Based on a pre-production SLT-A77 II running firmware 1.00

Sony has announced the SLT-A77 II which, as the name implies, is an overhaul of its semi-pro APS-C camera from 2011. The camera itself looks interesting, but so do some of the things it could be taken to signify.
Sony is not a company that could ever be accused of not trying. Eight years on from buying Konica Minolta's camera business, Sony has produced over forty interchangeable lens cameras based on at least three fundamental design approaches: conventional DSLRs, the fixed-mirror SLT system and the mirrorless E-mount models. Those cameras have continued to get better and the company has recently hit a particularly good run of form.
This success in terms of making very good, as well as very innovative, cameras starts to make sense of what has at times looked like a 'try lots of things, see what sticks' approach. The question is: once one of the designs really delivers on its promise, does it make sense to continue the other technologies in parallel?

Clearly Sony believes it does. Despite the leaps and bounds being made with the E-mount Alphas, both in terms of the on-sensor phase detection autofocus of the a6000 and the full frame sensors shoehorned into the A7 triplets, it has continued to develop its SLT cameras. The A77 Mark II features a new autofocus sensor, and it's much more than a refreshed version of an existing design. Instead the A77 II is built around the AF module with the most focus points of any camera on the market (79), covering an extremely wide area of the frame. It's also rated to work in lighting as low as -2EV. That doesn't necessarily make it quite as sophisticated at pro-grade DSLRs, since they have more cross and diagonal sensor elements, but it looks very impressive for a camera in this part of the market.

The autofocus capability combines with the camera's ability to shoot images at 12 frames per second to offer a compelling feature set. The A77 II also benefits from the autofocus tracking advances that have been included on recent Sony cameras, which use information from the main image sensor to identify and follow a given target.
Beyond that autofocus sensor, the A77 II gains an updated 24MP sensor (presumed to be a version of the sensor from the a6000, but without the on-chip sensor phase detection design) and all the benefits that the company introduced with its Bionz X processor. This means it gains three features: context-sensitive noise reduction, diffraction reduction technology and more-sophisticated sharpening.

Sony SLT-A77 II key specifications:

• 24MP CMOS Sensor with gapless, offset microlenses
• 12fps continuous shooting with autofocus (up to 60 JPEGs)
• 79 point AF module with 15 cross-type AF points, covering 40% of frame
• Increased control over AF behavior
• 1080p60 movies with autofocus
• Audio level monitoring during movie shooting
• 2.4M dot OLED viewfinder
• Pull-out three-hinge tilt/swivel 1.23m dot White Magic LCD screen
• Built-in Wi-Fi with NFC
• 1/8000th maximum shutter speed, shutter rated for 150,000 actuations
• ISO 100 - 25,600 (Extendable down to 50, and up to 51,200 with multi-image combination)
• Auto ISO customization
• Optional, profile-based correction of vignetting, chromatic aberrations and geometric distortion
• Top panel LCD
• Stereo microphone and external mic socket
• AF Micro Adjust

Focus advances

Although Sony stresses that the A77 II shouldn't be compared to pro-grade cameras (not least because it's much less expensive), it is starting to gain the kinds of paper specifications that suggest it could punch considerably above its weight. For instance, the improvements to the A77 II's autofocus system extend a long way beyond the focus sensor itself.
The Mark II gains a range of subject identifying technologies that Sony has introduced in recent models. As such, it offers Eye-AF, rather than just face detection. It also gains the most advanced version of 'Lock-On AF' that we've yet seen, which will use or allow you to specify an off-center starting AF point (previously most Sonys assumed your subject was the thing at the center of the frame, when you started tracking).
Unlike the A99, which used its on-sensor phase detection elements to track a subject's movement when it was between the focus sensor's focus points, the A77 II uses the focus points adjacent to the currently active point. In addition, the A77 II becomes the first Sony that lets you determine how doggedly the camera should stick with the current focus point - an option you'd usually only expect to find on very high level models. Better still, it lets you specify different values for video and stills shooting.
On top of this, the camera has an A99-style distance limiter that lets you specify the approximate range of focus distance over which you expect your subject to travel, to prevent the camera being distracted by near or distant subjects. Also added is an option to prioritise release or focus in continuous shooting, giving much greater control over the camera's continuous focus and shooting behavior. Overall, the A77 II represents a major step forward for Sony autofocus control.

What's in a name?

Interestingly, Sony's marketing implies that it is moving away from the 'Single Lens Translucent' name for the A77 II, instead adopting the phrase 'Translucent mirror DSLR.' This is a slightly unfortunate phrase to use, semantically, but only because the mirror is actually semi-transparent (translucence implies a diffuse image): the camera has all the elements implied by the term 'DSLR.'
The technology remains the same as before: a fixed, semi-transparent mirror redirects a portion of the light up to a dedicated autofocus sensor, while the majority passes through to the main imaging sensor. The light lost to the AF sensor has a slight cost in terms of high ISO image quality, but avoids the complexity of multiple moving mirrors, with the benefit that autofocus remains available at all times, including during video shooting.

