Announced in August 2011 alongside the simpler A65, the new A77 becomes Sony's latest camera to employ a fixed semi-transparent mirror instead of the usual moving reflex mirror in a traditional DSLR. This fixed mirror allows most of the light to pass through to the sensor, but reflects a smaller portion to a traditional phase-change AF sensor. This allows the Sony SLT cameras to offer quick and continuous autofocusing even during burst shooting and movie recording, something which eludes traditional DSLRs.
Meanwhile, the fixed position of the mirror, along with some clever sensor electronics, has allowed Sony to deliver fast response times and shooting speeds up to 12fps with continuous autofocus, which (caveats aside) is a quicker rate than Canon's fastest pro sports body, the EOS 1D Mark IV. Couple this with a new 19-point AF system with 11 cross-type sensors, 1080p movies captured at up to 60fps with full manual control over exposures, built-in GPS and tough magnesium alloy build with sealed controls, and you've got one of the most impressively-featured semi-pro bodies on the market and a worthy successor to Sony's popular Alpha A700 DSLR.
In true Sony style, there's so much new technology going on with the A77 that it's easy to be over-whelmed by the numbers and gadgetry, so it's important to take a look at each aspect in turn to see what it means in practice.
Let's start with the headlining 24.3 Megapixel resolution which, shared by the NEX-7, is the highest pixel count offered by an APS-C sized sensor to date; the previous highest resolution APS-C sensor was an 18 Megapixel model belonging to Canon which found itself deployed on the company's most recent DSLRs including the EOS 600D / T3i and EOS 7D.
The SLT-A77 delivers images with 6000x4000 pixels, compared to 5184x3456 pixels on the 18 Megapixel Canons, and the relatively modest-sounding 4912x3264 pixels of the earlier 16 Megapixel SLT-A55. Numerically it's certainly impressive, but of course the question remains whether image quality, in particular dynamic range and noise levels at high sensitivities, is compromised as a result. The NEX-7 may share the same worries with the same sensor, but with the SLT-A77 there's the additional concern of losing around 30% of the incoming light to the semi-reflective mirror - see later.
The sensitivity runs between 100 and 16000 ISO with a 50 ISO expanded option. Sony also includes its innovative and effective Multi Frame Noise Reduction options which stack a burst of images to reduce noise and extend the maximum sensitivity to 25600 ISO. Ultimately I can't comment on image quality until I test a final production sample, but at least Sony has various image stacking modes at its disposal which can reduce noise on static compositions should single exposure prove to be noisy.
Like earlier Alpha bodies (excluding the NEX range), the SLT-A77 features built-in sensor-shift stabilisation which works with any lens you attach - a key advantage it has over rivals which require optically stabilised lenses to eliminate the wobbles.
The new sensor delivers more than just very high resolution images though: it can capture Full HD video at progressive frame rates of 50 or 60fps depending on region. That's double the progressive frame rate of Full HD modes on any video-equipped DSLR to date. This is important for slow motion work, where 60fps footage can be slowed down by 2.5 times for use in a 24fps project, but until now, all video equipped DSLRs could only offer 60fps for 720p video; now Sony offers it for 1080p too. I'm confirming whether SLT-A77's sold in PAL and NTSC regions can offer all the frame rates, or whether PAL models only support 25 and 50fps compared to 24 and 60fps for NTSC.
To support 1080p encoding at 50 or 60fps, the SLT-A77 employs AVCHD version 2, with the additional benefit of higher data rates: 28Mbit/s for the 1080p / 50 / 60 modes, and 24Mbit/s for the 1080p / 24 / 25 modes. Sony's also equipped the SLT-A77 with full manual control over movie exposures, in addition to built-in stereo mics in the head and a standard jack to connect an external microphone. It's nice to find the standard microphone jack on the A77, although with Sony's proprietary Alpha accessory shoe, you'll need an adapter before being able to mount most third-party models, such as those from Rode.
An additional benefit of the new sensor is support for an electronic first shutter curtain, which improves response times as the shutter no longer needs to close before opening again to start the exposure; indeed Sony quotes a shutter lag of just 0.05 seconds.
