|System:||● Sony A (2008)|
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Minolta/Sony A [44.5mm]|
|Imaging plane:||35.9 × 24mm CMOS sensor|
|Resolution:||7952 × 5304 - 42 MP|
|Speeds:||30 - 1/8000 + B|
|Sensor-shift image stabilization:||Yes|
|Exposure metering:||Through-the-lens (TTL)|
|Exposure modes:||Programmed Auto|
COLOGNE, Germany, Sept. 19, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their new flagship A-mount camera, the α99 II.
Reaffirming Sony’s commitment to produce industry leading A-mount cameras, the impressive new camera combines the best of many of their latest digital imaging innovations including a new Hybrid Phase Detection AF system with exclusive Sony A-mount features such as Translucent Mirror Technology™. The result is a supremely specified, professional level camera that will be appealing to a variety of professional and enthusiast photographers.
“We are continuing to innovate with each new camera body, lens and accessory that we bring to market, offering compelling choices to both existing and prospective users of the Sony α system” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “With the α99 II, we’re delivering an industry-leading level of performance to A-mount owners and enthusiasts. Its powerful combination of speed and resolution is simply unmatched in today’s market.”
Redefining Autofocus and Speed
The new α99 II camera is Sony’s first full-frame camera to feature the acclaimed 4D Focus system, bringing a supreme level of AF performance to Sony’s A-mount line-up. The Hybrid Phase Detection AF system is enabled by combining a precision 79-point3 dedicated phase detection AF sensor with 399 focal plane phase detection AF points4 to produce a 79 hybrid cross AF point1 array. This enables incredibly precise autofocus performance and advanced subject tracking of any high-speed moving objects across the frame. In addition Translucent Mirror Technology, with no moving mirror, ensures steady, continuous AF operation and live image preview during both still image and video shooting. The precision AF system also performs exceptionally in low-light conditions, as it will function properly in brightness levels as low as EV-45 and in dark locations where most other cameras struggle.
In addition to its advanced autofocusing, the α99 II has been designed to allow for high resolution, continuous shooting at high frame rates. The camera features a new front-end LSI that works with the image sensor, BIONZ X® image processing engine and a newly designed shutter unit to enable continuous shooting at impressive speeds of up to 12fps2with AF/AE tracking6. Thanks to a large buffer, these shots can be viewed immediately after shooting, even when in high-speed continuous shooting mode. Additionally, if these high-speed shots are being taken indoors under artificial lighting, the camera can automatically detect flicker and time the shutter accordingly to minimize its effect on the resulting images7.
The new α99 II also has the ability to deliver continuous live shooting at up to 8 fps 8 with AF/AE tracking and minimal display lag thanks to overall improvements in the EVF algorithm. This offers photographers a shooting experience that closely mimics that of an optical viewfinder, while still offering all of the benefits of an electronic viewfinder including a live preview of exposure, white balance and several other camera settings. This continuous live view shooting can be set in 3 stages to match a variety of subjects: 8 fps, 6 fps and 4 fps.
The back-illuminated full-frame 42.4MP9 Exmor R CMOS sensor in the new α99 II model features a gapless-on-chip design that allows for fast readout of large volumes of data and maximizes light gathering ability. The net result is very high sensitivity with low noise, wide dynamic range and 42.4MP resolution across an ISO range of 100-25600, expandable to ISO 50 – 102,40010.
The new camera has also been designed without an optical low-pass filter, ensuring that all of the finest natural details and textures can be captured with unprecedented depth and realism. Both compressed and uncompressed RAW files are readily available based on user preferences.
5-axis SteadyShot™ INSIDE Image Stabilization
Sony has designed a new in-body 5 axis image stabilization system for A-mount cameras that debuts for the first time in the α99 II model. Having proven to be incredibly popular in the ɑ7 II series of cameras, this five axis system effectively detects and compensates for movement in all axes including X and Y, pitch and yaw and camera roll, and ensures that all captured content is crisp and blur-free. The new stabilization system provides a shutter speed advantage of 4.5 steps11, ensuring the full potential of the 42.4MP sensor can be realized. Also, with a simple half press of the shutter button, the effect of this the image stabilization can be monitored in the viewfinder or on the LCD screen, allowing framing and focus to be accurately checked and continually monitored.
Improved design and operability
Based upon feedback from professional users, the design of new α99 II has noticeably evolved compared to its predecessor. The new model is 8% smaller than the original ɑ99 and features a newly designed grip, magnesium alloy body, dual SD card slots12 and dust and moisture resistance13.
The α99 II also features a new shutter unit that has an estimated life of more than 300,000 operations14, as well as an XGA OLED Tru-finder with a ZEISS® T* Coating that offers a powerful 0.78x magnification and delivers outstanding clarify from corner to corner. The viewfinder also has a fluorine coating on the outer lens to prevent fingerprints, dust, water, oil and dirt from sticking, ensuring a clear view.
The silent Multi Controller introduced in the original ɑ99 has been improved as well, as it now offers a click-stop ON/OFF switch in addition to allowing control of aperture, shutter speed, ISO, exposure compensation, AF area, AF mode and other settings. The α99 II also offers location data acquisition via a Bluetooth15 connection to a compatible mobile device and an updated menu structure to deliver a smoother navigational experience.
For the first time in a Sony A-mount camera, the α99 II has the ability to record 4K video internally16 with full pixel readout and no pixel binning17 through usage of the professional friendly XAVC S format. The camera is capable of recording high quality footage at 100Mbps for 4K recording, and utilizing the full width of the large, full-frame image sensor in doing so. It also offers a new ‘Slow and Quick’ mode18 (S&Q) that supports both slow motion and quick motion. In this mode, frame rates from 1 fps to 120 fps can be selected in 8 steps for up to 60x quick motion and 5x slow motion recording19.
A host of other features for professional movie production workflow are also included in the α99 II such as picture profiles, time code and clean HDMI output as well as gamma assist for real time S-Log monitoring and a zebra mode for easier exposure adjustment. S-Log3 and S-Log2 gamma are both included as well.
Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
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.
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 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 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),
CF – crop-factor of a sensor,
FL – focal length of a lens.
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 – 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.
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.
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.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
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".
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.
Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.
The diaphragm must be stopped down manually by rotating the detent aperture ring.
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.
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.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/ on this lens, and cannot be adjusted.
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.
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.
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.
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.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
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 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.
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.