended up releasing a pair of new models in the shape of the recently reviewed
and the Sony Alpha 7R.
The pair of models are very similar, albeit with a few vital differences. While they both feature full frame sensors, the Sony Alpha 7R boasts a higher 36.4MP resolution in comparison to the 24.3MP sensor found in the .
There are other differences, including a slightly different focusing system, and the Alpha 7R will set you back an extra few hundred pounds.
So, is the increased resolution worth the extra cash alone, or are there other factors to sweeten the mix?
Sony Alpha 7R (A7R) Review – Features
The Sony Alpha 7R’s main selling point is its sensor. Much the same as the
with which it was released at the same time, the Alpha 7R features a full frame CMOS sensor similar to what you would find on a pro-level DSLR.
The main difference between the sensor found in the
and that in the Alpha 7R is with regards to its resolution. While the
boasts a resolution of 24.3MP, the Alpha 7R sees a big jump right up to 36.4MP, almost half again in terms of a megapixel count.
The sensor also does away with its anti-aliasing filter, with a view towards making the very most out of its resolution.
Much like in the case of the , the Alpha 7R sports Sony’s new BIONZ X, a processor which Sony claims will deliver processing speeds of up to three times that of the previous generation chip.
It’s safe to say that the processor will be put under some extra strain in the Alpha 7R than the , owing to the larger file size that the higher resolution sensor will produce. One particular sign of this extra strain is a dip in the top-end continuous shooting speed, which is down to 2.5fps.
Focus changes
Outside of the change in the resolution of the camera’s sensor the other major difference between the
and the Alpha 7R concerns the camera’s focus system, although this is also in some part attributable to the change in sensor.
The system found in the Alpha 7R relies solely upon a contrast-detect AF system, unlike that in the
which also benefitted from on-sensor phase detection auto focus technology.
With regards to the rest of the camera’s feature set, there’s a host of similar functionality to the . The rear LCD screen is a 3in unit with a resolution of 921k-dots, and it’s accompanied by a 2.4m-dot electronic viewfinder that’s one of the highest specified on the market.
The Alpha 7R also supports video capture at full 1080p resolution, and at a frame rate of either 60 or 24p. As well as HD video capture, the Alpha 7R includes support for an external microphone, as well as a socket for headphones for audio monitoring.
As you’d expect from a newly released Sony camera, the Alpha 7R arrives fully equipped with both Wi-fi and NFC technology. Thanks to the Sony Play Memories app – which is available for both Android and iOS devices – photographers can transfer their images wirelessly from the camera to their smartphone or tablet.
Sony Alpha 7R (A7R) Review – Design
In terms of the camera’s physical dimensions and design, there’s virtually no difference between the
and the Alpha 7R, bar the red ‘R’ on the front if the camera and the small matter of it being around 10g lighter.&
With that in mind, a lot of the same observations ring true as were noted with the .
The body of the camera is probably best described as functional or utilitarian, although that’s not to say that it’s not an attractive camera. Despite it being a CSC, the Alpha 7R has several elements that give it the feel of a DSLR.
For example it features a reasonably large hand grip, while it also benefits from having front and rear command dials for altering the basic shooting settings.
The rest of the controls are arranged logically, with the camera’s top plate playing host to a mode dial, exposure compensation dial and shutter release, as well as a programmable custom button.
The rear of the camera, meanwhile, features a standard button arrangement, while a host of other customisable buttons are located around the camera’s body.
The general build quality of the camera supports the functionality design, with the main body of the camera formed of a magnesium-alloy shell that certainly feels up to the rigours of regular shooting. In fact, the body itself is both weather and dust sealed, meaning you can feel confident shooting in adverse weather conditions.
Thanks to the relatively compact body, and the fact that the 28-70mm f/3.5-5.6 kit lens is hardly bulky, the combination makes the Alpha 7R one of the most portable full frame camera on the market and certainly a capable travel companion.
Sony Alpha 7R (A7R) Review – Performance
As mentioned previously, one of the major differences between the
and the Alpha 7R is with regards to the camera’s AF performance. Where the
utilises on sensor phase-detection technology, the Alpha 7R instead relies upon a contrast-detection system.