Body & Design

The a77 II is a mid-size DSLR with a solid, weather-sealed magnesium alloy body, which has some weight to it, but not to the point of being heavy. The right hand grip feels 'just right' and gives easy access to the most important controls on the camera. Speaking of which, the a77 II is loaded with buttons and dials, but they're logically placed and usually serve one function at a time. That said, there are eleven customizable buttons on the body, with up to 51 assignable functions, so you can truly set up the a77 II to your liking.
The a77 II has traditional front and rear dials for adjusting exposure and navigating menus, and uses a 'joystick' rather than the four-way controller found on most cameras. The joystick can be used with both the Func. menu (which offers twelve customizable functions) and QuickNavi menus, though it's a bit too sensitive to inward pressure. One nice thing that Sony hasn't gotten rid of is the backlit LCD display on the top of the camera, which shows current settings, shots remaining, and battery life.
So what's changed since the original SLT-A77? The most obvious change is on the front: the giant red AF assist-lamp from the a77 is completely gone, with the a77 II's built-in flash now handling that function. The GPS receiver has been replaced with one for Wi-Fi, and there's now a spot for 'tapping' NFC devices on the opposite side of the body. The mode dial has been tweaked and the LCD now has extra white pixels (see below for both of those). Finally, the a77 II leaves the old Minolta hotshoe behind, and uses Sony's Multi Interface Shoe, which includes pins for optional microphones, in addition to a standard external flash connections.

In your hand

The a77 II is a decent sized DSLR, but ergonomically speaking its well-designed, with a nice grip and logically place controls (though there are many of them).

Despite being loaded with buttons and other controls, you won't accidentally press anything thanks to the good-sized thumb rest. The joystick is at the lower-left side of the rest and can be a bit fiddly at times.	The a77 II's grip is just the right size, giving it a secure feel in your hand. Most buttons on the top plate are easily reachable with your pointer finger, though the ISO button is a bit of a stretch.

Top of camera

The majority of the cosmetic changes between the a77 II and its predecessor can be found in the top-down view. The mode dial has been reworked, with the '3D' option on the a77 being replaced with three Memory Recall (MR) spots. There's also a locking mechanism which needs to be held down in order to rotate the dial.
At the center of the photo is the aforementioned Multi Interface Shoe, which supports 'regular' external flashes (instead of the old, proprietary Konica Minolta shoe) as well as accessories such as external mics. Oddly, though, it's not comptible with the XLR KM1 high-end microphone adapter unit. Above that is the stereo microphone, which records Dolby Digital (AC3) sound.
The buttons and display to the right are self-explanatory. The finder/monitor button can be used to override the eye sensor on the EVF, while the tiny button with the light bulb on it will illuminate the LCD info display.

Articulating LCD and OLED Electronic Viewfinder

The a77 II has the same, rather complex 3" articulated screen as its predecessor. It uses a swivel-and-tilt joint, that is itself affixed to an arm that folds out from the back of the camera. This allows a huge range of positions to be adopted, including setting the screen facing forwards over the top of the viewfinder housing or, for that matter, under the bottom of the camera.

The screen sits on an articulated joint, on an arm that can tilt up from the back of the camera

The a77 II now uses a WhiteMagic display, meaning that it has an extra pixel for white, in addition to red, green, and blue. WhiteMagic allows for better outdoor visibility and improved battery life. While the RGBW dot pattern boosts the total resolution of the display to 1.23M dots, the resolution (VGA) is no better than on the a77.
The electronic viewfinder, on the other hand, is unchanged. It's one of the best you'll find, thanks to its XGA resolution and OLED technology. The EVF is quite large, thanks to a 1.09X magnification, and frame coverage of 100% is just as you'd expect.
Because of the way viewfinders are measured (using a fixed lens, rather than a lens of equivalent magnification), you also need to take the sensor size into account, so the numbers in the diagram below are the manufacturer's specified magnifications divided by the respective 'crop factors'.

The Sony SLT a77 II's electronic viewfinder is large - on par with the optical finders of full-frame SLRs. This makes it substantially bigger than those in its APS-C SLR peers such as the Nikon D7100 or Canon EOS 70D.

The green squares in the diagram represent that 15 cross-type AF points, out of 79 total. The red square at the center is for lenses with a maximum apertures of F2.8 or faster, which results in more precise focusing.

