sony a7ii lcd screen replacement made in china

The Sony a7 IV is the fourth generation of the company"s core a7 full-frame mirrorless camera model. It"s the most advanced yet, bringing many of the improvements Sony has made in terms of autofocus and interface design since the launch of the a7 III, back in February 2018.

Despite the higher resolution, the a7 IV can still shoot at 10 frames per second. However, it can only do so in the lossy compressed format if you want to shoot Raw, and drops to 12-bit mode, further reducing dynamic range. The a7 IV has a lossless compression option, for when you need maximum processing flexibility, but the burst rate drops to around 6 fps if you use it. Sony says the camera"s buffer depth allows over 800 Raw+JPEG images (or over 1000 JPEGs), but this is in the uncompressed Raw format, which again shoots at around 6 fps.

In terms of autofocus, the improvements over the a7 III should be fairly significant, not so much because of the promise to focus in conditions that are one stop darker (–4EV with an F2 lens) but because that camera was one of the last Sonys that didn"t integrate Eye AF into its main AF system, and relied on a much more primitive AF tracking system. The a7 III could detect human eyes, but it couldn"t seamlessly and dependably switch between eye, face and body tracking if you set the camera to focus on a person.

The a7 IV still offers a dizzying array of AF area modes (including "tracking" variants of each), but you can at least disable all the ones you don"t use. The tracking versions are unavailable in video mode: instead, you tap the rear screen to select a subject for the AF to follow.

The a7 IV adds a Breathing Compensation mode that crops and resizes the video to cancel out any change in a lens"s angle-of-view (AoV) as it focuses. The mode only works with select Sony lenses (all the GM lenses and some G series glass), as the camera needs a profile of the breathing characteristics. Video is cropped to match and maintain the narrowest AoV that might occur if you focused from minimum focus distance to infinity, meaning there"s no distracting change of framing as you refocus.

A fully articulating screen can be useful for waist-level shooting, vlogging or selfies. It also allows you to monitor the camera if you"re using its streaming mode.

The a7 IV gains the ability to capture 10-bit compressed images, rather than just the 8-bit JPEGs historically offered. Unlike Canon, which only uses HEIF capture for HDR images, the Sony lets you shoot standard DR images in 10-bit, with a choice of 4:2:2 or 4:2:0 chroma sub-sampling, if you can find benefit to doing so.

There"s also a fully-articulating rear screen. These aren"t to everyone"s taste but allow video, vlogging and selfie shooting in a way that a tilt-out screen doesn"t.

The a7 IV still offers twin card slots: both accept UHS-II SD cards with the upper one also able to take one of Sony"s small CFexpress Type A cards, which can maintain much faster write speeds than the fastest SD cards (typically 400MB/s minimum sustained write, vs 90MB/s minimum sustained write for V90 SD cards).

More than the ergonomic changes, we"re delighted to see the a7 IV gain the improved menus and expanded touchscreen utilization first seen in the a7S III. The menus now have their section tabs down the left-hand side of the screen, meaning you"re only ever a click or so away from being able to jump between tabs. They"re also touch sensitive, so you may not need to click or nudge anything at all.

This layout makes the menus much quicker to navigate, as do sub-section headings within each tab. The arrangement differs from previous Sony cameras but the underlying relationships between settings remain the same, so it shouldn"t take too long to familiarize yourself with the new system if you"re an existing Sony user.

Sony has offered Bluetooth on its cameras for many years but has used it solely for transferring location data from smartphones. The a7 IV adds a constant-connection option of the type offered by most of its rivals. This means you only have to pair the camera with your smartphone once, after which they will automatically re-establish a Bluetooth Low Energy connection, making it much quicker and simpler to transfer images to your phone.

The a7 IV uses the same NP-FZ100 battery as the a7 III and other more recent Sony cameras. It"s a usefully hefty unit that, combined with the relatively modest viewfinder res, lets the a7 IV achieve a CIPA battery life rating of 580 shots per charge using the rear screen and 520 shots per charge using the EVF.

Much has changed in the eight years since the original a7 was launched: with Sony now far from alone in offering a modern full-frame mirrorless camera. Technology has made huge leaps forward, too, with autofocus, in particular, improving in terms of speed, sophistication and simplicity, to the point that no one would now suggest DSLRs retain the upper hand.

Sony"s move to bigger batteries has had a huge impact on its cameras" usability, and its ergonomics and user interface have been radically improved with each iteration. The video features have also expanded significantly, with the fourth a7 model bringing the series back into line with its competitors.

