Sony a1 Review

In terms of versatility, the Sony a1 ($6,499.99, body only) is a real “do-it-all” camera that is equally suited for high-resolution landscape photography, demanding sports and wildlife photography, and professional video capture. In order to complete an outstanding list of specifications, it makes use of cutting-edge technology, which includes 50MP Raw images at up to 30 frames per second, next-generation 8K video, and support for ultra-fast CFexpress memory to keep up with it all. Beyond the plaudits, the Sony a1 delivers the goods for professionals who rely on an interchangeable lens camera for business, and it is a worthwhile investment for enthusiasts, particularly those who are already invested in the Sony system, earning it our Editors’ Choice award.

9.4

Ludicrously fast photography at 50MP (and 8K video)

Sony a1

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PROS

• Full-frame stacking is used. Sensor with a resolution of 50MP
• Up to 30 frames per second Photography in its raw state
• Autofocus and topic tracking that is second to none
• Internal 10-bit 8K recording is available.
• For slow motion, 4K120 is used.
• Stabilization on five axes
• Viewfinder with a high magnification
• Protection against dust and splashes
• Dual CFexpress/SDXC card slots are available.

CONS

• The rear display could be improved.
• 8K video consumes a lot of battery life.

SONY A1 SPECS

It is made possible by the use of a stacked sensor.

The a1‘s sensor is a full-frame 50MP imager, which serves as the camera’s brain. While it doesn’t have the largest pixel count, it doesn’t perform significantly better than its competitors at the extreme end of their ISO range. The simple truth is that the differences between one sensor and another aren’t nearly as significant as they were in previous years—you’ll get similar image quality from the 42MP Sony a7R III, the 45MP Canon EOS R5, the 45MP Nikon Z 7 II, and the 60MP Sony a7R IV, all of which have similar resolutions. They’re all really good, actually.

So, what exactly is different here? Because of its sensor speed, it can read through all of its pixels much faster than other sensors. Sony employs what is known as a stacked design, in which its rapid DRAM memory is layered on top of one another on the same silicon. This is Sony’s second-generation full-frame camera to take advantage of the technology; the pixel count has more than quadrupled from the previous 24MP a9 and a9 II models, and the readout speed is faster, allowing for faster flash synchronization.

Sony may have been the first to market with the a9, but the company is not the only player in the industry today. Despite the fact that we have not yet examined the 24MP Canon EOS R3 ($5,999), we anticipate it to be a formidable rival. To say that its eye-control focus technique is intriguing would be an understatement. Nikon is also working on a stacked model, the Z 9, which is scheduled to be released later this year, although we don’t know anything about it at this time. Nikon has promised 8K video, therefore we expect it to have a high-quality sensor, at the very least 45 megapixels in resolution.

Do you want to get a hold of something?

A1 has a smaller body design than either the R3 or the Z 9, which are both models that integrate a vertical shooting grip into their chassis designs. Sony, on the other hand, offers an optional grip for the a1, the VG-C4EM ($399.99). It has a capacity for two batteries, but only one is included; plan on spending an additional $79.99 for a second NP-FZ100.

The a1 is the same size and form as a contemporary Sony a7 or a9 series full-frame camera without the grip, measuring 3.8 by 4.1 by 2.7 inches (HWD) and weighing approximately 1.6 pounds without a lens attached. The grip raises the overall height by a couple of inches and reduces the weight by about 2.2 pounds.

Sony’s approach gives you the option of choosing between a large camera with vertical controls and a smaller camera with horizontal controls. Those who like a smaller camera, such as me, will be pleased, but grip enthusiasts will be disappointed. Although it adds to the cost of an already expensive camera, the process is not quite as smooth as an integrated option. A good metaphor for this is the visible line between the camera and the grip—simply it’s that it’s not seamless.

The body is constructed to withstand repeated use both indoors and outdoors. It is made of magnesium alloy, including the chassis and top plate, and its body is sealed to keep dust and splashes out. But Sony did not go to the lengths of subjecting the a1 to an IP rating process. Only a few interchangeable lens cameras (ILCs) have gone that far; the Leica SL2-S and Olympus E-M1X are two famous examples.

