CAMERAS Sony Alpha 99 (Sony A99) Review

Sony Alpha 99 (Sony A99) Review

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Sony Alpha 99 (Sony A99) Review

Home CAMERAS Sony Alpha 99 (Sony A99) Review

Sony Alpha 99 (SLT-A99V): Sony introduces the Alpha 99 (SLT-A99) full format camera: 35mm device with electronic viewfinder

The core of the SLT-A99 introduced from Sony, is a newly developed sensor in 35mm format with a resolution of 24 megapixels. With the SLT-A99, Sony is also introducing a number of innovations in the professional segment. These include a high-resolution electronic viewfinder, the dual AF system including phase AF sensors on the image sensor, and an ISO hot shoe with additional contacts for special system accessories. The SLT-A99 is also aimed specifically at videographers and is available since January 2013.

Brief assessment

Pros

  • Electronic focus limiter
  • Fast tracking AF, even when recording video
  • Excellent image quality
  • Excellent handling and ergonomics

Cons

  • Very high continuous shooting rates only with nonsensical digital zoom
  • Cover of the card slot creaks
  • No on-board flash
  • AF fields too restricted to image center

With the SLT-A99, Sony is trying the big leap forward. The 35 mm camera finally offers everything that fans of the full format have had to do without at Sony until now; live view and video recording, for example. In addition, there is a completely new AF system with 102 phase AF fields on the image sensor, as well as an innovative operating aid. What’s revolutionary is that for the first time in a full-frame camera, Sony has dispensed with a conventional optical viewfinder – the A99 always shows the viewfinder image in live view mode on the display or in the electronic viewfinder.

In the hard practical application “on location” and in the studio we then pursued the probably most exciting question: Can the SLT concept with an exclusively electronically generated viewfinder image also convince with a full format camera?

With the SLT-A99 introducedin the market, Sony also says goodbye to the classic DSLR concept in full format. Instead, the manufacturer is now also focusing on its SLT technology, which was introduced in 2010 in the professional segment and in which the viewfinder image is generated and displayed electronically. For this purpose, a fixed, partially transparent mirror redirects a small portion of the incident light to the phase AF sensors that are still present, the lion’s share is received by the image sensor. The advantage of this technology: The phase AF, which is significantly faster than contrast measurement, also sharpens in live view mode and during video recordings. With the SLT-A99, Sony has now further developed this technology: In addition to the 19 classic AF sensors, the sensor of the Alpha 99 has a total of 102 additional focus measuring points on the image sensor. According to Sony, they ensure that even fast-moving subjects are reliably kept in focus. For the time being, this dual AF only works with selected lenses, but Sony has already announced firmware updates for other lenses.

At the heart of the SLT-A99 is a 35mm format image sensor with a resolution of 24 megapixels. Sony states that the completely newly developed image converter has a significantly higher light sensitivity than its predecessor in the Alpha 900 due to its particularly high transistor density, allowing the SLT-A99 to select sensitivity levels between ISO 50 and ISO 25,600. The continuous shooting rate is six frames per second (fps) in full resolution and 8 fps in telephoto zoom continuous shooting mode. Instead of a conventional optical viewfinder, the SLT-A99 uses an electronic viewfinder (EVF) to control the frame. The EVF uses OLED technology and has a very fine resolution of approximately 2,360,000 pixels. It covers the field of view 100 percent, the viewfinder image magnification is about 0.71 times. The resolution of the rear three-inch display is also very high at 1,228,800. The display is hinged with a combined turn/fold hinge and can be folded, turned and swivelled over a very wide range.

With the SLT-A99, Sony says goodbye to the proprietary flash shoe that dates back to the times of Minolta. Instead, the A99 is equipped with an extended ISO shoe that includes additional contacts for future system accessories – an adapter for connecting previous flash units is included with the A99. The advantage of the hot shoe with standard mechanics is that standard LED video lights or other accessories can be mounted mechanically directly in the hot shoe. To match the new hot shoe, Sony announces the HVL-F60M flash with guide number 60, which has an additional LED permanent light for video recording. The SLT-A99 records video in Full HD (1920 x 1080 pixels) at up to 50 full frames per second, with an integrated stereo microphone for sound recording. Sound recordings can be controlled manually if required and monitored via the camera’s headphone connection. In addition, the SLT-A99 offers a microphone input to which even microphones or a mixing console with professional XLR connectors can be connected using the optional XLR-K1M adapter. Further accessories to match the SLT-99 will be available, such as the VG-C99AM portrait handle (around 400 euros) or the RMT-DSLR2 remote control (50 euros).