What"s clearly changed, in the meantime, is the positioning. The original a7 was launched at what was then a record low price for a full-frame camera: $1700, body only. Even taking inflation into account, that"d still be a hair under $2000 in today"s money. The a7 IV"s price is a significant increase over this, and it"s notable that Sony now offers the a7C for more price or size-conscious buyers. This provision of a relatively up-to-date sister model, rather than simply lowering the prices on outdated models is a welcome change. The a7C might not have the improved menus of the a7 IV but it doesn"t feel as unrefined and clunky as the Marks I and II do, by comparison to the latest cameras.

This move allows the a7 IV to address the needs of more dedicated enthusiasts and makes it a direct competitor to Canon"s very likable EOS R6. On paper, at least, it doesn"t go far beyond the Canon, though, so it"ll be interesting to see how they compare in real-world use. Of course, if Sony decides to continue the a7 III at a lower price, the waters get significantly muddier*. The a7 III"s autofocus is recognizably more than a generation behind the new camera, but it isn"t made to look like a work-in-progress, the way that the older models were when the Mark III arrived. The a7 III still does very well at most of the things the a7 IV does, which could undermine the attempt to push the series upmarket.

Sony seems very keen to say that the a7 IV has gained many of its improvements from the flagship a1, which we think risks implying a closer connection than actually exists. While it is not untrue that the a7 IV has some features that arrived with the a1, the new camera doesn"t have the Stacked CMOS sensor that provides the brute power underpinning the a1"s performance. In many instances, it"s fairer to point out that the a7 IV"s features are shared with the video-centric a7S III. Still not a bad thing to be able to claim, but perhaps setting more realistic expectations, in terms of how much star quality you expect to rub off on the more mass-market model.

The first thing that should be apparent is that the a7 IV"s 33MP sensor can capture a lot of detail and, as we saw in our real-world samples, JPEG color that"s directly comparable with the best of its peers. The higher pixel count, combined with Sony"s JPEG sharpening makes more of the fine detail than its rivals. Moiré makes an appearance, but it"s not overwhelming, which suggests there is an anti-aliasing filter, but perhaps not an especially aggressive one.

This means that in Wide area AF mode (where the camera chooses the subject), it"ll tend to prioritize any face it can see in the frame. But it also means that if you select one of the "tracking" AF modes or tap the rear screen, you can select which person in the scene you wish to focus on.

The a7 IV makes it very easy to get the face of your chosen subject in focus. But we found a lot of the images it takes are very fractionally front-focused. It"s something that only really becomes noticeable if you use a very wide aperture and look very closely at the results, but it"s not quite as pinpoint accurate as the previous generation of Sony cameras.

However, we did find that the a7 IV can tend to very slightly front-focus when using Face/Eye detection, leaving the eye-lashes perfectly in focus but the pupil very slightly soft. This isn"t going to be an issue for everyday social photography, but if you"re trying to shoot portraits with shallow depth-of-field, the a7 IV doesn"t seem to be quite as dependably accurate as the previous generation of Sony cameras.

Based on our experiences, Sony"s AF system is very powerful and very easy to use, giving little reason to jump between many of its (frankly overwhelming) selection of AF area modes. We found leaving the camera in AF-C with a medium-sized flexible (tracking) AF point and Face/Eye priority turned on performed very, very well in all but the most demanding of circumstances.

The a7 IV"s breathing compensation mode is useful if you"re primarily planning on shooting with high-end Sony lenses, meaning that your field of view won"t shift as the lenses focus. Even when making extreme corrections on the likes of the 50mm F1.2, the impact of cropping and rescaling the footage isn"t obvious.

However, despite the name, the active mode doesn"t do especially well if you try to move while the camera is recording. The a7 IV records its gyro sensor readings alongside the footage, letting you apply post-shot correction using Sony"s Catalyst software, letting you apply more stabilization in exchange for a more substantial crop, but we"ve found this to be quite a time-consuming process, that we"d probably only use in extremis.

Competition in this space is fierce, with Nikon and Panasonic making very capable, less expensive cameras, and Canon"s EOS R6 going toe-to-toe with the Sony in most respects. Dig deep enough, though and the ways in which the Sony stands out start to add up. It"s enough to wrest the crown from the R6, which is also enough for it to earn a Gold award.

