Full frame vs cmos
What is the Difference Between a Full Frame Sensor and a Crop Sensor?
When it comes time to purchase a new camera system, inevitably the question of sensor size will come up. Full frame vs crop sensor is usually the starting point for this conversation, but that is just a piece of the puzzle. The primary difference between a full frame and crop sensors is simply the physical size of the sensor. Full frame sensors are 35mm x 24mm while crop sensors are smaller than this and can vary in dimensions. Sensors come in several sizes, have varying characteristics and wildly differing prices. Below we will look at the most common camera sensors, discuss crops sensors vs full frames and help determine what is best for you.
A digital camera sensor is exposed to light when you press the shutter; this is what captures image data. It is perhaps the most important piece of hardware in your camera and is equivalent to the film from pre-digital cameras. Just like film cameras offered different film sizes (35MM, 120 Medium Format, 4x5, 8x10 Large Format, etc.), digital cameras come in several different sensor sizes. Interchangeable lens cameras have the sensor directly behind the lens, whereas DSLRS hide the sensor behind a mirror (for the viewfinder). When it comes to sensors, the difference between full frame and crop is purely the physical size of the sensor. The sensors do have varying characteristics due to the size differences, but these stem from the size alone. The same technology can be used on sensors of all sizes.
Resolution refers to the number of pixels a camera produces in an image. One megapixel is equivalent to one million pixels. The number of megapixels can be calculated by multiplying the horizontal pixel count by the vertical pixel count of the sensor. A camera that produces an image with dimensions of 6,000 x 4,000 pixels has 24,000,000 pixels, or 24 megapixels.
The physical size of sensors does not directly translate into the number of pixels. For example, a full frame 35mm x 24mm sensor can come with 12 megapixels (like a Sony A7Siii), 45 megapixels (like a Canon EOS R5) or however many pixels a camera manufacturer wants to squeeze onto the sensor. A crop sensor (APS-C, Micro Four Thirds, etc.) can contain just as many megapixels as a full frame sensor camera.
Pixel Size, Dynamic Range and Performance of Camera SensorsSensors of the same physical size can have vastly different pixel counts. This results in varied pixel sizes, which is measured in Microns with the symbol μm (which stands for micrometre). Large pixels are better at gathering light, have better dynamic range and produce less digital noise compared to small pixels. As an example, a smartphone camera that has 12 megapixels may have pixels measuring a tiny 1.1 microns, whereas a 12 megapixel Sony A7Siii has pixels measuring 8.4 microns. While megapixel wars grab headlines, more megapixels are not always what you want.
It is important to understand your individual needs before selecting a camera based on megapixel numbers.
Focal lengths of lenses are based on the 35mm standard. This means that a 200mm lens on a full frame camera will produce a 200mm image. However, crops sensors have what is called a “crop factor” that helps determine the effective focal length of a lens. An APS-C with a crop factor of 1.5x will result in that same 200mm lens producing 300mm equivalent images. Alternatively, a medium format camera with a crop factor of .79x will produce 158mm equivalent images when using the 200mm lens. This may sound confusing, but once you know the crop factor of a camera it is quite simple to calculate. Just remember that a full frame sensor produces images that match the lens focal length, crop sensors produce longer focal lengths and medium format sensors produce shorter focal lengths when all else is equal. Every camera manufacturer publishes the crop factors, so the information is readily available.
In practice, this can help or hinder depending on your genre of photography. Wildlife and sports shooters typically want more telephoto reach. Crop sensors are great for this, as they amplify a lens’s focal length. Landscape shooters often want a very wide field of view, which a crop sensor is not well suited for.
How Sensor Size Affects Depth of FieldSmaller sensors produce wider depth of field compared to larger sensors like full frame or medium format. This means that if you desire a silky bokeh background, it will be easier to achieve with a larger sensor. Medium format cameras shine when it comes to narrow depth of field and are often the choice of top portrait and commercial photographers. If you are a landscape photographer and want everything in focus, then it really makes no difference as you will likely be shooting at a smaller aperture anyway.
What is the Best Camera Sensor Size?There is no one-size-fits-all solution for this question.
There are many factors that impact this decision, including budget and your genre of photography. Smaller sensors are generally less expensive than their larger counterparts. Medium format and full frame sensors contain larger individual pixels than crop sensors, which results in better image quality. Nonetheless, you can produce incredible results from today’s high quality crop sensor cameras. The best decision will be one that weighs your needs, budget and output requirements.
Posted in Photography Gear & Tech and tagged Camera Gear, Photography.
Full-frame cameras: do you really need one?