Sony packs the professional camera in a light and resistant magnesium housing that is sealed against environmental influences. The shutter of the SLT-A99 is designed for a lifetime of at least 200.000 releases. Every single control element is characteristic and individually shaped, so that according to Sony the SLT-A99 can be operated blindly even “without eye contact with the back of the camera”.

Ergonomics and Workmanship

The very first eye contact with the A99 makes one thing clear: the designers have worked hard here. While the previous model A900 still exuded the angular charm of a prefabricated building, the new model with its gentle curves appears far less technical. Its organic design not only gives the A99 a very unique face, it also lets the camera lie in the hand as if it were grown. And that’s where it proves to be a real lightweight, considering its format. Ready for operation (but without lens), the A99 weighs only slightly more than 800 grams; no other full format camera is lighter at the moment. It doesn’t look cheap at all, as Sony has formed the case from a light but extremely resistant magnesium-aluminum alloy. Only the big plastic flap on the right side, under which two card slots are hidden, should be of even higher quality – the flap creaks if you hold the camera firmly in your hand. But this slight issue is forgotten as soon as you look through the viewfinder: The SLT-A99 – so the full name – provides an electronically generated viewfinder image. Thus, Sony is now also bidding farewell to the classic SLR construction in the full format; the A99 does without an oscillating mirror and thus a conventional optical viewfinder.
This concept is no longer new; Sony introduced the first SLT cameras in 2009. Until now, however, SLT technology has only been available in the APS-C class, where it has at least one undeniable advantage: the electronic viewfinder image is as large as that of a full-frame camera. This does not change with the A99 either; with a 0.71x magnification, the viewfinder image has the usual dimensions of the class – but nothing more. In other respects, however, the electronic viewfinder image has not always been convincing. Above all, even the last stage of development of the EVF on the A77 does not differentiate enough tonal values. There are depths drowning in the viewfinder, which the camera effortlessly travels through when shooting – and it’s no better with the lights. This did not bode well for the A99 either, especially as the electronic viewfinders of the A77 and A99 are the same as one panel building after another: The viewfinder display has an extremely fine resolution of approx. 2.36 million pixels, and thanks to its 4:3 format there is a border above and below the viewfinder image into which the camera fades in the most important shooting information.
Our test model from serial production convinces with very fine tonal gradations, which finally allow a reliable exposure correction on sight. In a comparison of an A77, the A99 impressively emphasized: Sony has made the big leap forward in the viewfinder. Those switching from a full-frame optical viewfinder will still have to get used to the fact that the EVF shows more of the image than the scene in front of the lens – but this is usually an advantage: white balance incorrectly set? The EVF shows a blue or yellow-tinted viewfinder image. The same applies analogously to inappropriate exposure values; the depth of field can be checked without any doubt anyway thanks to the grandiose resolution (and with the help of the dimming button).
Since Sony’s SLT technology always produces the viewfinder image in Live View mode, the rear display can also be used to control recording. It is equipped with the same folding, folding and rotating hinges as the A77. It has also remained unchanged in its dimensions with a diagonal of three inches. But Sony has given the A99 monitor even more pixels, it now resolves 1.23 million dots. Sony has also revived the smart Quick-Navi function in the A99, which already made operation of older Alpha models and their predecessors child’s play: All settings shown on the display can be directly accessed and changed. Thus, one only has to dive into the very extensive but clearly structured menus in order to configure the camera once in principle – and to format the memory card. Sony has also distributed a number of buttons and switches on the right-hand side of the back – in such a way that they can be easily reached with the thumb of the grabbing hand. Additional function keys are located on the top plate near the shutter release. For the left hand there is therefore not so much to do, for it the mode dial protected with a lock as well as the menu button is intended. And – another innovation of the A99 – a “silent control” on the front of the camera, where the AF selector switch is usually located at Sony. The focus mode can also be changed with this smart dial, but there’s a lot more to it – such as ISO sensitivity, the exposure metering method or the focus field. This works wonderfully easy even when you look through the viewfinder. And because the controller can really be operated absolutely silently, it doesn’t interfere with sound recordings. When shooting movies, it consequently takes over further functions, such as changing the aperture or controlling the movie sound. On the opposite side, Sony has shaped the handle even more clearly than on the predecessor; it might have been a bit too massive for a delicate photographer’s hand. It takes the battery of the well-known type NP-FM500H, a battery change is possible without any problems even with the tripod plate attached. Unfortunately, a battery change is also necessary quite often, as one tank filling is enough for a maximum of 500 images.

