Sony a7R II Full-Frame Mirrorless Camera. Sony alpha a7r ii

Sony a7R II Full-Frame Mirrorless Camera

With the world’s first back-illuminated 35 mm full-frame CMOS image sensor with 42.4 megapixels, the Sony 7R II takes image resolution, sensitivity (up to ISO 102400) and speedy response to new heights. The Fast Hybrid AF system’s dense extra-wide focal plane phase-detection AF coverage keeps a subject in sharp FOCUS entirely throughout the frame, while 5-axis image stabilization reduces blur which otherwise tends to affect handheld shots. High resolution is further enhanced by 4K movie recording featuring full pixel readout without pixel binning.

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Overview / Product Description

Sony a7R Mark II Full Frame Ultra HD 4K Mirrorless Camera. Body

Define the next dimensionWith an incomparable new image sensorNow, even more comprehensive quality enters the picture. With the world’s first back-illuminated 35 mm full-frame CMOS image sensor with 42.4 megapixels, the Sony 7R II takes image resolution, sensitivity (up to ISO 102400) and speedy response to new heights. The Fast Hybrid AF system’s dense extra-wide focal plane phase-detection AF coverage keeps a subject in sharp FOCUS entirely throughout the frame, while 5-axis image stabilization reduces blur which otherwise tends to affect handheld shots. High resolution is further enhanced by 4K movie recording featuring full pixel readout without pixel binning. With so much insight packed into such a compact form, it’s clear that there is more to life than meets the naked eye.

World’s first back-illuminated full-frame sensorHigher resolution, sensitivity, and readout speedAs the world’s first 35 mm full-frame image sensor with back-illuminated structure, this 42.4-megapixel CMOS sensor enhances light collection efficiency, expands circuitry scale, and, with the help of a quick-transmission copper wiring layer, outputs data about 3.5 times faster, while minimizing image noise to reveal fine details in every picture.

Faster, smarter, truer processingThe BIONZ XTM image processing engine efficiently and finely tunes the new image sensor’s vast 42.4-megapixel data, for truer, clearer, more natural, low-noise image depiction.

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Clearer, more vibrant imagesAdvanced features raise resolution even higherGreat performance achieves its full potential accompanied by an array of innovative features. With an outstanding 42.4-megapixel count, the new image sensor in the 7R II lets you explore the world in remarkable detail and the camera employs no optical low-pass filter that can compromise high resolution. To reduce image blur, the camera’s newly developed reduced-vibration shutter minimizes and Silent Shooting mode eliminates camera shake caused by shutter movement. And a growing family of FE lenses lets you witness more of the incomparable clarity that the sensor delivers from every perspective.

Make every shot look sharperWithout an optical low-pass filter that can compromise image clarity, the 7R II lets you take full advantage of the high-resolution image sensor and superior resolving power of lenses.

Take a more steady, assured shotThe new shutter cuts vibration by about 50% and you can use the electronic front curtain for even less vibration and noise, so the shutter is durable enough to have been tested to 500,000 cycles.

No camera shake from shutter movementThe Silent Shooting mode features an electronic shutter that is noiseless and causes no curtain vibration, so you can shoot high-resolution images without camera shake.

Full clarity with all lenses in a wide FE lineupAll FE lenses (35 mm full-frame compatible E-mount lenses) are developed for full-frame sensors to employ ever-higher pixel counts, so they make the most of the 42.4-megapixel performance.

Fast Hybrid AF sharpens upThanks to an advanced image sensor and AF algorithm, the 7R II’s Fast Hybrid AF system delivers far superior AF coverage, speed and tracking performance.

comprehensive AF coverage399 AF points cover 45% of the total image area more than any other digital camera can match.

speedy AF responseAccelerated data readout (thanks to back-illuminated sensor) and the Fast Hybrid AF system raise AF speed by 40%.

continuous shooting capabilityFast readout and advanced algorithm make predictive subject tracking extra-precise for 5fps shooting.

Fast Hybrid AF for moviesThis system’s extra-precise, smooth focusing perfectly suits the higher requirements of 4K movies.

Phase-detection AF with A-mount lensAdvantages of the phase-detection AF are assured even with an A-mount lens mounted via LA-EA3 (LA-EA1).

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5-axis image stabilization in full-frame gloryFine-tuned for high-resolution image sensorsTo optimize the benefit of the 7R II’s amazing high-resolution capability, especially when shooting unpredictable action or while you’re in motion, the act of shooting should be as steady as possible otherwise, even slight camera shake can risk blurring the shot. The 5-axis image stabilization system is carefully fine-tuned to match the 42.4-megapixel performance of the 7R II, so you can zoom in on faraway subjects, shoot close-ups and capture night scenes with minimal camera shake blur to achieve maximum clarity.

Neutralizing all kinds of camera shakeCompensation for five types of camera shake and minimal blur even in night shots show how the 7R II clearly makes the most of the image sensor’s 42.4-megapixel resolution.

Use your favorite lenses with minimal camera shakeGain unparalleled handheld shooting freedom using many of your favorite lenses. The short flange-back distance in the E-mount 7R II contributes to broad lens compatibility.

4K movie quality hits an all-time highThe ultimate high-resolution movie experienceYou can see how the 7R II is optimized for recording 4K (QFHD: 3,840 x 2,160) movies, particularly in Super 35 mm format, as it processes readout data from every pixel without pixel binning, to effectively suppress jaggies and moir. The resulting footage exhibits visibly sharper, finer, more subtle detail than typical 4K movies. Also, as the first full-frame camera that can record movies at 4K resolution in the 35 mm full-frame format, the 7R II extends your power to express qualities of vision that the newly developed, back-illuminated full-frame image sensor makes possible.

Frame as you see fitShoot footage in proper perspectiveSelect full-frame or Super 35 mm format when shooting in Full HD or 4K resolution, depending on your creative intentions. Either way, everything looks brilliant from edge to edge.

High-bit-rate XAVC S formatXAVC S format now supports 4K recording at maximum 100 Mbps bit rate as well as Full HD recording at 50 Mbps, so the 7R II can capture movies filled with finely detailed movement.

Ready for the long runFocus on strength, smarts and reliabilityThe 7R II is the toughest, most durable camera ever made, solidly engineered for action under all conditions, even with large lenses attached. It’s also designed with sophistication, integrating advanced functions that seamlessly complement the image sensor’s extraordinary 42.4-megapixel high resolution.

See the truth on displayXGA OLED with ZEISS T CoatingAn EVF with ZEISS T Coating to reduce surface reflection and the world’s highest viewfinder magnification at 0.78x shows how settings affect images and maximizes 7R II high-resolution performance.