Handles Similar to a Sony

Whether you use a grip or not, the a1 handles pretty similarly to an a9 or a9 II, and isn’t too dissimilar to recent a7 models, which is good news if you’re considering an upgrade to a higher-class camera. If you’re coming from a Canon 1D, Nikon D6, or comparable SLR, you’ll see that Sony has removed the control buttons that were formerly located between the lens mount and the handgrip.

The controls on the top plate are plenty, but not overly crowded. The drive speed and focus modes are controlled via a nested pair of buttons on the hot shoe on the left. The mode and exposure compensation dials are located to the right of the camera, together with the C1 and C2 buttons, the shutter release, the power switch, and the front and rear command dials. Drive, Focus, Mode, and EV all lock, however they don’t all employ the same technique to achieve their locking. The EV dial’s center post toggles the lock, however to turn the Drive, Focus, and Mode buttons, you must hold the button down for a few seconds.

Because everything is located on the upper level, there is no room for an information display. The Sony mirrorless cameras do not have one, and the company has chosen not to include one. Canon and Nikon have chosen to continue the design philosophy established by its gripped SLRs; the top plates of the EOS R3 and Nikon Z 9 are less cluttered with dials, allowing for more space for displays.

It’s a no-brainer when it comes to the back controls. It has a flat command dial with a central button, as well as an eight-way controller for quick, direct management of the currently active focal point or zone on the screen. In addition to these, there are a few other buttons, including the expected Delete/Menu/Play buttons, as well as an AF-ON button as well as AELs, Record, Fn, and a programmable C3 button.

Fortunately, most of the a1‘s controls are user-configurable, making it simple to switch out a setting as necessary. For example, I programed the rear center button to toggle between the Animal, Bird, and Human eye detection settings, among others. Furthermore, the on-screen function (Fn) menu is very customizable; each of its twelve panels can be assigned to a particular function, and you can even create separate menus for stills and video if you so desire.

It is possible to upgrade your camera from an A9, an A9.2, an A9 II, or any of the a7 series cameras, and you will be welcomed with Sony’s newly overhauled menu layout, which was originally shown on the video-focused a7S III. In addition to being organized differently, utilizing columns instead of tabs, it is color coded for greater visibility, and is fully navigable with a touch screen. The My Menu page is still available, and you may use it to store your most frequently used settings for fast access in the future.

Overall, the a1 operates in a similar fashion to other Sony cameras, making it a natural choice for photographers who have been shooting with the a9 and a7 series bodies in the past. The Canon EOS R3 on the other hand, with to its eye-controlled focusing mechanism, goes a little further in terms of pushing the boundaries of handling. On paper, a focus point that records your eye movements seems exciting, but we haven’t had the opportunity to test it out in the real world yet.

Both the viewfinder and the LCD are used.

In our experience, the a1‘s eye-level viewfinder is among the nicest we’ve seen in any camera. With its 0.90x magnification, the OLED display appears larger to the human eye than most other displays; it outperforms competitors such as the Canon EOS R3 (0.76x) and high-end SLRs such as the Nikon D6 (0.72x).

The color reproduction in the viewfinder is quite accurate, and it has a large amount of resolution for its small size (9.4 million dots). The refresh rate is set to 120 frames per second by default, and the view is realistic and clear. You can choose between 240 frames per second, which is ideal for keeping up with quick subjects, and 60 frames per second, which provides the sharpest detail. There is a noticeable difference in the refresh rate (the 240fps image is practically hyperrealistic), but there is also an apparent reduction in clarity. When shooting at 120 frames per second, the EVF provides a clearer preview, albeit my eyes couldn’t distinguish a difference in clarity between the 60 and 120 frames per second settings (they both look great).

You have the option of configuring it to provide a preview of your exposure, including with any filters you’ve selected previously. It’s my favourite method of working because it provides real-time input on exposure and, for times when I want to employ a vibrant, monochromatic, or similar Creative Look, a decent preview of the eventual image before I start shooting.

