Finally, the sprinkling of the all-new includes a new ‘Auto’ subject-detection autofocus mode, meaning you don’t have to manually select the subject type ahead of time, though you still can if you’d rather. Users can also import custom LUT color profiles, in addition to Sony’s popular S-Log3 and S-Cinetone color profiles that are built-in.
The message here is that there’s practically nothing new in the A1 II, which is highly unusual for a Sony flagship camera, especially after such a quiet 2024 for the camera giant, with this being the first new full-frame Alpha this year.
The A1 II combines excellent A1 and A9 III attributes in a single camera, but there’s little here to get excited about. Sony has slightly reduced the launch price compared to the A1 when it was announced almost fours ago, so that’s something at least. However, Sony’s hand has been somewhat forced by cheaper rivals coming onto the scene since the A1 – the Nikon Z8 and Canon EOS R5 Mark II , and compared to them it feels over priced. For instance, at the time of writing you can get two Z8’s on sale for the same price as one A1 II.
Ultimately, Sony has created a polished upgrade over the first-gen model that’s likely to please pros who rely on their gear daily in challenging situations. It may not be an exciting upgrade, but the Sony A1 II is up there with the very best cameras we’ve tested.
The Sony A1 II went on sale from late November 2024 with a list price of $6,500 / £6,300 / AU$10,989. That’s a fraction lower than the launch price of the A1 from all the way back in 2021. In one sense that’s commendable on Sony’s part, but on the other hand the market has changed, and the A1 series has now has accomplished rivals that offer perhaps 90% of the all-round package but cost much less. Sony needed to be aggressive with its pricing, and it has been to an extent, but the Nikon Z9 in particular looks very reasonable by comparison and the Nikon Z8 and Canon EOS R5 Mark II are cheaper still.
Sony A1 II: specs
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specs
Sensor:
Full-frame, 50MP stacked CMOS
Video:
8K 30p / 4K 120p
Cont. shooting
30fps for up to 153 raw images
Viewfinder:
9.44m-dot EVF
LCD:
3.2-inch mulit-angle touchscreen 2.1m-dots
Battery:
520 shots
Weight:
24.7oz / 700g (with battery and card)
Dimensions:
136.1 x 96.9 x 82.9mm
Sony A1 II: design and handling
Same design as the A9 III Smart control layout with handy shortcuts to frequently used features New dedicated mic for voice memos
In terms of change from the A1, you get a larger 3.2-inch multi-angle touchscreen, with the dual hinge enabling users to tilt and angle the screen for easy viewing at high or low angles whether they’re shooting vertical or horizontal. That dual-hinge design also enables you to pull the screen further away from the body and its chunky viewfinder eye-piece, which can otherwise partially obstruct the screen (the A1 II comes with two eye-pieces, one of which has a larger cup).
While we’re on the viewfinder, it is again a 9.44m-dot OLED display which is yet to be bettered, however this time the refresh rate is doubled from 60fps to 120fps for a smoother experience, or an even smoother maxi um 240fps refresh rate, albeit the resolution of the display drops.
The A1 II’s handgrip is more rounded and all-round chunkier, and I feel like it slots into the hand better than the grip on the A1, though they are similar in depth. There are little refinements too, such as the shutter button being angled slightly differently and easier to press.
Image 1 of 4
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
As on the A9 III, there’s an additional custom button on the front of the A1 II, which is factory-set to act as a speed boost for continuous burst shooting. The idea is that you don’t always want to be shooting at the maximum frame rate, which in this case is 30fps, but you might suddenly need that speed, and the button allows you to tick over at a lower frame rate and get an instant injection of extra frames when you need it.
One feature that caught my eye in the original A1, and has again here, is the max flash sync speed of 1/400 sec. That beats the Nikon Z9 for example, making the A1 II a more versatile camera for flash photography, especially if you like using a wide aperture. However, Sony’s own A9 III is more versatile still, with what is effectively has an unlimited flash sync speed .
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(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
The A1 II is also an extremely rugged weatherproof camera, with nicely designed rigid doors on the connection ports that stay out of the way when the ports are in use, while the dual memory card door features a push lock and is a better design than Nikon’s, which can easily be knocked open.