Wide-ranging accessories meet every needProfessional level options open up new possibilitiesFurther expand your shooting pleasure and give your photography a professional edge with accessories specially designed for the 7R II.

FeaturesNew back-illuminated full-frame CMOS sensorThe 7R II has the world’s first 35 mm full-frame CMOS image sensor with back-illuminated structure, which achieves approx. 42.4 effective megapixel resolution, widely expanded sensitivity range, and extra-low noise performance. It also has no optical low-pass filter that can compromise sharpness, so fine clarity and detail extend from edge to edge of every frame.

High-speed BIONZ XTM image processing engineWit detail-reproduction technology to capture the essence of realism, diffraction-reducing technology to maintain clarity even at smaller apertures, and area-specific noise reduction to reduce noise adaptively and reproduce greater detail, the BIONZ X image processing engine finely tunes the image sensor’s 42.4-megapixel data, for truer, clearer depiction.

All FE lenses maximize resolutionThe growing group of FE lenses (35 mm full-frame compatible E-mount lenses)all carefully developed to match full-frame image sensors employing increasing numbers of pixelsmakes the most of the 42.4-megapixel high-resolution performance of the 7R II.

Fast Hybrid AF now covers moreThe high-performance image sensor enhances Fast Hybrid AF, which far surpasses conventional AF in comprehensiveness, speed and response. The 399 focal plane phase-detection AF points cover 45% of the image area the most coverage among digital still cameras with full-frame image sensors. 25-point contrast-detection AF coverage is also included.

5-axis image stabilizationThis stabilization system is fine-tuned for high-resolution image sensors to compensate accurately for five types of camera shake that can compromise handheld shooting of the camera’s 42.4-megapixel images. Camera shake compensation is equivalent to using a 4.5-step faster shutter speed, allowing you to take advantage of a wider range of shutter speeds.

Higher-resolution 4K movie recordingFootage from 4K movie recording featuring full pixel readout without pixel binning in the Super 35 mm format exhibits higher resolution and superior clarity than typical 4K movies. Also, the XAVC S format allows 4K recording at 100 Mbps maximum bit rate to capture fine details of movement in movies.

XGA OLED Tru-FinderTM makes every view a visionWith the world’s highest magnification at 0.78x among digital still camera viewfinders, the XGA OLED Tru-Finder provides views of cutting-edge definition, contrast and depth throughout the entire display. ZEISS T Coating ensures absolutely minimal reflection on the viewfinder, so the 7R II’s extraordinary 42.4-megapixel performance is apparent at all times.

Tough magnesium alloy bodyDesigned for solid reliability and steady handling, the 7R II’s compact body is built to withstand the rigors of shooting in the field, thanks to an internal structure and top, front, and rear covers all made of strong, rigid magnesium alloy.

Durable reduced-vibration shutterThe new shutter’s braking mechanism cuts mechanical front/rear curtain vibration by about 50%. Also, use the electronic front curtain for even less vibration. This not only minimizes camera shake that can blur details in 42.4-megapixel imagesit makes the shutter durable enough to have been tested to 500,000 cycles.

Silent ShootingSilent Shooting features an electronic shutter that causes no vibration, so you can shoot high-resolution images without camera shake. This mode also operates without a sound, so it’s very convenient for shooting without disrupting indoor performances and outdoor wildlife, and in all other situations where silence is essential.

Wi-Fi / NFC simplifies sharingWith Wi-Fi and NFC (Near Field Communication) built into the 7R II, you can instantly transfer a photo or MP4 movie to your Android smartphone or tablet simply by touching it with the camera, then easily upload the photo or movie to your favorite SNS (social networking site).

PlayMemories Camera Apps add personal touchesSony’s application download service lets you add new functions and capabilities to your camera. There are apps for photo and movie effects to enhance and express your creativity, and others to allow your smartphone to function as a camera’s remote control, for example.

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Enhanced Eye AFNow also available in AF-C FOCUS mode, Eye AF automatically detects and tracks an eye of even a moving subject, for more framing freedom.

Expand Flexible SpotIf the selected AF point is not positioned on your subject, the 7R II automatically uses AF points surrounding the selected point to support precise FOCUS.

Compatibility with wide-ranging mountable lenses5-axis image stabilization lets you enjoy unparalleled handheld shooting freedom with more of your favorite mountable lenses. The short flange-back distance in the E-mount 7R II extends compatibility with a range of lenses.

Stable viewfinder imageYou can monitor the stabilizing effects of camera shake compensation in the viewfinder or LCD screen while shooting still images by pressing the shutter button halfway or magnifying the image, and while shooting movies by entering movie mode. Even when using a telephoto or macro lens, you can fine-tune framing and focusing without stress for steady results.

Picture ProfileFine-tune the look of movies before shooting by adjusting gradation, color adjustment and detail. Adjusted parameters can be saved with other settings as a profile, and up to 7 profiles (PP1-PP7) can be stored for later recall.

S-Log2 Gamma settingThis proprietary Sony setting featured in professional camcorders creates a 1300% wider dynamic range for smooth gradation with reduced whiteout and blackout. Use color grading in post-production to make the most of low-noise images and super-rich detail to express footage in various ways. ISO 800 or higher is available when S-Log2 Gamma is selected.

Clean HDMI outputThis function supports 4K and Full HD and allows uncompressed movie output to an external recorder or monitor. The image can also be recorded in the camera even while signals are output using this function. The included cable protector guards jacks and prevents cables from disengaging accidentally, so you can shoot with greater assurance.

precise white balance adjustmentThe 7R II offers more white balance adjustment steps (twice as many on the amber-blue axis; four times as many on the green-magenta axis) than before, so you can finely tune white balance with more subtle precision for more natural colors.

Bright MonitoringThis function that boosts image brightness by changing shutter speed, for example, can be assigned to a customizable button for easy access when shooting a starry sky or other dark scene.

ISO Auto Minimum Shutter SpeedPrevent blur in a shot of a moving subject by setting a shutter speed at which ISO sensitivity starts changing when ISO AUTO (while in P or A mode, or in Multi Frame NR) is selected.

1200-zone Evaluative MeteringAmple data from 1200-zone metering and focal plane phase-detection AF points allows for more precise control of light volume from an external flash that complements ambient light. Choose Multi-segment, Center-weighted or Spot-metering mode.

Priority setup in AF-C/AF-SIn AF-S (Single-shot AF) or AF-C (Continuous AF) mode, choose AF priority for taking pictures only when subject is in FOCUS, Release priority for taking pictures even when subject is not in FOCUS, or Balanced Emphasis for balancing the AF and Release options to achieve accurate FOCUS, yet not miss a decisive moment when shooting moving subjects.

