A7s - The Silent Revolution

A7s - The Silent Revolution

Sony Alpha 7s digital camera (12.2 megapixels, 7.6 cm (3 inch) LCD display, Full HD, Uncompressed output via HDMI (4K / Full HD) Silent Shooting mode, dust and splash proof) (Electronics)

Customer Review

[Last update on 17/05/2015]

I've owned several APS-C cameras in recent years and was really pleased with all. Actually. But almost every single (initially Nikon, Sony later) was, it was always only relatively minor improvements of the respective predecessor models. The media attention increases on 12-16-24 MP changed that assessment.

Then the bombshell: Since the paradigm shift from analog to digital over 10 years ago the A7s is in my view the first camera that really opens up new possibilities and old Fotografiergewohnheiten raises completely overboard. With this little marvel of technology recordings can be made in situations where I would not even recently took the trouble to think of a camera at all, let alone to pack it.

So far, I was part of the "I-Scan-anyway-no-higher-than-ISO-3200" faction. In fact, even reluctant about ISO 1600, because my previous cameras (D5000, D7000, A65, A77 and finally the surprisingly good A6000) schwächelten as already visible. Depending on the situation, there were times individual cases up to ISO 6400 and a single exception image of the A6000 with ISO 12800 - but higher? Ugh, no thank you.

I was of course also a so-called Pixelpeeper. View images on the monitor in normal view? Boring. Rather 100%, 200%, 300% magnification. I was excited about every branch sharp on the screen. Each distant road sign that was barely discernible, but still readable under magnification. Not that any of the purpose of my pictures would have practical relevance. But I thought it was still great.

Of course, I also belonged to what-should-I-because-with-full-frame? Fraction. Too big, too heavy, too expensive, more disadvantages than advantages - the usual arguments halt. At least that was my view for everything that was on the market before Sony A7 series.
And then there was of course still the question of money: If me half a year ago someone had said that I would even buy a camera body for more than 2000, I would have declared him insane.

Well, what can I say: Now I'm the unsound mind. And happily so. But who knows, it may go many irresponsible. :)

After the sale of accumulated APS-C equipment brought enough for a A7s, it also gave more for a used 28-70 kit lens to try and an adapter for the old Minolta AF 50 / 1.4 and my valued Walimex 85 / 1.4, which unexpectedly turned even as full-frame capable. Even an old stovepipe (Minolta AF 70-210 4.0) I kept for testing, even though I was so on the A77 does not have been too happy.

Previous experience with the A7s:
-----------------------------------------------

The A7s despite full frame just about size and weight of a small APS-C entry-level model and is securely in the hand, but the little finger is no place on the handle and joins with the camera (I have medium-sized hands). Bottom line, the feel is reasonably okay but comes no way ran to the feel to the touch, for example, an A77. Processing and material quality are still top notch, but what you can expect at this price.

Practical: thanks to its maneuverability and the silent shutters (more on that later), you can be with the A7s pretty unremarkable go, especially if you plan screwed a fixed focal length. Occasionally brings a disparaging looks from the heavy laden photographers ("What kind of a Compact of there?"), I smile back then always friendly. :)
Those who like a bit up his camera to show, may not be as well served by the A7 / r / s, since few know what gem you really have there.

AF:
The hybrid autofocus A7s is subjective slightly slower than in the A77 or A6000. According to Board comments he is indeed better than the A7 / A7R be, action and sports fans will however probably still prefer other cameras - at least as long as it is bright enough. For my needs, the AF is sufficient in any case and I tend now focussing more and more on manual focus, because it is fun.
Nevertheless impressive: Even with lousy lighting has the AF (even without auxiliary light) is usually still the focus, not necessarily create other cameras.

Focus Peaking:
Has already proven itself at the Sony SLT models and is an ingenious method for manual focus. Are highlighted like old times, only instead of split-image rangefinder as focusing aid which focused contrast edges of the object. Additionally there is an optional Point Zoom in viewfinder and display.