While the sensor resolution and support for 1080p at high frame rates is impressive, it's the semi-pro aspirations of the A77 which will really turn heads, starting with the fast continuous shooting. Sony's really carving a niche for itself in this respect and has raised the bar with the A77 by exploiting the fact its fixed mirror doesn't need to lift and close between every frame. Indeed with a top speed of 12fps with autofocus, it's quicker than the 10fps of Canon EOS 1D Mark IV which costs over four times more. Sony's cheaper SLT-A65 may be slower than the A77, but even it manages to squeeze out a top speed of 10fps. Sony really is continuing to redefine what we can expect from bodies at these price points in terms of speed.
There are unsurprisingly some caveats with this performance though. First is the buffer depth, which is fairly modest with room for only 13 Extra Fine JPEG or RAW files in a burst, increasing only slightly to 17 frames if you increase the compression to Fine or Standard. At 12fps, that only gives you between one and one and a half seconds per burst, which doesn't provide a great margin for error and places the A77 firmly in the mid-range category. Interestingly the buffer depth of the A77 appears to be identical to that on the A65.
A second caveat is the requirement of having the lens aperture wide open to achieve the 12fps rate. The reason being to avoid the delay when opening and closing the aperture between every shot. If you'd like to use a smaller aperture, or vary it during a burst, you'll need to drop the A77 to 8fps, although that's still pretty quick. I'll have to wait until I test a final sample to measure the actual speed for the different options.
Moving-onto AF, Sony has equipped the A77 with a brand new 19-point AF system with 11 cross-type sensors. This is one of the other areas where the lower-end A65 differs, instead sporting a simpler 15-point AF system with three cross-type sensors. It's no coincidence Sony's matched the number of AF points on the A77 to Canon's EOS 7D, but it's important to note all 19 on the 7D are cross-type. Speaking of Canon, it's interesting to find Sony implementing a large AF illuminator on the A77 which projects fine lines onto your subject, just like older EOS film cameras.
In terms of exposures, both the A77 and A65 share the same 1200-zone evaluative metering system and choice of Spot, Centre-weighted or Multi-Segment modes. Both cameras also offer slowest shutter speeds of 30 seconds or Bulb, but the A77 boasts a faster top speed of 1/8000 compared to 1/4000 on the A65. Another difference regards exposure bracketing with the A65 offering a basic three-frames compared to five on the A77, although if you choose five-frame bracketing on the A77, you're limited to increments no bigger than 2/3 EV; to unlock the broader 2 and 3 EV increments, you'll need to switch the A77 to three-frame bracketing. Still that's better than the Canon 7D which is firmly locked at three-frame AEB.
The next headline-feature regards the viewfinder. Sony's SLT cameras employ 100% Live View composition, so their viewfinders are electronic. Sony understands this can be a major stumbling block for many traditionalists who love their optical viewfinders - and indeed there are many pros and cons to both I'll describe later - but the company has certainly put some effort into trying to convince non-believers with the new models.
Both the SLT-A77 and A65 boast very high resolution electronic viewfinders employing OLED panels with XGA 1024x768 resolution. Compare this to the typical 800x600 or 852x600 resolution on earlier top-of-the-range EVFs, coupled with a display technology which shows all colours without sequencing, which should avoid rainbow tearing when you glance across the frame. The viewfinder image is also very large on the new Sony SLTs, rivalling full-frame DSLRs, and of course also supports things like rich overlaid graphics including an alignment grid, live histogram and a levelling gauge.
Of course for all the good points of an electronic viewfinder, there are some key downsides to be aware of, which I've gone into detail about lower down in this article. But the important point for now is Sony has significantly raised the bar in terms of electronic viewfinders here, which may even convert some optical viewfinder die-hards.
You can alternatively compose with the main screen, which measures 3in and sports 921k dots for a detailed 640x480 image; interestingly this is now in the 4:3 aspect ratio unlike the 16:9 on the earlier A55 and A33. The screen itself also employs an articulated mount unlike any other camera before it: at first glance it remains hinged at the bottom like previous Sony models, allowing it to fold down to face the subject by peeking under the body, or twisting round to face almost any angle.