AF-A modeIn this mode, press the shutter button halfway down, and the camera automatically recognizes whether the subject is moving or not, then switches AF mode accordingly between AF-S to lock on a subject in FOCUS and AF-C to keep adjusting FOCUS. This versatility is useful for shooting various subjects at the same time, or to avoid switching AF mode manually.

Creative StyleCreative Style settings bring out the character of your scene. Simply select any of 13 settings (Vivid, Portrait, etc.) and the camera will adjust image parameters. You can also fine-tune contrast, saturation and sharpness to suit your preference.

Auto HDR (High Dynamic Range)Auto HDR composites the best details from three exposures to expand the dynamic range of your images from darkest shadows to brightest highlights and capture all the tonal gradations seen by your naked eye.

D-range Optimizer (DRO)In difficult lighting, DRO corrects your images to achieve smoother, more natural gradations with more detail in the highlights and shadows. You can use it during continuous shooting and when photographing moving subjects.

Multi Frame NR (Noise Reduction)This mode composites four shots to significantly suppress noise and raise sensitivity, letting you clearly capture dark scenes without a tripod or flash. Camera shake blur is also lowered while contrast and detail are raised.

Focus Magnifier Peaking functionYou can clearly magnify the image to simplify manual fine-tuning of the FOCUS whether shooting still images or movies. The Peaking function can also be activated to colorize the most sharply focused areas of your image for quick confirmation.

Sony A7s II vs A7r II – The complete comparison

In 2014 I selected the original A7s as one of my favourite cameras of 2014, not just for its stunning low-light capabilities for both stills and video but also because at the time, it felt like the most mature A7 model. The thing about Sony, however, is that it has become harder and harder to pick a favourite given all the new cameras constantly flooding the market. I mean, what other company has managed to release 7 full-frame cameras in less than two years?

With the new generation of mark II models, I admit that my impressions about the A7s have slightly changed. The low light capabilities are still excellent but after using the A7r mark II for over a year now, I’ve started to wonder just how necessary the extra performance of the A7s II at high ISOs really is.

So when I had the chance to test the latest Sony “low-light monster” camera, I took the opportunity to perform a comparison between the two flagship models.

Is there really a relevant difference in terms of image quality and performance between these two cameras? Let’s find out!

Note: since these two cameras share many aspects and functionalities, I’ve only highlighted the most relevant differences in this article.

Ethics statement: We own the A7r II and rented the A7s II for a week. We were not asked to write anything about the cameras in exchange for the opportunity, nor were we provided with any sort of compensation. Within the article, there are affiliate links. If you buy something after clicking the link, we will receive a small commission. To know more about our ethics, you can visit our full disclosure page. Thank you!

Table of Contents

Design, ergonomics and ease of use

The design of the cameras is identical so there is basically nothing to compare. Sony updated the body of the mark II generation and I admit I prefer it to the mark I series. The shutter release button is easier to reach, the grip is more comfortable and the extra custom button on top is a welcome addition. Both cameras are well-built with a magnesium alloy body that features weather-sealing against dust and moisture.

So let’s start with what I like about both cameras:

  • The grip is comfortable even when using a telephoto lens such as the FE 70-200mmm f/4.
  • The amount of customisation available on both cameras is enough for a good user experience but it takes some time to familiarise yourself with all the options available. Some features are hidden and can only be activated if you assign them to a custom button (like the Eye AF mode). Once you’ve found the optimal customisation, the camera becomes more intuitive and you will be less frustrated by the very unorganised menu system (it’s a mess).
  • The EVF is excellent thanks to the 0.78x magnification ratio and the Zeiss T coating. It is definitely one of the best electronic viewfinders on the market right now. My only complaint concerns the magnification FOCUS assist which decreases the resolution.

Now let’s see what I dislike and what could be improved:

  • The two dials to control shutter speed and aperture on the front and rear of the camera are a little too small. The rear one especially is often difficult to reach. I prefer the metal dials of the first generation. They were thicker and easier to use.
  • The shooting mode dial on top has an unlock button and you have to press it each time you want to rotate it which is very uncomfortable. It feels like a job half done. They could have given us the option to manually lock or unlock the dial like on other cameras.
  • Some extra customisation would be welcome like the ability to start movie recording with the shutter button in movie mode. It would also reduce the frustration of using the dedicated movie recording button on the side of the thumb rest which is in an uncomfortable position.
  • The command wheel on the rear moves too freely.
  • I don’t find FOCUS peaking precise enough in some situations, no matter which colour or intensity I choose.
  • The eye sensor that automatically activates the EVF is still a little bit too sensitive. It is becoming even worse on my A7r II that I’ve owned for more than one year now, so I decided to assign the EVF/LCD switch to the right button of the control wheel and change it manually.

I don’t really have much to add. The LCD screen is the same as the other A7 cameras and can be tilted up or down. I wonder why Sony didn’t opt for a multi-angle monitor on the A7s II since the latter is designed mainly for video. It could have been a welcome update. The monitors lack touch sensitivity and that could be another welcome addition (Sony has the technology because they implemented it on the a5100).

Both cameras come with a proper battery charger and two batteries. Both cameras can also be charged via USB. Don’t expect much from the battery performance though: these are the two worst A7 cameras in this regard especially if you shoot 4K video. Two is the minimum but I recommend at least 3 or 4. Optional battery/vertical grips are available to expand the battery life. There is the official Sony VG-C2EM one (takes 2 batteries and has 3 custom buttons) or the third party MK-A7II from Meike (2 batteries and includes a wireless remote).

Also included in the box is a cable protector for the microphone and headphone ports, useful when shooting video with external accessories connected to the camera.

Sony A7R II vs A7S II – Image quality

While both cameras have a 35mm (full-frame) sensor, the first main difference concerns the resolution and sensor type.

The A7s mark II has a 12MP Exmor CMOS sensor with an ISO sensitivity range of 100 to 204800 ISO and two extended values (pull 50, push 409600 ISO). It is the full-frame camera with the widest ISO range along with the Nikon D4s and excluding the Nikon D5 (up to ISO 3,280,000).

The A7r mark II has a 42MP sensor with BSI (Back-Side Illuminated) that it supposed to provide better dynamic range and low-light performance since the structure of the sensor allows it to gather more light than traditional CMOS sensors. The ISO sensitivity goes from 100 up to 25600 with three extended values (pull 50, push 51200 and 102400 ISO).

Given the difference in sensor resolution, I won’t go into too much detail concerning sharpness and detail in good light and at low ISOs since the A7r II has a clear advantage. However, I would like to remind you that despite the megapixel race that has gripped the digital photography world, the 12MP of the A7s II is still more than enough for many purposes including small and medium sized prints.