Equipment

The A99 not only looks very similar to its smaller sister, the A77, on the outside – it also takes over most of its functions. With the A99, various fully automatic systems and freely selectable scene modes are now making their way. Unlike its predecessor, the top model no longer requires a skilled photographer’s hand, but also allows beginners and advanced photographers to quickly obtain appealing results. There is nothing to prevent experienced users from occasionally using one of the clever automatic systems – such as the swivel panorama, or “hand-held at dusk”. The latter facilitates blur-free shutter speeds in low light by adding up six underexposed images to one correctly exposed, low-noise image. Sony has even included automatic face detection and face recognition in the A99 – a useful feature in itself, but it could also focus on portraits at the edge of the screen (see the lens section for more details). If all the automatic features are for you, you can customize the A99 down to the smallest detail. Thus, the white balance can be parameterized in two axes, the noise reduction works in three selectable levels and adjustment options for sharpness, saturation, contrast, etc. always guarantee the image result you expect. Photographers with particularly high demands can of course record pictures with the A99 in raw format, the camera now saves them with a word width of 14 bits instead of the usual 12 bits. This is incomprehensible, as Sony has very well accommodated a decent pop-up flash in the rather similar case of the A77. With the A99 (and the NEX-6 introduced at the same time), Sony says goodbye to the previous proprietary flash shoe, which dates back to blessed Minolta days. The A99 now comes up with an ISO shoe, but Sony has extended it with a whole connector strip on the front. The new HVL-F60M flash unit is available to match, which provides continuous light for video recordings via high-power LEDs. Sony also offers the XLR-K1M microphone preamplifier especially for the multi-interface ISO shoe, which even provides balanced connections (XLR). Fortunately, the A99 does not immediately retire previous flash units with Minolta shoes; a small adapter is included with the camera so that the flash units can continue to be used without any restrictions. The flash functions of the A99 leave nothing to be desired, the minimum flash sync speed is pleasingly short at 1/250 s.

A special control on the front for filming, various video accessories and, last but not least, a permanent phase AF in live view mode – this only allows one conclusion: Sony wants to make up for everything that the full format predecessor, the A900, missed in terms of video. For example, the A99 films with Full HD resolution (1,980 x 1,080 pixels) at 50 full frames per second on request, recording a data stream of 28 Mb/s in the space-saving AVCHD format. And that’s not all: the camera has a socket for connecting an external microphone, and even headphones can be connected for monitoring the sound recording. It goes without saying that the film sound can also be controlled manually, making the integrated stereo microphone almost an emergency solution. However, the greatest asset in terms of video is the SLT concept, in which a fixed, semi-transparent mirror in the beam path diverts around 30 percent of the incident light to the phase AF module, which is still present. This means that the A99 tracks the focus during video shooting faster and more accurately than any other camera in its class.

The A99 takes serial photos at full resolution with around 5.8 photos per second (fps) in JPEG. It maintains this speed for a good two seconds or 14 shots before falling into a leisurely continuous run with one frame per second. Seen on its own, the A99 is anything but a lame bitch, but the A77 gallops away like a young foal with twice the serial frame rate. This is surprising, since both cameras have about the same amount of data to process. This difference is also noticeable with series pictures in Raw: Here the A99 is also only half as fast as its APS-C sister A77 with 6.4 fps for 14 shots. Sony is apparently well aware of this shortcoming – there’s no other explanation for the fact that the A99 comes up with two additional “tele-zoom continuous shooting” programs. They allow continuous shooting rates of about 10 fps or about 8 fps, while cropping the image and saving only a section.