Exposure preview isn’t as useful for studio photographers who rely on strobes to illuminate a scene as it is for landscape photographers. A view that is constantly bright and always in color is a ubiquitous feature of mirrorless cameras, and it is included here as well.

I have no genuine qualms with the viewfinder, which is a stunning piece of technology, but Canon is clearly attempting to outdo themselves with the EOS R3. The R3’s EVF is equipped with an HDR display, which claims to provide a more accurate representation of what you see through the OVF. I haven’t gotten an opportunity to examine how it compares to the a1, but DPReview has done a thorough investigation into the technology behind Canon’s HDR viewfinder if you’re interested in learning more.

However, the a1‘s rear LCD is more last-generation than next-generation, yet it does its job well. With a 1.44-million-dot resolution, the camera’s 3-inch touch screen appears out of place on a high-end camera, especially when finer displays are popular among less costly models; the $2,000 Nikon Z 6 II, for example, has an LCD with a resolution of 2.1-million dots.

For picture inspection and manual focus, the lesser resolution is more of a problem; if you’re punching in to make sure you’ve got focus set correctly, a clearer screen is preferable. I particularly like the single-axis hinge since it allows for tripod and low-angle work, and the touch feature is precise and responsive. On bright days, you’ll have a hard time seeing fine details with the regular settings, but an extra-bright Sunny Weather mode is available for greater vision outside.

Power and connectivity are essential.

Wireless connectivity is provided by Bluetooth, NFC, and dual-band Wi-Fi as well as Gigabit Ethernet for wired connection on the a1. The camera is compatible with the Sony Imaging Edge Mobile software, which allows it to connect to Android and iOS devices. It also supports the Transfer & Tagging add-on program, which allows for FTP transfers with voice memo and IPTC metadata compatibility.

Charging and data transfer are supported via both micro USB 2.0 and USB-C connections on the device. A full-size HDMI port, a PC Sync socket, and 3.5mm microphone and headphone connections are all located on the left side of the device’s side panel. The hot shoe is compatible with digital microphones from Sony as well as an XLR converter for use with professional audio equipment.

The dual memory card slots are located on the right side, and they are both protected by a lock. Each of the a1‘s card slots is compatible with UHS-II SDXC cards as well as CFexpress Type A cards. When utilizing CFexpress cards, you have access to all of the video features, but if you rely on SD cards, you lose access to a couple of the highest-quality options.

The Sony NP-FZ100 battery provides the necessary power. 530 photos taken with the LCD screen and 430 shots taken with the electronic viewfinder (EVF) according to the CIPA rating; you’ll get substantially more if you use continuous drive, but it’s a useful standard to use when comparing other cameras. Video recording consumes a lot of battery power as well. A fully charged battery can provide around 80 minutes of 8K video or approximately an hour of S&Q slow motion at 4K120 on a single charge.

For professional SLR cameras, seemingly unlimited battery life is commonplace, but mirrorless cameras consume far more power for a variety of reasons. Even while the EVF consumes a consistent amount of power, one should not overlook the processing power required for high-speed capturing and autofocusing. The a1 does, however, fall short of other Sony cameras that use the same battery—the a7R IV gets 670 shots with its LCD and 530 photos with its EVF.

The Pleasures of Shooting Without a Blackout

Even at the mid-entry $2,000 price point, today’s mirrorless cameras are unrivaled in terms of speed, with many tracking action at 10 frames per second (fps), which is more than sufficient for many applications. Increased capture rates are possible with the a1‘s stacked sensor, which can achieve up to 30 frames per second at full 50MP quality in HEIF, JPG, or Raw. This is accomplished without any interruption in the viewfinder, which is simply illuminated by a bright line at the edges during exposure.

It is the sensor that allows for the high speed and smooth view to be achieved. Mirrorless cameras with conventional sensors can also record images in silence, although the vision in the electronic viewfinder is stuttering. The a1‘s viewfinder always displays a smooth image of the surrounding world and never goes dark while shooting. It’s more akin to using a rangefinder or TLR than it is to using an SLR, and it has a significant advantage when photographing subjects in motion.

