Along with the A6300 mirrorless camera, Sony today also announced three professional-grade lenses for the full-frame FE mount, the Sony FE 85mm f/1.4 GM, Sony FE 24-70mm f/2.8 GM and Sony FE 70-200mm f/2.8 GM OSS and two 1.4x and 2.0x teleconverters. Because of the premium nature of these lenses, Sony gave these lenses a new “G Master” (GM) label; which is basically one step above the current “G Series” lenses. All these lenses are fully designed by Sony engineers, have advanced optical formulas, coating technologies and other advancements that are designed specifically for Sony’s A7-series full-frame cameras, and as a result, also have rather steep price tags. Since many DSLR shooters have been staying away from the Sony full-frame mirrorless line due to the absence of truly professional f/1.4 and f/2.8 lenses, Sony decided to address that gap with the GM-series lenses. Looks like this is the first step and more GM lenses will follow in the future. Let’s take a look at these lenses in more detail and see what they have to offer.
Earlier this year, I wrote a detailed review of the Sony A7R, where I expressed a number of serious concerns with the camera, some of which were serious enough to be categorized as “deal breakers”. Soon after, Sony announced the much-anticipated A7R II mirrorless camera, a second iteration of the high-resolution line of A7-series cameras. Although many of us knew what to expect from the A7R II based on what we have previously seen on the Sony A7 II, there was new technology incorporated into the A7R II to make it a very appealing camera among both enthusiasts and professionals. Just like the A7 II, the A7R II gained five-axis in-body image stabilization (IBIS) and a different ergonomic design with a much more comfortable to hand-hold protruded grip. And those are relatively minor changes compared to the changes from the original A7R. Not only does the A7R II get a faster and much more reliable AF system with a whopping 399 focus points, but it also gains a brand new 42 MP back-illuminated (BSI) sensor. In addition, Sony addressed the serious shutter-shock issue by not only reducing the overall noise and vibration caused by the shutter mechanism, but also by introducing an electronic front-curtain shutter release option, which completely gets rid of shutter-related blur in images. And lastly, with the latest firmware upgrade, the Sony A7R II also gained the ability to shoot uncompressed RAW, giving the ability to take a full advantage of the sensor. I have been shooting with the Sony A7R II since it was announced, so let’s take a closer look at the Sony A7R II and see how it performed both in real world and lab environments.
Just a quick report for those who are wondering about the Sony A7R II file sizes and storage options after upgrading to firmware 2.00 and enabling uncompressed RAW. First of all, file sizes in fact do look much bigger in comparison! Here is a short summary of Lossy / Compressed RAW vs Uncompressed: 43 MB vs 86 MB – the file size basically doubles! Ouch, that means not only slower write times to your memory card, but also twice less images to save on them too. And if you keep the original RAW file, it will also double your storage and backup requirements. If you do not like this, there is one workaround – to use Adobe’s DNG converter. If you import your images into Lightroom, you can convert uncompressed RAW files to DNG upon import, or you can use the free Adobe DNG converter software before you start the import. The good news is, this process will create a lossless compressed DNG file, which means that you will end up with a much smaller file. How much smaller? Take a look at this small table:
Today is a good day in the Sony world, because the firmware 2.00 containing 14-bit Uncompressed RAW is available for download for the Sony A7R II! Finally, Sony added this option to the camera, which means you can now take a full advantage of the 42 MP Sony sensor in the A7R II, without damaging image quality. While the uncompressed RAW images will be much larger in size (roughly 2x the size), it is definitely worth using this option for critical shooting, particularly when shooting night scenes where sky posterization issues and artifacts around subjects are most pronounced. With the uncompressed option, you can enjoy seeing images that look like the ones from the Nikon D810 below:
We are in the process of reviewing the Sony A7R II mirrorless camera and we thought it would be a good idea to provide our recommended settings for this camera, since many of our readers have been asking for it. With a powerful 42 MP sensor and a pretty long list of features including native 4K video recording capability, the Sony A7R II is a high-end interchangeable lens mirrorless camera designed for serious enthusiasts and professionals. In this article, we will provide some information on what settings we use and shortly explain what some of the important ones do. The Sony A7-series cameras have a myriad of different settings and buttons, which can be confusing to understand, so the below information is provided as a guide for those who struggle with the cameras.