As usual with Sony, the A99 is also only barely equipped with editing options in playback mode. Rotating and deleting pictures, cropping videos – that’s basically it. Sony has not even given its top model an option for raw development – other manufacturers are much more generous with cameras in this price range. It would also be nice if the many picture effects could be applied to a photo only afterwards. So you have to decide on the right effect before you take the picture – and you run the risk that the selected effect will blemish the picture instead of enhancing it. On the other hand, Sony has equipped the A99 with a GPS receiver that stores the location coordinates of each shot.

Lens

Currently, the A99 is only offered “body only”, i.e. not in a set with one lens. I have tested Sony’s new full format flagship with the 24-70 mm 2.8 Vario-Sonnar T* ZA SSM, which would also cut a fine figure as a set lens for the A99. The standard zoom looks as if it has been built to last for eternity – which is certainly not least due to its considerable weight of 995 grams. The lens adjusts the focus with a quiet SSM drive, so there is no need for an optical image stabilizer: As usual with Sony, the A99 also has a sensor-shift stabiliser – a movable image sensor compensates for the shaking of the photographer’s hand. The advantage of this method is that the image stabilizer is available with practically any lens. Theoretically it would even be possible to create a stabilized viewfinder image. However, Sony does without this option, the stabilizer only comes into action when the shutter button is pressed all the way down.

Although the A99’s image sensor always provides a live view viewfinder image, Sony continues to use classic phased autofocus to determine subject distance. This module is somewhat sparingly equipped with 19 sensors, eleven of which are cross sensors. It receives around 30 percent of the incident light from a partially transparent mirror that is firmly anchored in the beam path (but can be folded up manually for sensor cleaning). For the first time in an Alpha family camera, the A99’s image sensor also assists in focusing: Sony has placed 102 phase AF cells on the image converter to provide the autofocus system with additional information. This allows the A99 to focus faster and, above all, more accurately. However, the new AF-D mode currently only works in conjunction with some lenses, including the 24-70/2.8.

 

Also new on the A99 is an electronic focus limiter. It can be used to specify that the camera should only focus within a certain distance range. This prevents the A99 from focusing on the bars in the foreground, even though the lion further back in the enclosure should be in focus. According to Sony, this focus limiter also only works with selected, newer lenses, but in the test it performed its service without complaint even with a quite old Minolta 50 mm 1.4 mm. Even without a focus limiter, the autofocus of the A99 proved to be quite fast in the test lab: In the best case, only 0.2 seconds passed until the camera had focused and triggered.

In practice, however, it was annoying that Sony apparently took over the A99’s AF module from the APS-C sister, the A77. On the A99, for example, it covers only about 1/9 of the much larger image area in the center. Even the 102 additional focus detectors on the image converter do not help here, they are also arranged within the manageable central area. The fact that Sony has undoubtedly jumped short here is impressively demonstrated when face recognition is activated: it frames a face without much feather-reading, even if it’s far at the edge of the picture frame. However, the AF focuses on an area within the image center, since there are no measuring fields in the outer areas.

Image quality

While Sony has been a pioneer in terms of maximum resolution up to now, the A99 makes smaller leaps here – it remains at around 24 megapixels, just like its predecessor. This almost conservative design for a full format camera need not be a disadvantage. 24 megapixels are sufficient for prints in the format 51 x 34 cm at a print resolution of 300 ppi – or in other words: at least for A3+. The moderate resolution leaves more space for the individual sensor cells, they can be larger and thus become more light-sensitive. Sony has also revised the design of the image converter, with the converging lenses in front of each pixel moving closer to the light-sensitive layer and also focusing more strongly than before – in short, the A99’s sensor is more light-sensitive than its predecessor.

The laboratory report certifies that the A99 has a signal-to-noise ratio almost like in a textbook: In the brightness channel it remains at a very high level of over 40 dB up to ISO 400 and only falls below the critical limit of 35 dB beyond ISO 3,200. In relation to the color information, the signal-to-noise ratio is somewhat less favorable, but far from a reproach. It is also outstanding that the grain never reaches a critical size up to ISO 25,600 – apart from an outlier in the red channel. Thus, the noise always remains very fine and, if at all, is only visible (but by no means disturbing) beyond ISO 6.400. ISO 6.400 is also the limit above which noise reduction sacrifices the finest image details for the first time perceptibly. But even up to the ISO upper limit of 25,600, the texture loss due to noise reduction is extremely low. Not only metrologically, but also in practice, the A99’s high-ISO capabilities can leave no one hands-empty: When the photographer’s hangover jumped onto the setup in the studio’s sparse modeling light, the A99 had no trouble reproducing the finest hairs and nuances in the coat even at ISO 3,200.