The readout speed of the shutter is fast enough to freeze subjects in mid-movement. I didn’t have access to an oscilloscope to check the readout speed, but DPreview tested it at 1/260-second, which is significantly faster than the a9 and a9 II, which were measured at 1/150-second by photo blogger Jim Kasson, and significantly faster than cameras without stacked sensors. Full-frame 24MP cameras may scan their sensors in as little as 1/30-second, which is sufficient for portraiture but likely to introduce distortion while photographing movement.

Taking use of the faster scan speed, the a1 can sync with flashes at 1/200-second with its completely electronic shutter and 1/400-second with its mechanical shutter. In addition to on-camera strobes, the Godox V1 mounted to the hot shoe and the Flashpoint Xplor 300 Pro TTL R2 off-camera strobes are supported. I tested them both with the Godox V1 affixed to the hot shoe and they both functioned without trouble.

It comes with a few tools that can be used to make the electronic shutter more adaptable to different settings. In order to avoid unsightly banding effects when working in stadiums and other venues with digital signage, a menu option allows you to choose unusual shutter speeds—for example, 1/316.3-second instead of the conventional 1/320-second—using a menu option. Also accessible in burst shooting is a flicker reduction mode, which helps to reduce exposure wobble when operating under artificial lighting, which is particularly useful for photographing indoor sports and nighttime activities.

The a1 is capable of 30 frames per second continuous shooting with most Sony lenses, but only 15 frames per second with third-party lenses from Rokinon, Sigma, Tamron, and others. Working at 30 frames per second, as indicated by Hi+ on the drive dial, is overkill for many people, therefore Hi (20 frames per second), Medium (15 frames per second), and Low (5 frames per second) settings are also available. Slower shutter speeds also result in slightly higher image quality; at 30 frames per second, the camera saves Raw files in a lossy compressed format, but at 20 frames per second and lower, you have the option of lossless compression or uncompressed capture.

If you intend to use high-speed drive choices, it’s worthwhile to invest in fast CFexpress memory cards to maximize performance. SDXC cards have a faster fill time than CFe cards, with the buffer filling up in around 80 Raw or 175 JPGs vs 200 Raw and 100 JPGs for CFe. The clear time is more of a hassle: when using a 299MBps Sony Tough SDXC card, there is an 18-second wait, but this is reduced to a more reasonable 6 seconds when using a 700MBps CFexpress card. However, even though the a1 is a high-speed camera, it is still a Sony, which means that you cannot change gears and switch to video recording until the buffer has been cleared to memory.

The autofocus technology on the a1 is nearly identical to that on other current-generation Sony cameras, with the addition of bird eye detection (the a9 II and a7R IV also have animal eye recognition, but it’s limited to cats, dogs, monkeys, and other similar critters; the a1 has bird eye detection) (it also works for squirrels and deer in my experience).

When it came to my local species, bird eye detection performed fairly well. Against pristine backgrounds, it had little trouble distinguishing egrets and herons from one another. When photographing birds in trees, it’s important to narrow the region of attention for the focus system—the extended flexible spot is my favorite for locating things in the branches of trees. Once the a1‘s focus is on the bird, it will automatically switch to the eye as long as the bird is in the center of the frame. It isn’t quite as good as the Canon EOS R5 in terms of subject recognition, but it is a little more consistent in general and doesn’t force you to choose between animals, humans, and birds.

The autofocus coverage is extremely broad, with phase detection covering all but the very borders of the sensor on the right and left sides. Because of this, tracking is incredibly effective. Sony’s Real Time Tracking focus is tenacious—once you’ve got it dialed in, the focus box travels in lockstep with your subject no matter where you are. You can instruct the camera to search for focus over the full frame or to search for focus inside a specific region of interest. The a1 includes a movable zone (which occupies approximately a fourth of the frame), three different spot sizes, and an extended spot.

Possibility of Cropping

Full-frame sensor on the a1 is brand new, and while it isn’t quite as pixel-dense as the a7R IV, it offers plenty of opportunity to print large and crop up close with its 50 MP resolution. The 21MP and 12MP resolutions are also available for working professionals that need to file JPGs in real time. Although there is no reduced resolution Raw option, you can take 50MP Raw images while also capturing lower-quality JPGs (or HEIFs) at the same time.