Once thing I can point out is that I found a slightly different colour rendering between the two sensors even when the settings are exactly the same on both cameras, including the colour profile. The A7s mark II tends toward a more “yellowish” tint in comparison to the A7r II. It can also be noticed in artificial light and at high ISOs. It is also worth noting that both cameras share the same creative style (colour profile) options.

Concerning dynamic range, here again the difference is not that relevant. Both sensors are really good and can handle highlights and shadows very well. I took a comparison shot with very strong contrast as you can see below. I opened the shadows to the maximum (100), recovered the highlights completely (-100) and raised the exposure by 3EV in Lightroom. Sharpness and noise reduction were set to 0. The RAW file quality was set to uncompressed for both cameras. As you can see there is noise from both cameras in the shadows. The A7r II retains a little more detail but also tends toward a greenish tint.

If I post process the two shots in a normal manner, the results look fine and comparable on both cameras, albeit with that slight difference in tint I mentioned above.

Sony A7R II vs A7S II – Low Light and ISO

Below is a comparison with a shot taken at 12800 ISO. This is the sensitivity I consider the very limit on the A7r mark II but it is still usable. I resized the A7r II version to match the 12MP of the A7s II. As you can see, the difference is not that big. The A7s II has less colour noise while the A7r II has slightly more sharpness. Now remember that this is without any noise reduction applied to the Raw files. With 10 or 15 colour noise reduction in Lightroom, both images would look even better.

Now if I include the 42MP version of the A7r II image, it might appear that is has more noise. However, you also get almost 4 times the resolution. This is to me an advantage for two reasons:

  • You can downsample to reduce the noise perception while keeping an excellent resolution (20 or 24MP for example).
  • A higher resolution will give you more detail when printing.

So where is the real advantage of the A7s II?

Well, I find the A7s II usable up to 51200, with 102400 ISO being the very limit for extreme situations. From 25600 the A7r mark II really starts to lose some detail and noise simply becomes too invasive. So there is a 2 or 3Ev advantage at extremely high ISO values. If you click here you can access a full ISO comparison gallery from ISO 800 up to the maximum reach of each camera.

Having 2 or 3 stops of usable ISO could be seen as a great advantage at first but as far as stills are concerned, I realised that I rarely need to go beyond 12800. I’ve shot in various low-light situations with the A7r mark II and I rarely felt the need for better performance. Usually a fast lens is enough to compensate or if you don’t need a fast shutter speed, there is also the sensor stabilisation (more on this further below).

Sony A7S II vs A7R II – Video

What could be better than a proper comparison video to show you the differences concerning the 4K and Full HD capabilities of the two cameras? Below you will find a 5 minute clip that compares the two cameras in terms of their colours, dynamic range, ISO, autofocus, stabilisation, rolling shutter and more.

If I were to summarise briefly the key differences when it comes to video, I would say that:

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  • The A7s II is designed to give the best quality in full frame mode while the A7r II has full pixel readout in APS-C/Super35 mode.
  • The A7s II has better high ISO capabilities but the A7r II holds well up to ISO 12800 in Super35 mode.
  • The A7r II has a faster autofocus.
  • The A7s II can do 120fps in Full HD while the A7r II can only do this in 720p.
  • The A7s II has an extra S-log gamma profile (S-log3).

In low-light, the A7r II focuses faster if you leave it in C-AF. With the A7s II no matter which FOCUS mode you choose the lens will still hunt. It also suffers from specular highlights and sometimes focuses on the background instead of the subject even when using the small or medium flexible spot area. I had the chance to shoot a lantern parade recently with the A7s mark II so I was able to compare the experience with a similar event I shot one month ago in another town. Overall I found the A7r II faster and more accurate while with the A7s II struggled more. In the end I brought back good shots from both cameras.

I wouldn’t hesitate to use the A7r II for this kind of low light event, taking into consideration everything I’ve written so far about the IQ and AF.

Sony Alpha 7R II Review

Images, and the devices that capture them, are my FOCUS. I’ve covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.

The Bottom Line

The Sony Alpha 7R II is a full-frame mirrorless camera that delivers absolutely incredible image and video quality, but it will cost you.

PCMag editors select and review products independently. If you buy through affiliate links, we may earn commissions, which help support our testing.


  • Excellent 42-megapixel image sensor.
  • Superb high ISO imaging.
  • In-body image stabilization.
  • 5fps continuous shooting.
  • Hybrid autofocus system.
  • Hinged rear display.
  • Excellent EVF.
  • Dust- and moisture-resistant design.
  • 4K video capture.


  • Expensive.
  • Omits PC sync socket.
  • Overly sensitive eye sensor.
  • No built-in flash.

Sony doesn’t pull any punches with its second-generation Alpha 7R (1,654.95 at Amazon) (Opens in a new window). The 7R II (3,199.99, body only) ups its full-frame sensor resolution to 42 megapixels, and it uses a back side-illuminated (BSI) design to keep the low-light performance of its high-res sensor strong. Add internal 4K video recording capability, in-body image stabilization, and a lens system that’s getting better and better in terms of selection, and you have a very appealing camera. We’re not naming it Editors’ Choice — the 24-megapixel Alpha 7 II (898.00 at Amazon) (Opens in a new window) is a better option for most photographers. But if you want more resolution than the 24-megapixel Alpha 7 II offers, or if 4K recording is a priority, the Alpha 7R II is worth a look—just get ready to open your wallet.

Design and FeaturesThe Alpha 7R II (1,799.99 at Dell) (Opens in a new window) is physically identical to the other current models in the series, the Alpha 7 II and Alpha 7S II (2,999.99). It’s on the bulky side when compared with other mirrorless cameras, but is certainly a more compact option than a full-frame SLR. The 7R II measures 3.8 by 5 by 2.4 inches (HWD) and weighs 1.4 pounds. The handgrip is deeper than first-generation Alpha 7 models, and the metal body feels very solid. The front grip is covered with textured rubber that wraps around the side and to the area where your right hand rests on the back of the camera.

Since 1982, PCMag has tested and rated thousands of products to help you make better buying decisions. See how we test. (Opens in a new window)

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Sony has covered a good portion of the A7R II’s surface with controls. The top plate features a locking mode dial, programmable C1 and C2 function buttons, an EV compensation dial that can be set from.3 to 3 EV in third-stop increments, and an integrated shutter release and power switch. All of these are located to the right of the hot shoe, with the shutter release and power switch positioned on the top of the handgrip itself. The locking mode dial is the style that is always locked—you need to hold the center button down in order to turn it.

There are both front and rear control dials—they’re slightly off axis, with one at the front of the handgrip and the other positioned slightly to its left, at the top of the rear plate. The Menu button (to the left of the EVF) and the programmable C3 button (on the right, between the eyecup and rear control dial) also run across the top of the rear plate; each is situated at a slight angle.

