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Current Sony users will find the A99's automated and image enhancement features quite familiar. Sony sees no need to prune seemingly entry-level features like effects filters or smile detection from its flagship model. We'll take this opportunity, however, to re-examine a few of the features with more obvious appeal to experienced DSLR shooters.

Sweep Panorama

Sweep Panorama has been a Sony mainstay for a while now and has been much copied by other manufacturers. The Sony implementation remains the best we've seen. Simply press the shutter button and pan the camera. The software does a great job of stitching the images together, regardless of how stable you are during the pan. Of course, using a tripod - as we've done in the samples below - will give the best possible results. Because the camera is shooting a sequence of images, however, any object moving across your scene risks appearing multiple times or being stretched or compressed, depending how it's moving relative to your sweep. On average though, stitching errors, when they occur are rarely noticeable except at higher image magnifications.

Standard sweep panorama, captured panning to the left

The panorama system is relatively flexible. Not only can you specify the direction of the pan, the importance of which we'll discuss in a moment, there are two widths of panorama available and you can shoot vertically, as well as horizontally - effectively opening up a further two options if you sweep with the camera in portrait orientation, though it'd be nice not to have to delve into the main menu to adjust these settings.

Standard sweep panorama, captured panning to the right

The camera locks metering during the panorama, which is entirely sensible. When shooting scenes that span varying brightness levels though, be aware that the camera meters from the initial frame. In the example above, the sweep began on the left side of the scene, with the camera facing into a backlit horizon and therefore choosing a darker exposure. Compare this to the more pleasingly exposed image at the top of this page. It was shot seconds earlier from the same location, but this time with the camera metering from the right edge of the scene. Given these results, in high contrast situations we recommend beginning your pan from the darker portion of the actual scene to ensure an adequately bright exposure.

12416 x 1856 'Wide' sweep panorama, captured panning to the left
100% crop

In the examples above you can see Sony's wide panorama setting which yields a 12416 x 1856 pixel image, followed by a 100% crop from the scene. The level of detail here is very good, in line with what we've seen from previous SLT models. With the camera amounted on a tripod, as we've done here, you can produce results that suffer little if any, in comparison to a single shot image. When printed at a high resolution of 300ppi, the full image would yield a 41-inch wide print.

Clear Image Zoom

In situations where you'd like to have more reach than your lens is capable of, the A99 offers three digital alternatives. One of them is the 'smart teleconverter' option. This is not a magnification feature, rather the image is cropped at one of two possible crop factors so that the central portion of the image occupies a larger portion of the frame. The result is a sub-24MP image file, akin to what you would achieve with a constrained crop tool in Photoshop.

A second option is the Clear Image Zoom feature that was introduced with the SLT-A57. With it, Sony promises improved performance over its normal digital zoom and up to a 2x magnification zoom with, 'nearly imperceptible degradation' compared to an optical zoom. As you'll see in the examples below, we find that claim overly optimistic at best. In the comparison below, we mounted the A99 on a tripod and shot the same scene with the excellent Sony 24-70mm F2.8 ZA SSM Carl Zeiss Vario-Sonnar T* lens at a 35mm focal length with both Clear Image Zoom and normal digital zoom enabled. We then shot the scene with the lens set to 70mm with no zoom enabled.

1/125 sec. @ f/6.3: Lens at 70mm with no additional zoom enabled.
Lens at 70mm, no additional zoom (100%) Lens at 35mm, 2x Clear Image Zoom (100%)

As you can see, there is clearly a penalty to be paid in image quality and detail for the use of Clear Image Zoom compared to an equivalent magnification by way of optical zoom. While this should come as no great surprise, it's disappointing just how little benefit Clear Image Zoom seems to offer over even the 'traditional' digital zoom that predated it. In the examples below we compare a 2x zoom using both Clear Image and standard zoom options and are hard pressed to find significant difference between them.

Lens at 35mm, 2x Clear Image Zoom (100%) Lens at 35mm, 2x std digital zoom (100%)

Given these results, we fail to see much benefit, other than convenience, of an in-camera digital zoom versus performing the upsampling task in Photoshop. The latter option not only gives you the option to fine-tune results to minimize stair-stepping and edge halos, but also preserves the outer portions of the image that were lost during magnification, should you later wish for a slightly different composition.