Auto ISO

The A77 II has the same two-mode Auto ISO system that's been common on recent Sony cameras: a normal Auto ISO system and a JPEG-only system that takes three shots then combines them to reduce noise. The main Auto ISO system allows you to set the upper and lower limits for the ISO settings the camera can use, but gives no option to change the shutter speed at which it increases the camera's sensitivity.
In manual exposure mode, the camera matches the behavior of recent Sonys in continuing to offer Auto ISO mode. This is implemented in such a way that you can continue to apply exposure compensation, so that you can set aperture, shutter speed and image brightness, with the camera choosing an appropriate ISO to provide the specified result.

Body elements

	This Semi-transparent mirror is at the heart of Sony's SLT cameras. Light hits this mirror and approximately a third of the is sent upward to the AF sensor, while the rest continues on to the CMOS.
	The a77 has a built-in flash, which is released electronically. The flash has a guide number of 12 meters at ISO 100. It's also used as a focusing aid in low light, replacing the dedicated AF-assist lamp on the original a77.
	This dial, at the bottom-left of the camera's front plate, switches between manual, continuous, auto, and single autofocus mode.
	The mode dial has been redesigned and now features three Memory Recall (MR) slots. There's also a locking mechanism that requires you to hold the center button down in order to rotate the dial.
	One feature that has become increasingly rare on DSLRs is an LCD info display on the top plate. This backlit display shows things like aperture, shutter speed, drive mode, shots remaining, and battery life.
	The a77's electronic viewfinder is one of the best you'll find, with 2.36 million dots and a magnification 1.09x. An eye sensor automatically switches between the LCD and EVF. The diopter correction knob can be seen on the far right side.
	The joystick on the rear of the camera is your main tool for menu navigation. It's movement is a bit tight, and pressing inward accidentally can be an issue.
	The a77 II has a wide selection of I/O ports, including flash sync, remote control, DC-in (covered here), microphone, HDMI, and USB.
	As with its predecessor, the a77 II supports both SD/SDHC/SDXC and Memory Stick Pro Duo cards.
	The a77 II uses the familiar NP-FM500H battery, which dates back to the A700. The battery contains 11.8Wh of energy, which translates into 480 shots per charge with the LCD, and 410 with the EVF. That's a 10% drop compared to the original a77.

Shooting with the Sony A77

by Shawn Barnett

Right away, I could tell something was different. We'd heard the presentation, which sounded pretty good, but it wasn't until I held the Sony A77 that I knew something had changed. I felt the same way when I used the Sony A700, the camera the A77 replaces. I won't go too much into detail about my disappointment that the A700 went so long without an upgrade or successor; suffice it to say that I thought that camera was Sony's best chance at making a dent in the Canon/Nikon hegemony, and instead of addressing its few flaws, Sony was spending too much time trying to appeal to the consumer market, a place where Nikon and Canon dominate even more pervasively. I've long thought that to be successful in this market, Sony needed to impress the enthusiast first: Give them a real reason to switch, and some of the masses would begin to follow.
That reason, of course, appeared however stealthily in two other consumer cameras, the Sony A33 and A55: the Translucent Mirror Technology that enabled a high frame rate (7 and 10 fps) and continuous phase-detect autofocus from two sub-$1,000 cameras. But I wasn't sure these would get the attention needed to make a dent, worthy as the technology was. It just didn't seem like the message would get out, and the two cameras looked so much like EVF long zooms, I didn't think anyone would take them seriously. Despite that concern, searches for this line of cameras is reasonably high. But the real difference will come with the Sony A77. Capturing 24.3 megapixels at 12 frames per second changes everything. I haven't been this excited about a camera in some time, but based on my experience with the Sony A77, I'd buy one.
I've already outlined most of the user experience at the top of this review. To recap: The Sony A77 is comfortable to hold and use, button placement is excellent, and its relative similarity to other SLRs on the market makes me feel right at home.

Viewfinder versus LCD. Sony's fundamental translucent mirror technology means there's no optical viewfinder to use when framing your images, so Sony draws a live image off the sensor and displays it on a relatively large OLED screen inside the viewfinder. The effect is more advanced than you're used to seeing from LCD electronic viewfinders. Instead of the distracting grid of pixels that normally greet your eye, the OLED in the Sony A77 is smooth and fairly high resolution.
It's pretty good for framing images when indoors, and it even gains up nicely to help you see detail that you can't see with your eye (though the refresh rate slows a bit). But outdoors it's a different story. While we normally turn to optical viewfinders and even EVFs in bright light, I find my eye taking a little more time to adjust to the OLED EVF in the A77's viewfinder. A sensor over the viewfinder detects my eye and makes the switch between the LCD and EVF, but usually doesn't make the switch fast enough, leaving me first in the dark, then I see a screen that's a little too dark at first, then my eye adjusts. It's not a comfortable set of changes, going from very bright to very dark, then to somewhat bright, so most often I and my colleagues shied away from the EVF when out in daylight, preferring the LCD.

Shadow detail. I got much better shadow detail than the optical viewfinder suggested.