Running from top to bottom just to the right of the LCD, you’ll find a button that can override autofocus or lock exposure when pressed—its function is controlled via a toggle switch. Next up is the Fn button, which launches an on-screen overlay menu of shooting controls. Then comes a rear control wheel, with a center button and four directional presses (by default the left sets the drive mode, the top changes the amount of information shown on the rear LCD or in the EVF, and the right sets the ISO. Finally the Play and Delete buttons sit at the bottom of the rear plate. There’s also a dedicated button for recording movies, but it’s placed on the right side of the camera—it’s easy enough to press when you’re holding the A7R II, but you’re not likely to do so by accident.

Most of the A7R II’s control buttons can be remapped in the menu. You can assign a function to the bottom direction of the control wheel or to the Delete (C4) button, neither of which have a function out of the box. The flat rear dial can also perform a function; past models had this set to direct ISO control out of the box, but it’s disabled by default with the A7R II. The functions are displayed in the on-screen Fn menu, which includes space for 12 settings, all of which can be customized.

While I’m generally happy with the A7R II’s control layout, there’s one capability that is sorely missing. If you use any of the three Flexible Spot AF settings (small, medium, or large), there’s no way to move the spot around directly. You need to first press the button at the center of the rear dial in order to use its directional presses to reposition the FOCUS area. This won’t bother you if you opt for one of the other FOCUS modes, but for fans of Flexible Spot AF, it’s a pain to deal with.

The A7R II has an OLED electronic viewfinder and a hinged rear LCD. The EVF is one of the largest you’ll find in a mirrorless camera—its magnification is rated at 0.78x when a standard-angle (50mm) lens is attached. That makes it slightly bigger to your eye than one of the best optical viewfinders out there, the 0.76x finder found in the Canon EOS-1D X. The EVF is also quite sharp, thanks to a 2,359k-dot resolution. Its size and crispness work together to make it easy on your eyes, and when coupled with FOCUS aids like magnification and peaking, it offers a more precise manual FOCUS experience than modern optical viewfinders.

Another advantage to the electronic viewfinder is a real-time exposure preview. The A7R II shows you just how bright your exposure will be in real time by default. This can be disabled for those times when that’s not desirable—like when you’re working with off-camera studio lights. The A7R II doesn’t include an internal flash or a PC Sync socket, but you can use an external trigger like a Wizard (95.00 at Amazon) (Opens in a new window) to fire external flashes at a minimum 1/250-second sync speed.

But, like any EVF, the A7R II’s finder can get a little choppy in low light. I found it to be quite smooth in most situations, even a dimly-lit home—but if you’re working in a very dark environment, expect some choppiness. The same is true for the rear LCD, which shows the same feed. It’s a 3-inch panel with a 1,228k-dot resolution. It’s mounted on a hinge, which allows you to view it from above or below, but it doesn’t face forward—this isn’t exactly a selfie camera. The LCD also lacks touch input support, a feature that is available in more and more mirrorless cameras.

The tilting design is a plus when working at a low angle on a tripod, and also allows you to hold the A7R II at waist-level like you would a medium format camera with a top-down viewfinder. But there’s one problem with using the camera at waist level. The eye sensor, which automatically switches the video feed between the EVF and rear LCD, is very sensitive. It turns off the LCD quite liberally, even when the sensor is a good six inches from your body. You can disable the eye sensor and switch to the LCD only via the menu, but that’s a pain. Other cameras with EVFs, including the Olympus OM-D E-M1 (1,099.00 at Amazon) (Opens in a new window). include a button that can toggle LCD only, EVF, or eye sensor control, eliminating the need to dive into a menu to do so. The A7R II lacks this function. You can set one of its programmable buttons to act as a Finder/Monitor select to toggle between the two, but in order to do that you’ll need to disable the eye sensor entirely. It’s odd that there’s no way to use a single button to toggle between the EVF, LCD, and automatic switching via the eye sensor.

Wi-Fi and AppsAs with the first-generation Alpha 7. Wi-Fi is built into the A7R II. Its basic function, copying images and videos over to your phone, works as expected. Even if you’re shooting in Raw only, you can copy images in JPG format over (the camera extracts the JPG that’s embedded in a Raw image for transmission), as well as videos recorded in MP4 format. But footage shot in XAVC S or AVCHD cannot be transmitted wirelessly.

Remote control is also available. By default, the included remote software is very basic—it can only be used to adjust exposure compensation and fire the shutter. But you can upgrade it to a more robust version that allows for manual shutter speed, aperture, ISO, white balance, FOCUS mode control, and adds the ability to tap an area of the frame to set the FOCUS point. It is still limited to capturing JPG images, however, so Raw shooters are going to feel a bit limited. In order to download apps you have to create an account with Sony, or log in with an existing one, and connect the A7R II to a Wi-Fi network. This involves quite a bit of typing using an on-screen keyboard; a touch screen would have come in handy for that.

There are additional apps available beyond the updated remote control. Some are free, like a Direct Upload app to post pictures from the camera to popular sharing apps, and Touchless Shutter, which lets you fire the shutter by waving your hand in front of the eye sensor. But others (Opens in a new window) are priced anywhere from 4.99 to 9.99. I’m glad that Sony is expanding the functionality of the camera via apps, but it’s a shame that it has decided to charge a premium for apps when the body is already priced above 3,000.

Performance and Focus System The Alpha 7R II starts, focuses, and fires in 1.6 seconds, just a beat slower than the 1.5 seconds notched by the Alpha 7 II. When set to continuous drive mode it shoots at 5 frames per second, regardless of file format or FOCUS mode. It can keep its 5fps pace for 22 RawJPG, 23 Raw, 25 Xtra Fine JPGs, or 36 Fine JPGs before slowing down considerably. It requires about 30 seconds to fully commit a RawJPG burst to a SanDisk 280MBps memory card, but can clear a Raw or JPG burst in about 20 seconds. The Alpha 7 II also shoots at 5fps, but can go for a longer duration (25 RawJPG, 27 Raw, or 65 JPG); that’s not surprising when you consider that it’s shooting at 24 megapixels rather than 42.

The Alpha 7R II is a little slow to FOCUS, requiring 0.2-second to lock and fire on our bright light target when paired with the FE 55mm f/1.8 (898.00 at Amazon) (Opens in a new window). The Alpha 7 II locks in 0.05-second, which explains why it takes the Alpha 7 R II just a little longer to power on, FOCUS, and fire. In very dim light the A7R II locks in 0.7-second, about the same speed as the A7 II. With continuous autofocus enabled our tracking tests, the camera maintains its 5fps shooting rate, with a good, but not quite perfect, hit rate for in-FOCUS shots.