This contrast-detection system has been utilises in previous Sony cameras – most notably in the , and in general it’s certainly fast enough. It is noticeable that in lower light the AF system does begin to slow a little, although it remains perfectly useable.
While the kit lens that ships with the camera is perfectly functional, if you want to unlock the best in terms of the camera’s AF performance then you’ll have to turn towards Sony’s range of SSM lenses which can be used with the aid of a LA-EA4 adapter.
Lens choice
On the subject of lenses, the Sony Alpha 7R ships with a 28-70mm f/3.5-5.6 OSS optic, with Sony launching three other optics with the camera – the 35mm f/2.8, 55mm f/1.8 and 24-70mm f/4 OSS. A 70-200mm f/4 that should join the range before the end of 2014, while Sony states that it hopes to have at least 10 dedicated lenses in the range in the future.
The reason for the dedicated optics is clear. Although the Alpha 7R is compatible with the NEX series lenses, all of these are designed for use with an APS-C sensor and as such won’t deliver the best performance with the 7R’s impressive sensor. The same is true with the 28-70mm kit lens, an optic that shows worrying drop-off in sharpness towards the frame edges at 28mm.
The Alpha 7R boasts the same metering system as that found in the , and on the whole it delivers a similarly reliable performance. The camera can be relied upon in evaluative metering mode to deliver even exposures and print-ready images straight out of the camera.
A welcome feature when it comes to metering is the curiously named ‘Zebra’ mode. In this setting the Alpha 7R displays black and white stripes across over-exposed areas to help the spotting of blown out highlights on the fly.
This ‘Zebra’ mode, along with a useful focus peaking tool and dedicated microphone and headphone sockets all mean that the Alpha 7R delivers a comprehensive video capture experience. It’s also welcome that you can attach almost any lens to the camera thanks to a variety of adapters made available at launch.
The model’s LCD screen benefits from being of the vari-angle variety, and as such can be pulled away from the camera’s body and angled on a hinge. The one thing lacking with the LCD is the fact that it doesn’t feature touchscreen technology, and when it comes to controlling the AF system there are few better ways to do so.
Sony Alpha 7R (A7R) Review – Image Quality
Colour and White Balance
The Sony Alpha 7R delivers a reliable colour palette that’s very similar to recent Sony cameras. There are a range of preset colour modes that deliver pleasing results, with the ‘vivid’ setting not proving too garish and the ‘black and white’ mode also producing good monochrome images.
The camera’s auto white balance setting is also reliable, producing pleasingly neutral images in a range of different lighting conditions.
The Sony Alpha 7R was released at the same time as the , and despite featuring the same sensor the higher megapixel count places an extra demand on its light gathering capabilities.
As a result the dynamic range is more limited that its counterpart, although the performance is still reasonable.
Resolution
One of the areas at which you would expect a 36.4MP to really excel is with regards to its resolution, and the Alpha 7R certainly delivers in this regard. In fact, at the lower ISO settings the 7R manages to resolve every single line in our chart – a performance in keeping with the
It must be noted that such high resolution necessitates precise focusing and the elimination of camera shake as any error in this area are accentuated. It’s also the case that the very best lenses are needed, as once again any flaws in optical performance are highlighted by the high resolution.
Image Noise
With the Alpha 7R boasting a considerably higher resolution than its stablemate – the
– there were always going to be concerns that the jump might cause issues with noise at higher ISO settings.
The good news is that the Alpha 7R still performs well in this area. There are some signs of luminance noise at ISO 800, although these aren’t to the detriment of overall image quality. At ISO 1600 colour noise makes a slight appearance, although once again this isn’t a major issue, with the higher ISO settings also proving eminently usable.
Raw vs. JPEG
As ever it’s far more preferable to shoot Raw than it is JPEG, as Raw files not only deliver a better level of image quality straight out of the camera, but also allow for more manoeuvre in post production.
JPEG files suffer somewhat from intelligent noise reduction and sharpening at when viewed at 100% in comparison to Raw files, and although this isn’t to the extent at which it ruins images on the whole it is far from ideal.