I am currently in the beautiful San Juan Mountains of Colorado, getting ready to conduct my annual Colorado Fall Workshops. Although some of the areas have not turned in their full fall color glory yet, it is just a matter of days at this point to witness the stunning transformation of the scenery before winter rolls its cold in. A breathtaking visual spectacle; something I love indulging myself in, together with some of the most amazing people from all over the world – our readers who will be arriving later this week to join the workshops. As I was trying to catch up with work earlier today, I realized that I was about 30 minutes away from sunset. I looked outside and was disappointed to see a bunch of thick clouds covering the sky. At first, I thought I would just stay and work, but then the thought of potentially losing a sunset opportunity crossed my mind, so I grabbed the Sony A7R II (which I am currently testing) and off I went to quickly get to the first overlook of the glorious Mt Sneffels.
While I am getting ready to leave for the upcoming PL fall workshops this week, it was exciting to hear today that Sony is finally going to address the Lossy 11+7 bit RAW issue we have seen on all Sony A7-series cameras (you can read about the Lossy RAW issue in my Sony A7R review). Although the press release below states that Sony will feature uncompressed 14-bit RAW beginning with the A7R II and the newly announced A7S II, I really hope that the company adds this must-have feature to its older A7-series cameras as well, since landscape photographers could really benefit from shooting true 14-bit RAW, without worrying about seeing artifacts in images. This is great news and I am glad that Sony responded to our complaints – it is great to see such a large company listen to customer and expert feedback.
I recently sold my D810 to get the Sony A7R II after it was announced by Sony, so I received it less than a week ago after ordering from Amazon. The specs were too tempting, especially with Nikon being somewhat stagnant in regards to innovation on the mirrorless front. Although I loved my D810 for landscape images, lugging the camera and tripod when going on vacation or hiking with a 20 month old child, has it’s challenges. The thoughts of a lighter set-up and the 5-axis image stabilization is what finally pushed me over; the 42MP BSI sensor was just the icing on the cake as I would have gone to Sony even if they stuck with 36MP.
With the release of the much-anticipated Sony A7R II, a number of our readers have been asking about the use of the camera, such as what type of photography the A7R II would be best suitable for, what advantages and disadvantages it has compared to DSLRs and how it can compete with them. Many Nikon and Canon DSLR shooters are actively looking at mirrorless cameras, not just because they are generally lighter and more compact, but also because they offer intriguing technological features that cannot be made available on DSLR cameras. The Sony A7R II is quite an attractive and unique camera, because it features a high resolution 42.4 MP back-illuminated full-frame sensor – something no other camera manufacturer offers at the moment. While Canon’s new 5DS and 5DS R cameras currently hold the resolution crown, we already know that Canon did not drastically improve dynamic range and the cameras themselves are not much different than their 5D Mark III predecessor. So aside from the new 50.6 MP sensor (see more on resolution differences below), Canon did not deliver any other innovations with those cameras, which puts the Sony A7R II in a good position in comparison. Let’s take a look at what the Sony A7R II offers when compared to modern full-frame DSLRs and the type of photography it would or would not be suitable for.
This article is meant to be an extension to the Camera Resolution Explained article that I published back in February of 2015. With the release of high-megapixel cameras such as the Canon 5DS / 5DS R and the Sony A7R II, more and more photographers are getting interested in these tools. They want to understand the advantages and disadvantages that such high resolution cameras bring and what changes they can anticipate to their workflows. In this article, I want to address these concerns and talk about pros and cons of low versus high resolution cameras. Please keep in mind that the term “low resolution” refers to the least resolution we see in modern full-frame cameras. Just a few years back, what I refer to as “low” in this article was considered state of the art. Hence, such terms are relative to the highest resolution sensor available today.