AberWAAAH! Only 12 megapixels! A throwback!
Poor resolution results in all test reports!
Well, what can I say. Actually only one thing: paper is patient. In theory it may sound terrible, but in practice I've found that it has no relevance for me. I had previously never anything left despite my Pixelpeepings for the megapixel hype and have always annoyed me, that technical progress was used to show off high MP figures (kick-ass example: compact cameras), instead of the sensors to make noise-free. In addition, there are quite objective, which are overwhelmed by the resolving power of 16MP- and 24MP sensors, which can be seen clearly at magnifications from 100% at the monitor. The 12MP sensor of A7s here behaves much good-natured, provides for my needs but still more resolving power than I need usually.
Of course, the test values ​​in the charts can not compete with the 24 / 36MP camera models - which is technically indeed impossible, because the pixels per sensor area are in A7s times now significantly larger. However, they are thus a lot of light-sensitive, which leads us to the next point, namely,

High ISO:
The best discipline of A7s. According to recent reports, there are no full-frame camera that the Sony here can hold a candle (APS-C of course even less). Even the recent low-light-Kings Nikon D4s and Nikon Df can not match - not even when scaled down their images to 12MP. I do not know what Sony has done here, but she got it right: see Even unprocessed JPGs at high sensitivities amazingly good. Although I take precaution principle into JPG + RAW, have the RAWs but so far hardly touched (OK, granted, I'm always a RAW format muffle and use only in an emergency). Specialized post-processor might but probably again to tease out the RAWs an additional aperture stop, without significant loss of quality.
Speaking of RAW: Those who are interested, just search for "Capture One for Sony" googling. The offer a complete, comparable with Lightroom RAW converter at no charge. But this is true only for the special Sony variant, all other versions are limited costs or time.

How much you can take the ISO in A7s because now actually go?
Packages can not answer this question seriously, because it depends on shooting conditions, use of images and of course the claims. My personal opinion: If you make photo books or prints to A3 and the images only at Full HD TV (or beamer) considers, should in most cases, ISO 51,200, 102,400 be acceptable under ideal conditions and ISO. In the so-called extended-area where signal amplification by a maximum of ISO 409 600 is achieved beginning - but that is more for absolute emergencies or documentation purposes, if otherwise anyway no more images would be possible.

Anecdote (a small, unfair practice test):
Recently saw someone of that pretty skeptical when I told them that the photosensitivity of my new toy is so outstanding. He pulled out a Panasonic TZ36 (compact camera, 16MP, 1 / 2.33 "sensor) to compare and set them to the maximum, namely ISO 3200 which already means quite a rape for such a small sensor. I tuned off on f22, resulting to ISO 128,000 resulted.
The resulting images (interior photos) were in both cases no longer beautiful, but at the A7s details were despite significant noise still recognizable, while the TZ36 only one, let's say "artistically valuable watercolor image" provided.
Yes, I know, this comparison is neither serious nor fair. Yet I found him amusing and thought that he might be interested in one or the other readers. :)

Anyway: If you like (as I used to) eyed at 367% magnification with the nose on the monitor pixels, of course, a six-digit ISO will not accept under any circumstances. Even five-digit ISO's are more likely to lead to an imminent frown. However, getting such a pixel counter with "ordinary" DSLRs sometimes even at ISO 800 or 1600, the crisis that has so maybe not sooo much to say. :)

In any case, as already described in other reviews, the A7s even with kümmerlichster lighting usually still evocative images from the hand possible. That produce unusable pixel garbage Namely in situations where off completely different cameras or a tripod necessarily presuppose (only that neither all motifs are suitable stand still one always has such a case). This type of evolution is in my view far beyond previous improvements in new cameras and rather represents a revolution because it offers completely new options in photography.

Regardless of which is for the A7s still the same as for other cameras also: At least a bright lenses in the camera bag is mandatory. Depending on your budget can be an inexpensive 50mm / 1.8 (better 1.4) with manual focus + adapter or one of many more expensive options, for example. For lenses and adapters later.