The other problem I had with the electronic viewfinder is a tendency for shadows to appear plugged in high-contrast situations like the one at right. All of the foreground shadow was quite black in the EVF, which is partly why I took this shot: I wanted to see how the sensor would handle the deep shadows. Turns out the sensor did just fine, but I had discovered another limitation of the OLED viewfinder. Because I was thinking about the shadows, I don't remember if the sky in this shot was blown, another common problem among EVFs in high-dynamic-range situations.

Play. The Sony A77's quick nature is great for getting the family at play.

The good news is that the Sony A77's articulating LCD is excellent in both bright and dim light. Its 921,600 dots make another smooth image, one that seems to be transflective, or both transmissive and reflective. Sunlight striking its surface reflects back in relatively bright color that is quite a bit better than trying to read some LCDs through a dark cover-glass. Its unique swiveling mechanism is tough to describe, but I found myself using it a lot as I shot both cars and kids, because both benefit from shooting at a lower angle. At first it seems to be hinged at the bottom like past Sony designs, but then a horizontal hinge not unlike that used on Sony's NEX cameras swings out from the back, allowing the LCD a much greater range of motion. It can even face forward from the top or bottom. The joints are hinged with enough stiffness that the LCD stays where you leave it, so it's versatile. Figuring out which way to turn it for maximum effectiveness isn't obvious at first. When shooting low and vertically, I first swiveled the the LCD down, then to the right, so that the LCD faced upward with my right hand on the grip. However, it was often very difficult to frame images, because when I moved the camera left or right, the image moved in or out. The key is to use the second hinge. Swiveling that out presses the left edge of the LCD up against the EVF's rubber cup, and the image then matches: moving the camera left moves the image left, and moving right moves the image right.

Source
DPReview Sony SLT-A77 II Reviews
Imaging-Resource Sony SLT-A77 II Reviews
Official Website

Where to Buy
Official Website $1.399,99 - $1.699,99 Sony a77 DSLR Camera and Lens
$1,198.00 Amazon Sony A77II Digital SLR Camera - Body Only*free shipping
$1,399.95 Amazon Sony Alpha SLT-A77 Translucent Mirror Technology Digital SLR Camera Body & 16-50mm Lens with 2 Sony 32GB Cards + 2 Batteries + Backpack Case + Filter + Remote + Accessory Kit*+ $19.95 shipping
$1,270.70 Amazon Sony SLT-A77 24.3 MP Digital SLR with Translucent Mirror Technology. Includes Sony 18-55mm f/3.5-5.6 DT Standard Zoom & 55-300mm f/4.5-5.6 DT Alpha A-Mount Telephoto Zoom Lenses. 2 UV Filters, 16GB Memory Card, Tripod & More*free shipping 
$1,198.00 GearShop Sony a77 Mark II DSLR Camera(Body)

After the announcement of the full-frame E-mount Sony A7, A7R and A7S compact system cameras and the demise of the Nex brand, you could be forgiven for thinking that Sony may not continue with its A-mount SLT (single lens translucent) cameras. However, the Sony Alpha 77 II proves this not to be the case.
As you might guess, the Alpha 77 Mk2 replaces the Alpha 77, which is now discontinued, and it has an almost identical shape and design. The new camera is aimed at enthusiast photographers who want a step-up from an entry-level model.

Features

Like the Alpha 77, the A77 Mark II has a 24 million-pixel sensor, but this is a new device that benefits from the progress that has been made with sensor design in the two-and-half-plus years since the A77 first arrived.
For the first time in an A-mount camera, the signal from the Exmor sensor is processed by a Bionz X processor. This should mean that the A77 Mark II is capable of resolving a high level of detail and controlling noise at high sensitivity settings.
Sensitivity may be set in the native range ISO 100-25,600 for still images, with a low expansion setting of ISO 50 being availble. The movie sensitivity range is a bit narrower, going from ISO 100 to 12,800.
As the SLT design has a fixed translucent mirror, the A77 Mark II has an electronic rather than optical viewfinder. Sony has used the same 2.3 million-dot OLED Tru-Finder as is found in the A7 and 7R, which is good news since this provides a clear, detailed view.
This viewfinder also allows enlargement to assist with manual focusing and can display focus peaking and zebras to indicate areas of highest contrast (sharpness).