Having the hinge mounted at the bottom avoids problems with straps but reduces the number of angles possible when mounted on a tripod, or even just resting on a table. To address this, Sony has mounted the hinge not directly to the body, but to a bracket which can fold out, positioning the screen away from the body. It can then be twisted round to peek over the top of the camera, although this would obviously still be blocked if you were using a flash or hotshoe-mounted microphone.
Sony's mechanism is undoubtedly inventive, but you have to ask if a side-mounted screen hinge as used by Canon, Panasonic and now also Nikon wouldn't have been easier, even if it occasionally gets tangled on a strap.
Moving onto the design and build, the SLT-A77 is a much curvier and organic-looking camera than previous models. Measuring 143x104x81mm and weighing 732g with battery, the body is noticeably larger and heavier than the SLT-A55 before it, which measured 124x92x85mm and weighed 492g with battery. Much of this is due to the A77's tougher build, which includes magnesium alloy components and weather-sealing on what Sony describes as key controls; I'm confirming with Sony about the degree of weather protection, but it's certainly better than the SLTs before it. For the record, the A77 is a little narrower and shorter than Canon's EOS 7D, which measures 148x111x74mm, and a comfortable 168g lighter. One of the closer matches for the A77's vital statistics is actually Nikon's D7000 which measures 132x105x77mm and weighs 780g with battery, making the Sony a little lighter, but a little wider and thicker too.
Further cementing the A77's higher-end aspirations is an upper LCD display, which may not match the degree of information on the rear screen and viewfinder, but packs much more than the bizarre panel on the earlier flagship A900. It's a welcome addition even if its regarded as slightly old fashioned by some.
Completing the specification is a built-in GPS which can embed location details into the EXIF data of your images. It's a feature which was present in the earlier A55, not to mention several of Sony's compacts, but it remains a rare feature in large sensor cameras and something you won't yet find on a Canon or Nikon DSLR.
One of the classiest things about the Alpha SLT-A77 though isn't actually anything to do with the body itself: it's the new kit lens. Rather than going for the longer zoom ranges favoured on recent Canon and Nikon kit zooms, Sony's instead opted for a shorter range, but with decent wide-angle coverage, an optically bright aperture and quick and quiet focusing. The result is the new 16-50mm f2.8 SSM lens, delivering an equivalent focal length of 24-75mm with a constant and bright f2.8 aperture throughout the range. While this lacks the reach of the Nikkor DX 18-105mm or Canon EF-S 18-135mm, it zooms wider, is comfortably brighter (especially when zoomed-in), and enjoys quicker and quieter focusing - and best of all is a keen price which undercuts many big brand lenses with similar specs.
Staying on the subject of accessories, there's also an optional battery grip with portrait controls and space for two Lithium Ion packs.
Single Lens Translucent, SLT: What's the story?
With the headline material covered, I'd now like to expand on the actual core SLT technology behind the A77, which was introduced with the A33 and A55 in 2010. SLT stands for Single Lens Translucent, as oppose to Single Lens Reflex on a traditional (D)SLR, although I'd argue it's technically more accurate to describe the mirror in the new Sony bodies as being semi-reflective or semi-transparent. Either way, the important part compared to a DSLR is the mirror in an SLT camera is fixed and allows some light to be reflected as well as passing-through it.
In a traditional DSLR, the mirror reflects incoming light into an optical viewfinder, via a phase-change autofocus sensor. When you take the photo, the mirror temporarily flips up to expose the sensor, briefly blanking the viewfinder. This works well for normal composition, but during Live View and movie modes, the mirror has to remain flipped-up to deliver a live feed from the sensor; this has the side-effect of bypassing the main phase-change AF system, instead forcing the use of a much slower contrast-based system. So far, contrast based systems on DSLRs have proven too slow to allow effective continuous AF capabilities, which rules out Live View for action photography and renders movie modes into manual focus affairs.
In Sony's SLT models, a fixed semi-reflective mirror allows around 70% of the light to pass through to the sensor for full-time live view composition, but reflects the remaining 30% or so to the phase change AF system, allowing quick and continuous autofocusing in Live View and movie modes. 30% is however too little for a traditional optical viewfinder, so Sony doesn't bother, instead using the main sensor to deliver a live image to an electronic viewfinder in addition to the main rear screen for composition.