Upon using the camera I noticed an issue, with autofocus mode on, sometimes when I tried shooting with lens at 70 mm at subjects at bout 9 - 10 feet away indoors, or even stars at night outdoors with crop mode, autofocus would get me out of crop mode, if I activated crop mode again, autofocus would stop working altogether and then the function would no longer "exist", if I pressed the shutter release button halfway (all of these with camera place on auto mode), to try and get the autofocus to do its job, nothing would happen, then on the screen I would see the ISO at 12800, if i released the shutter release button the iso number disappears, if i press the release shutter half way again, the iso number 12800 appears again and it stays there until i release the shutter button, if i take a picture it is all blurry. I then tried to use the manual focus but nothing happens, I remembered I had to turn the manual focus option on, so I get into the menu and the focus mode option is greyed out, if I try get into the option an error message "your lens is not supported or its installed incorrectly" shows up, only way to go is to shut camera off and turned it on again, which will return autofocus to work, but if i repeat the exercise it just stops working all over again, sometimes even without crop mode/zoom mode on, just by going from 28 to 70 mm on the lens, or even mid way, maybe 40 mm or 50 mm. Sometimes even the camera would pull me out of menu screen, I would click menu button, I am trying to navigate menu, then you can hear the focus mechanism moving and camera pulls me out of menu screen o regular screen, I have to press menu again, sometimes to be pulled out of the menu repeated times

I called Amazon service, friendly person who quickly contacted me to Sony, and this is the part I did not like. We went through basic things to try and fix the issue, including resetting the camera, after which the issue presented itself quite quickly, so the person at Sony (again, a very friendly and helpful person) told me I needed to send the camera back to Sony for service. I asked him if that given this was a brand new camera (I received this this past Tuesday Feb 9th 2021, today is Sat 13th Feb 2021) I would get a new camera (replaced) he actually told me that at Sony they only offer repairs, and if the cost is out of the warranty I would be charged for the replacement?!

I am not entirely sure if this is true or not, but if it is, this very bad business practice to say the least, so I pay for a brand new camera, which comes defective, so I am not getting what I payed for in the first place, and they then tell me that there is the possibility that I would have to pay EVEN MORE to actually get less (it would not be a new camera now right? it would be basically a refurbished one with all the risks that implies) than what I ALREADY payed for in the first place! I payed for a new camera that is supposed to have all the features and functionality advertised by sony/amazon on their webpage, and I did not got that, and again, I might be forced (because if I do not pay I would not get a working device.....so basically I would be forced to pay if I want anything ressembling a working camera) to pay more (you pay for a new working product, you dont get one, and then to get a working "not new anymore" product you sometimes have to pay more than what you already payed in the first place) . I would strongly recommend to stay away from this brand, who knows, in the future I decide to buy an expensive lens from them, and then if something is wrong, they only "repair" a lens, maybe even after asking for more money from me. No Sony/amazon, shame on you, bad business practice.

Again, I want things to be clear : they HAVE NOT asked me to pay anything YET, as I just send the camera back to Sony, but the Sony person I spoke to made it very clear that they do not replace cameras with new ones if you receive a faulty one, they only "repair them" and that I MIGHT even be charged in some cases.

1. I spoke with the same Amazon representative who was present the day I spoke with Sony, and he assured me that I CAN return this product to amazon if not satisfied (which I most likely will immediately do after receiving it back from tech service).

2. The camera did not went to Sony directly, it went to a tech service that from what I understand, is the one Sony works with to repair/service their cameras.

7) Now you have to bring the board into the right position, if this is not done correctly the display will not engage as it should and there will be gaps here and there. That was my problem! I found out that the position was good enough when I pulled the board in way that the wide ribbon was lying tense and tight on the LCD backside.

Important: If you remove the screws there is a chance the described plastic part will fall out and it´s quiet hard to place it back again. Also in this tutorial a hint is missing that the frame has to be put back in first before reattaching the LCD.

3. Connector broken, parts lost , Lcd or touch screen broken or liquid leakage then no warranty. Our product test one by one on phone before ship, we buy many new mobile phone test the spare parts. Q6: What is your main product 9 A6: All mobile phone repair parts, lcd, touch screen, housing, flex cable, spare parts.

The articulating LCD screen on my Sony A77 camera recently stopped working properly. The screen still functioned when it was placed up against the camera body, but when I extended and rotated it away from the body, it only displayed artifacts.

After some research, I found out that the flex cable of the LCD screen was likely damaged. By buying a new flex cable and studying the parts diagrams that I found online, I managed to repair the camera.

In this article I will explain what causes problems with the LCD screen on the Sony A77, what you can do to prevent them, and show how you can fix the screen yourself at home.

There are several reasons why the Sony A77 LCD screen can develop problems. One of the most common reasons is a fracture in the LCD flex cable. Other less common causes are damage to the screen itself or its electronics, or a problem on the printed circuit board of the camera.

The most common reason for problems with the LCD screen is that the flex cable that connects from the camera circuit board to the LCD wears out. When this happens, the cable develops one or more hairline cracks in the wires. The screen is then not able to receive the correct signals anymore, and it displays artifacts instead.

In the case of my Sony A77, when the screen was positioned against the body the traces in the flex cable managed to make contact well, but when the screen was moved further from the body the connection broke.

