Introduction and features
After the announcement of the full-frame E-mount Sony A7, A7R and A7S compact system cameras and the demise of the Nex brand, you could be forgiven for thinking that Sony may not continue with its A-mount SLT (single lens translucent) cameras. However, the Sony Alpha 77 II proves this not to be the case.
As you might guess, the Alpha 77 Mk2 replaces the Alpha 77, which is now discontinued, and it has an almost identical shape and design. The new camera is aimed at enthusiast photographers who want a step up from an entry-level model.
Like the Alpha 77, the A77 Mark II has a 24 million-pixel sensor, but this is a new device that benefits from the progress that has been made with sensor design in the two-and-half-plus years since the A77 first arrived.
For the first time in an A-mount camera, the signal from the Exmor sensor is processed by a Bionz X processor. This should mean that the A77 Mark II is capable of resolving a high level of detail and controlling noise at high sensitivity settings.
Sensitivity may be set in the native range ISO 100-25,600 for still images, with a low expansion setting of ISO 50 being available. The movie sensitivity range, however, is a bit narrower, going from ISO 100 to 12,800.
As the SLT design has a fixed translucent mirror, the A77 Mark II has an electronic rather than optical viewfinder. Sony has used the same 2.359 million-dot OLED Tru-Finder as is found in the A7 and 7R, which is good news since this provides a clear, detailed view.
This viewfinder also allows enlargement to assist with manual focusing and can display focus peaking and zebras to indicate areas of highest contrast (sharpness).
One of the benefits of the SLT design is that there can be full-time phase detection autofocus during movie shooting and when composing images on the rear screen. Sony has used a newly developed phase detection sensor in the Alpha 77 Mark II. This has 79 AF points, 15 of which are the more sensitive cross-type. In comparison, the original A77 has 19 AF points of which 11 are cross-type.
The new camera can also shoot a maximum rate of 12 frames per second (fps) with AF tracking and the buffer has capacity to allow up to 25 raw and JPEG images to be captured in a single burst. The original Alpha 77 could only cope with 11 images in a burst at 12fps. If raw file recording is deactivated, the A77 Mark II can record around 53 Extra Fine JPEGs in one blast.
Although autofocusing and auto exposure continues when shooting at 12fps, aperture is locked at the start of the sequence. If exposure needs to change during the burst it is done via shutter speed or sensitivity.
New developments
Sony is rather proud of the progress it has made with the autofocusing system for the A77 Mark II. We’re told that five engineers conducted field tests for six months with high-end cameras like the Canon EOS-1DX, Canon 70D, Nikon D4, Nikon D7100 and Panasonic GH3, in order to find the best parameters for AF while shooting a variety of sports and action.
Sensor development means that the A77 Mark II’s CCD AF sensor produces less electronic noise than previous devices, and this helps with autofocusing speed and accuracy as well as boosting low-light performance. Spot AF performance is also claimed to have been improved, with weighting given to the centre of the spot.
The A77 Mark II has a collection of AF-point selection options including Wide, Zone, Flexible Spot, Local, Expanded Flexible Spot and Lock-on AF. In Expanded Flexible Spot mode the photographer selects one AF point and the camera supports this with the surrounding eight points, which is useful when shooting a moving subject. In Zone AF mode the AF points are divided into nine zones for selection.
It’s also possible to adjust the AF tracking duration across five levels via the menu, with low settings being useful when the subject distance isn’t expected to change quickly and high settings when shooting subjects at different distances. In addition, a new AF Range Control option allows you to restrict the AF to working within a specific distance range. Adjustments can be made from the closest focusing distance of the lens to infinity with distance marker points in between that vary depending upon the lens mounted.
With the Sony 16-50mm f/2.8 SSM lens mounted, for example, there are markers at 0.3m, 0.4m and 0.7m and there are two points of adjustment between 0.7m and infinity. This could be very useful when there are objects between the camera and the subject – for example the wires of a cage in a zoo.
According to Sony, almost all of its A-mount lenses are compatible with the 79 AF points, but only 61 are available when shooting at 12fps. Sony’s 500mm f/8 lens is a notable, but not surprising, exception and it will only allow the center AF point to be used.
Other pleasant additions to the Alpha 77 Mark II’s featureset include an HDMI port that can supply clean video output to external storage devices and Wi-Fi connectivity. As the A77 Mark II has an NFC chip, owners of NFC-enabled smartphones and tablets can connect to the camera by touching the two devices together.