The headline benefit of the SLT system is having quick and continuous AF regardless of what you're shooting, including movies and burst shooting. You might think a DSLR also offers continuous AF while shooting bursts, but when the mirror is raised to expose the sensor, the AF system is temporarily bypassed, forcing the camera to predict the action. Not so with the SLT cameras, which constantly have their AF systems operational, even while they're capturing images or video. Phase Change AF systems are also not only quicker than most contrast-based solutions on DSLRs, but are also better-able to predict which direction to turn the lens focus to keep the image sharp, which in turn means less visible hunting.
It really works too as I discovered when testing the original Alpha SLT-A33 and A55. Subjects would snap confidently into focus with virtually no drifting while filming, with the biggest distraction now being the sound of the AF motor in the lens.
As described earlier, an additional benefit to having a fixed mirror is the chance to shoot at very high speeds, with the SLT-A77 firing up to 12fps under the right operating conditions. Since the viewfinder image size is not optically related to the size of the sensor, Sony has also been able to deliver a very large viewfinder image on the A77 which dwarfs the view through most DSLRs. It should also be noted since the viewfinder is electronic, it can alternatively be used to compose while shooting video, unlike an optical viewfinder which becomes blacked-out.
While extolling the virtues of the SLT system, it's also important to point out the downsides. Here's four aspects, starting with a couple you may not have known about. First, the SLT system may allow full-time phase-change AF while filming videos, but only at larger apertures of f5.6 or brighter. Close the aperture down for a larger depth-of-field and the phase change AF will no longer operate. So to support AF while filming, the A77 is forced to shoot video with a large aperture, which under normal conditions means having a fast shutter speed to compensate; this in turn can result in undesirable motion artefacts. The solution is to fit ND filters to keep the shutter speed down to desirable levels for video, but since most people won't realise this, their footage filmed in bright conditions with fast shutter speeds may not look as smooth as they hoped.
Secondly, while phase-change AF systems are generally regarded by traditionalists as being superior to contrast-based systems, they are not without fault. They rely on precise manufacturing tolerances not just on the position of the mirror and AF sensor in relation to the main sensor, but also on the lens itself. If any of these elements are even a fraction out, your photo may not be exactly in focus despite the AF system reporting all was well. Contrast-based AF systems solve this issue by taking their readings from the main sensor, eliminating any calibration issues and subsequent front or rear focusing errors.
Sony's SLT cameras may use electronic composition, but by uniquely coupling it with phase-change AF, they can suffer from the same front and rear focusing errors as traditional DSLRs. To correct potential calibration errors, Sony has equipped the SLT-A77 with AF fine tuning facilities, but sadly the cheaper A65 doesn't have them. And don't be fooled by the presence of face detection either, as while a graphical frame will follow a face all around the picture, the A77 can only actually focus on it if it happens to fall over one of its fixed AF points. It's not the same as having face detection with a contrast based system which really can lock-focus on any part of the frame without the constraints of fixed AF points.
Moving onto the bigger and better-known issues, there's the factor of permanently losing around 30% of your precious incoming light to the AF sensor. That's light which will never reach the sensor, and therefore means the A77, like all SLTs, is around one third less sensitive than a conventional DSLR or ILC camera when fitted with an identical sensor. Offering some consolation are Sony's excellent multi-frame composite modes which stack several images taken in a burst to reduce noise, but there's no getting away from the fact that not all the light exiting the lens in an SLT will reach the sensor. Since the NEX-7 is fitted with the same sensor as the A77, but doesn't have a fixed mirror in the light path, it should deliver lower noise.
Fourth and most important of all is the use of an electronic viewfinder instead of a traditional optical viewfinder. Now to be fair, this isn't necessarily a downside as there are a number of plus sides to EVFs, including a potentially big image with 100% coverage, live previews of any adjustment including white balance, magnified focusing assistance, and rich overlaid graphics including grids, histograms, and levelling gauges.
But an electronic image will always have a lower tonal range than an optical system which means bright highlights and dark shadows could be rendered into uniform white and black areas respectively. Under dark conditions, the frame rate may reduce and the viewfinder image become noisy. Worst of all for action photographers is the lag between continuous frames which means you could be previewing your last frame rather than actually seeing where the action is right now and being able to recompose as necessary.