One of the benefits of the SLT design is that there can be full-time phase detection autofocus during movie shooting and when composing images on the rear screen. Sony has used a newly developed phase detection sensor in the Alpha 77 Mark II. This has 79 AF points, 15 of which are the more sensitive cross-type. In comparison, the original A77 has 19 AF points of which 11 are cross-type.
The new camera can also shoot a maximum rate of 12 frames per second (fps) with AF tracking and the buffer has capacity to allow up to 25 raw and JPEG images to be captured in a single burst. The original Alpha 77 could only cope with 11 images in a burst at 12fps. If raw file recording is deactivated, the A77 Mark II can record around 53 Extra Fine JPEGs in one blast.
Although autofocusing and auto exposure continues when shooting at 12fps, aperture is locked at the start of the sequence. If exposure needs to change during the burst it is done via shutter speed or sensitivity.
Sony is rather proud of the progress it has made with the autofocusing system for the A77 Mark II. We're told that five engineers conducted field tests for six months with high-end cameras like the Canon EOS-1DX, Canon 70D, Nikon D4, Nikon D7100 and Panasonic GH3, in order to find the best parameters for AF while shooting a variety of sports and action.
Sensor development means that the A77 Mark II's CCD AF sensor produces less electronic noise than previous devices and this helps with autofocusing speed and accuracy as well as boosting low-light performance. Spot AF performance is also claimed to have been improved with weighting given to the centre of the spot.

The A77 Mark II has a collection of AF-point selection options including Wide, Zone, Flexible Spot, Local, Expanded Flexible Spot and Lock-on AF. In Expanded Flexible Spot mode the photographer selects one AF point and the camera supports this with the surrounding 8 points. In Zone AF mode the AF points are divided into 9 zones for selection.
Lock-on AF allows the user to specify how quickly the camera responds to changes in subject distance. In the past this was located in the menu, but it has been moved to the AF Mode selection area to make it quicker and easier to find.
According to Sony, almost all of its A-mount lenses are compatible with the 79 AF points, but only 61 are available when shooting at 12fps. Sony's 500mm f/8 lens is a notable, but not surprising, exception and it will only allow the center AF point to be used.
Other pleasant additions to the Alpha 77 Mark II's featureset include an HDMI port that can supply clean video output to external storage devices and Wi-Fi connectivity. As the A77 Mark II has an NFC chip, owners of NFC enabled smartphones and tablets can connect to the camera by touching the two devices together.
Interestingly, despite the presence of Wi-Fi connectivity, the A77 Mark II cannot make use of aSony PlayMemories Camera apps.

Build quality and handling

Close comparison of a pre-production sample Alpha 77 Mark II with the original Alpha 77 reveals few obvious differences. The two cameras have the same overall shape and control layout and the vertical grip that was produced for the original A77 can be used with the new camera.
There is a slight difference to the new camera's mode dial, however: it has a lock button to prevent it from being knocked out of position. The hotshoe has also been changed from the Sony (Minolta) proprietary shape to the more common universal style. It has also been upgraded to make it a multi-shoe capable of accepting a range of accessories.
In addition, the function (Fn) button has a greater range of customisation options.
Like the camera it replaced, the Alpha 77 Mark II feels pretty tough and durable. The grip on the front of the camera is deep and generously sized to provide a comfortable hold. There are also plenty of buttons and dials to give direct access to many of the key features, as befits an enthusiast-level camera.
Strangely, Sony has continued with having the 12fps shooting option located on the mode dial. Given the rethinking about the AF options, we might have expected this to be part of the drive mode options. Sony's explanation is that it's a major feature of the camera and that there are aspects such as the aperture locking at the start of the shoot that need to be considered.
On the back of the camera is a three-inch vari-angle screen, which provides a detailed, clear view of the scene, but isn't touch-sensitive. Its resolution, however, has been boosted from 921,000 dots to 1,228,000 dots.
As on the Sony A7 and 7R, the 2.3-million dot electronic viewfinder is bright and clear with plenty of detail visible.

Performance

As yet we have only been able to use a sample of the Sony Alpha 77 Mark II for a short while, but we have been able to look at a few images from it, which are published on the next page.
The early signs are good, and Sony's strong reputation for sensor design and image processing looks set to continue. However, some of the images captured at the lower sensitivity settings have slight coloured speckling that is visible at 100% on-screen. They look very good at normal veiwing sizes however, and there's plenty of detail in shots taken in the low to middle sensitivity range.
Our initial images taken at the highest sensitivity level (ISO 25,600) also look good at normal viewing sizes, although there is smoothing of noise evident at 100% on screen. I'm looking forward to testing the camera in a wider range of light levels.
Colours look natural direct from the camera and the automatic white balance copes well with a mixture of natural and artificial light.
Naturally, we have also seen some of Sony's sample images from the A77 Mark II and they look good, prompting Sony to claim that noise levels are lower than from competing cameras.
Sony's Bionz X processing engine has diffraction reducing technology to improve JPEG resolution and sharpness and it will be interesting to see how this impacts upon image quality from the A77 Mark II in comparison with the A77.
We haven't been able to test the A77MK2's autofocusing system fully by any means, but my initial impressions are very good. It seems fast and accurate even in subdued light and is capable of keeping a moving subject sharp. It also follows faces around the frame accurately.