Interestingly, despite the presence of Wi-Fi connectivity, the A77 Mark II cannot make use of Sony PlayMemories Camera apps.
Build quality and handling
Close comparison of an Alpha 77 Mark II with the original Alpha 77 reveals few obvious differences. The two cameras have the same overall shape and control layout and the vertical grip that was produced for the original A77 can be used with the new camera.
There is a slight difference to the new camera’s mode dial, however: it has a lock button to prevent it from being knocked out of position. The hotshoe has also been changed from the Sony (Minolta) proprietary shape to the more common universal style. It has also been upgraded to make it a multi-shoe capable of accepting a range of accessories.
In addition, the function (Fn) button has a greater range of customisation options. The A77 II has 27 features that can be assigned to one of the twelve slots in the Function menu. If you like using the Picture Effects (Toy Camera, Pop Color, Posterization, Retro Photo, Soft High-key, Partial Color, High Contrast Mono, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, Illustration), it’s worth assigning this and image quality to the Function menu so that you can quickly turn off raw recording and access the effects.
As with other Sony cameras, the Creative Style options (Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night, Autumn, Black and White and Sepia), which give JPEG images a particular appearance, can be used when shooting raw images simultaneously.
It’s also possible to customise the function of many of the buttons on the camera, but I found that the default settings worked well.
Like the camera it replaced, the Alpha 77 Mark II feels pretty tough and durable. The grip on the front of the camera is deep and generously sized to provide a comfortable hold. There are also seals to keep dust and moisture at bay so you can use the camera in fairly harsh environments.
Like the A77, the A77 II has plenty of buttons and dials to give direct access to many of the key features, as befits an enthusiast-level camera.
It’s quick and easy to select the desired autofocus point using the mini-joystick style controller on the back of the camera. Helpfully, if you find 61 points too many to choose from in Flexible Spot mode you can restrict it to just 15.
Strangely, Sony has continued with having the 12fps shooting option located on the mode dial. Given the rethinking about the AF options, we might have expected this to be part of the drive mode options. Sony’s explanation is that it’s a major feature of the camera and that there are aspects such as the aperture locking at the start of the shoot that need to be considered.
Screen gem
On the back of the camera is a three-inch vari-angle screen, which provides a detailed, clear view of the scene, but isn’t touch-sensitive. Its resolution, however, has been boosted from 921,000 dots to 1,228,000 dots and, like the screen on the new Nikon D810, it’s an RGBW (red, green, blue, white) device for greater brightness.
While the screen is useful for composing images from awkward angles, the articulating hinge seems unnecessarily complicated and it takes a while to get used to its quirks and limitations. The hinges on cameras such as the Canon 70D and Nikon D5300 are much more straightforward.
As on the Sony A7 and 7R, the 2.3-million dot electronic viewfinder (EVF) is bright and clear with plenty of detail visible. As usual with an EVF, this brings the benefit of seeing the image as it will be captured.
Performance
Sony currently has a strong reputation for sensor design and image processing and the Alpha 77 II does nothing to diminish that. Even at the highest selectable sensitivity setting, ISO 25,600, noise is controlled well in raw files, having a fine texture with no banding or clumping visible at 100% on-screen. With careful processing it is possible to conceal most of the coloured speckling in raw files to produce an image with just luminance noise, giving some grain.
Simultaneously captured JPEG files look softer than their raw counterparts, and close examination reveals a painterly texture with some smudging of detail and slightly sharpened edges. They generally look acceptable when viewed at A3 size, but I prefer the slightly sharper, grainer look of the raw files.
As you’d hope with a 24Mp sensor, the A77 II is capable of recording a high level of detail at the lower sensitivity settings.
My first impressions of the Alpha 77 II’s autofocus system were good so I used it the camera to photograph a gig in very low, flat light. For comparison I took along the Canon 5D Mark III. Both cameras had a 70-200mm f/2.8 lens mounted, although the focal length magnification factor of the A77 II meant it wasn’t necessary to zoom so far in as with the Canon camera.
The flat light proved a challenge for both cameras, but the Canon was able to cope just a little bit better. Nevertheless, the Alpha 77 II managed to get the moving subjects sharp most of the time and wasn’t too far behind the much more expensive full-frame Canon.