Autofocus is handled by a hybrid on-sensor system. The A7R II uses both contrast and phase detect points to acquire FOCUS. Sony has used on-sensor phase detection before, including in the Alpha 7 II and the APS-C Alpha 6000 (549.99 at Dell Technologies) (Opens in a new window). but the A7R II is the first model that promises to FOCUS SLR lenses just as quickly as it would with a native mirrorless FE-mount lens.

This allows owners of Sony and Minolta A-mount lenses to use the comparatively inexpensive LE-EA3 (199.99) adapter and take advantage of the A7R II’s FOCUS system, rather than opting for the pricier LA-EA4 (348.00 at Amazon) (Opens in a new window). which includes its own dedicated autofocus sensor. Focusing off the image sensor itself has another advantage that has nothing to do with cost—there’s no need to make autofocus microadjustments to a lens and body pair as is sometimes necessary when using a dedicated autofocus sensor.

But the technology is not limited to Sony lenses. With the right adapter, Canon EF lenses can also be focused at full speed—and it’s likely just a matter of time before a similar device for Nikon lenses is available. Sony supplied a Fotodiox Pro Lens Mount Auto Adapter (109.95) along with the Alpha 7R II for testing. I tried it with several EF lenses, including the EF 8-15mm f/4L Fisheye USM (1,249), the EF 24-70mm f/4L IS USM (899.00 at Amazon) (Opens in a new window). the EF 200-400mm f/4L IS USM Extender 1.4x (10,999), and the Sigma 150-600mm DG OS HSM Sports (1,799.99 at Amazon) (Opens in a new window).

The results were mixed. I found that, with all but the Fisheye (which focused consistently in the field), the camera would either lock on immediately and easily track moving targets, or it would hunt back and forth, never locking on. The FOCUS mode had a lot to do with it—when I used a wide field with AF-S I had the best luck in acquiring FOCUS quickly. Switching to AF-C made that hit or miss, and using any area smaller than the Wide option made the lens hunt back and forth. Now, your results may vary based on the specific lens you use and the adapter you choose—I didn’t have a Metabones adapter on hand to see if its performance was better. But if you’re considering the Alpha 7R II specifically as a back to use with Canon EF lenses, it’s worth the time and cost of a rental to see how it performs with the specific lenses which you wish to adapt.

Of course, that leads to the question of why you need to adapt lenses at all. One reason may be if you already have a hefty investment in Canon glass and are intrigued by the image quality that Alpha 7R II delivers. Or you could simply be looking to fill gaps in Sony’s lens lineup. Despite having a wide range of solid full-frame lenses ranging from 16-240mm, longer telephoto lenses are, to this point, absent.

And, for manual FOCUS, you can use Leica M lenses with the A7R II via a mechanical adapter. Given the high cost of digital Leica cameras like the M Monochrom (Typ 246) (7,995.00 at Amazon) (Opens in a new window). it’s no surprise that some owners of M lenses look to Sony cameras as a digital platform. We looked at the performance of adapted lenses in detail with the first generation of Alpha 7 cameras. The Alpha 7R II adds stabilization to adapted lenses via an internal 5-axis system, and does a very good job of controlling color shift at the edges of the frame. Certain wide angle lenses, including the original version of the Voigtlander 15mm, are very prone to color shift when paired with digital bodies. When paired with the Alpha 7R II there is no color shift evident, although the corners are still a bit muddy in tems of sharpness. The Voigtlander 15mm is a torture test when it comes to digital sensors, so the lack of color shift is a very good sign for owners of M lenses looking at the A7R II as a digital platform. The shot of the headstones directly above was shot with the Voigtlander 15mm lens.

Image and Video QualityWe’re reviewing the Alpha 7R II as a body only—Sony doesn’t offer it as a kit—but we did benchmark a few different lenses using the camera. They include the Sony 90mm Macro, the Zeiss Batis 25mm, and the Zeiss Batis 85mm. As with other high-resolution camera bodies, it takes care to take full advantage of the sensor’s resolution. You’ll want to keep your shutter speed shorter than you’d think you need—even with the aid of in-body image stabilization and an electronic first-curtain shutter—and make sure that you’re using top-end glass.

I used Imatest (Opens in a new window) to see just how well the A7R II’s 42-megapixel image sensor performs across its ISO range. When shooting JPGs at default settings it keeps noise under 1.5 percent through ISO 12800, which is a fine result. There is certainly some in-camera noise reduction going on here, as there is with any JPG engine. I took a close look at images from our test scene on a calibrated NEC MultiSync PA271W(999.00 at Amazon) (Opens in a new window) display. Detail holds up quite well through ISO 6400, with a slight drop in clarity at ISO 12800. There’s another drop at ISO 25600, but it’s not until ISO 51200 and the top ISO 102400 setting that I’d consider JPGs to be overly blurred.

Of course, you’ll likely want to shoot in Raw format when working with a camera like the A7R II. I converted Raw images using Lightroom CC (9.99/Month at Adobe) (Opens in a new window) with default develop settings enabled. Image detail is strong through ISO 25600, and while there’s some noise when you push the sensor that far, it’s not overly distracting, nor does it detract from detail. Noise is stronger at ISO 51200, and very fine detail is blurred, but it’s still a setting that I wouldn’t hesitate to use if the shot called for it. Noise is more of an an issue at ISO 102400. I’ve included pixel-level crops taken from both JPG and Raw images in the slideshow that accompanies this review so you can judge performance for yourself.

At launch time, the Sony Raw format is compressed. A firmware update is coming to add uncompressed 14-bit Raw capture as an option. The effects of the compressed format are most evident in transition between bright light and shadow. Our studio and field tests were shot before the firmware update was available.

The A7R II is a formidable video camera. It supports recording at up to 4K resolution using the XAVC S codec at a 100Mbps rate at either 30 or 24fps. The camera can shoot 4K footage using the full width of the sensor, or you can set it to crop to a Super 35 (roughly APS-C field of view). The cropped footage is of higher quality, as it avoids the pixel binning that is performed when recording in full-frame, but don’t feel as if you need to shoot in the cropped mode. If you’re looking to capture a very wide field of view, there’s no reason not to shoot full-frame.

Standard HD capture at 1080p is also supported. When working with the XAVC S coded at 50Mbps you can shoot at 24, 30 60, or 120fps. When recording in either XAVC format you’ll need a fast UHS-3 SDXC memory card. AVCHD and MP4 are also supported at 1080p, and don’t require the latest memory cards to work.

