10th Anniversary 2012-2022
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Sony SLT-A99

35mm AF digital SLR camera

Specification

Production details
Announced:September 2012
System: Sony A (2008)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Minolta/Sony A [44.5mm]
Imaging plane:35.8 × 23.9mm CMOS sensor
Resolution:6000 × 4000 - 24 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:728g
Dimensions:147x111.2x78.4mm

Manufacturer description

SAN DIEGO, Sept 12, 2012 – Sony’s long awaited α99 digital camera sets a new performance standard for professional-class DSLRs, combining all of the benefits of full-frame imaging with the responsiveness and speed of Translucent Mirror Technology.

The successor to Sony’s flagship α900 DSLR, the α99 camera features a brand new 24.3 MP full-frame image sensor, a unique dual phase-detect AF system and a host of other innovative technologies that work together to deliver the best image and full HD video quality in the history of Sony’s acclaimed line of α cameras.

“The new α99 camera is the ultimate combination of Sony’s expertise and rich history of image sensor production coupled with our truly innovative approach to camera design” said Mike Kahn, director of the alpha interchangeable lens camera division at Sony. “It redefines what can be accomplished with a full frame DSLR camera.”

New Levels of Imaging Performance and Response

The flagship α99 model combines its new 24.3 effective megapixel Exmor® CMOS sensor with a highly advanced BIONZ image processing engine, delivering unprecedented levels of performance in both still and video shooting.

The full frame sensor is enhanced by a newly-developed separate multi-segment optional low-pass filter, increasing its resolving power. Assisted by an all-new front-end LSI, the BIONZ engine can process massive amounts of image signal data from the sensor at very high speeds. Together with a powerful new area-specific noise reduction (NR) algorithm, it allows to the camera to achieve 14-bit RAW output, rich gradation and low noise.

The evolved BIONZ processor also gives the α99 model a maximum sensitivity range (in expanded sensitivity mode) as wide as ISO50 – 25600 – a range of nine stops. Its unprecedented processing power enables the camera to shoot a burst of images at up to six frames per second at full resolution or up to 10 fps in Tele-zoom high speed shooting mode.

The new α99 digital camera features a unique dual AF system, a world’s first for digital cameras. This camera’s main focusing system – a 19-point AF system with 11 cross sensors - is complemented by a 102-point focal plane phase-detection AF sensor overlaying the main image sensor. Harnessing the power of Translucent Mirror Technology, light is passed to both phase-detection AF sensors simultaneously and continually, measuring subject distance and position more completely than other cameras. This unique Dual AF System permits ultra-fast, accurate autofocusing that maintains tracking focus even if a subject temporarily leaves the frame.

The AF-D (depth) continuous autofocus mode* utilizes the Dual AF system for wider and more dense coverage of the frame, significantly improving AF performance with fast or erratically moving subjects against complex backgrounds. Additionally, during movie shooting, AF Duration control provides reliable depth focusing information and ensures that the camera maintains proper focus on its subject when objects or people cross the focal plane.

A new AF range control allows photographers to manually select foreground and background distance to which the AF system will not respond, especially useful for shooting fast moving sports or animals through a nearby wire mesh or in front of a complex background that commonly distracts camera AF systems.

Crafted for Videographers and Movie-makers

The new α99 camera’s video capabilities build on Sony’s expertise in developing professional motion picture cameras, combining the unmatched resolving power and sensitivity of the full-frame sensor with several advanced features optimized for professional video production.

The flagship α99 model is the first full-frame DSLR to offer Full HD 60p/24p progressive video recording to meet AVCHD™ Version 2.0 specifications and Full-time Continuous AF Movie mode, allowing smooth, non-stop tracking of moving subjects. Other enhancements include real-time Full HD video output via HDMI®, and uninterrupted ‘dual-card’ recording using both of the camera’s media slots.

For added convenience while shooting video, a new silent, programmable multi-control dial on the front of the camera body allows silent adjustment of common settings during shooting including exposure compensation, ISO sensitivity, shutter speed, aperture and much more.

The camera’s audio features are designed to meet the demanding needs of serious videographers. An audio level display and adjustable audio record levels are joined by a headphone jack for accurate in-the-field monitoring. Additionally, the multi-interface shoe provides balance audio input for the optional XLR-K1M adaptor kit, which adds a high-quality mono shotgun microphone and pro-standard XLR connections for dependable audio acquisition.

Uncompromised Handing for Advanced Photographers

The camera’s XGA OLED Tru-Finder™ viewfinder offers 100% frame coverage on the viewfinder screen with exceptional brightness, contrast, clarity and resolution, ensuring a detail-packed view of the desired scene and subject. The unique electronic viewfinder will also maintain a 100% field of view with DT lenses that are optimized for APS-C sensor cameras, converting the angle of view automatically for image recording and display.

Complementing the Tru-Finder EVF is a three-way tiltable 1229k-dot (VGA equivalent) XtraFine LCD™ display with WhiteMagic™ technology to boost overall screen brightness. It’s especially useful for framing and shooting with the LCD in outdoor, sunny conditions.