Video:
For this I can not comment from personal experience, is not my thing. In Youtube, diverse tester falling over but because of video qualities. And not even because of 4K (the A7s can, but for an external recorder is necessary), but because it offers a variety of professional options and in low light the entire competition outclassed - including Panasonic GH4, Canon's top dog 5D III and various real video cameras.
Some even go as far to say that the A7s had a video camera in the first place and it would be a waste to buy them just to take pictures. Najadas like some videographers indeed believe, but I see it the other way around of course, exactly. :)

Electronic Viewfinder (EVF):
Class! Large, sharp and high contrast, even in almost complete darkness usable (then a little pixelated - but hey, with a conventional viewfinder would be in a situation like NOTHING to begin more) and freely configurable. One can make all settings Show that your heart desires - including image data, grid lines, level and histogram. Or hide anything.
Or set up different versions and switch with a (!) Button is pressed between them. And then there's the "what-you-see-is-what-you-get" effect: exposure, depth of field, white balance. You see before you shoot, if everything was okay.
What more do you want? Optical viewfinder are from yesterday. Actually more of the day before yesterday.

Built-in flash
None. To me it is not important, because I anyway flashes reluctant directly and prefer available light (especially with the A7s), but I can understand that some users angry. As fill or for driving an external flash, it would have been useful. Sony stands there but not alone, many so-called "professional cameras" have no built-in flash. Apparently, professionals do not need such a thing?
IMPORTANT: The A7 series no longer has the old Minolta / Sony hotshoe, but the new "Sony Multi Interface" connection. Matching automatic flashes it there from about 150 (eg, from Metz).

Update: I'm just going to employ me closer to the so-called "off-camera flash". An interesting alternative or supplement to available light. With a transmitter on the camera, one or more external flashes are as driven (not TTL) via radio. The basic usage is easy, but of course it takes practice and experience for great results.
My current equipment: Yongnuo YN-560TX (Funkauslöser, the Canon version works fine on the A7s) and 3x Yongnuo YN-560 Mk IV (lightning), to 3 * 4 + 2 = 14 batteries Eneloop AA - all together for approx. . 250. In the network many videos there on the subject and inexpensive Yongnuo equipment.

Configurability:
Goods up to the A77 in this regard still relatively neutered older Alphas, already showed the A6000 where the path goes - and the A7 series perfected Sony now configurability. While there are "only" three programmable Fn keys, but also as good as any other button you can according to personal needs remap.
I am particularly delighted by the way that the freely configurable Auto ISO in full manual mode (M) works. "M" is for me not in any shooting situation, the drug of choice - but who knows what he is doing, so that if necessary has a very effective tool at hand, especially as more A7s ISO leeway than other cameras.

Silent Shutter
Very practical: Unlike her two siblings only A7s offers the option of a silent shutter, so a completely silent triggering (Camera Menu 2.4). One hears at open aperture absolutely nothing that is worth in some shooting situations gold.
Restriction: In this mode, the A7s more sensitive to artificial lighting. At least some LED light can, depending on the shutter speed, producing unsightly stripes and shades in the image. The backgrounds are not quite clear to me, but it seems to have something to do with the frequency of some LED lamps. I do not know whether it is technically change anything at all can, if so, the problem will probably be fixed by firmware update.
In normal trigger mode the marks occur at least not on.

Purple Glow:
The so-called "sensor glow" that has stirred up some dust in relevant forums. No problem specifically the A7s, it also happens with other manufacturers and love occurs when sensors are maxed out until it stops. From what I understand, it is related to the signal amplification.
I could under extreme conditions (ISO in the six figures, sporadically from 80,000) actually produce an unattractive purple sheen on the left bottom of the screen. Not always, but sometimes. In ordinary long exposures of 1s - 30s within the normal range of ISO 50-51200 nothing occurred like.
Could be that videographers thus more likely to have difficulties, I can not judge. With photos under realistic conditions (I have done with the A7s in the last two months about 2000) have so far encountered no problems, not even at night or in low light.

