This camera might be the most badass little chunk of digital imagemaking technology bestowed on us yet. But you already knew that if you’ve been keeping up with the blogs and early reviews. The response to the A7R Mark II has so far been overwhelmingly positive as there’s a lot to get excited about - more resolution, more sensitivity, improved autofocus, in-camera image stabilization and 4K video @ 100 Mbps. If you’ve already pre-ordered, then you’re counting down the days until early August, especially if you’re like me and unloaded your A7S and A7R a month early because you read the release date wrong. Oops.
On my last big photo trip, I carried both the R and the S and came to fully realize the advantages of mirrorless cameras. In my own use, I found the high resolution, 36.4 Megapixel A7R performs exceptionally well during the day whereas the S, with its enhanced low light capability and Silent Shutter, is best appreciated at night. The "Stealth" Shutter feature in particular became an indispensable asset that allowed me to get shots that would have been impossible without.
In six months of traveling and shooting, I kept thinking these two cameras really should be one. The resolution of the R combined with the sensitivity and stealthiness of the S would in this shooter's opinion, make for pretty much the perfect digital camera.
To my surprise after only one year, the wish has been granted and everything we love about both the R and S has been combined in a brand new body along with a wish list of improvements and slick new features. Thank you, Sony!
AT A GLANCE:
The resolution of the S is skimpy at best. 4K is in my opinion, not enough for stills anymore. Perhaps I've been made greedy by the R’s 7.5K photos that can be radically reframed in post without penalty. The RII packs a whopping 42 Megapixels onto a newly designed back-lit Full Frame sensor that scales down to a mathematically perfect Super 35mm Crop for 4K video mode. No pixel binning so no aliasing or moire and the smart downsampling has the added bonus of minimizing the “jello effect” inherent to most DSLR video. All this in the robust XAVC codec, Slog2 @ 100 Mbps, selectable in NTSC or PAL, and recorded in the camera to SDXC card. Remarkable!
I'm comfortable shooting the S at 25,600 ISO and the R at 3200 ISO. The R is a noisy camera and in practice, not great for night work. The S on the other hand sees beyond what we see with our own eyes and I was constantly baffled by what I was able to get with it. For example, shooting f/4 @ 1/320 with barely a foot-candle and somehow making pleasing pictures such as this -
Despite a maximum ISO of 102,400 on the RII, no one is expecting it to perform in low light as well as the S. If it comes close, all the better but I'd personally be satisfied to be able to shoot with no penalty at ISO 6400.
The Autofocus on both the R and S is comparatively poor and there have been many times I discovered heartbreaking focus problems in Lightroom long after it's too late. Unacceptably soft shots because the R just couldn’t tell that piece of junk Zeiss FE 35mm where to focus. Sony’s lenses for these bodies are definitely the weakest aspect of the product line so it’s good news that in addition to the new camera's vastly improved 399 AF detection points, using the Metabones adapter, Canon EOS lenses will apparently perform natively. This surprisingly open source attitude towards camera design is uncharacteristic of Sony but it's awesome that they're doing it. And though I detest zooms, it would be quite nice to shoot with an autofocusing Canon 24-70mm L on this small camera. Sony’s Zeiss FE 24-70mm is a laughable lens in comparison. Flat, totally lifeless, and with unpleasantly jagged bokeh. In my opinion, a lens only good for video shooting.
Perhaps this is a better solution.
Another problem with the R and S known to cause imaging grief is the lack of In-Camera Image Stabilization. Some of the Sony lenses have it but if you’re not using them, hand shake is an issue, particularly on longer lens, and one that's boned me many times on my Leica Summarit 90mm. The RII features the same 5-Axis In-Body Stabilization found in the A7II which solves the problem and allows for slower shutter speeds when shooting handheld.
And for good measure, one more big blur-related problem has been solved - the new camera's redesigned shutter reduces the excessive release slap of the R that literally shakes the camera enough to potentially blur the shot. With my own A7R, I often found the issue with exposures slower than 1/125 which presented a serious limitation to how I could shoot. The newly lighter, more dampened shutter puts far less stress on itself so beyond not ruining your photos, it's also now good for as many as 500,000 actuations, more than double the expectation of most current cameras. And of course the best feature of all, the mechanical shutter can be bypassed altogether using the Silent Shutter Mode for those situations when the sound of it could get you in trouble or be a distraction. I personally think a silent, electronic shutter for shooting stills is the coolest thing ever but because these sensors aren't global, they roll and occasionally you'll discover some weirdness in your photos - anomalies where the phase of the capture at the sensor and the phase of the light sources didn't agree with one another. It looks something like this -
Every now and again, this fluke will yield some interesting, even aesthetically pleasing weirdness like in the image above. But usually not!
List price for the A7RII is 3200 USD. Expensive but well worth it if you've found this style of camera helps you do your best work. Don't cheap out on your tools.