Early verdict

While the changes made with the Alpha 77 Mark II may not seem dramatic, Sony has worked on the most important aspects – the sensor and processor – to boost speed and image quality.
Many will recognise that it's sensible to stick with the same pixel count as with the Alpha 77, as 24 million captures enough detail for most purposes and allows big prints to be made. The files are also large without being unmanageable by the average modern computer.
We're looking forward to getting a full-production sample of the A77 Mk II in so that we can test the improved autofocus system and see if it is a match for a high-end SLR's when shooting sport and action.
Naturally, we'll also investigate all other aspects of image quality including exposure metering, white balance and colour, but given Sony's claims we'll be paying particularly close attention to the noise levels at high sensitivity values. We're also looking forward to putting the AF system through its paces.

Sample Image

This ISO 800 image has a very impressive level of detail.

Though smoothing is visible when the image is viewed at 100% on-screen, this ISO 25,600 image looks very good at more normal viewing sizes.

Colours are rich, yet natural and there's a pleasing level of contrast straight from the camera.

The A77 Mark II has handled the exposure well here, and there's plenty of detail in the feathers on this bird.

The A77 Mark II's metering system has concentrated on the most important aspect of this scene and not been overly put-off by the bright sky.

There's some coloured speckling visible in the shadow areas of this ISO 250 image.

Source

One of the most exciting cameras that debuted in 2012 was Canon's PowerShot G1 X. It featured a 1.5" sensor (which is only 20% smaller than APS-C), 28-112mm lens (albeit a moderately slow one), fully articulating LCD, and optical viewfinder (a rarity at the time). The G1 X was far from perfect: the lens' maximum aperture range of F2.8-5.8 wasn't great, AF performance and the minimum focus distance were disappointing, continuous shooting rates were poor, and battery life was downright lousy.
With the 'Mark II' version of the PowerShot G1 X, Canon has addressed many of the shortcomings of its predecessor. For a start, the G1 X II has a faster lens that covers a wider focal range and can shoot much closer to a subject. It also promises a faster, more sophisticated AF system, improved continuous shooting, dual control dials around the lens, and Wi-Fi with NFC. The LCD has also been redesigned: it now tilts upward 180° and downward 45° - instead of flipping out to the side - and touch functionality has been added, as well. The camera is also significantly smaller than its forebear, now looking more like an over-grown S-series, rather than an out-sized G12. Something that got sacrificed in all this was the optical viewfinder, but fear not, you can buy a tilting XGA EVF for $300.

Canon PowerShot G1 X Mark II key features

• 12.8 megapixel 1.5"-type CMOS sensor
• Digic 6 processor
• 24-120mm equivalent F2.0-3.9 lens with optical IS
• Dual (customizable) control rings
• Tilting 3", 1.04M dot touchscreen LCD
• 5.2 fps continuous shooting
• Maintains same angle-of-view at 4:3 and 3:2
• Wi-Fi with NFC with remote control via smartphone
• 1080/30p video recording
• Optional XGA electronic viewfinder

The big story remains the G1 X II's 1.5"-type sensor which is around 5.6 times larger than the one found in Canon's own PowerShot G16. The result is still a fair bit smaller than the APS-C-sized sensors used in Canon's DSLRs, but then the camera is quite a bit smaller, too. It's interesting to compare the EOS-M, which is similar in body size, to the G1 X II. The built-in lens and smaller sensor allow the PowerShot to remain much smaller than the 'M' would be, were there an equivalent lens available.

Accessories

There's no shortage of extras available for the G1 X Mark II. The most notable are the electronic viewfinder and custom grip.

The EVF-DC1 ($299) is an XGA electronic viewfinder with 2.36 million dots (a 1024x 768 pixel display). As shown above, the viewfinder can tilt upward by 90 degrees. It has a built-in eye sensor, or you can turn it on via the button on its left side. While the resolution of the viewfinder is quite high, the refresh rate isn't nearly as nice as the main LCD.
There will be some people who decry the loss of the G1 X's built-in viewfinder but, given how small and imprecise it was, we feel the option to include of a considerably better finder (or not, if you don't want to spend the extra), is a reasonable alternative. It does, of course, mean that you need to spend more money to get a camera with a viewfinder, but that effective price increase over the G1 X also gains the faster, more versatile lens, smaller form factor and all the camera's other improvements.

Standard grip	Custom grip

Those with large hands may find the G1 X Mark II's grip a bit lacking. Canon offers the GR-DC1A custom grip ($29), which is more substantial. Switching the grip out just involves removing a pair of screws, swapping the pieces, and then screwing the new one back in.
Other accessories include an underwater housing (WP-DC53), 58mm filter adapter (FA-DC58E), lens hood (LH-DC80), and remote shutter release (RS-60E3).