Automatic and scene programs
It is not so rare that photography novices to set a (very) expensive camera, hoping that improve their images in relation to the price. Unfortunately, that's always a fallacy.
Yes, even the A7s has various automatic functions, including a complete carefree fully automatic and some scene programs. Would recommend their use? Rather not. But that has nothing to say because I'm a snob. :)

Do not let them scare so. The automatics have mentioned quite right to exist and can be useful to get you started. However, you should be clear that they by no means always bring the desired results, and sometimes even fail completely in extreme situations. Finally, the camera only recommends what you could probably want from her. Or deciding what has to be good for you.

Ultimately, the automatics of A7s are no better than that of a 50-clippers from the supermarket. They may produce lower noise and sharper images, but that you no use if they are perhaps different than desired exposed or focused on the wrong point in the picture, too little or too much depth of field have etc .. Also, the image section selects the camera is not for you.

In short: You can permanently operate in the green Full Auto A7s the well. However, would it be as if you buy a Porsche and then use it only for shopping trips in city traffic. Do not expect to produce in this way significantly sehenswertere images, as they did with a compact camera.

Tip: A beginner photography course or various videos on the net, where basics of photography are explained, work wonders. Suddenly you dare, fully automatic and scene programs are allowing left and maybe even get a taste for more. Sometime you shoot then all by itself only in A, S or M and missed absolutely nothing. :)

Battery life:
Not particularly. What is rarely mentioned by critics: The FW50 batteries are for correspondingly small and light, so fit into the overall concept of a super-compact full-frame camera. One can not have everything at the same stop, and this solution is for me a lot of sense.
When I'm out all day, again and again irregularly Scan and let the camera switched on permanently (but with power saving mode after 2 minutes), I need 2-3 batteries. That's perfectly fine, because replacement batteries are inexpensive and of the same type, the A6000 also required. By manufacturer Patona I had with spare batteries have never problems and their chargers are OK.
Incidentally, Sony provides a standard already 2 (!) Battery + an external charger + charging cable with a camera. But this is true only for the A7s that preiswertern models do not get such a luxury and must be content with 1 battery + charger cable.
Power-saving tip: flight mode when you do not need Wi-Fi.

What I miss:
GPS! I found it on the A65 and A77 extremely helpful for the documentation of holidays, but apparently saw Sony (and perhaps even the majority of users) it differently and it fell to suffer cuts. Too bad, too bad!

Adapter Tips:
------------------

First three important definitions in order to avoid misunderstandings:

A-Mount is the "old" connection from Minolta and Sony, it will be used, since there is autofocus lenses and is still in use, for example, at Alpha 33 bis 77th

(Also known as NEX) E-Mount is the new connector for the NEX models, Alpha 5000-6000 and of course the A7 series.

FE-Mount = E-mount, the name simply implies that there is a full frame-compatible lens.

Generally one can say that all is due to the low circulation of Mass E-Mounts (advantage of the lack of reflex mirror) rather adpatierbar, which can be screwed in front of a camera, no matter from which manufacturer.

But now to the adapters:

Minolta / Sony A-mount on E:
The Sony LA-EA4 has an AF module with Translucent Mirror as incorporated in the SLT camera models, thus goes but roughly one third to half stop light lost. The SLTs I found that because of their quite meager anyway low-light capabilities disturbing when A7s it falls on the other hand negligible. I read somewhere that the AF of EA4 should correspond to the Alpha 65. In daylight, this may be true, but in the dark ... well. I will still continue testing, but the results so far convince in dim lighting me absolutely not.

If AF does not matter, but objective data to be transmitted to the camera and in the EXIF, the smaller, lighter, more intense (!) And cheaper 100 LA-EA3 come to train. Although it can theoretically with Sony SSM lenses AF, but only very slow and unreliable - so rather for manual focus.
IMPORTANT: The original Sony adapters are only EA4 and EA3 full format compatible. EA2 and EA1 are therefore not buy for APS-C, the wrong.