Check out our A9 III review to learn more about the A1 II’s design – the two cameras share practically the same design.
Sony A1 II : features and performance
Improved image stabilization, up to 8.5EV Same 759-point AF array, now with AI processing unit for subject detection 30fps burst shooting for up to 153 raw images, now with pre-capture
Sony has delivered one notable hardware improvement over the A1, adding an AI processing unit that was debuted in the A7R V . This should deliver better subject-detection autofocus for photo and video compared to the A1, though we haven’t tested the A1 II against the A1, both of which share the same 759 AF point array, to see just how much of a difference it makes.
Having used Sony’s previous professional Alphas, I was most keen to test out the new Auto subject-detection autofocus mode. Frustrated by what feel to me like unnecessarily complex subject detection choices that you need to manually select ahead of time – humans, birds, animals, car, insects, planes, trains and so on, I’ve called on brands to add an auto mode that simplifies the experience. Cue the A1 II and its new mode.
Compared to the dedicated subject detections modes that are still available, there’s very little to choose between the performance of the new Auto mode. The Auto option performed equally well for me when shooting portraits of people, locking reliably onto my subject’s eyes, and during a soccer game capturing the fast moving pro players in action. That said, I haven’t conjured up a scenario specifically for the sake of testing potential weaknesses the Auto mode might have.
Image 1 of 2
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
Sony also says the next-gen autofocus is able to recognize the head and body of humans / animals, and that its performance is 30% more effective than the A1’s for detecting human and animal eyes, while the camera’s autofocus can operate effectively in low light down to -4EV. Until recently if you’d asked me the best autofocus system available I’d say Sony without hesitation, but Canon ‘s latest efforts in the EOS R1 and EOS R5 Mark II are mightily impressive too, especially the new sports priority modes. I couldn’t tell you which is better now without running a direct comparison.
(Image credit: Future / Tim Coleman)
Another similarity between this camera and its predecessor is that both can shoot at a burst rate of up to 30fps for a similar length of time before slowing down – a little over 150 raw frames or close to 180 JPEGs. For such occasions, that speed-boost button is infinitely helpful for improving efficiency and workflow by enabling you to adapt your shooting rate.
The A1 II also gets a handy pre-capture feature. Pre-capture is nothing new, although Sony was late to the party, only introducing it to an Alpha camera with the A9 III. Put simply, pre-capture can buffer up to one second’s worth of photos – in this case 30 photos – before you fully press the shutter button to start capturing a high-speed sequence. That one second of grace when you’re slow to react could be the difference between capturing the moment and missing it completely.
Features and performance score: 4.5/5
Sony A1 II: image and video quality
50MP stills and 8K/30p video 4:2:2 10-bit color depth and Sony’s S-Log3, S-Cinetone, plus LUT imports Pixel Shift and Noise Reduction shooting modes
Sony’s 50MP full-frame stacked sensor is a proven performer, delivering sharp stills with up to 15EV of dynamic range. The A7R V’s 61MP sensor gets you marginally better detail, but the A1 II is a much faster performer. Furthermore, in-body image stabilization is improved over the A1, and you’ll often get slightly sharper end results when shooting handheld, depending on the camera’s shutter speed and how steady your hand is.
Image 1 of 3
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
Versus the 24MP Sony A9 III for sports, I really appreciated the higher resolution 50MP sensor which gives you extra scope for cropping into images , and which enables a 21MP APS-C mode – with which you effectively extend the focal length of your lens by 1.5x. The soccer photos below were taken from considerable distance with a 400mm lens, but I could crop in and frame exactly how a 600mm lens might look.
Once again Sony’s Pixel Shift Multi Shooting mode features, combining up to 16 shots for one larger 199MP composite image. It’s not as effective as Canon’s new in-camera AI upscaling feature in the EOS R1 / EOS R5 Mark II, especially if there’s any movement in your shot. However, in situations such as still lifes in the studio it increases detail by up to 400%. Sony has also added a new Noise Reduction shooting mode that, like Pixel Shift, combines multiple images but in this case for a cleaner image, especially in low light.