Body & Design

The PowerShot G1 X Mark II is a relatively bulky camera that's about the size of a superzoom, sans the big lens. Build quality is very good. The camera is made mostly of metal and feels well put together, especially the lens barrel with its twin dials. The dual-hinged plate that allows the LCD to tilt is quite impressive.
Controls are tightly packed on the rear of the camera, with a typical Canon PowerShot G-series layout. The dial that surrounds the four-way controller is one of three on the camera, with the other two being around the lens. The functions of each can be customized, with the available options listed at the bottom of this page.

In your hand

The G1 X II's large sensor and fast, wide-ranging lens make for a large camera. Despite that, Canon has designed the camera in such a way that it can be operated with one hand - though the front dials encourage a two-handed approach.

Nearly all of the G1 X II's buttons are on the rear of the camera, to the right of the LCD. That makes things pretty cluttered, though the thumb rest should keep you from accidentally bumping something. The grip isn't terribly large but it works well enough. Those with large hands may prefer the optional 'custom grip' shown earlier.

Compared to PowerShot G1 X

The design of the G1 X II has changed considerably compared to its predecessor. Gone is the 'two level' top plate - used to house the optical finder - which gives the G1 X II a more traditional rectangular shape. The grip on the G1 X II is smaller than on the original, though the optional 'custom grip' closes the gap. Also note that the front dial on the G1 X is gone on the G1 X II, replaced instead by an additional dial around the lens.
On top you'll notice that the 'double dial' which combined the mode and exposure comp dials has been transformed into a more traditional mode dial. The hot shoe on the G1 X II offers an accessory port (for the optional EVF) that was not available on its predesccor.
The back of the cameras hasn't changed too much, aside from the obvious removal of the optical viewfinder. While the controls were tight on the G1 X, they're even more crowded on the G1 X II.

Tilting touchscreen LCD

While the G1 X Mark II's 3" LCD can't flip out to the side and rotate like on its predecessors, it does have some tricks up its sleeve, one of which you won't find on any other enthusiast compact.

The LCD can be tilted in the usual up and down positions. Note how the camera can stay flat even while the LCD is tilted downward.
The LCD can be tilted all the way to 180 degrees, allowing for 'selfies'.

For better or worse, you can now take 'selfies' on a large sensor compact. As for the display itself, there are 1.04 million dots and 3:2 aspect ratio. Outdoor visibility was very good.
Touchscreen features include the usual suspects. You can touch to focus and take a shot, navigate through menus, and flip through photos you've taken. The touchscreen is responsive and the actions (especially in playback mode) feel very smartphone-like.

Body elements

	Aside from its 1.5"-type sensor, the other 'big deal' on the G1 X II is its 24-120mm equivalent F2.0-3.9 lens. This is a significant improvement over the 28-112mm F2.8-5.8 lens on the G1 X, at least in terms of spec. The lens isn't threaded, but Canon's FA-DC58E adapter, which allows you to use 58mm filters.
	The controls on the rear of the G1 X should look familiar to anyone who's picked up a G-series camera in recent years. A scroll dial surrounds the four-way controller and by default serves as the subdial for adjusting exposure. Pressing 'up' on the four-way controller opens up the Wi-Fi menu, a feature which will be described later in the review.
	At the top-right of the camera's rear plate are buttons for Wi-Fi, movie recording, and 'Shortcut'. The Shortcut button function can be defined to your liking - see below for a list. The phone-like button is a quick way to connecting to a previously paired smartphone or tablet.
	On the G1 X, there was an exposure compensation dial under the mode dial. On its successor, there's just a mode dial. In addition to the usual exposure modes, there are also Smart Auto (which selects a scene mode for you), Hybrid Auto (shoots a short movie with each still), and several 'creative' modes.
	The G1 X II's pop-up flash, whcih is released manually, has a maximum range of 6.8m at wide-angle and 3.5m at telephoto.
	Deep within the recesses of the hot shoe are connectors for the optional electronic viewfinder. At this point, that's the only accessory that takes advantage of this connector.
	On the left side of the G1 X II is the flash release, speaker, and 'contact area' for tapping NFC devices.
	The I/O ports on the camera include remote control in, USB + composite out, and micro-HDMI. The G1 X does not have microphone or headphone jacks.
	Under a plastic door you'll find the battery and memory card compartment. The NB-12L lithium-ion battery packs 6.8Wh of energy, which translates into a disappointing 240 shots per charge. Due to the proximity of the tripod mount, you cannot access this compartment when the camera is attached to one.

Controls

Although its slimmed-down styling can make it look like the G1 X Mark II has fewer control points than the G1 X, it actually has one more. A greater number of its controls are also customizable, with the most prominent being the two dials that wrap around its lens. There are also two customizable buttons - the Shortcut button and the red [Rec] button. In addition, the camera's Function menu (which has been on Canon PowerShots for what seems like an eternity) can be adjusted to your liking.