Sony provides two methods for dealing with high contrast scenes. We've discussed the single-shot Dynamic Range Optimizer (DRO) option most recently in our Cyber-shot RX100 review. The A99 also features Sony's very effective multi-shot HDR mode, which uses three different exposures to maximise the range of brightness information it can capture, then blends the exposures into a single image. This is a JPEG-only mode and unlike the RX100's implementation you do not have the option to save the middle of the three exposures as a separate file alongside the composite image. The Auto setting does a good job of setting an appropriate exposure bracketing based on scene analysis (as you can see below), but you can also manually instruct the camera to cover a three-shot bracketing range of between 1 and 6 stops EV.

HDR Off HDR Auto

In the example above, enabling HDR mode at its auto-bracketing setting provides highlight and shadow information that could not be captured in a single exposure. This results in a fairly natural looking tonal distribution that avoids an overly processed HDR look (note that we added the histogram to these preview images to show this more clearly - click the images above for the untouched original files).

Of course, users who desire the utmost flexibility can do this manually by bracketing and then blending separate exposures in Photoshop, but the quality of Sony's alignment and blending algorithms make in-camera HDR a viable and extremely convenient option.

HDR Off 100% crop HDR On 100% crop
HDR Off 100% crop HDR On 100% crop

In these 100% crops you can see that enabling HDR captures color-accurate highlight data that was clipped in the single image exposure. With a well-calibrated monitor you can see that shadow detail is opened up a bit as well, but the differences here are much more subtle in comparison to the highlight recovery.

Multi-shot noise reduction

Another feature now standard on Sony's SLT and mirrorless interchangeable lens cameras is multi-shot noise reduction - which combines six images taken in fast sucession into a single, cleaner shot. Why does this count as 'noise reduction?' Because noise occurs randomly, so combining multiple shots allows the camera to average that noise out. The system is clever enough to use information from the image stabilization system so that it only uses information from relatively unshaken images, taken of the same subject.

The results are pretty impressive. As you might expect, in the low-light circumstances in which you might want to use it, the slight shake between images means that really fine detail isn't perfectly sharp around the edges. However, it is undeniably less noisy than the conventional, single-shot version.

ISO 6400 Multi-Shot NR ISO 6400
100% Crop 100% Crop

The multi-shot noise reduction system underpins the 'Hand Held Twilight' mode, which is available either from the SCN position on the mode dial or automatically, if the camera thinks it's needed, in Superior Auto mode. In both instances, it will use as many of the shots as it can, but will ignore shots with excessive movement (either camera shake or subject movement) in them, so that your final image isn't a confused mess.

In-camera GPS

The SLT-A99V (the variant sold in most territories) features built-in GPS, which can append location information into the exif data of still and movie files. This data can be read by an increasing number of software platforms and photo-sharing websites, including Sony's Picture Motion Browser, which is bundled with the camera. In our experience of using the A99's GPS, we've found that it works very well. The first time the camera achieves a satellite 'lock' can take around 3-4 minutes but after that, if you head indoors or power the camera down then turn it on again, it picks up a signal within a few seconds.

This icon in the camera's status display designates that GPS is switched on, and the camera is receiving geolocation information.

This display screen is taken from the Sony A77, but the GPS icon and its placement are identical on the A99.
GPS is turned on in the A99's custom menus. From here you can also activate automatic time correction, which lets the camera maintain accurate time/date information using GPS. To speed up GPS data acquisition you can download 'GPS Assist Data' via Picture Motion Browser and upload it to the camera via direct USB connection or from a memory card.
When GPS is turned on, geolocation data is appended into the metadata of still and video files. Here's how the data is displayed in Adobe Bridge CS5.  
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Total comments: 17

magnified live view is not available in video mode." This is a terribly brilliant feature I got used to on A7. It would be great if Sony included it as a firmware update.


I think this review was excellent , very honest and openminded enough to accept the EVF and the great set of amazing features that this camera gets.
If I am free(I mean not need to listen to my partner when I buy a camera), I ‘d sell my D800 for this one or for the 5D3 in a heart beat.
But unfortunaltey , I have to listen to my partner who hates Sony and EVF, so I guess I will have to shoot Nikon or Canon for a while.
That siad , I still love A99v and I really want to buy one since I was a big fan of Sony Zeiss primes from my A900 days.
The A99v is a great camera and it is probably the best camera for portrait and event work.
The 85mmf1.4ZA is a super sharp lens and the 135mmf1.8ZA is even sharper and the 24f2ZA is the best 24mm I have ever shot, well done Sony and thanks for your great review.