The input dynamics of the A99 are excellent: the camera processes a contrast range of 10.5 f-stops and more up to ISO 1,600; even at ISO 12,800, the laboratory report shows a dynamic range of 9.1 EV – superb! The output tonal value range is also at the highest level; up to ISO 400 it is close to the theoretical maximum and only falls below the critical limit of 7 bits/channel beyond ISO 6,400. As with the measurement of grain size, however, the red channel is the key issue here – the camera differentiates red tones somewhat poorly from a metrological point of view, but this is by no means visible. With so much praise, you have to search meticulously to find any point of criticism at all. Maybe with the color fidelity, the average color deviation might be a little less, although it never becomes critical.

With the new 24 megapixel sensor and the image processor, Sony has undoubtedly made a big leap forward. But what about the image quality when the 24-70 mm 2.8 Vario-Sonnar T* ZA SSM lens comes into play? After all, it proudly bears the “Zeiss” label, and the tradition-rich company Carl Zeiss gives Sony a great deal of support in the development and manufacture of the lens. And apparently it was not a bad decision of the Japanese to get advice and help from this German optics leader manufacturer: The zoom is characterized by a high sharpness at all focal lengths, and this over the entire field of view of a 20 x 30 centimeter pint. In addition, it convinces with a very even brightness distribution; even with an open aperture it darkens the image corners only minimally. The lens is not quite as flawless when it comes to chromatic aberration: On average, color fringes are only very faint and remain invisible, but they can be quite annoying, especially in the wide-angle range. However, the Carl-Zeiss lens is somewhat weaker in terms of resolution: Although it achieves a maximum resolution of a good 45 line pairs per millimeter (lp/mm) in the center of the image, comparable lenses from other manufacturers are even better. In addition, the loss of resolution is somewhat pronounced towards the edges of the image. Overall, the imaging performance of the lens is more than okay, but the full potential of the camera can only be exploited with high-quality fixed focal lengths.

Conclusion

Sony made a big leap forward with the SLT-A99. The electronics giant is taking its SLT concept to new heights with its always electronically generated viewfinder image in the full-format camera. Despite all the prophecies of doom (and reviews of pre-production models, that were inferior to this one we tested now for this article), the A99’s electronic viewfinder is a knockout; the resolution is fine down to the last detail, and the significantly improved EVF allows for the first time an exact assessment of contrasts even before shooting. Sony is also breaking new ground with the operating concept, with the smart rotary control on the front making handling even easier. The image quality of the A99 is beyond doubt – up to high ISO 3,200, the camera delivers images that can be printed in poster size. The equipment is almost complete, but at least rudimentary image processing functions in playback mode would be desirable.

However, Sony clearly falls short in the A99’s autofocus – despite all the innovations: The measuring fields only cover a very narrow area in the center of the image; Sony should have been happy to refrain from this economy measure in view of the price of the A99. When it comes to video recording, the A99 is ahead of the game, not least thanks to its constantly active phase AF. If you want the best is just good enough for you, you can confidently reach for the A99 – if you can do without focus points at the edges of the picture.