As I was shooting continuously in short bursts I found it best to turn the image review off, as this gave me a full-time view of the subject through the lens. The downside of this is that you don’t see the image after it’s captured and the gain that is applied to the viewfinder’s image when its brightness is set to ‘Automatic’ can make the image look brighter than it is. Consequently, in low or changing light it’s best to set the EVF’s brightness to ‘Manual’.
While the A77 II’s AF system struggled a little in the low, flat light of the unilluminated gig, there were no such problems with a fast moving subject in good light. It was positive, fast and accurate. In continuous AF mode with AF selection set to Expanded Flexible Spot, it got fast moving rowers sharp in a flash and was able to keep them sharp using the surrounding points as I panned with their movement. When Af selection was set to Lock-on AF: Flexible Spot or Lock-on AF: Expanded Flexible Spot it also tracked them around the frame if I failed to keep the original AF point in the correct location.
As usual, AF performance varies depending upon the lens that’s mounted and a good optic is required to get the best from the Alpha 77 II. It perfroms very well with the 70-200mm f/2.8 for example, but is a little more hesitant in low light with the 85mm f/2.8 – which also has a much noisier focus mechansim.
Throughout my testing of the Alpha 77 II I used the Multi-segment metering system and, despite shooting in a wide range of conditions, there were only a few where I had to dial in a little exposure compensation. The system isn’t easily thrown by large bright or dark areas within the scene.
Colours are also good straight from the camera, and the white balance system generally does a good job when set to the Automatic setting.
Image quality and resolution
JPEG
Full ISO 100 image, see 100% crops below.
ISO 50, score 30, click here for full resolution image
ISO 100, score: 30, click here for full resolution image
ISO 200, score: 30, click here for full resolution image
ISO 400, score 28, click here for full resolution image
ISO 800, score: 28, click here for full resolution image
ISO 1600, score: 26, click here for full resolution image
ISO 3200, score: 24, click here for full resolution image
ISO 6400, score: 24, click here for full resolution image
ISO 12800, score: 24, click here for full resolution image
ISO 25600, score: 20, click here for full resolution image
Raw
ISO 50, score: 32, click here to see full resolution image
ISO 100, score: 30, click here to see full resolution image
ISO 200, score: 30, click here to see full resolution image
ISO 400, score: 30, click here to see full resolution image
ISO 800, score: 30, click here to see full resolution image
ISO 1600, score: 28, click here to see full resolution image
ISO 3200, score: 26, click here to see full resolution image
ISO 6400, score: 24, click here to see full resolution image
ISO 12800, score: 24, click here to see full resolution image
ISO 25600, score: 18, click here to see full resolution image
Noise and dynamic range
We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using DXO Analyzer software to generate the data to produce the graphs below.
A high signal to noise ratio (SNR) indicates a cleaner and better quality image.
For more more details on how to interpret our test data, check out our full explanation of our noise and dynamic range tests.
Here we compare the Sony Alpha 77 II with the original Sony Alpha 77, Canon 70D and Nikon D7100.
JPEG Signal to Noise Ratio
Although the Alpha 77 II’s signal to noise ratio starts off very high at the lowest sensitivity setting, it soon dips below that of competeing cameras, indicating that the images are noisier. However, this may be in an attempt to maximise detail from the lower pixel count sensor.
Raw Signal to Noise Ratio
The Alpha 77 II is one of the lower performing cameras here, but as with the JPEG images, this may be to reveal more detail.
JPEG Dynamic Range
While the Sony Alpha 77 II’s dynamic range is good, it lags behind that of competing cameras for much of its sensitivity range.
Raw Dynamic Range
As with the JPEG images, the Sony Alpha 77 II’s raw file (after conversion to TIFF) dynamic range lags behind that of competing cameras throughout the majority of its sensitivity range.
Sample images
Click here for full resolution image
The focal point in this image has lot of detail while the out of focus areas are nicely rendered.
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The autofocus system was able to lock-on to these rowers and keep up with them as they sped across the water.
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This raw file has a fine-grained texture because it was captured at ISO 25,600, but it looks sharp and detail-rich.
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The simultaneously captured JPEG file also looks good, but is a little softer as the granular texture is hidden by the in-camera noise reduction system.
Click here for full resolution image
The Multi-segment metering system has delivered a nicely balanced result here.