Despite its impressive pro-class credentials, the α99 camera is the world’s lightest 35 mm full-frame interchangeable-lens digital camera. Constructed of high-rigidity magnesium alloy panels, it weighs in at just 733g (without lens and battery). Translucent Mirror Technology, which eliminates the need for a full-frame moving mirror mechanism and heavy glass pentaprism, also contributes to the extremely light design.

Additionally, the camera is weather-sealed and all buttons and controls have been ruggedized. A redesigned shutter block, tested to approximately 200,000 releases, further ensures the camera’s stamina and reliability.

The camera’s enhanced ergonomics include a re-designed grip and differentiated designs of several switches and buttons that allow for intuitive fingertip operation. A new exposure mode dial lock prevents accidental rotation, and a newly-developed Quick Navi Pro interface gives quick, intuitive one-handed access to common shooting parameters and controls.

The new model can also be operated via remote PC connection. Supported functions include switching between still and video shooting plus automatic transfer of still images from camera to PC for an improved studio workflow.

Designed for Professionals: New α Lens and Accessories

The full-frame imaging capabilities of the α99 camera make it an ideal partner for the new 300mm F2.8 G SSM II (SAL300F28G2) lens. Designed for demanding sports and wildlife applications, this bright super-telephoto offers a significantly improved optical design and handling compared with its predecessor. The Sony-developed Nano AR Coating assures flawless still images and HD video with reduced flare and ghosting, offering enhanced contrast. Further, a new LSI drive circuit offers faster, more accurate autofocus with enhanced subject tracking. The new lens is also dust- and moisture-resistant, making it an ideal candidate for the toughest outdoor shooting assignments.

Additionally, a new wide-aperture Carl Zeiss® A-mount prime lens is now under development. Optimized for superb results with the camera’s new 35mm full frame image sensor, the Planar T* 50mm F1.4 ZA SSM will be available next spring.

Offered exclusively for the α99 camera, the brand-new VG-C99AM vertical grip can house and manage three batteries in total (including the camera’s own on-board battery). Resistant to dust and moisture, the grip is ideal for lengthy shooting sessions in the studio or outdoors.

The brand new, range-leading HVL-F60M is a powerful flash (GN60, in meters at ISO 100) with built-in LED light that’s ideal for creative applications with still image or movie shooting. Smart functions include wireless multi-flash ratio control and Sony’s unique Quick Shift Bounce adjustment, while operation can be controlled quickly via the flash’s intuitive Quick Navi system. Also resistant to dust and moisture, the HVL-F60M flash comes supplied with a bounce adaptor for flash and a color conversion filter for use with LED lighting.

Compatible with 49mm and 55mm diameter lenses, the new HVL-RL1 Ring Light offers highly effective LED illumination of small subjects and is ideal for macro shooting**. Its high output level (approx. 700 lx/0.3m) is approximately four times brighter than the previous model, and operation can be switched between full-ring illumination and half-ring illumination.

The new XLR-K1M XLR Adaptor Kit is designed to meet the most demanding audio needs. It provides two pro-standard XLR terminals for connecting the α99 camera with professional microphones and mixing consoles and offers MIC/LINE input selection and separate adjustment of two channel levels to maximize operating flexibility. The adaptor kit comes supplied with Sony professional ECM-XM1 monaural shotgun microphone, but may also be used with a wide range of professional microphones. An optional bracket is required when using the XLR-K1M kit with the α99 model.

The RMT-DSLR2 Remote Commander allows wireless shutter release for still images and start/stop control of video shooting. It’s compatible with the new α99 models as well as other α A-mount and E-mount cameras that include a remote control receiver.

Styled to reduce carrying fatigue, the new LCS-BP3 Backpack can hold the α99 camera body, an attached telephoto zoom lens plus the VG-A99AM vertical grip as well as three to four spare lenses, accessories and a laptop up to 15.5”.

The ADP-MAA is a new shoe adaptor that allows Multi Interface Shoe cameras to be used with Auto-lock Accessory Shoe accessories. This adaptor will be supplied with the new HVL-60M flash and HVL-RL1 ring light mentioned above. Conversely, the ADP-AMA shoe adaptor allows Auto-lock Accessory Shoe cameras to be used with Multi Interface Shoe accessories.

Lastly, the PCK-LM14 Screen Protector Semi Hard Sheet safeguards the camera’s LCD screen against dust, scratches and fingerprints, and is supplied with a separate protector sheet for the top display panel.

Sony’s new SDXC memory UHS-1 memory card, SF-64UX (64 GB) is ideal for burst shooting with the α99. It’s ultra-high speed interface (UHS-1) compatibility offers high transfer speeds up to 94 MB/s (read) and rapid data rates when transferring large RAW files of video files to PC. The new cards are water-resistant and designed to perform under a wide range of operating temperatures. For additional data integrity, Sony’s File Rescue Software can help recover photos and videos that may have been accidentally deleted.

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Copyright © 2012-2022 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

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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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.