Audio player loading…Full-frame is a real buzzword in photography at the moment. Not only have we had established DSLRs from Canon and Nikon like the EOS 5D Mark IV and Nikon D850, but Sony's also been tempting photographers with the likes of the Sony Alpha A7R III.
In the past few months, Canon and Nikon have also launched full-frame mirrorless cameras in the shape of the EOS R, Z6 and Z7, while Panasonic, a longtime exponent of Micro Four Thirds, is launching two all-new full-frame mirrorless cameras in the shape of the S1 and S1R.
What's all the fuss about then and if you haven't got a full-frame camera, should you get one?
Switch to a full-frame camera and your pictures will automatically be better – or so the hype goes. But this is only partly true; a full-frame sensor camera just takes different – not necessarily better – shots compared to DSLR and mirrorless cameras with the more standard APS-C-sized sensor.
Full-frame explained
So, what exactly do we mean by 'full-frame'? A full-frame camera uses a sensor that's the same size as a single frame of traditional 35mm film, measuring 36 x 24mm. The more popular APS-C sensor size found in most DSLRs and mirrorless cameras measures 22 x 15mm. This means a full-frame sensor has more than 2.5 times the surface area of an APS-C sensor.
Sure, size has certain advantages, but there are also distinct drawbacks to making the switch up to a full-frame DSLR or mirrorless camera.
- Sensor sizes explained: what you need to know
Camera selection
In most cases, if you want to upgrade to a full-frame DSLR or mirrorless camera, prepare to pay a premium.
For starters, the added production cost of the bigger sensors (and the lower volume of production) is one area that forces cost up.
That's not the only reason though. Because full-frame cameras are primarily aimed at professionals and keen enthusiasts, there's a certain expectation as to the level of performance, features and build that these cameras should have, which again all comes at a price.
Not everyone wants (or can afford) all of these advanced features, which is why we've seen some relatively affordable full-frame cameras in recent years, with the likes Canon EOS 6D Mark II and Nikon D750 springing to mind. These DSLRs both offer full-frame sensors, but don't have quite the same ultra-rugged build and top-line performance as their stablemates. Don't get us wrong though – these are still very capable cameras that can achieve some brilliant results, while Sony's Alpha A7 III is even better, delivering top quality images with a performance to rival cameras costing quite a bit more.
Image quality
Perhaps the biggest advantage of going full-frame is image quality.
While APS-C and full-frame cameras can now share an almost identical resolution – Nikon's APS-C 20.9MP D500 and full-frame 20.8MP D5 is just one example, full-frame sensors are crucially more than two-and-a-half times bigger, which allows for much larger individual pixels (or if we're getting technical, photosites) compared to an APS-C sensor that shares the same resolution.
This means full-frame sensors typically produce better quality images at higher ISO sensitivities, as the larger individual pixels can capture more light, resulting in less unwanted electronic noise encroaching into images.
However, full-frame cameras have another trick up their sleeve: dynamic range
The larger physical dimensions of a full-frame sensor mean it's also possible to increase the number of pixels on the chip without seeing this high ISO performance suffer. Both the 45.
4MP Nikon D850 and 42.2MP Sony Alpha A7R III are brilliant examples of this, managing to deliver excellent high ISO results while featuring densely populated sensors.
In a lot of instances however, if you were to shoot at low sensitivities with both full-frame and APS-C camera that shared the same resolution, the amount of detail recorded would be very hard to tell apart. However, full-frame cameras have another trick up their sleeve: dynamic range.
Full-frame cameras, thanks to the larger pixels, have a broader dynamic range in general (though other factors do play a part), making them better equipped to capture the full brightness range of a scene that features both extreme areas of dark shadows and bright highlights, as well as midtones.
Crop-factor effect
The size of the sensor also changes the amount of the scene captured by the camera. Although APS-C and full-frame cameras can share many of the same lenses, the visual effect they provide is different.
It's the angle of view that actually changes, as smaller APS-C sensors cover less of the image projected by the lens.
This is known as the crop factor, which compares the angle of view with that of a traditional full-frame 35mm film SLR. With full-frame DSLRs and mirrorless cameras, because the sensor is the same size as a 35mm negative, that's not an issue; a 24mm lens gives the same angle of view as a 24mm lens before the age of digital cameras.
An APS-C sensor, however, sees a smaller angle of view, with a crop factor of 1.5x (Canon APS-C sensors are ever-so slightly smaller still, with a crop factor of 1.6x). This means the same 24mm lens on an APS-C DSLR or mirrorless camera actually captures the angle of view of a traditional 36mm focal length (24 x 1.5 = 36). So if you want to capture sweeping wide-angle vistas, a full-frame camera allows you to take in more of the scene in front of you than an APS-C model with the same lens.