The 4K footage is superb. The footage is quite sharp and thanks to the 5-axis in-body stabilization system, handheld video is steadied, even when you’re working with a lens that doesn’t include its own stabilization system. The footage is saved to a memory card at a 4:2:0 sampling rate, but if you have an external recorder you can take advantage of 4:2:2 output via its micro HDMI port. There’s an internal microphone, which is fine for casual clips, but for more serious video projects you can add an external microphone, either via the standard 3.5mm input jack, or by adding an XLR accessory via the hot shoe. There’s also a 3.5mm headphone jack for monitoring, and a micro USB port for in-camera battery charging.

Sony also includes an external battery charger, and the camera ships with two batteries. Battery life is a concern with this and other cameras in the series. CIPA rates the Alpha 7R II for 340 shots when using the LCD, and 290 shots with the EVF. Results can vary based on how you use the camera—I managed to get 435 shots and a few minutes of 4K video on a single charge, but I was careful to turn the camera off when not in use. When working on lab tests, which use a self-timer and leave the rear LCD on for long periods of time, I burned through 30 percent of a full charge in about 120 shots, which is more in line with the CIPA rating.

Standard SD, SDHC, and SDXC memory cards are supported. But you’ll want a fast UHS-3 SDXC card to get the most out of the camera in terms of shot-to-shot speed and video quality.

ConclusionsThe Sony Alpha 7R II is a worthy update to its predecessor. It improves upon image quality, adds in-body image stabilization, offers improved EVF magnification, adds 4K video, and is more comfortable in the hand. But it comes at a pretty steep uptick in price—the A7R II’s MSRP is a full 900 higher than the original Alpha 7R. When we reviewed the first generation Alpha 7 cameras, we awarded Editors’ Choice honors to the Alpha 7R, with the Alpha 7 as a strong second-place finisher.

With this generation, however, the results have flipped. Even though its video capture capabilities are limited to 1080p and its image sensor is “only” 24 megapixels, the Alpha 7 II is our Editors’ Choice for full-frame mirrorless cameras. The fact that the Alpha 7 II is 1,500 less expensive than the 7R II plays a big part in that, but the simple fact of the matter is that the standard 7 II is plenty of camera for most photographers. The 7R II is more specialized, meeting the needs of shutterbugs after the most in resolution. Sony has another model in the updated family, the Alpha 7S II, which is aimed squarely at videographers—but it’s not yet shipping.

The Best Sony A7RII Accessories (2023)

Having moved to a Sony A7rii body, probably the best camera I’ve owned to date, I’ve also invested in what I consider to be some of the best accessories for Sony A7II cameras. Having travelled with the Sony A7rII to over 10 countries and captured some of my favourite shots I wanted to share our experience and recommendations for the best accessories for the Sony A7II camera. These are the key accessories which any new A7II owner should consider.

sony, full-frame, mirrorless, camera, alpha

The Best Accessories for the Sony A7ii camera range

As a travel photographer space and weight is always important so these accessories are recommended with this in mind.

| Spare batteries

Mirrorless cameras don’t have a great reputation when it comes to battery life and the Sony A7II line is no exception. Through real-world use I’ve found that in a single day of travel photography I need 2 batteries, and up to 3 batteries on long shooting days. This covers images and occasional video shooting. If you are primarily capturing video you will need to add some additional batteries for those heavy days of video shooting.

The original Sony batteries tend to be very expensive. I use these spare generic batteries and they work great. While they don’t offer the full battery time of the Sony’s they come pretty close and are a fraction of the price – check now!

  • NPFW50 NPF-W50 Li-ion Battery for Sony Alpha 7, Alpha 7R, Alpha A7, Alpha A7R, Alpha A7R II, Alpha A7S, Alpha A7S II, A3000, A5000, A5100, A6000.
  • Battery Specifications. Energy Storage Capacity: 1500mAh /Voltage: 7.2 volts, Chemistry: Li-ion /Wh: 10.8 wh. New fully decoded chip works just.

| USB Battery charger

All those batteries are going to need charging and the single battery charger that came with the A7rII isn’t sufficeint for my needs. I use one of these portable USB battery chargers with the A7RII and it works great. If you have a Sony A7II camera this is a really important piece of kit. I love this for a number of reasons:

  • It can charge 2 batteries at a time, unlike the Sony which only does one.
  • It includes 2 batteries (giving me 4 batteries in total including the 2 batteries that come with the A7rII)
  • It’s super light and more compact than the original Sony charger so its easy to pack
  • It charges over USB so you can easily charge it on the go. I actually use it with the Anker battery pack below so I can charge on the go

If you have a Sony A7ii camera, do yourself a massive favor and pick up one of these – check now!

  • NPFW50 Li-ion Battery for Sony NEX 3, NEX-C3, NEX 5, NEX 5K, NEX 5N, NEX 5T, NEX 7, NEX-6, NEXF3, Alpha A33, A35, A55, SLT-A37, Alpha 7, Alpha.
  • Battery Specifications. Energy Storage Capacity: 1500mAh /Voltage: 7.2 volts /WH: 10.8Wh, Chemistry: Li-ion. New fully decoded chip works just.

| Battery pack

Being able to charge my Sony camera batteries on the go is extremely useful. I use this compact Anker Powercore battery pack. It’s rated at 13,000 mAh and on a full charge, it charges around 7-8 of my A7rII batteries. Anker makes larger battery packs but they are significantly heavier and in my opinion, the extra power / additional weight isn’t worth it.

This model allows me to throw batteries in my bag and have them charge while I’m out exploring. – check now!

Product Feature | Alpha 7R II | Sony | α

  • The Anker Advantage: Join the 20 million powered by America’s leading USB charging brand.
  • Charge Faster: Qualcomm Quick Charge 3. 0 (24W) with Anker’s proprietary PowerIQ and Voltage Boost technology deliver the fastest possible charge.

| Screen protector

The reticulating screen on the A7II cameras is amazing. The only flaw with the Sony screens is that they are relatively fragile and are easily scratched. To protect against this I purchased a good quality tempered glass screen protector to provide some extra protection against bumps and knocks where a plastic protector would fail. This tempered glass saved my A7rII screen in South Korea when I bumped it against another camera: the tempered glass screen protector cracked, saving my camera screen much to my relief! – check now!

  • Compatible with camera model Sony A9 A7II A7RII A7SII A77II A99II RX100 RX100V RX1 RX1R RX10 RX10II.
  • Greatest protection: Highly durable, and scratch resistant. surface hardness 9H.

| Remote Camera Release

There are a number of options for remote release with the A7ii cameras. I personally don’t like the built-in smartphone app for regular use. The main reasons are the drain on battery life and the additional work to set up the camera and app in order to get remote to work. I find a physical camera release much easier to use.

Remote Camera Release

This is the option we use and it also happens to be the cheapest. It works great and is really durable after a lot of use and abuse. – check now!