Stabilization throughout the body is included. It provides an additional advantage in addition to decreasing handshake-induced blur and smoothing down video imagery. Sony uses it for Pixel Shift Resolution, a tripod-required mode that records many images in succession, shifting the sensor slightly between each, resulting in either 50MP images with improved color sampling or 200MP images with better color and more pixels, depending on the resolution. You’ll need to spend some time working with Sony’s desktop software to combine Raw images into something you can process and print, and you should be prepared to deal with large files—the camera takes four photos to achieve better color at 50MP and 16 shots for 200MP output, so be prepared to deal with large files.

The a1 can read and write a number of different file formats. Raw output is accessible in three different quality levels: uncompressed, lossless compressed, and compressed. It can also record photographs that are ready to be shared in 8-bit JPG or 10-bit HEIF format, however not at the same time. The HEIF format isn’t widely used in the photography industry, although it does retain a little more information and saves images in an HDR color space.

With an ISO range starting at 100 and going up to 25600 in standard mode, and ISO 102400 in extended mode, the camera is capable of capturing a wide range of images. ISO 50 is a low extended option with a low sensitivity. The sensor performs an outstanding job of controlling noise all the way up to ISO 12800; the JPG output displays very little noise and lots of information, even at the highest setting. At ISO 25600 and 51200, the image is more smudgy, but the colors stay accurate. At ISO 102400, you’ll notice some color shift as well as fuzzy results; use this level only in an emergency situation.

If you shoot in raw format, you’ll have greater freedom to edit your photographs and to apply noise reduction as you see appropriate compared to shooting in JPEG format. When it comes to camera tests in the PCMag Labs, we utilize Lightroom Classic as our processor since its default noise processing does an excellent job of quashing color noise while also leaving some very natural-looking grain at higher ISOs. There is no discernible pattern from ISO 800 to 12800, but it becomes erratic around ISO 25600 and 51200. The ISO 102400 image format, like JPGs, leaves a lot to be desired. Raw photos hold up well to retouching and editing. The files provide ample opportunity to alter exposure, bring in highlights, open shadows, and tone color according to personal preference.

The film looks and in-camera art filters offered by Sony are not as extensive as those offered by certain competitors. If you’re working in JPG or HEIF, you may use the camera’s Creative Looks settings to create standard, black-and-white, vibrant, portrait, and other comparable images. Those looking for in-camera film grain and filters in a high-end camera would prefer the Fujifilm GFX medium format system, which has a larger sensor size and is better suited for still photography rather than high-speed action and video.

Video in 8K30 and 4K120 resolutions

This camera goes considerably beyond the 4K resolution offered by the company’s cinema cameras, which include full-frame variants that use the same lenses as the a1 and a7S III. Using the a1, you can record in up to 8K resolution at a frame rate of up to 30 frames per second. It also supports up to 4K60 recording with sound and up to 4K120 recording in its silent S&Q off-speed recording mode.

There are a plethora of codec, bit rate, and other configuration options. XAVC HS footage is recorded at 8K in 10-bit 4:2:0 resolution at its best quality, and color sampling is improved to 4:2:2 at 4K when the footage is recorded internally. Although raw footage is not available internally, the Atomos Ninja V does offer 12-bit ProRes Raw at 4.3K30 with the a1 camera.

S-Log2 and S-Log3 are two picture profiles that are flat and suitable for grading that are included. In addition, the camera offers HDR recording in the HLG region and features the S-Cinetone appearance that has become synonymous with Sony’s cinema cameras. The S-Cinetone footage is intended to give richer filmic colors and tones without the need for color grading or other post-production techniques.

While the video quality is excellent, it’s important to note that Sony has avoided the overheating concerns that afflicted the Canon EOS R5, which is capable of shooting in 8K. My 8K footage was recorded in continuous mode for about two hours, with only a brief pause to replace batteries and reformat memory, and I had no problems with it. When recording in slow motion, the sensor heats up more, but it was still able to capture 50 minutes of continuous 4K120 video before it overheated.