The same is true with regards to dynamic range, with Raw files allowing for editing around + / – 2EV of shadow and highlight detail.
Sony Alpha 7R (A7R) Review – Verdict
In terms of its raw feature set, there’s no arguing that the Alpha 7R pretty much outstrips every single other CSC on the market. The 36.4MP full frame sensor is more in keeping with a high-end DSLR than a CSC and it delivers resolution performance akin to the
rather than its direct competitors.
Although the Alpha 7R is a touch more expensive than the
that was announced at the same time, if you’re a landscape photographer that really needs the extra resolution it’s a worthy investment.
The only major issue is with regards to the lens line up. There’s the promise of a further selection of lenses launching next year, although the current range is somewhat limited. You’re better off investing in one of the available adapters and utilising third-party lenses in conjunction with the body.
While there are also some reservations about the camera’s focusing performance in comparison to the , on the whole the Alpha 7R is a seriously impressive camera that joins the
as one of the very best CSCs on the market.
Sony Alpha 7R (A7R) Review – Sample Image Gallery
These are just a small selection of images captured with the Sony Alpha 7R. For a wider range of images, including a full range of ISO shots of the WDC diorama, visit the .
Full Specification
ISO:100 – 25,600
White Balance:Auto, 9 preset, Custom
Built-in Flash:No
Memory Card:SD, SDHC, SDXC, MS Pro Duo
Exposure Comp:+/- 5.0EV in 1/3 and 1/2EV steps
Compression:E F Standard
Cable Release:Optional
Viewfinder Type:EVF
PC Socket:No
Output Size:7360 x 4912
LCD:3in, 921k-dot TFT LCD
Field of View:100%
Colour Temp Control:2500 – 9900K
AF Points:25
White Balance Bracket:Y 3 exposures
Lens Mount:E-Mount
Sensor:36MP Full-frame CMOS
Max Flash Sync:1/250 sec
Focal Length Mag:1x
DoF Prview:Yes
Dust Reduction:Yes
Built-in Image Stabilisation:No, lens based
Metering System:1200-zone evaluative, centre-weighted, spot
Movie Mode:1920 x 1080 @ 60 / 25p
Exposure Modes:PASM, Auto, Scene, Panorama
Live Mode:Yes
Connectivity:USB 2, HDMI
Weight:465g
Power:Rechargeable lithium-ion battery
File Format:Raw, JPEG, Raw + JPEG
Shutter Speeds:30 – 1/8000 sec
Focusing Modes:Single-shot AF, Continuous AF, Direct Manual Focus, Manual Focus
Dimensions:127 x 94 x 48mm
Drive Mode:4fps
Colour Space:sRGB, Adobe RGB
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Sony EricssonSony Alpha A7 II review: E-mount evolution (hands-on)
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This time last year the first-generation Sony A7 took the Pocket-lint Awards gong for best interchangeable lens camera. As a small-scale full-frame model with Sony's E-mount lens fitting, it had innovation clearly in its sights. But it wasn't quite perfect in every way.
The evolution of that product brings its logical continuation in 2014: the Sony A7 II. A complementary model to the now-four-strong range, rather than a straight successor to the original, it's a camera that tweaks the design into an altogether more manageable body, while adding autofocus improvements and a new 5-axis image stabilisation system.
We got our hands on Alpha A7 II ahead of its January 2015 launch to see whether it elevates the full-frame Alpha range up yet another notch.
The first thing that can be clearly felt is the enlargement of the A7 II's grip compared to the first-gen model. A necessary adjustment when trying to balance the model with a larger chunk of glass attached to the front. It's this which adds to the depth dimension of the product, as at 59.7mm it's 11.5mm deeper than the first-gen model.
But that's not the only design change. The shutter button has also moved forward into a more logical position, which feels less compact camera and more compact system camera in its operability.
With the shutter placed further forward, the arrangement of front- and rear- thumbwheels has also been moved slightly. The front thumbwheel is still present, but it's hidden more into the body rather than the large stylised dial of the original model to make way for the shutter button's new home. A small change, but an important one.