The flip-side is that the crop factor effect of APS-C cameras becomes an advantage when shooting distant subjects. For instance, a 300mm lens is 300mm on a full-frame camera, but on an APS-C model it becomes a much more desirable 450mm – great for getting close to the action in sports or wildlife photography.
APS-C based cameras are great if you want to shoot distant subjects and fill the frameLens choice
Full-frame cameras used to offer a real advantage when shooting landscapes or indoors in tight spaces. However, lens makers have combated this by developing both prime and zoom lenses with shorter focal lengths exclusively designed for use on APS-C-sensor cameras.
The typical standard zoom bundled with a lot of APS-C camera offers 18mm as its widest setting, roughly equivalent to the view given by a full-frame 28mm lens. Super-wide lenses offer settings of 10mm, equivalent to, or with an effective focal length (EFL) of, 15mm. These lenses can't be used with full-frame cameras (as they would produce dark corners), so in some ways APS-C users actually get a wider choice of optics.
It's worth considering this compatibility though if you're thinking of investing in a full-frame body down the line, as you might have to trade in some or all of your selection of lenses if you've bought dedicated APS-C glass.
Blurring backgrounds
It's easier to achieve shallow depth of field effects with a full-frame cameraPortrait photographers love full-frame cameras, as the larger the sensor a digital camera uses, the shallower depth of field (DoF) you get. This means you can throw backgrounds and foregrounds more out of focus, for artistic effect and to draw strong attention to the subject.
The reason for this is that the amount of depth of field depends on three different factors: the aperture, the subject distance, and the focal length.
In practice, this means wide apertures on full-frame cameras provide noticeably more defocused backgrounds than on APS-C cameras. It's not by much – about a stop – but it does make a difference. If you're shooting a portrait for instance, using the same angle of view, a full-frame camera at f/4 produces a seemingly similar amount of depth of field and background blur to an APS-C camera at f/2.
8.
APS-C cameras are better, however, if you want to maximize depth of field, which has advantages in studio and landscape photography. For example, when using the same angle of view, on an APS-C camera you'll be able to get away with using, say, f/11, whereas on a full-frame camera you may have to use f/16 to ensure your scene is sharp from foreground to background.
- The 10 best full-frame cameras you can buy right now
- The 10 best mirrorless cameras you can buy right now
- What camera should I buy? Use our step-by-step guide
Phil Hall is an experienced writer and editor having worked on some of the largest photography magazines in the UK, and now edit the photography channel of TechRadar, the UK's biggest tech website and one of the largest in the world. He has also worked on numerous commercial projects, including working with manufacturers like Nikon and Fujifilm on bespoke printed and online camera guides, as well as writing technique blogs and copy for the John Lewis Technology guide.
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The 36mm x 24mm full-frame sensor stands out from the rest with its 36mm x 24mm technology and features that deliver stunningly beautiful images. Compared to the Super 35 sensor, the full-frame sensor is almost twice as large, allowing for a wider angle of view and reduced depth of field.
Full frame sensors are by far the largest and most popular sensors today. In their own right, they offer enhanced features as well as innovative technologies, making these sensors ideal for realizing the creative possibilities of digital cinematography.
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Unlimited full-frame possibilities: how FX9 and VENICE camcorders shoot
The story behind the full-frame sensor
Why is a full-frame sensor this size? In the early 1900s cinematography began to use 35 mm film as a universal standard solution. Later, type-135 cassettes began to be produced for photography. When making films in the traditional way, the film in the camera moves in a vertical direction, which allows you to shoot in various aspect ratios.
For example, in Super 35 format, in which a frame pitch of 3 perforations is equal to a single widescreen frame of 24.89 x 14 mm. In the camera, the film moves in a horizontal direction, while the frame size is 36 x 24 mm, and the frame pitch is 8 perforations. This is the largest and most popular aspect ratio for shooting on 35mm film and is commonly referred to as full frame.
At the start of the 21st century, Super 35-sensor digital cameras, including Sony's innovative F35, appeared to shoot like movie cameras. Thus began the digital revolution in the world of cinema. However, camera manufacturers continued to develop new technologies and began to produce models with sensors larger than the Super 35. Much more.
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Renowned director Alistair Chapman explores the possibilities and benefits of full-frame shooting
Benefits of full-frame sensors
The frame size of a full-frame camera is the same as that of a 35mm camera. This allows lenses and mounts from older cinema cameras to be used on newer digital models, and provides the same framing, focus, depth of field, and shooting principles. The result is a familiar and comfortable design with enhanced features. What's more, full-frame models support Super 35 and other image formats.