It’s difficult to find many flaws in the a1‘s performance as a video camera—it does a lot, and it does it effectively, and it doesn’t require you to constantly monitor the camera to keep it from overheating. Support for CFe memory is also a plus, as the buffer clears more quickly, allowing hybrid producers to switch gears without having to wait as long for photos to be written to memory as they would otherwise.

In terms of separating video settings from those for stills shooting, I wish Sony had gone a little farther in this department. When transitioning between stills and video modes, you must exercise caution when changing shutter speeds, and you must disable your video Picture Profile if you want to use a Creative Look designed specifically for stills photography (or vice versa).

There is only one camera to rule them all.

Sony is no new to producing high-end cameras, but the a1 is a step up from what the company has previously offered. It’s a genuine all-arounder, capable of high-speed action photography at 30 frames per second, high-resolution landscape photography, and future-proof 8K video recording. Even when compared to more specialized cameras such as the landscape-friendly a7R IV, the video-first a7S III, and the high-speed a9 II, it is an expensive proposition. However, if you require the characteristics of all three cameras but do not wish to incur the expense of purchasing three camera bodies, the Sony a1 is a good option.

When it comes to features, the a1 is unrivaled in its class. Its focusing intelligence and high-speed capture capabilities are far superior than those of gripped SLRs, such as the Canon 1D X line and the Nikon D6 in particular, and are unmatched in the industry. Despite the fact that the Canon EOS R3 is “just” a 24MP camera with 6K resolution in the mirrorless world, it employs the same type of high-speed stacked sensor as the Nikon D800. We haven’t yet tested Canon’s $6,000 challenger, but we expect it to have smarter subject detection and are intrigued by its eye-controlled AF mechanism, which is a first for Canon. We plan to do an assessment of it soon to evaluate how it compares to the a1 in real-world situations.

There is no information available about Nikon’s own stacked sensor flagship, the Z 9, which is expected to hit the market later this year. Nikon is keeping its cards close to its chest—we know the Z 9 will support 8K and can infer a high-resolution sensor, most likely in the 45MP range, from that nugget of information. Nikon is playing it safe. Pricing is also unknown at this time, however we anticipate that it will cost approximately the same as the a1, plus or less $500. Nikon has a greater uphill battle to climb in terms of Z lens development because it has fallen behind Canon in the development of its relatively new technology. Sony maintains a significant advantage in terms of choices simply because it has been manufacturing full-frame E cameras for a considerably longer period of time—the first a7 was released in 2013—than any other company.

Some photographers may be disappointed by the a1‘s absence of an integrated handle, and we’ll acknowledge that Sony hasn’t done as much as Canon to advance the design concept, but it’s just as easy to appreciate the camera’s familiar controls, which will be recognizable to photographers upgrading from the a7 and a9. And while its electronic viewfinder is merely a larger, clearer version of what has gone before, it is of exceptional quality. The rear display isn’t as impressive as the front display—we expected better, especially considering the price—but it’s not a significant enough flaw to deter potential purchasers.

Following our testing of the a1’s competitors, we’ll be able to say more about the a1’s competitiveness. In the meantime, the a1 is a complete and utter beast. We appreciate how the layered sensor allows you to remain in the present moment; there’s something to be said for capturing a scene without having to look away through the viewfinder. Also included is a comprehensive video toolbox in addition to plenty of speed and resolution. The a1 is the real deal, and it has earned the title of Editors’ Choice.

9.4

Ludicrously fast photography at 50MP (and 8K video)

Sony a1

Check lowest prices

PROS

• Full-frame stacking is used. Sensor with a resolution of 50MP
• Up to 30 frames per second Photography in its raw state
• Autofocus and topic tracking that is second to none
• Internal 10-bit 8K recording is available.
• For slow motion, 4K120 is used.
• Stabilization on five axes
• Viewfinder with a high magnification
• Protection against dust and splashes
• Dual CFexpress/SDXC card slots are available.

CONS

• The rear display could be improved.
• 8K video consumes a lot of battery life.

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