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Back In Front As The Best Prosumer APS-C Camera?,
The A77II is a solid upgrade to its predecessor (which was no slouch) with a number of solid functional improvements from the previous generation Alpha 77/65 models. These include a better sensor, a deeper operating system, a much better autofocus system, a better JPEG engine from a better central processor, and several other tweaks. Sony really did their homework on this upgrade to the A77, and they have done an excellent job squeezing almost another full f-stop out of the sensor relative to its predecessor at least in JPEGs (but see the – typically – contentious debate in the comments section over this question of how much low light functioning has been improved). I wouldn’t be surprised if the excellent Toshiba sensor in the Nikon 7100/5300 was their design target. This means that the A77ii is now only ~ 0.7-1.5 f-stops below the excellent and low noise Sony full frame 24 megapixel sensor (in the Sony A99 and Nikon 600/610), instead of its previous ~ 2 stop disadvantage (the 610 being almost a full stop less noisy than the A99 probably due to the effects of putting PD on chip as well as the SLT mirror). It’s perhaps just under 3 stops below the phenomenal Sony A7S. While that might sound like a lot, read on to see why this number can be misleading if taken too literally (and is also effectively reduced by the technology in the A77II).
For those not familiar with the difference between Sony’s approach to SLR technology vs. the traditional moving mirror, a fixed translucent mirror that doesn’t move replaces the standard SLR mirror that has to flop in and out of position in front of the sensor. That design difference is the key to the camera’s unique strengths (and its weaknesses in the minds of many purists). However, that single design difference allows the much faster and more accurate phase detection autofocus system to be working all the time, including while shooting movies, and thus gives you full time live view, much faster hi-speed shooting, and a lighter body, but also requires an electronic (non-optical) viewfinder, and with a modest (~25%) loss of light to the sensor (with some attendant noise penalty of roughly ½ F stop). Athough a few purists bemoan the loss of a `true’ optical VF, and few others the ½ stop noise penalty, for most people looking for the best possible still photography and video, this is, at least in IMHO, a truly brilliant stroke that in one fell swoop removes some of the chronic limitations of the classic DSLR environs. If that noise penalty is a big deal, you are looking at the wrong camera (or you just have ‘noise OCD’).
The A77 Mark II falls in the highly competitive territory of `prosumer’ or semi pro-cameras in the APS-C class, a class with features and capabilities just short of “all-out” full frame pro-cameras. These semipro APS-C cameras are still plenty big, but not quite as big and hefty as the current full frame pro cameras by Sony, Canon and Nikon, particularly when you hang typical glass on them. The full frame Nikon 810, Canon 5DIII, or even the Sony A99 (with a Canon L, Nikkor or Zeiss 24/70 mm lens in front of it) is overall a monster to tote around, for any extended period of time. I had one of these (the A99) for a brief period of time, and as much as I loved its pictures, I decided that it was just too big and heavy to lug around, and my neck and back voted it out, even though it was a phenomenal camera (see Tim Naff’s review of the A99 on Amazon if you want a state-of-the-art review on perhaps the most advanced FF). If you want to take a very modest step down in low light ability without giving up anything else and saving some not-inconsiderable size and weight – to say nothing of cost – this class of camera might be your best compromise. This camera basically hits the sweet spot for me, making very small concessions in functionality to full frame equipment, while offering many professional grade features.
Let’s talk history. If you can put aside fan boy loyalties, a recent history of this class of cameras suggests that the Big Players have taken turns leapfrogging each other in relationship to what might be the best semi-pro camera. When it came out in 2010, the Nikon 7000 was probably the best camera in this prosumer group. When it first appeared in 2011, the Sony A77 probably displaced the Nikon 7000 as the best semiprofessional camera (although its low light performance was undeniably poor). Olympus may have snagged the crown for a brief period with its OM-D E-M5 in 2012. In 2013, Nikon returned the favor, with the Nikon 7100, which received high marks from Digital Photography Reviews and several other professional reviewers, and likely bumped both the previous generation A77 and the OM5 off the top spot. I think that Sony has responded in kind and `held serve’. As undeniably great as the Nikon 7100 is, I believe that overall, it still is not quite as good a camera as the A77II (see user review on…
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A Truly Exceptional Camera,
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A great upgrade to the A77,
The A77ii is wonderful camera. It fixes the few shortcomings the A77 had.
The large buffer is a huge plus for the 12fps, much larger than the original A77.
The improved ISO sensitivity is a nice improvement.
The upgraded autofocus system is a fantastic plus and the tracking works very well.
I use it mainly for wildlife photography and I’m very pleased with the camera.
A77 owners will find this a very nice upgrade.
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