Wider field of view
Full-frame sensor is larger than the Super 35 sensor, allowing you to take wide-angle shots. So when shooting with a full-frame camera, you don't have to change lenses and step back to capture the entire scene. Check out the images below to see the difference.
Full frame (16:9)
Super 35 (16:9)
Spectacular shots with varying depth of field
Full-frame sensors provide a shallow depth of field that allows you to effectively use all the functions of large aperture lenses. Thanks to this, a camera equipped with such a lens and a matrix can focus on a certain object and distinguish it from others, forcing viewers to subconsciously pay attention to it in order to convey the essence of what is happening on the screen.
Shallow depth of field
Large depth of field
More formats with full-frame sensor
With its full-frame 6K sensor, the camera supports many different formats according to different scan areas.
The 6K full-frame sensor delivers native 4K resolution when shooting with Super 35 lenses, as well as a variety of anamorphic modes* 1 , including Open Gate mode for 35mm lenses. This means that the sensor allows you to shoot both with special full-frame lenses, as well as with traditional Super 35 cine lenses and anamorphic models. When shooting in 4K at Super 35, the camera performs well compared to traditional 4K cameras with Super 35 lenses. Users of Sony's Venice camera can choose from a variety of sensor modes and aspect ratios. Also in camera FX92K shooting with Super 16* 2 is supported.
* 1 Firmware version 3.0 will support decompressed viewfinder and interframe display when shooting with an anamorphic lens
Sharpness and oversampling thanks to high resolution
The large size of a full-frame sensor means you can shoot at higher resolution (more sensors) or higher sensitivity (larger sensors) or, as is often the case, use both methods.
It is also possible to shoot in high resolution with oversampling: where the sensor processes more pixels than required to produce the final frame, but still uses the advanced image processing function available in the camera to improve clarity and preserve details that might be lost in when using a small matrix with low resolution.
Wide choice of lenses
Full-frame sensor lets you shoot with a wide range of full-frame, Super 35 photo and cinema lenses.
Full-frame sensors and new technologies
technologies that increase productivity and provide a wide range of creative possibilities.
Dynamic range and Exmor R technology
Dynamic range is usually measured in steps. This is a unit of measure for the aperture or aperture of a lens. A high-quality matrix can distinguish more gray levels between black and white. For example, the dynamic range of the human eye is approximately 10-15 stops.
Full-frame sensors provide improved dynamic range with larger light sensors and smart design.
To improve these characteristics, Sony engineers have developed Exmor R technology, which is used in the FX9 camcorder.. With its help, as shown below, the pixel structure was completely changed. As a result, Sony's full-frame sensors can use dynamic ranges similar to the human eye, and even unattainable for it.
Exmor CMOS sensor
Traditional front-illuminated sensor used in FS7II
Exmor R CMOS sensor
Rear-illuminated sensor used in FX9
Two standard ISO
sensor settings required for effective digital imaging use the ISO base value. Thanks to it, you will achieve the lowest noise level, the best signal-to-noise ratio and the widest dynamic range. This is possible because when using the basic ISO settings, the signal coming from the sensor is not affected by the voltage gain. Quite often, when increasing this factor, for example, to increase the ISO value or make the image brighter, noise appears in the picture and the dynamic range decreases.
Your image will indeed be twice as bright, but the signal-to-noise ratio will also increase, and the image quality will be significantly reduced. While a grainy frame captured on analog film, such as the ASA 400, can look interesting and unique, noise in a digital image indicates poor quality.
Therefore, in the settings of the full-frame sensor built into the VENICE and FX9 cameras, two basic ISO values are available, with which you can adjust the sensitivity of the image sensor. They have only a slight difference in image quality. Color reproduction and dynamic range remain almost identical, as can the noise level.
The VENICE camera uses a base ISO of 500 for optimal dynamic range balance under standard shooting conditions. The secondary high base ISO of 2500 is excellent for high dynamic range shooting in low light conditions. Camera FX9with ISO 800 sensitivity provides optimal dynamic range for shooting both outdoors and in brightly lit rooms. The secondary high base ISO of 4000 is excellent for low light conditions.
You can match the base ISO to your light level and change it without compromising image quality or interrupting your workflow.
Low base ISO
High base ISO
Creative Shooting with Electronic Variable ND Filter and Full Frame Sensor
FX9 is the world's first full-frame camcorder with an electronic ND filter that greatly simplifies operation and eliminates the need to charge non-adjustable filters and change them manually. This is a huge advantage, because with the help of a full-frame sensor, a large aperture lens with auto aperture, and an electronic neutral density filter, you can create incredibly beautiful shots. When you change the ND filter settings while shooting, the aperture automatically adjusts the depth of field of the image to achieve the desired exposure. Does the lens not support auto iris? It's not a problem! To create a similar effect, switch the electronic ND filter to automatic mode and adjust the aperture while shooting. Check out the Electronic ND Filter Technical Guide to learn how it works.