Image 1 of 2
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
Outright image quality is, in effect, the same as from the A1 , which is a good thing, with clean images up to ISO 12,800 from the A1 II’s ISO 100-32,000 range. The almost four-year-old sensor has stood the test of time. Where we really see improvements in image quality is in the positive effect of improved image stabilization for handheld shots and even more reliable subject-detection autofocus for shooting animals, vehicles, people, and so on.
Image 1 of 2
The Auto subject-detection mode worked fine in this portrait, with the focus pin-sharp on the eyes (scroll to next image to see a close-up). (Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
As for video quality, again it’s mostly as you were from 2021’s A1: 8K up to 30fps, 4K 60fps in 4:2:2 10-bit from the full-width of the sensor, or 4K up to 120fps with a slight crop. Thankfully, the A1 was ahead of its time and the A1 II still holds up today, plus it throws in some new features such as 1/48sec and 1/96sec frame rates for true 180-degree shutter angle at popular cinematic frame rates. It also brings LUT imports (with support for monitor LUT display), plus AI-based Auto Framing à la ZV-E1.
Image 1 of 3
(Image credit: Future / Tim Coleman)
Having 50MP to play with gives more cropping potential, which can especially be handy for sports photography. There’s even a 21MP APS-C / Super 35 mode which effectively extends your lens focal length by 1.5x.
(Image credit: Future / Tim Coleman)
(Image credit: Future / Tim Coleman)
Image and video quality score: 4.5/5
Sony A1 II: testing scorecard
Swipe to scroll horizontally
Sony A1 II
Attributes
Notes
Rating
Price
Cheaper than predecessor, but new rivals are much much cheaper.
3/5
Design
Sony’s best-ever mirrorless camera design, borrowed from the A9 III.
5/5
Performance
Speed and quality, with improved autofocus and image stabilization.
4.5/5
Image and video quality
Shows just how ahead of the times the Sony A1 was – with much the same quality three years later the A1 II still holds its own.
4.5/5
Should I buy the Sony A1 II? Buy it if…
Don’t buy it if…
Sony A1 II: also consider
The Nikon Z9 should be the A1 II’s rival, but the smaller and cheaper-still Z8 has a similar form factor to the A1 II and plenty of similar features, at least on paper. The two full-frame mirrorless cameras shoot high-resolution stills at 45MP (Z8) to 50MP (A1 II), 8K video, and both handle really well. Each camera has minor advantages over the other, but the most striking difference of all is price – you can pick up two Nikon Z8s for the price of one Sony A1 II.
Read our in-depth Nikon Z8 review
For speed and quality, Canon offers the EOS R5 Mark II, TechRadar’s Camera of the year 2024 winner. It was a significant upgrade of the EOS R5, adding serious power under the hood to the 45MP stills and 8K video skills. A newly-designed stacked sensor and second processor improved speed, while new autofocus skills – including sports priority modes – are a match if not better than Sony. Canon’s all-in-one full-framer is much cheaper than the A1 II too, although Nikon’s Z8 is cheaper still. Overall, the new Canon model could be the most compelling of the three. Pros are spoilt for choice!
Read our in-depth Canon EOS R5 Mark II review
How I tested the Sony A1 II
(Image credit: Future / Tim Coleman)
I tested a full-production model with final firmware, over two single week periods Used with multiple lenses, including the FE 28-70mm F2 GM lens and 400mm F2.8 GM OSS I used it with Sony’s Creator Cloud app
I tested a final firmware version of the Sony A1 II ahead of launch, together with the new Sony FE 28-70mm F2 GM lens, for a week. I consequently used it after launch for sports photography. The A1 II’s raw files were not readable in editing software at the time of testing.
I’ve been shooting with a CFexpress Type A card to get the best possible performance from the camera, and recorded burst sequences at TechRadar’s standard camera testing settings: 1/250 sec, ISO 200, and continuous AF.
Sony’s Creator Cloud app works with the A1 II, and I used the app to remotely shoot images with the camera and upload images too. I shot portraits of humans and animals with the various subject-detection autofocus modes.
I’ve also tested the A1 II for pro sports, and in a range of weather conditions and various times of day / night.
First reviewed November 2024