The A7 II also introduces an additional function button - which can be user assigned - meaning C1 and C2 reside on the top of the camera, while C3 sits to the rear. In our arrangement a tap of the C2 button could be used for switching between autofocus area options, in conjunction with the rear rotational d-pad - the third rotational control on the body.
And it's autofocus where the A7 II arguably sees its biggest push forward. Eagle-eyed readers will see the 117-point phase-detection system, paired with 25-area contrast detection, reads the same as it did in the original A7. It's the same system, but with algorithm tweaks inherited from the A6000.
Sony's stance: the A7 II can recognise subjects and backgrounds more quickly, therefore knowing which direction to drive the autofocus, with a 30 per cent jump in speed.
That's all well and good, but is it actually better? We got to play with the original A7 and the A7 II and did find the new model to be quicker. Perhaps most notably in continuous autofocus, where it's automated adjustment between subjects at different distances wasn't as far behind our Nikon D810 (which we also had in tow) as the earlier system.
Part of the appeal of the A7 II is that, via an A-mount adaptor, it's possible to use a variety of Sony lenses. With the LA-EA4 adapter connected and a Zeiss 24-70mm f/4 A-mount lens attached, the 15-point phase-detection system is centrally arranged - perhaps too much so.
With E-mount lenses attached (i.e. no adapter) the arrangement of autofocus points is better spread, although again the phase-detection section is more centralised.
Is it a big enough boost to warrant jumping from A7 to A7 II? Part of that will depend which lenses you're using and on an unknown entity: the Mark II's price. We'll have to wait until January 2015 to discover that.
The headline-grabbing feature in the A7 II is its inclusion of 5-axis image stabilisation. Olympus already has this in its Micro Four Thirds cameras, and Sony is the first to implement it in a full-frame sensor model. Interestingly the system will work in combination with lens-based image stabilisation where available, to get the best possible preview to the viewfinder (EVF), while adjusting for pitch, yaw and roll on the free-floating sensor. If there's no lens-based stabilisation then the sensor will cater for it all.
The sensor itself is the very same 24.7-megapixel offering as in the original model, with tweaks to signal processing made for supposed better image quality. Various lovely example shots were on display, but we'd warrant you won't notice a difference between first-generation and the follow-up MkII model. Still, that large size, significant depth-of-field control and big resolution was already a winner.
There are other design points of note, with the 3-inch, 1.23m-dot WhiteMagic screen said to perform better in sunlight. Not that the UK winter feels like dishing out much of that at the moment. We've seen the tech in other Sony screens, such as that on the RX100 III compact, and it is impressive. But in the case of the Sony A7 II it's how the slim screen nestles into the body that's most standout. It doesn't look as though it can tilt 107-degrees down and 41-degrees up, indeed it doesn't look like it pulls away from the body at all. Perhaps that's because it's a little fiddly to get a finger around to pull it outward.
In the viewfinder department things are the same as the original: the 0.5-inch OLED panel delivers 1.23m-dots of resolution and looks great. Auto activation from the eye-sensor when switching between LCD and EVF isn't immediate, but it's as fast as these things come. The only change is a softer rubberised eyecup to make things altogether less stressful for those who wear glasses.
Then there's movie recording. Although 4K capture is absent from the list - something the sister model A7S can perform via HDMI out only - the addition of XAVC S format (50Mbps at /30/25/24fps), S-log2 gamma and time code will add Brownie points to the videographer's arsenal. There are 3.5mm headphone out and microphone inputs already on board, making for a decent rig.
If, that is, you have a spare battery or two. Despite an increase in the A7 II's scale, the same NP-FW50 battery as used in the first-gen model is utilised. Great for upgraders, but we'd like a more capacious battery for a longer-lasting capacity. Official figures state you'll get the same 270 shots per charge when using the EVF as before - not bad considering the in-body stabilisation system, but it's the area we were most disappointed with in the original lineup, and that still stands now with the A7 II.
The Sony Alpha A7 II is an E-mount evolution. The first model was forward-thinking, the A7 II one year on takes that concept and shows off Sony's alternative approach, complete with some welcome enhancements. We hope the price is accessible too - then we'll be onto a full-frame winner.