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Sony's improved autofocus for full-frame cameras
When working with full-frame cameras, you can get a beautiful picture with a shallow depth of field. However, maintaining precise focus on the subject requires great skill from the operator. Typically, when using high-quality cinema cameras such as VENICE, the camera assistant manually adjusts the focus and ensures that there is no defocus. This method of working is not suitable for making documentaries and news stories.
Often camera operators are skeptical about the use of autofocus systems and feel that they do not have all the necessary features and cannot ensure accurate focus on the subject. Sony engineers decided to challenge this stereotype by incorporating an advanced autofocus system into the FX9 full-frame camera, creating the world's first professional camcorder of its kind. This system provides an incredibly shallow depth of field and a wide range of options for adjusting speed and tracking, as well as a range of additional tools that allow the operator to take full advantage of the advantages of a full-frame camera, such as shooting in slow motion or fast motion to create historical dramas or dynamic sports stories.
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Professional full-frame cameras from Sony
VENICE series
A new generation of cinema cameras with unsurpassed color reproduction, easy operation and support for full-frame 8K and 6K sensors. Two standard ISO settings and a built-in 8-stop ND filter system provide exceptional shooting flexibility.
Learn more >
PXW-FX9
FX9 Cameraequipped with a 6K full-frame sensor that allows you to record in high quality in DCI 4K*, Ultra HD and HD resolutions. Powerful image processing with debayerization and oversampling delivers better image quality than traditional Super 35mm sensors. This is the world's first full-frame camcorder with an electronic variable ND filter, fast hybrid autofocus, and dual ISO 800 / ISO 4000 base settings.
6 x 2160 with 17:9 aspect ratio) requires firmware version 2.
0 or later.
Learn More >
FX6
The ILME-FX6 features Sony's industry-leading cinema camera technology, VENICE, as well as Sony's innovative Alpha mirrorless camera solution. The camcorder features a 10.2 MP Exmor R™ CMOS full-frame back-illuminated sensor that provides 15 stops of wide dynamic range with high sensitivity and low noise. The ILME-FX6 camcorder features the same color reproduction technology as the VENICE, so footage shot with other Cinema Line cameras can be easily used in production.
Learn more >
FX3
The ILME-FX3 features Sony's industry-leading cinema camera technology, VENICE, as well as the innovative Sony Alpha mirrorless camera. The camcorder is equipped with a 10.2 MP Exmor R™ full-frame back-illuminated CMOS sensor that provides over 15 stops of wide dynamic range with high sensitivity and low noise. The ILME-FX6 camcorder features the same color reproduction technology as the VENICE, so footage shot with other Cinema Line cameras can be easily used in production.
Read more >
Full frame without mirror. Review camera Sony Alpha A7 - Ferra.ru
The main feature of Sony has always been and remains innovative. It's hard to argue with this, especially if you remember the era of the emergence of VCRs and cassette players. Sometimes the company created completely new markets, anticipating the needs of users. And if it entered established markets, then with its own unique vision of things. This is exactly what happened with cameras. As you know, Sony acquired Konica Minolta, so today's success has a solid foundation.
Until the advent of the Sony Alpha A7/A7R pair, the choice of available full frames was essentially limited to the classic Nikon and Canon DSLRs. So Sony has taken the final frontier with a full-frame mirrorless camera. So far, system cameras have used sensors with varying degrees of crop. Well, let's see what kind of alternative to the classics Sony has offered and what makes the Alpha A7 attractive for advanced fans.
Technical data, contents
Sony Alpha A7 comes with battery and AC adapter, USB cable, mount cap, viewfinder eyecup, shoulder strap, software CD and user manual. There are two options for sale - without a lens and with a budget zoom FE 28-70 mm F3.5-5.6 OSS. True, the camera came to us for testing only complete with a charger.
Sony also offers a wide range of accessories, as good as DSLR manufacturers.
You can "pump" the camera by purchasing an external flash or video light, a battery grip, a device for charging the battery from the mains outside the camera, a leather case, adapters for almost any type of third-party optics, and much more. The choice of branded optics is still small, but this situation is typical for any line of cameras at the launch stage.
Design, ergonomics
The appearance of the Sony Alpha A7 can be described as discreet, strict and restrained. In this case, the main emphasis was on compactness and practicality, rather than aesthetics. Seekers of retro elegance should look towards the Fujifilm X-E2 and Nikon Df. When creating the body of the Sony A7, the RX1 pocket full frame was taken as the basis - many details clearly indicate this. The chassis of the case is made of magnesium alloy, but the outer panels are plastic. This is one of the differences from the more expensive Alpha A7R.