Profile

Profile
Manufacturer Sony
Model Alpha ALT-A99V
Price approx. See several dealers currently
Sensor Resolution 24.7 megapixels
Max. Image resolution 6.000 x 4.000
(aspect ratio) (3:2)
Lens Sony 24-70 mm 2.8 Vario-Sonnar T* ZA SSM
Filter thread 77mm
Searcher electronically
Field of view 100 %
Resolution 2.36 million
Dioptre compensation yes
LCD monitor 3″
Resolution 1.23 million
rotatable yes
swiveling yes
as viewfinder yes
Video output HDMI
as viewfinder yes
Automatic programming yes
Automatic aperture control yes
Automatic timer yes
manual exposure yes
BULB long time exposure yes
Scene modes available
Portrait yes
Children/baby
Landscape yes
Macro yes
Sports/action yes
More 4 additional scene modes
Exposure metering Multi-field, centre-weighted Integral, Spot
Flash
Guide number
Flash connection System hot shoe
Remote release yes
Interval recording
Storage medium SD/SDHC/SDXC (2x), MemoryStick Pro Duo
Video mode
Format AVCHD or MP4
Codec H.264/AVC
Resolution (max.) 1.920 x 1.080
Frame rate (max.) 50p
Sensitivity
automatically ISO 100-6.400 (upper and lower limit adjustable)
manually ISO 100-25,600
White balance
Automatic yes
Sun yes
Clouds yes
Fluorescent lamp yes
Incandescent lamp yes
Miscellaneous Shadow, flash, manual color temperature selection, WB fine correction
Manually yes
Autofocus
Number of measurement fields
19 (Phase AF)
102 (phase AF on the sensor)
AF auxiliary light red-orange
Speed approx. 2.0-0.3 s
Languages English
More 16 additional languages
Switch-on time approx. 1.5 s
One-hand operation
(zoom and shutter release)
Weight
(Ready for operation)
approx. 812 g (housing only
)approx. 1,767 g (with lens*)
Continuous shooting**
Number of serial images 14 (JPEG
)14 (RAW)
Frequency
(frames/s
)
5.8 (JPEG
)6.4 (RAW)
Continuous run
(images/s)
1.1 (JPEG
)0.6 (RAW)
with flash yes
Zoom
Zoom adjustment at the lens
Zoom levels infinitely variable
Time WW to Tele
Memory speeds**
JPEG 3.2 (4.8 MByte)
RAW 6.9 s (75.8 MByte)
Trip during
.Saving possible.
yes
Battery life
approx. 410 frames (EVF)
approx. 500 pictures (TFT)
(both according to CIPA)
– = “not applicable” or “not available
* with lens Sony 24-70 mm 2.8 Vario-Sonnar T* ZA SSM
** with memory card Panasonic SDHC 25 MB/s

Brief assessment

Pros

  • Electronic focus limiter
  • Fast tracking AF, even when recording video
  • Excellent image quality
  • Excellent handling and ergonomics

Cons

  • Very high continuous shooting rates only with nonsensical digital zoom
  • Cover of the card slot creaks
  • No on-board flash
  • AF fields too restricted to image center

Sony Alpha 99 (SLT-A99V) Datasheet

Electronics

Sensor CMOS sensor 36.0 x 24.0 mm (crop factor 1.0
)24.7 megapixels (physical) and 24.3 megapixels (effective)
Pixelpitch 6,0 µm
Photo resolution
4.240 x 2.832 pixels (3:2)
3.936 x 2.624 pixels (3:2)
3.936 x 2.216 pixels (16:9)
3.936 x 2.116 pixels
2.640 x 1.760 pixels (3:2)
2.640 x 1.488 pixels (16:9)
1.728 x 1.152 pixels (3:2)
1.728 x 976 pixels (16:9)
Panorama Sweeping panorama
12.416 x 1.856 pixels
5.536 x 2.160 pixels
8.192 x 1.856 pixels
3.872 x 2.160 pixels
Image formats JPG, RAW
Color depth 42 bits (14 bits per color channel)
Metadata Exif (version 2.3), DCF standard
Video resolution
1.920 x 1.080 (16:9) 60 p
1.920 x 1.080 (16:9) 50 p
1.440 x 1.080 (4:3) 30 p
1.440 x 1.080 (4:3) 25 p
640 x 480 (4:3) 30 p
Video format
AVCHD (Codec H.264)

Lens

Lens mount
Sony AF

Focus

Autofocus mode Phase comparison autofocus with 19 sensors, 12 cross sensors and 7 line sensors, autofocus working range from -1 EV to 17 EV
Autofocus functions Single AF, Continuous AF, Tracking AF, Manual, AFL Function, AF Assist Light (LED)
Sharpness control Depth-of-field control, depth-of-field button

Viewfinder and monitor

Monitor 3.0″ TFT LCD monitor with 1,228,800 pixels, anti-reflective, brightness adjustable, tilting 320° upwards, rotatable 170
Info display additional info display (top) with lighting
Video finder Video viewfinder available, 0.71x magnification factor, dioptre compensation (-4.0 to 3.0 dpt)

