But it still means that we now have a stabilized full frame solution for pretty much any lens.
Note that all five axes of compensation require electronic lenses that transmit AF and focal length information to the camera third party lenses without any contacts will get three axes, and you’ll have to tell the camera which focal length you’re using.
#Rawdigger highlight analysis iso
It means critical sharpness should be much easier to achieve more of the time on top of that, you can lower your ISO by a stop or two. Philosophically, it means that your two main sources of camera shake are pretty much cut out: the high frequency front curtain vibration, and photographer instability. Both literally and metaphorically – you can feel a little recoil as the system engages when you power on it’s an impressive achievement given the amount of mass that’s being moved around. In practice, EFC + 5-axis stabilization is a Big Thing. Not new, but it’s also worth mentioning Sony’s implementation of the ISO hotshoe: we have the standard trigger pin, no other pins to foul third party flashes, but a set of hidden pins upfront for communication with a much greater variety of accessories including microphones and even video monitors. So far, very much the same kind of incremental changes we’re used to seeing. For video shooters, it now supports XAVC-S and S-Log2. Subjectively, it has a goodly amount of heft and perceived density, just feeling ‘right’ in the hand. It’s gained a bit of heft – about 20% – a new less slippery body finish, and some rearrangement of the buttons. The body is weather sealed, as is the optional grip. I suppose it should be no surprise that Sony got some technology in return for the bailout funds they injected a couple of years ago. We still have a 24MP FF sensor that has PDAF photosites and EFC capability it’s now suspended in a magnetic IBIS system that’s strikingly similar to that used by Olympus (and supposedly it uses both in-lens and in-body systems when a suitably equipped lens is mounted). I think there’s no clearer demonstration of this than the fact that the A7II’s raw files are always the same size at higher ISOs, the OOC JPEGs are actually larger. All three use Sony’s 11+7 bit lossy raw compression that can result in posterization at either end of the tonal range if any serious processing is required. The problem is, each A7 variant arguably also has some serious deficiencies: the A7R suffers from very visible shutter vibration at typical shutter speeds, meaning critical pixels can only be obtained at very fast or very slow exposures the A7S is very resolution limited, and similarly low-noise results – with more detail – can actually be obtained by downsampling the A7R to 12MP the A7 has an AA filter which is probably a video compromise, but not so good for stills. I will upload more to this flickr set in due course.Īrguably, each A7 variant serves a niche – high resolution, high sensitivity/ video, general purpose (perhaps not really a niche). Unfortunately, the 24-70 was either a poor sample or just optically a dog – very soft off-axis and with significant CA, so all of these images were shot with the 55/1.8. I reviewed a production A7II with the Zeiss 55/1.8 and 24-70/4 OSS lenses, running firmware 1.10. The A7II brings one thing that makes me curious enough to give it a try despite an uninspiring experience with its predecessor: the first full-frame mirrorless camera to have in body stabilization. This appears to be typical Sony strategy: rather than making a product that’s a definite improvement on the previous model, we get many attempts hoping that each one will find its’ own niche.
We now have no less than four full frame mirrorless options from Sony the A7R (previously reviewed here) the A7, the A7S, and now the A7II.
0 kommentar(er)