Who does not need or want an original adapter, also a purely manual Sony / Minolta A can -> NEX buy adapters that there are of high quality (eg Novoflex) to very cheap (several Noname), but they do not transmit EXIF ​​data. The use of the camera is still simple: Set to A (or M) and select the aperture adapter, if the lens has no aperture ring. Aperture priority works, Auto ISO also.

Canon EF on E-Mount:
Since I very favorable a used Tamron was 28-75 / 2.8 snag for Canon, I put me a Commlite Canon EF-NEX adapter (80), this works well. Theoretically, even with AF, but the good for nothing, so manual focus. EXIF data function, there is no connection problems (what is different from the much more expensive Canon Metabones-NEX adapter reportedly can not say).

What Lenses for A7 series is concerned:
Critics complain that there is still much too little native FE-Mount lenses and that they are very expensive. Both are true, although the range has been increased in recent months and continue to be. A real problem is that only if you want to have mandatory AF. The one needs but in many situations not - and then it gets really interesting. To focus peaking, I've already written something, manual focus through the viewfinder or display is a breeze and opens up many creative possibilities.

Some full-Objektivtips (partial adapter required):
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As an all lenses with AF and without annoying adapter either the / 3.5-5.6 Sony 28-70 FE or the Zeiss 4.0 / 24-70 FE offer (for four times the price). The former provides only average BQ and is faint, but very easy and relatively cheap. The latter is sharper and has more contrast, however, a certain series dispersion is said to him. Those who are interested should thus check the quality.

An alternative as a standard zoom is the more intense Tamron 28-75 / 2.8 + EA4 adapter. In this lens I appreciate the excellent sharpness and brightness, on the other hand the annoying noisy AF. Also I like the chunky, heavy adapter solution with a lens that is actually meant to be "Always top", not so much. Nevertheless, the bottom line is an excellent P / L ratio.
There is also a Tamron 24-70 2.8 USD, but that weighs with camera and adapter then already DSLR typical 1.5kg - No, thank you.

Sony AF 3.5-4.5 / 24-105mm (is no longer manufactured and is very rare, used with a lot of luck for under 300 get to); needed for the autofocus LA-EA4. From the lens there is also a little older, probably identical but cheaper Minolta variant.
I have compared the 24-105 to the Zeiss 24-70 and it cuts expected worse. At maximum aperture my copy is sharp only in 105mm, stopped down to 5.6 - 8 it is throughout the focal length range passable to very good. The AF will work with the EA4 in daylight mostly quite fast, but loud.

Cheap Super wide-angle zoom: Minolta AF 2.8-4.0 / 17-35mm (used below 300), requires LA-EA4 for AF. The picture quality is mixed, open aperture should be shunned. With Stopping down to 5.6 - 8 it is passable to good - the edges remain soft at only 17mm. The lens seems to me altogether somewhat low in contrast, compared to the high price for full-frame alternatives but it is well worth considering. Who (much) has more financial flexibility, may alternatively the new Zeiss 16-35mm closer look, it should be excellent.

Tele Zoom:
The old "stovepipe" Minolta AF 70-210 / 4.0 (caution, not the 3.5-4.5 or the fainter versions buy!) I recently tested with several hundred pictures and am thrilled! It blends well with the 12MP sensor of A7s and is sharp even at full aperture throughout the entire zoom range. Even the AF works during the day well and fast (and loud) in combination with the LA-EA4. The lens is used to get for 100-150, but be sure that the sun visor with it is (as some scattered light sensitive).

For comparison I have (read correctly: f3.5 continuous light intensity) me a 40-year-old, manual Vivitar 70-210mm / 3.5 Series 1 push Zoom bought for under 40. The "Series 1" at that time was the luxury version, with analogue I could not afford such a thing and had to resort to cheaper models. Had not thought that I would still keep talking about one in hands. :)
Well, probably a lot of smoke about nothing, as so often with "posh" products. Review on backorder when I have time to test. If there are no good, you could still use it if necessary to hammer nails into the wall, it's durable enough for it. :-P

Super Zoom / Allround lens:
The Tamron 28-300mm / 3.5-6.3 (the new version PZD) for A-Mount is surprisingly good in combination with the EA4 at A7s. Relatively light and compact, reliable and silent AF, usually sharp at maximum aperture.
Even the older and much cheaper version of the Tamron 28-300 provides a surprisingly good P / L ratio. If you can live with a loud and slower AF, can thus save a lot of money, the picture quality is at any rate approximately equivalent to PZD.