Without a lens, the camera seems quite light - 474 grams including battery and memory card.
However, together with the optics, the weight reaches seven hundred grams, which is already quite noticeable. The camera itself is very compact and practically fits in the palm of your hand, but with the bundled 24-70mm zoom lens, we get by no means a pocket-sized system. There are no complaints about the build quality. Durable plastic, pleasant rubber coating of the handle, no backlash and other troubles - it is quite expected for a flagship. Sony Alpha A7 is protected from dust and moisture, but you should not test it in extreme conditions. But it will be possible to calmly finish shooting during a sudden rainfall without fear. The color of the camera for the selected classic, black. There are no other variations yet. All Alpha cameras with a translucent mirror are also exclusively black, but NEX mirrorless cameras were produced in black, silver and white body colors.
Looking at the camera from the front, you can see the protruding rubber grip that the Sony RX1/RX1R lacked. The grip is quite comfortable and confident thanks to the anatomical cavity for the middle finger and a small recess for the ring and little fingers.
The bottom half of the handle has an infrared sensor window, and the top bevel of the handle accommodates the front scroller. It is this part of the body that has earned unsatisfactory reviews. The position of the scroller turned out to be too uncomfortable to control with the index finger. A centimeter from the scroller is an autofocus backlight diode, which also plays the role of an indicator when shooting with a timer. The mount is framed by a copper ring a few millimeters wide, like the Sony RX1 and other cameras in the Alpha series.
If you are familiar with the Sony RX1, you will immediately notice a strong similarity in the layout of the controls on the top panel. In its right half, there is a shutter button with a power switch, an exposure compensation input drum and a ten-position shooting mode selector. The release button is solid, without a thread for connecting a cable. In Sony RX1, we recall, there was such an opportunity. The C1 button is reprogrammable and by default is responsible for selecting the focus point.
The top of the viewfinder block is occupied by a standard connector for connecting an external flash, which is closed with a plastic cap. On the sides of the pseudo-pentaprism, you can see a pair of stereo microphone holes.
The rear panel is flavored with all sorts of "mechanics", not yielding in this to SLR cameras. The main controls are located to the right of the display, which has an inclined design. There is a rubberized thumb protrusion for the convenience of holding the camera. This is not just a ledge, but a solid overlay that goes into the memory card compartment. On the edge there is a button to start video recording. Pressing it is rather inconvenient, but accidental pressing is excluded. To the left and right of the viewfinder are the menu and zoom keys. The rear scroller has the same shape as the front one, but it is more convenient to manipulate. It is he who by default is responsible for setting the aperture. The rest of the space is evenly occupied by the focus mode switch lever and the exposure lock, the navigation dial with the enter button and the keys to enter playback mode, delete pictures and launch the quick menu.
On the left side there are two compartments with connectors for external connections. The top compartment contains 3.5mm microphone and headphone jacks, while the bottom compartment hides the micro USB and micro HDMI connectors.
The opposite side contains another compartment. The memory card slot is located here perpendicular to the rear wall of the camera, which is completely unconventional. However, no discomfort is felt. Wi-Fi and NFC modules are hidden in the same part.
Below is the battery compartment and thread for attaching the camera to a tripod. The tripod platform will not interfere with the opening of the battery quick change compartment. The battery itself is charged directly via the USB input and you don’t have to take it out of the compartment at all. However, a separate mains charger is available for sale to charge the battery even outside the camera. If you are planning to buy a spare battery, then it makes sense to purchase such a charger as well.
By the way, the camera displays the battery percentage, which is much more informative than the usual three-segment display. We will talk about the resource of a regular battery below.
Screen, viewfinder, interface
Sony equipped a pair of full-frames with identical 921,600-dot Xtra Fine LCD displays with a three-inch diagonal. As with most Sony cameras, there is no touch control and the focus point must be set by rotating the front and rear scrollers. Display settings allow you to adjust the brightness and even the quality of the displayed picture. In bright light, the display fades, but does not lose readability. The design allows you to tilt the screen almost 90 degrees up and 45 degrees down.
The display shows information in various ways. For example, you can display only the horizon level or replace the live image with a table with most of the basic shooting settings. In the camera settings, you can even enable the output of the so-called "zebra", which marks overexposure zones using black and white stripes.
You can see the information screens in more detail in the screenshots below.