  • Control autofocus and shutter triggering, Capture images without shaking camera
  • Ideal for bulb exposures, super telephoto shots and macro photography

The best Sony A7rII Accessories tip: One addon for the remote release thats worth considering is a right angle micro USB adapter. It makes it neater to connect to the camera and easier to use with an L bracket –check now!

  • Left and right angle micro to micro. male to female
  • 5 pin micro male to female adapter

Hahnel Captur Remote Controls

If you are looking for a more advanced remote control pick up a Hanel Captur remote control. They operate off 2AA batteries. The basic version allows autofocus and shutter release with continuous shooting and bulb mode with the Sony A7ii line – check now!

  • Wireless Remote Shutter Release for DSLR cameras Wireless Remote Control for DSLR flashgun Interchangeable Camera connector cables included per.
  • Autofocus and Shutter Release with Continuous shooting and Bulb Mode.

The more advanced Hahnel Captur Pro allows advanced time-lapse functionality which is invaluable if you take frequent time-lapses – check now!

  • Ideal for time-lapse photography time lapse bulb exposures
  • Single / continuous / bulb modes two timing sequences

| SD Cards and Backup drives

The incredible 42MP sensor in the A7rII captures stunning images, however, this extra detail comes at the price of larger file sizes: the RAW files out of the camera are 80mb (40mb compressed) which quickly eat up memory cards. In addition, the extra data needs to be copied to the card quickly or you will hit bottlenecks as the camera buffer attempts to dump shots onto the card. As a result, regular SD cards will leave you with long wait times if you’re shooting in burst mode.

The best Sony A7rII Accessories tip: when the camera buffer is writing to the memory card you cannot use the system menu or settings – essentially you have to wait for the buffer to clear. A good quality SD card will reduce this time significantly. Due to a known issue with the Sony A7rii buffer, we shoot in compressed RAW format (there is almost no difference in end photo quality). If you shoot in uncompressed RAW you will not see speed improvements with the higher end SD cards!

I personally use Sandisk Extreme Pro 64GB U3 memory cards in my A7rII and they work great. While they are expensive, I’ve never had any data issues or data loss and even when shooting bursts of shots the camera buffer clears quickly – check now!

Other memory cards that are reported to work well are:

| Air Blower

I’ve always used an air blower with my DSLR cameras. As there is no mirror protecting the sensor and the fact that the sensor is closer to the outside of the camera, A7II cameras easily get a lot of dust and dirt on the sensor. Due to this, I use the air blower a lot more frequently. The Giottos Rocket air-blower is easily the best on the market. I’ve had mine for over 5 years and it has never let me down. It’s been through heavy use across more than 40 countries and still looks good as new. We highly recommend it. – check now!

  • Overall 7.5 inches long with a 2.5 inch nozzle
  • Produces a large blast of clean directional air

| Camera Straps

Peak Design Slide

Peak Design make some of the best straps available. and have a large range of straps depending on your needs. I’ve had a used the Slide camera strap for the last few years and its one of the best made products I’ve ever owned. Its been everywhere with me and still looks as good as the day I bought it – check now!

Peak Design Captur Clip

Another invaluable accessory for A7II cameras is the Peak design Captur pro camera clip. I use this extensively when hiking and doing landscape photography as it allows me to easily carry the A7rII on my front attached to my camera bag strap. It’s super easy to detach and reattach and can be locked in place with a twist of a small button.

Having quick, direct access to your camera while hiking or walking is invaluable and anyone who uses their A7II camera for outdoors shooting should seriously consider it! – check now!

  • Camera mount securely holds DSLR, compact and point-and-shoot cameras during any physical activity.
  • Access your camera fast with a quick release button that withstands over 200 lbs. of force.

| Good quality tripod

A good quality tripod will ensure your shots are the best possible quality by avoiding unnecessary shaking while taking shots. Better quality tripods are also more lightweight as they are made from carbon fiber and are more rugged due to better quality construction.

I use the Three Legged Thing Albert carbon fibre tripod and honestly, it’s the best tripod I’ve ever used. It’s made extremely well, has handled lots of abuse while travelling and unlike many travel tripod, the Albert extends easily and quickly to over 6 feet. It’s the tallest, smallest tripod in the world and I love it – check now!

  • Looking for a versatile travel tripod that doesn’t compromise on stability or range? Say hello to Albert 2.0 from the Pro Range 2.0 by 3 Legged.
  • Albert 2.0 offers a huge range of working heights, with its multiple mounting points and 3 detachable legs that allow you to convert from tripod.

| L Bracket

This may only appeal to the landscape photographers reading! I’ve actually found myself leaving the L bracket on my A7rII as it makes the camera much easier to hold and generally more ergonomic. I use the L bracket made by 3Legged Thing, mainly due to it being great value, having a good build quality and also due to the fact that it looks great on the camera! –

The best Sony A7rII Accessories tip:: L brackets are extremely useful and allow you to quickly swap between shooting landscape to portait and back again.

| Filters

For landscape photography, I use and highly recommend the NiSi line of filters. Check out our in-depth review of the NiSi filter system here. I’ve been using the NiSi filters for years and continue to do so with the Sony A7rII and it’s a perfect combination. –check now!

Using our NiSi filter system in Granada, SpainFor video you’re going to need a good quality variable ND filter. This will allow you to vary the light easily during the day when shooting to ensure you get high-quality cinematic footage out of our A7II camera. You’ll need a filter ring size that matches your lenses, or you can purchase a large 82mm filter and use step down rings for your lenses to fit – check now!

  • 【First Class Material】Made by importing Japanese AGC glass, the filter reduces the intake of light without affecting the overall color.
  • 【No “X” Cross on Image】Say goodbye to the “X” cross on images, KF Concept utilizes cutting-edge technology you’re going to say goodbye.

| Camera Bag

The best camera bag is subjective, however as a travel photographer needing to carry all my gear everywhere, I use the LowePro Protactic 450AW. I’ve has this bag for over 3 years and, despite extremely heavy use, it still looks and works like new.

It is well padded, has a detachable waist strap, hold tripods via the exterior webbing and holds a huge amount of gear. I can carry a DSLR/mirrorless camera, 70-200 lens,2-3 other lenses, a drone, laptop, tripod and all my smaller accessories easily in this bag. Plus it looks discreet and opens only from the back strap side which is great for security. – check now!

  • Tough eva moulded top armoured section and protective padding all round the bag ensures equipment inside is protected
  • Flexible and adaptive dividers inside allow multiple configurations of camera kit to be positioned with ease

So there you have it, our list of the best accessories for the Sony A7ii / A7rii ad A7sii cameras. If we’ve missed any that you think should be included above please let us know in the Комментарии и мнения владельцев.

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