Exposure

Exposure metering Center-weighted integral measurement, matrix/multi-field measurement over 1,200 fields, spot measurement
Exposure times 1/8,000 to 30 s (Automatic
)1/8,000 to 30 s (Manual)
Bulb function
Exposure control Fully automatic, Program automatic (with program shift), Shutter automatic, Aperture automatic, Manual
Exposure bracketing function Step size from 0.3 to 3 EV, HDR function
Exposure Compensation -5.0 to +5.0 EV with step size from 1/3 to 1/2 EV
Photosensitivity ISO 100 to ISO 6,400 (automatic
)ISO 50 to ISO 25,600 (manual)
Remote access Remote triggering
Scene modes Landscape, Macro, Night Portrait, Portrait, Sunset, Sports/Action, 0 additional scene modes
Picture effects HDR effects, miniature effect, sepia, soft focus, monochrome high contrast, pop color, retro photo, rich monochrome, game camera, partial color (red, yellow, blue, green), tone separation/posterization (color, b/w), soft focus
White balance Auto, Cloudy, Sunny, White balance bracket, Fine tuning, Shadow, Flash, Fluorescent lamp with 4 presets, from 2,500 to 9,900 K, Manual
Color space Adobe RGB, sRGB
Continuous shooting Continuous shooting function max. 6.0 fps at highest resolution and max. 15 stored images, up to 12 images RAW, up to 25 images cRAW, up to 10 images RAW JPG,
Self-timer Self-timer with 2 s interval, special features: or 10 s (optional)
Recording functions AEL function, AFL function, live histogram

Flashgun

Flash no built-in flash availableShoe
: Sony Multi Interface, standard center contact
Flash range Flash sync speed 1/250 s
Flash functions Flash exposure compensation from -3.0 EV to +3.0 EV

Equipment

Image stabilizer Sensor shift (optical)
Memory
Memory Stick (Duo Pro)
SD (SDHC, SDXC)
second memory card slot
SD
GPS function GPS internal
Microphone Stereo
Power supply unit Power supply connection
Power supply 1 x Sony NP-FM500H (Lithium Ion (Li-Ion), 1,650 mAh
)500 images according to CIPA standard
Playback functions Image rotation, Protect image, Highlight / Shadow warning, Playback histogram, Playback magnifier, Image index, Zoom out
Face recognition Face recognition, face recognition (8 faces)
Image parameters Sharpness, contrast, noise reduction
Special functions Electronic spirit level, Grid fade-in, Orientation sensor, Live View
Connections Data interfaces: USBUSB type
:USB 2.0 High SpeedWLAN
: available
AV Connections AV output: HDMI output Micro (Type D
)Audio input: yes (3.5 mm jack (stereo with power supply))
Audio output: yes (3.5 mm jack (stereo, 3-pin))
Supported direct printing methods DPOF, Exif Print, PIM
Tripod thread 1/4″ in optical axis
Housing Splash water protection
Special features and miscellaneous Sensor cleaning function and anti-static coatingZone matching
(-1 to 2)
Dynamic range optimizationAudio level meterAudio recording levelAutoSlow ShutterHDMI info

Size and weight

Dimensions W x H x D 147 x 112 x 78 mm
Weight 812 g (ready for operation)

Miscellaneous

standard accessory Sony NP-FM500H Special Battery ChargerVideo Connection CableUSB Connection CableStrapBeltImage Editing Software

Sony Software Package for Windows (XP/or higher) and for Macintosh (System X/or higher)

additional accessories Sony AC-PW10 Power SupplySony
HVL-F20M Plug-on Flash with Swivel ReflectorSony
NP-FM500H Special BatterySony
RM-L1AM Remote Cable ReleaseSony
RM-S1AM Remote Cable ReleaseSony
VG-C90AM Battery/Battery Grip

 

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Peter Dench
Peter Dench
I am Peter Dench. Digital Photographer, born in London 1972, currently living in Deerfield, near Chicago. I have numerous photography expositions and also working in model photography. In this website, PhotoPoint, I usually review cameras provided by local dealers in Illinois and by the manufacturers. Sometimes I, Peter Dench, review lenses too, but only when I have a suitable camera for them. Please let me know in the comments if I can improve any of these articles.

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