The electronic viewfinder appears to have been borrowed from the NEX-6 and SLT-A9 cameras9. Same 2.36M dots, same magnification and 100% frame coverage. The viewfinder refresh rate is 60 frames per second, so the eye feels quite comfortable even with prolonged use. The viewfinder displays all the same information as the display. He has proven himself in bright scenes, giving a natural picture. However, if you close the lens with a cap, then noise is clearly visible in the viewfinder in the form of colored dots throughout the frame, which do not manifest themselves on the camera display.
The Sony A7 will please professionals with the flexible configuration of many keys. There are nine reprogrammable buttons, and the number of different functions reaches 47. The quick menu is a two-row table with six items in each row. The menu is displayed at the bottom of the display, instead of on the sides, as in other Sony cameras.
The composition of the menu items can also be reconfigured. The mode selector offers two items with preset shooting settings, the so-called Memory Recall. By the way, the Sony RX1 had three such points. Almost all menus are designed in strict black and white. Only currently active items are highlighted in orange. You can get used to the location of this or that information on the display and the control scheme in just one day. By the way, for those who switch to full frame from NEX mirrorless cameras, there is an opportunity to leave the familiar look of the main menu.
Features
The Alpha A7 uses one of Sony's best full-frame sensors to date. The same 24-megapixel sensor was used in the production of full-frame Sony RX1 and SLT-A99. However, in our case, the sensor has been improved - the possibility of hybrid focusing has appeared. The sensitivity of the matrix is set in the range from ISO 100 to ISO 25600 for Auto ISO, but this range can be manually extended down to ISO 50.
With manual selection, ISO 64 and ISO 80 are also available. But we did not find the item with the minimum allowable shutter speed. And in general, the camera tends to set a slower shutter speed instead of safely increasing the ISO.
The Sony Alpha A7 is powered by the latest BIONZ X processor, which traditionally has no explicit generation marking. The chip has become even better than before, at least in terms of suppressing the diffraction effect and processing small image details. But in terms of the rate of fire and the speed of switching on / off, the camera does not set records and, most likely, does not use the full potential of the new processor.
One of the main differences between Sony Alpha A7 and older twin sister A7R lies in the focusing system. The "seven" sensor contains 117 phase focusing points in addition to 25 contrast autofocus points. Phase focusing works for both stills and video when using the appropriate lens. Phase focus will work even with NEX lenses, although the number of points drops to 99.
The increase in focusing speed compared to the RX1 is obvious, but still, in some situations, the automation “thinks” for too long, especially in low light conditions. With older lenses, you will have to rely only on manual focusing, but here 5x, 9x, and 12x zooms come in handy, as well as the focus peaking function, which is excellently implemented in Sony cameras. But the choice of focus point is implemented in the Sony A7 is not the most convenient way. The joystick in DSLRs is much better suited for this purpose than the two independent scrollers on the Sony A7.
The focal-type shutter operates from 1/8000 s to 30 s, and Bulb is also available in full manual exposure mode. In this case, the front curtain shutter can be either electronic or mechanical. This is configured in the camera menu. When using an electronic front curtain, the camera produces a quieter click sound, unlike the A7R, which has a purely mechanical shutter. In addition, the electronic shutter allows you to use the flash at shutter speeds up to 1/250 s.
Mirrorless metering is done by the sensor itself, not by a separate RGB sensor like with DSLRs. The Sony A7 has 1200 metering zones allocated for this. You cannot measure exposure at the selected focus point. In total, three classic types of metering are offered - matrix, center-weighted and spot.
The camera does not differ in the speed of turning on - it takes about a second and a half, and turns off in a little less than a second. The burst rate is 2.5 frames per second with continuous autofocus and 5 frames per second with fixed on the first frame. Still, the camera should not be considered as a reporting tool. If you still have to shoot series, then you don’t have to worry about the depth of the buffer. The camera is able to buffer 30 frames in RAW, and for JPEG it is almost infinite, if only the memory card supports a high recording speed.
For a camera that is likely to be actively used with third-party, including old, optics, the issue of image stabilization is relevant.
However, the Sony Alpha A7 does not provide sensor stabilization. The Optical Steady Shot stabilization system (OSS marking on the lens) is built into a number of branded lenses and works both for shooting photos and videos.
Sony Alpha A7 offers a basic set of shooting modes, familiar to us from many previous developments. In addition to the standard PASM modes, HDR shooting, Hand-held Twilight mode, multi-frame noise reduction, as well as a set of 16 art styles and 13 filters are offered. Interval shooting and multiple exposure are available by downloading the corresponding paid widget from Sony Play Memories.
Wi-Fi in Sony mirrorless cameras appeared a year and a half ago with the release of the NEX-5R, and since then the wireless capabilities have not received major additions. The connection of the camera with Android devices can be established both in the traditional way by entering a network password, and in one touch, thanks to NFC. Copying files from the camera to the memory of a smartphone, uploading to social networks, remote control of shooting are possible through the free mobile application Play Memories Mobile.