Alternatively, comes as the new travel zoom Sony FE 24-240mm / 3.5-6.3 in question. Problem: Large, heavy, expensive. I tried it a few days, but was due to the lame AF's pretty dissatisfied (see my review local).

Some fixed focal lengths:
(And still hundreds more awaiting experimental Adaptierer :-)

My personal tip: Mitakon Speedmaster 50mm F0.95. Yes, you read that right: aperture 0.95! This giant light is something very special - and it is for ordinary abgeboten DSLRs even know it exists, for technical reasons only for mirrorless cameras. More I wrote in a separate review. Conclusion: Although expensive, but still inexpensive. :)

Walimex 85mm / 1.4: Was at the A77 one of my favorite lenses. Cheap despite first-class workmanship, manual zoom, acceptable sharpness at maximum aperture, smoothest Bokeh. Actually, even the best Bokeh, which I have ever seen. While it is fully compatible format, but at the A7s I'm not quite so hot. Actually, I would have expected that the Walimex harmonizes well with the 12MP sensor, but somehow it looks much softer than I had remembered. Maybe I'm just spoiled by Mitakon, which is already at F0.95 convincing than the Walimex with f1.4.
Nevertheless: Who is a bokeh supporter, should take a look at the 85 / 1.4, especially Walimex has now released a new version for E-mount and can thus save the adapter. And when it comes mainly for portraits for use, harm a little softness at full aperture actually not - women are often even grateful. :)

Who does not like manual focus and may dispense light intensity compared to Mitakon to nearly 2 screens, selects the Zeiss 55 / 1.8 FE (about same price) and gets next to a gigantic AF image quality; the 55 / 1.8 is among the sharpest lenses ever produced. Strictly speaking, it fits but rather to A7R with 36MP, which can squeeze even the last bit of resolution of this great lens.

Absolute price / Leistungstip: Canon FD 50 / 1.4. Since this lens still comes from the old analog Canon, it has a nice, wide focus ring. The sharpness is surprisingly good at open aperture, dimmed even top notch. The Bokeh is not as soft as when Walimex or Mitakon, but still OK. A cheaper, manual Canon FD-NEX adapter is sufficient.
There are of all other manufacturers also adaptable 50 / 1.4 without AF, according to relevant forums but comments from the price / performance ratio is the above forth Canon FD hard to beat.

Conclusion:
-------
Hats off! While Canon and Nikon to rest on its (admittedly deserved) laurels and continue to release solid but stale and un-innovative DSLRs, the underdogs of the industry also Panasonic and Olympus venture led by Sony, but completely unknown territory. This is risky and I hope for them and for us consumers that this innovation and investment is worthwhile.

For me, the A7s is exactly the camera that I always - waited - without knowing it. Finally makes photography fun again! Even my exaggerated Pixelpeeping I've largely given up, perhaps because I now put a different focus and somehow see the pictures from new eyes. I can not even describe exactly what it is actually, but since this camera everything is somehow different. I feel transported back to the early days with my first analog SLR. :)

If the A7s something for you?
Hmm. If your top priority when buying a new camera is to obtain an increase in resolution and new features, it is not likely. If you mainly photograph daytime, then likewise not. If you but itches in your fingers to enter photographic territory, then YES!

From me anyway there 5 Star.
The A7s is not perfect, but it currently offers everything I need.

Good protective case Rank: 5/5
August 23
Fischer plugs Rank: 5/5
October 29
The final compilation! Rank: 5/5
May 16
Very good product in 1820 Rank: 5/5
February 6

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