Dial customization

The twin dials around the lens can be customized, sometimes to the point of overkill.	You can adjust the dial and button settings in the 'Function Assignment' menu item.

Here is the complete list of functions that can be assigned to the camera's three dials. Several options apply more than one function to the camera's clicking, inner dial. If one of these options is selected, the 'up' direction on the four-way controller (which usually controls Exposure Comp.) toggles between the options.

Function Menu

The G1 X II's function (shortcut) menu can also be customized, and it's about time. You can do this via the 'Func' Menu Layout which sits in the shooting settings menu.

The function menu is a staple of Canon PowerShot cameras.	Here you can choose what goes in the function menu.

The following options can be used in the Func menu:

• DR correction • Shadow correct • White balance • My colors • Bracketing • Drive mode • Self-timer

• Light metering • ND filter • Aspect ratio • Image type • Recording pixels • Compression • Movie quality

One thing that some may find irritating is that, like other recent PowerShots, the function menu isn't dismissed until you press the Func button again or tap the touchscreen. Half-pressing the shutter release won't do it, nor will entering the standard menu (which is unavailable, if you're on the White Balance section of the Func menu).
This persistence of the Func menu is useful if you're trying to re-take the same shot with different settings, since the Func menu pops back up after the first shot, allowing you to make a quick change for the second shot. However, it can also slow down general use of the camera: if you don't actively close the Func menu, then the control dials and several buttons are tied up with menu navigation, causing an extra delay you don't usually get with other cameras.

Main Menu

The menu system on the PowerShot G1 X Mark II is unchanged from recent Canon PowerShots, and that's just fine. The menus look good, operate smoothly, and offer 'Hints and Tips' for folks who may not know what all those items mean.

The main menu is attractive, responsive, and easy to navigate. Note the help display at the bottom of the screen.	Your most commonly used menu items can be placed in 'My Menu'.

If you want quick access to the settings you use the most, you can put them in 'My Menu', Pretty much every setting in the menus can go there, and you can make My Menu the default screen when the 'menu' button is pressed.

Auto ISO

The G1 X II has a customizable Auto ISO feature that allows you to set the maximum sensitivity the camera will use, and how quickly it will increase the shutter speed. The max sensitivity ranges from ISO 400 - 12800. The 'rate of change' - available in all modes except Manual (M), doesn't let you set the minimum shutter speed, instead giving you the options 'slow', 'standard, and 'fast'. Sadly, the camera does not permit adjustment of exposure compensation when using Auto ISO in manual mode.

Touch Features

The PowerShot G1 X Mark II is the first Canon G-series camera to have a touchscreen display. There aren't really any surprises here, as the G1 X II's features are no different from those found on other touch-enabled cameras we've tried.
You can touch to focus or take a picture. Menus can be operated by dragging and tapping your finger. You can enlarge an image in playback mode by double tapping, and then use your finger to 'drag' the image around. Moving through images takes but a flick, and you can scroll them them faster by increasing your swiping speed.

Wi-Fi Features

The G1 X Mark II has virtually every Wi-Fi feature one could desire. The G1X II allows the following actions:

• Remote control from a smartphone
• Transfer of images to smartphone
• Transfer photos to a social network or over email (via a Wi-Fi network)
• Automatic upload to Canon's cloud service or Google Drive (via a Wi-Fi network)

A one-touch 'Direct Connect' button will instantly re-pair the camera with the smartphone you've been using. NFC-enabled smartphones can also connect to the G1 X II with a 'tap'. Images and movies can also be sent to your Mac or PC.

Functions in the remote capture section of the CameraWindow app are limited to what you see here.

That said, the remote capture feature isn't very robust, and setting up photo sharing requires a lot of patience. As shown in the screenshot above, the only things you can adjust are the zoom, flash mode, and self-timer. It would be nice if you had access to things like exposure and ISO. The app can also be used for browsing and downloading photos from the G1 X II, and also providing GPS location data.
When you first enter the Wi-Fi menu, you are presented with a screen with five icons. The icons represent target devices: a camera, smartphone, PC, printer, or cloud service. Setting most of those up is easy enough - you can use an existing network or have the camera be its own hotspot.
The most frustrating part of the Wi-Fi experience is setting up cloud services, which is required before you send photos anywhere else. This involves signing up for Canon's Image Gateway service, authenticating your camera (which adds Canon's cloud service to the camera), and then setting up each of the social/photo sharing networks (Facebook, Flickr, Google Drive, etc.) one at a time.

Source
DP Reviews Canon PowerShot G1 X Mark II Reviews -Apr, 2014
Engadget Canon PowerShot G1 X Mark II Reviews (8.0/10) -Apr, 2014
CNET Canon PowerShot G1 X Mark II Reviews -Apr, 2014
Official Website

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