Sony realises the absence of an optical viewfinder will be a stumbling-block for many traditionalists, so has raised the bar with the A77 (and A65) by equipping them with arguably the best electronic viewfinder in a consumer camera to date. I've gone into detail earlier in this article, but with a highly detailed XGA OLED panel and a very large image packed with shooting information if you desire, the A77's viewfinder is sure to win a lot of friends.
Now let's see how the SLT-A77 compares against a selection of rival models.
Compared to Sony Alpha SLT-A65
The closest model to the SLT-A77 is the SLT-A65, launched alongside it. The A65 is a more affordable version, which lacks some of the bells and whistles, but still delivers a number of the same core capabilities. I'll start with the things both models have in common.
Both share the same 24 Megapixel APS-C sensor with a 100-16000 ISO range and 25,600 ISO option using Multi-Frame Noise Reduction. Both share built-in stabilisation. Both share the same movie modes with 1080p at up to 60fps and AVCHD 2.0 encoding. Both cameras also share the same 3in VGA screen and XGA OLED viewfinder for composition.
So far so similar, but the higher-end A77 sports a number of benefits over the A65. Both cameras can shoot very quickly, but the A77's top speed is 12fps to the A65's 10fps, although it should be noted the buffer size on both is the same, and the speed with support for variable aperture is also the same at 8fps. The A77's AF system is much more sophisticated with 19 AF points, 11 of which are cross-type sensors, compared to the 15-point system of the A65 with three cross-type sensors. The fastest shutter speed on the A77 is 1/8000 compared to 1/4000 on the A65, the fastest flash sync is 1/250 compared to 1/160, and the A77 supports five frame AEB, compared to three on the A65.
The A77's body is tougher with magnesium alloy panels, sports two control dials to the A65's one, features an upper LCD screen that's lacking on the A65, and offers an additional degree of screen articulation allowing it to peek over the head and face the subject. The A77 also features AF Fine Tune to correct for front or rear focusing, a flash sync socket for studio lighting, and allows you to select upper and lower limits for the Auto ISO range, not to mention having a 50 ISO option and an Extra Fine JPEG setting. The kit lens option for the A77 is also the very classy new 16-50mm f2.8 SSM compared to the somewhat pedestrian 18-55mm f3.5-5.6 on the A65.
That's quite a lot in the A77's favour, and it'll almost certainly swing it for higher-end enthusiasts, but the critical selling point of the SLT-A65 is delivering the same core features at a much lower price: indeed, costing around 40% less for the body alone, the A65 is one of the best-featured cameras in its class. It's also smaller and lighter than the A77.
Look out for my upcoming review of the Sony Alpha SLT-A65.
Compared to Canon EOS 7D
Sony's Alpha SLT-A77 sits between the Canon EOS 60D and EOS 7D in pricing, but is arguably pitched more against the latter in features, so that's what I'll compare it to here. Both are high resolution bodies with HD movie modes, fast continuous shooting and tough build, but there's lots of differences to note.
In the Sony SLT-A77's favour are 25% more Megapixels (24 vs 18) although we'll have to wait for final production samples to see if this is a genuine benefit or not. Definitely in Sony's favour though are its innovative multi-frame noise reduction modes which can greatly reduce visible noise without compromising detail. Both the A77 and EOS 7D feature 3in screens, but while the 7D's is fractionally wider and more detailed, its fixed in position whereas the A77's can be flipped-out and articulated to almost any angle.
Both cameras can film Full HD video, but the A77 wins on frame rates, shooting 1080p progressive at up to 60fps compared to 30fps on the 7D. The A77 can also continuously autofocus while filming, something which eludes traditional DSLRs like the EOS 7D. The A77 also enjoys built-in stabilisation which works with any lens you attach, while additionally scoring on gadgetry with a built-in GPS. There's also five frame AEB compared to the usual three on the 7D.
In terms of continuous shooting, the Sony enjoys a quicker top speed of 12fps compared to 8fps, although the buffer is much smaller on the A77 (just 17 Fine JPEGs compared to the Canon which can keep shooting JPEGs until you run out of space), and if you want an adjustable aperture as you shoot, the A77's speed drops to the same 8fps as the Canon.