Miki Nemeth

"magnified live view is not available in video mode." This is a terribly brilliant feature I got used to on A7. It would be great if Sony included it as a firmware update.


I just don't understand the point, that the A99 empties its buffer twice as fast as Canon's EOS 5D III at Continuous Hi? Both cameras allow 6 fps, but the 5D III can shoot JPEG Large/Fine until the card is full while the Sony stops after 20 frames. When shooting RAW the 5D III can take 17 frames (like the Sony), before the frame rate switches to 2.7 fps (A99: "only" 1.7 fps). The 5D III then needs 4 seconds to empty the buffer, while the A99 needs 7.5 seconds. From my point of view, the 5D III is the faster camera. Or did I get something wrong?


I have owned previously the a55 a77 and for the last 12 months the A99 I paid £1750 new inc tax the a99 paired with the Zeiss 24-70 it a fantastic combo in fact the sony 28-75 2.8 produced stunning results but I would tell lies if i said it was on parr with the Zeiss which really pops the subject although has softness at corner edges @ 24mm is evident...Low light for my use has been great never has any problems...The flash/system shoe is the only annoyance and slight over exposure easily fixed in light room. what would I change upgrade faster AF..sensor 24mp ff is more than ample.In all I am a very happy with my a99 well done sony engineers...

Comment edited 2 times, last edit 3 minutes after posting

There's really no way around it. This is hands down sony's best camera to date. They really should revisit this, maybe give it a sensor and/or mount of their A7s , aim to make it better @ low light than Canon 5d3 (much more cleaner than 5d3, almost 1DX spec), and get rid of the translucent mirror maybe. Keep the body as is, make it mirrorless with around 15-18 megapixel and give it FPS of 8-11.

1 upvote

Waiting for 18Mp,
Mirrorless(or at least the ability to lift the mirror.., somehow...) with high speed AF and low light sensitivity AF down to -3EV[currently seems impossible...]
Touch screen with focus select and AF by touch.

Alternatively to 18Mp - make 36mp with BSI, removing the anti-alias filter and allowing the semi-transparent mirror to be moved out of the way - or else simply have magnificent focus with the sensor itself....wihtout the mirror.....sigh!!!!

1 upvote

Something that amazes me about the A99 is the fact that it handles high ISO better than the new Nikon D600 and D610 cameras. I just found this out by looking at the ISO 6400 samples here on DPreveiw in their studio shot comparison tool:

Make sure you look at the playing card, after you pick which cameras you want to compare and set the ISO selection box to ISO 6400 (or whatever ISO you want to compare).

1 upvote

It doesn't handle high ISOs better than the Nikon D600.

Though one way to help with high ISOs is to use good Zeiss lenses and those are more readily available for this Sony.

J Shen

Continued post: During burst shooting, SLT cameras can see a live image preview or can not see ? Thanks for advice !

J Shen

About SLT & SLR cameras, If following two comments (from dpreview) are conflicting each other ? During bursts shooting SLT cameras can see the frames or can not see ? maybe I'm misunderstood. Thanks !
1, Unlike ordinary DSLR cameras, SLT cameras by Sony use Translucent Mirror technology that directs light onto the main image sensor as well as a separate autofocus sensor. This means that subjects stay sharply focused at all times as you compose scenes with the tilt-angle LCD or through the high-resolution, high-contrast OLED Tru-Finder. And with no moving mirror to slow you down, you’ll enjoy non-stop live image preview during speedy burst shooting or while you’re recording Full HD video.
2, One distinct disadvantage to current EVF technology is that when shooting bursts at higher frame rates, you are not seeing a live preview, rather the frames you have just captured. This can make camera panning (to follow a fast moving subject) virtually impossible to do with any accuracy.


Well, my A55 worked just fine for following fast-moving subjects, while shooting at 10 fps, and I believe the A99 is an improvement over the A55. (also can shoot at 10 fps)

Thomas Karlmann

It may be only the a99 RAW for ISO 25600 that is broken. Thanks.

Thomas Karlmann

beomagi: Thanks, I overlooked it.

Thomas Karlmann

DPR Raw Link for a99 Studio Scene appears to be broken. Please fix.


Connectors under flaps here

Thomas Karlmann

This review fails to show the I/O connectors! What is under those flaps? Most importantly where is the PC-sync terminal???? If there isn't one, I'll keep looking for a different camera. Please clarify.

1 upvote
Total comments: 17