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Sony a7R II

35mm AF digital mirrorless camera

Specification

Production details
Announced:June 2015
System: Sony E (2013)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Sony E [18mm]
Imaging plane:35.9 × 24mm CMOS sensor
Resolution:7952 × 5304 - 42 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:625g
Dimensions:126.9x95.7x60.3mm

Manufacturer description

NEW YORK, Jun. 10, 2015 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the α7R II (model ILCE-7RM2).

The new α7R II interchangeable lens camera features the world’s first back-illuminated full-frame Exmor R CMOS sensor1, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400)2 and high speed AF response up to 40% faster than the original α7R thanks to 399 focal plane phase detection AF points.

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed α7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full-frame format, a world’s first for digital cameras1. Additionally, it has a newly refined XGA OLED Tru-Finder with the world’s highest (0.78x) viewfinder magnification3.

“Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world,” said Mike Fasulo, President of Sony Electronics.

Kimio Maki, Senior General Manager of Digital imaging Business Group for Sony Corporation, added “By harmonizing high resolution, sensitivity and speed, we’re delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony’s newly developed, world’s first back-illuminated 35mm full frame CMOS sensor.”

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the α7R II to reach new levels of quality, sensitivity and response speed. In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera. The new α7R II eliminates that sacrifice thanks to its innovative image sensor.

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor’s glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range. This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 1024002.

Additionally, the sensor’s back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity. Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original α7R.

An ideal match for Sony’s extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new α7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise. There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the highest possible resolution and clarity.

The α7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots4. The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.

The new image sensor features 399 focal-plane phase-detection AF points – the world’s widest AF coverage on a full-frame sensor1 – that work together with 25 contrast AF points to achieve focus response that is about 40% faster than the original model. The α7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking.

Additionally, the focal plane phase-detection AF system on the α7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter. This allows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses. This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship α7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity. Similar to the system launched on the acclaimed α7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording. This camera shake compensation system is equivalent to shooting at a shutter speed approximately 4.5 steps faster5.

Additionally, the 5-axis stabilization works cooperatively with Sony α lenses with optical SteadyShot™ (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony α A-mount lenses6 without on-board stabilization. Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony’s new α7R II camera include the ability to record movies in 4K quality (QFHD 3840x2160) in either Super 35mm crop mode or full-frame mode.

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and ‘jaggies’.

In full-frame mode, the α7RII utilizes the full width of the 35mm sensor for 4K recording, allowing users to utilize the expanded expressive power of the sensor. It is the world’s first digital camera to offer this in-camera full-frame format 4K recording capacity1.

The camera utilizes the advanced XAVC S7 codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting.

Additionally, the α7RII model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 Gamma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more.

Enhanced Design, Operability and Reliability

The new full-frame α7RII has an upgraded XGA OLED Tru-Finder™ with a double-sided aspherical lens that delivers the world’s highest viewfinder magnification3 of 0.78x for crystal clear image preview and playback across the entire display area. ZEISS® T* Coating is also utilized to reduce unwanted reflections that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor. There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.

The new α7R II camera is Wi-Fi® and NFC compatible and fully functional with Sony’s PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™, which add a range of creative capabilities to the camera. For example, there is more creativity available now for time-lapse photography thanks to a new “Angle Shift add-on” app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the α7R II for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.