One of the biggest differences regards the viewfinder: electronic on the A77 vs optical on the EOS 7D. This is a tough one to weigh up as there are pros and cons to both. Certainly the live view implementation on the A77 is much quicker, especially in regards to continuous autofocus, but sports, action and low light shooters will still prefer the speed and brightness of the 7D's optical viewfinder. This will ultimately be very much a personal choice.
As discussed above, the EOS 7D is a much more capable camera when it comes to continuous shooting. Both cameras may employ 19 point AF systems, but again the 7D's is more powerful with all 19 points being cross-type sensors, compared to 11 on the Sony; the 7D also offers a variety of AF area options lacking from the A77. If you're shooting with the optical viewfinder on the 7D, its battery will also comfortably out-live the A77, capturing around twice as many shots (approx 1000 vs approx 500). Regarding build, I've yet to test the A77 in punishing conditions, but the 7D is proven to be one of the toughest semi-pro bodies to date. Canon also supplies free software to remote control the camera with a Mac or PC over a USB cable.
In terms of price, the Sony SLT-A77 body comes in around 15% cheaper at the time of launch, although a more interesting comparison is with their standard kits, which cost approximately the same yet include very different optics: the EF-S 18-135mm f3.5-5.6 on the 7D and the DT 16-50mm f2.8 SSM on the A77. The Canon kit lens zooms over 2.5 times longer, but the Sony is wider, quieter and crucially much faster in terms of aperture and focusing.
Ultimately the A77 out-features the EOS 7D, but the Canon will out-perform it in a pro-sports environment with a much deeper buffer, more powerful AF system, and an optical viewfinder which allows you to follow the action. It is a more serious camera for photographers who demand that degree of performance, and despite its age still comes highly recommended. But for those who are satisfied with shorter bursts, the A77 is likely to be a tough rival, and Sony's clever bundling of a classier lens for much the same kit price will have many seriously considering a move from a traditional DSLR.
See my Canon EOS 7D review for more details.
Compared to Nikon D7000
In the absence of a new semi-pro Nikon body, I've decided to compare the A77 against Nikon's latest mid-range body, the D7000. While this is technically a mid-range body, the D7000's price is actually very close to the A77, so is a key rival for Sony's flagship SLT. Once again both cameras feature high resolution sensors, Full HD video capture and a wealth of control, but again there are many differences to weigh-up.
In its favour, the Sony A77 boasts no less than 50% more pixels in total (24 vs 16), and while we'll have to wait for final production samples to really compare the quality, the Sony does have the advantage of multi-frame noise reduction modes which stack images to reduce noise without compromising detail.
The A77 also enjoys built-in stabilisation which works with any lens you attach, while additionally scoring on gadgetry with a built-in GPS. There's also five frame AEB compared to the usual three on the D7000. The A77 additionally features a PC Sync port for connecting to studio lighting that's absent on the D7000.
Both cameras can film Full HD video, but the A77 wins on frame rates, shooting 1080p progressive at up to 60fps compared to 24fps on the D7000. The A77 can also continuously autofocus while filming, something which the D7000 also claims to do, but much slower and more laboured than the Sony. Put it this way, I quickly turned off the feature for normal filming on the D7000.
In terms of continuous shooting, the Sony enjoys a much quicker top speed of 12fps compared to 6fps on the D7000, although again for variable aperture during a burst you'll need to drop the A77 down to 8fps. Interestingly both cameras are fairly restricted by their continuous shooting buffers: Sony quotes 17 Fine JPEGs, which is roughly what I measured in practice with the D7000. So both cameras could end up frustrating action shooters who need deeper and longer bursts.
Both the A77 and EOS 7D feature 3in VGA screens, but while the D7000's is fixed in position, the A77's can be flipped-out and articulated to almost any angle.
In terms of autofocus, there's pros and cons to both cameras: the D7000 scores with more points in total (39 points vs 19), although slightly more of them are cross-type on the Sony (11 vs 9).
One of the biggest differences regards the viewfinder: electronic on the A77 vs optical on the D7000. This is a tough one to weigh up as there are pros and cons to both. Certainly the live view implementation on the A77 is much quicker, especially in regards to continuous autofocus, but sports, action and low light shooters will still prefer the speed and brightness of the D7000's optical viewfinder. This will ultimately be very much a personal choice.