The Wi-Fi module is also useful for downloading mini-applications that expand the functionality of the camera. Some applications are free to download, but the most interesting features like time lapse remain paid. By the way, you can also download applications via a PC using a USB cable.
The new full-frame system is based on the old Sony E-mount. However, lenses for the NEX series only work at full frame in 1.5 crop mode, or with strong vignetting. The resolving power of the NEX optics also does not allow revealing the full potential of the sensor, so Sony has prepared a series of lenses with the FE marking especially for the A7/A7R. Four of these lenses are currently available - a whale zoom FE 28-70 mm F 3.5-5.6 OSS, two primes FE 35 mm F 2.8 ZA and a prime FE 55 mm F1.8 ZA, as well as a high-end zoom lens FE 24-70 zoom mm F4 ZA OSS. The 70-200mm F4 telephoto lens will be available in April.
Test shots, battery life
Sony sensors have been delivering excellent image quality at high ISOs for several years now.
However, as you know, the noise level strongly depends on the physical dimensions of the matrix. So, other things being equal, the full frame sensor will perform noticeably better than APS-C. We filmed a test scene in the entire sensitivity range and the result was very pleasing.
Virtually no noise between ISO 50 and ISO 3200. ISO 12800 brings an already noticeable drop in detail, but the dynamic range remains fairly wide. Even the maximum sensitivity does not make the picture unsuitable for work. Frames taken at ISO 25600 are quite suitable for processing, publication and for printing in large format. Pictures taken at dusk on the street in this regard are more revealing - we will give them a little lower - there the noise is noticeable a little more. In all cases, we are talking exclusively about the JPEG format. The RAW format (ARW extension) will give you more room to remove noise in Adobe Photoshop or Lightroom.
The Sony A7's greatest strengths are stunning image quality, low noise and excellent color reproduction.
This is partly why people switch to full frame. The camera sets an adequate exposure, but its disadvantage is its fixation on a shutter speed of 1/60 s. This is pretty easy to verify by shooting in Auto ISO mode. A shutter speed of 1/100 second will give more confidence in the result than 1/60 s. But, of course, fully manual exposure, optical image stabilization, as well as phase focusing are supported.
It is also worth considering the extremely shallow depth of field that a full frame with fast optics can provide. For inexperienced photographers, this nuance is a common cause of unsuccessful shots.
Video is recorded in Full HD resolution at 60 full frames per second. There is a built-in microphone for recording sound, as well as a jack for connecting a professional external stereo microphone. The camera offers 32 levels of sound recording volume control and left and right channel level indication on the display.
The NP-FW50 battery has been repeatedly used in Sony NEX mirrorless cameras and it was a bit surprising to see it in the high-end A7 as well.
Its full charge is enough for approximately 400 frames without abusing data transfer over Wi-Fi. This result does not allow us to compare the camera with semi-professional DSLRs with a battery life of about 1000 frames. Perhaps the easiest way would be to buy a "spare wheel".
Competitors
It is important to understand that the Sony Alpha A7 has no direct competitors. So we're going to look at two full-frame DSLRs and one mirrorless camera with an APS-C sensor and great picture quality at high ISOs.
Canon EOS 6D
The Canon EOS 6D offers classic full frame and 20 megapixel resolution. The camera features a top-mounted secondary display, built-in Wi-Fi and GPS, and its classic magnesium alloy body is weatherproof.
At the same time, only 11 points are used for phase detection AF, only one of which is cross-shaped. There is no flash, and wireless functions are noticeably weaker than those of the Sony A7.
Nikon D610
Nikon D610 is a classic full-frame DSLR with its own characteristic pros and cons, directly competing with the Canon EOS 6D.
Among the first are an optical viewfinder, a long battery life, fast phase detection autofocus with a joystick for setting the focus point, two memory card slots and a powerful built-in flash.
In addition, Nikon offers the richest fleet of optics. The disadvantages include the large dimensions of the camera, the lack of a Wi-Fi module and a rigidly fixed display design.
See also: Forced update. SLR camera review Nikon D610
Fujifilm X-E2
Fujifilm X-E2 plays on the APS-C format field, but can compete with full frame. This is Fujifilm's most advanced mirrorless camera to date. It is somewhat smaller than the Sony A7 and also made in a retro style. The 16-megapixel sensor is made using proprietary X-Trans CMOS II technology, which implies the presence of a phase focusing point. In addition, the matrix is devoid of a low-pass filter.
The body of the camera is not weatherproof, but the camera boasts a built-in flash, a higher burst rate, and multiple exposure and time-lapse functions as standard.