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Again the multi-segment metering system has produced a good result despite the brightness of the water around the subject.
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This bright sky was a bit too much for the multi-segment metering system, but the flower isn’t excessively underexposed and the result looks natural.
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The details of these book captured at ISO 25,600 look natural and noise is controlled well in the darker areas of the image.
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Using the Landscape Creative Style option boosted the saturation of the grass, foliage and sky in this scene.
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As well as helping ensure the horizon is the level, the A77 II’s digital level helps to ensure the camera’s sensor is perpendicular so that buildings don’t suffer from converging verticals.
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This image looks just like the original scene with smooth gradations and good dynamic range.
Sensitivity and noise images
JPEG
Full ISO 100 image, see 100% crops below.
ISO 50, click here for full resolution image
ISO 100, click here for full resolution image
ISO 200, click here for full resolution image
ISO 400, click here for full resolution image
ISO 800, click here for full resolution image
ISO 1600, click here for full resolution image
ISO 3200, click here for full resolution image
ISO 6400, click here for full resolution image
ISO 12800, click here for full resolution image
ISO 25600, click here for full resolution image
Raw
ISO 50, click here for full resolution image
ISO 100, click here for full resolution image
ISO 200, click here for full resolution image
ISO 400, click here for full resolution image
ISO 800, click here for full resolution image
ISO 1600, click here for full resolution image
ISO 3200, click here for full resolution image
ISO 6400, click here for full resolution image
ISO 12800, click here for full resolution image
ISO 25600, click here for full resolution image
Verdict
While the changes made with the Alpha 77 Mark II may not seem dramatic, Sony has worked on the most important aspects – the sensor and processor – to boost speed and image quality, as well as the autofocus speed.
Many will recognise that it’s sensible to stick with the same pixel count as with the Alpha 77, as 24 million captures enough detail for most purposes and allows big prints to be made. The files are also large without being unmanageable by the average modern computer.
Sony’s work on the Alpha 77 II’s autofocus system has paid off as it’s a significant improvement upon on the original A77’s. In good light it is incredibly quick and accurate. Naturally, in lower light its performance dips, but it’s still very good and not far behind that of the much more expensive Canon 5D Mark III with a comparable lens. Sony has also given the A77 II a useful AF Range Control which competing cameras such as the Canon 70D and Nikon D7100 don’t have.
We liked
The A77 II feels great and it’s weather-resistant seals mean that you can continue to shoot if rain starts to fall. All the most important features can be accessed quickly via dedicated controls scattered across the body or the customisable Function Menu. It’s also nice to have a mini-joystick controller that falls just under your thumb for selecting the AF point when you need to.
It takes a little while to get to grips with all the autofocusing options, but it’s a worthwhile and enjoyable experience as it works well and delivers sharp images. It’s great to have options that are normally only available in professional-level cameras.
We disliked
The vari-angle mechanism on the rear LCD screen seems a little over-complicated and strangely unintuitive. If you want to use it to shoot a selfie, for example, it can be tilted up, but it can only be rotated all the way round in one direction, so you need to make sure you twist it the right way.
It’s also a shame that the screen isn’t touch-sensitive, as this would make the camera seem a little more forward-looking as well as allowing faster setting selection and adjustment.
As with the Sony A7S, I also found that the eye-sensor which detects when the camera is held to the eye and automatically activates the electronic viewfinder (EVF) sometimes failed to activate the LCD screen again after the camera was taken away from my eye. However, with the A77 II this appears to occur when the battery level was dropping (it was at 34%) and charging the battery seemed to resolve the problem. It’s something we’ve raised with Sony and we’ll continue to monitor the matter.
Verdict
The Alpha 77 II delivers the promise of Sony’s SLT design with fast autofocusing and accuracy when composing images on the LCD or shooting video. It also overcomes the issues caused by the reduction in light levels reaching the sensor as a result of the translucent mirror. The fact that the camera’s AF system can nearly match the performance of a professional level camera that costs twice as much is very impressive. This and the A77 II’s ability to control noise at high sensitivity levels makes it a very versatile camera that will be attractive to enthusiast photographers who want to shoot a wide range of subjects, everything from landscape to sport and macro to portraits, in a variety of conditions.
In addition, the camera’s white balance, metering and processing systems work well and deliver generally well-exposed images with pleasantly vibrant colours in a range of situations.
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