Moving onto the D7000's benefits, one of its unique advantages is having twin SD memory card slots, allowing you to record duplicate images to both cards for backup, or RAW files to one and JPEGs to the other for easier management; or you can simply configure one to take over when the other one fills. Impressively in my tests the D7000 also maintained its 6fps speed and buffer sizes when recording to both cards simultaneously.
Beyond this though it's hard to find many key specifications the D7000 has over the A77. Until I test a final production A77 I can't compare their image quality, build or general handling, but in terms of features, the A77 outguns the D7000 in several important respects. As for price, the D7000 undercuts the A77, but only by around 10% at the time of launch. Go for their respective kits and the Nikon is 25% cheaper than the Sony, for which you'll be comparing the DX 18-105mm f3.5-5.6 against the DT 16-50mm f2.8 SSM. The Nikkor kit lens zooms twice as close, but the Sony again is wider, brighter, quicker and quieter. Unlike the EOS 7D kit though, the price difference is fairly significant.
Ultimately while the D7000 is one of my favourite mid-range bodies, the Sony A77 is set to cause Nikon more than a few headaches. The A77 out-features the D7000 in a lot of respects and if you don't need an optical viewfinder it promises a lot more for only a little extra cash. Of course much depends on the final performance of production-level samples, but if it meets its promises, the A77 could be hard to beat at this price point.
See my Nikon D7000 review for more details.
Sony Alpha SLT-A77 final thoughts
While Canon and Nikon continue to produce traditional DSLRs, Sony has arguably become the most innovative camera manufacturer around. Its NEX cameras took the mirrorless concept pioneered by Panasonic and Olympus and really ran with it, while the SLT models proved a completely new type of camera could prove highly compelling in today's market.
With the original SLT A33 and A55, Sony proved a fixed semi-reflective mirror could deliver fast and continuous autofocusing during live view shooting and HD movies, something which has grown in importance with today's buyers, yet something which continues to elude traditional DSLRs. This alone could sell an SLT over a DSLR for many new buyers, but Sony being Sony also equipped these two cameras with faster than average continuous shooting and a raft of innovative stacking modes to improve image quality.
The flagship SLT-A77 takes these concepts to the next level, appealing to both high-end photographic enthusiasts and gadgeteers alike. The former get tougher build, supremely quick 12fps continuous shooting and a 19 point AF system, while the latter get 1080p at 60fps, 3D and panoramic capture along with built-in GPS. Meanwhile both camps enjoy a high resolution 24 Megapixel sensor, built-in stabilisation which works with any lens and arguably the best electronic viewfinder to date on a consumer camera.
Really, what's not to like? Well as detailed above, it's already worth looking into some of the specifications a little deeper at which point you'll discover things like the disappointingly small buffer which will see the A77 stall after less than two seconds of shooting at its top speed. There's also the downsides of an electronic viewfinder to weigh-up, although it has to be said, the benefits are equally compelling.
Ultimately I don't believe Sony has created a true semi-pro contender here. The small buffer, relatively limited number of cross-type AF sensors and viewfinder delay mean it won't be ideal for pro action photographer, however tempted they might be by the 12fps rate. Some could make it work, depending on the situation, but put the A77 up against a Canon EOS 7D in a sports environment, and you'll realise why the latter is a better choice.
But outside of this specialist environment, there's a lot to like about the A77, and it'll put existing mid-range models under a lot of pressure. Cameras like the EOS 60D and especially the Nikon D7000 look quite under-featured in comparison. Perhaps Sony's cleverest move though was developing an aspirational kit lens that's relatively affordable. It may not zoom as long as rival kit lenses, but it's wider, quicker, quieter and crucially brighter. A very classy move that'll attract a lot of educated buyers.
That's all I can say until I get my hands on a final production sample. There may be sample images published already, but these are from pre-production cameras and may not be reflective of the final quality and handling. One thing's for certain though: Sony's created another camera that's set to shake up the market and have many buyers questioning traditional designs. I'd love to hear what you think about the SLT-A77 in the Cameralabs forums!
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