A broken flex cable seems to be the most common cause of the artifacts, so when attempting to fix the screen, this is what I recommend to try to fix first.

Other (non-LCD) camera components can cause problems with the LCD as well. For example, the motherboard of the camera can develop issues due to old age, or due to the camera being dropped.

This usually shows up as a green screen on the LCD. Or to be more specific, a repeating green pattern on the screen. An example of this can be seen here.

In this case, the viewfinder of the A77 also stops working and shows the exact same pattern as on the LCD. This is an important difference with when the flex cable or LCD screen is damaged. In that situation the viewfinder still shows the sensor image.

I managed to find my replacement LCD flex cable on eBay for about €50. You can also find them on Amazon. Replacement LCD screens can be found there as well.

From what I found online, having the camera repaired at the Sony service center would have cost somewhere between $200 and $400 total for the assessment, shipping, components and labor.

Repairing the camera myself cost me ~$60 for the replacement flex cable. Obviously this option came with a bit more risk, but I was confident that I correctly identified the issue and that I was able to repair it.

Only if you never move the articulating screen. The primary reason for the artifacts is the flex cable that develops fractures. Limiting the strain on the flex cable will extend its life.

If you wanted to replace the LCD screen itself, this would be where you would do it. Simply disassemble the LCD assembly a bit further, until you are able to remove and replace the LCD panel itself.

The repair was not as difficult as I thought it would be. The Sony A77 is a complicated piece of technology, but it seems to be designed so that it is relatively easy to repair.

Thank you for your constructive comment. The criteria we needed to meet for this project was to provide instruction on iFixit guides for how to remove various parts on the device. We were being evaluated on the content pertaining to our writing and not the technical depth of the guide. Furthermore, we did not have a vested interest in replacing the screen nor did we have another screen to replace it with. In your rush to make a rude comment, you might have missed the end of the guide where it states that in order to reassemble you must follow the steps we provided in the reverse order. Reverse means doing something in the opposite direction.

While writing my book, Sony a7 Series: From Snapshots to Great Shots, I tested a wide array of lens mount adapters. Here are the best lens adapters for Sony a7, a7R, a7S, a7II, a7RII, a7SII, a7 III, a7R III & a9.

Before we jump into a discussion of third-party lens mount adapters, I should first mention a pair of Sony lens mount adapters made for mounting Sony A-Mount or Minolta Maxxum lenses on Sony A7 Series cameras.

Sony LA-EA3 lens adapter transmits the lens data to the camera to control aperture and uses the camera’s focus system to provide AF on SSM lenses. The LA-EA3 is and ideal choice when using SSM lenses in order to capture the highest possible resolution. ($199 at Amazon | B&H)

Sony LA-EA4 lens adapter adds full-time continuous Phase Detection AF using Sony’s Translucent Mirror Technology making this adapter well-suited for shooting fast moving action or when shooting with older screw-drive lenses. According to DxO, the light loss from the translucent mirror is only 1/3 stop. Because it uses it’s own PDAF sensor, it works equally well with all Sony E-mount cameras. ($349 at Amazon | B&H)

PLEASE NOTE: While the Sony Adapters listed above come supplied with front and rear caps – most third-party adapters do not. My advice is that whenever purchasing a third-party adapter, you also purchase a Sony R1EM rear lens cap and a body cap for the lens mount you’re adapting.

Metabones is the original – and most popular – AF Smart lens adapter for Canon EOS to Sony E-mount.This is my adapter of choice as it’s the only Smart Adapter that gets regular user-installable firmware updates that improve AF performance with many Canon EF lenses not supported by cheaper adapters.

Enables all native AF functions including Eye AF, Lock-on AF and Video AF with Sigma EF-mount Art, Contemporary and Sport lenses on Sony E-mount mirrorless cameras. This adapter also supports auto-exposure, in-camera lens correction, in-camera image stabilization and retains full EXIF data. Interior is flocked to reduce reflections. An integrated LED can be used to display select Sigma lens compatibility with the adapted camera body. This adapter also gets user-installable firmware updates, but please note that Sigma firmware updates are aimed on improving performance of Sigma EF lenses – not Canon or other brands.

Shooting wide open at f/1.2 with Canon EF 85 f1.2 lens using a Metabones Canon EF to Sony E-Mount T Smart Adapter V allows you to limit focus so that only the eyes pop out of an otherwise soft, dreamy image. Only the eyes pop out of an otherwise soft, dreamy image.

There are three Nikon AF Smart adapters on the market. All three are produced by Commlite with different branding. When using a7II, a7 III, a7RII, a7R III, a9, a6300 & a6500, they work fairly well with many of the newer Nikon Type G or E lenses. With older Nikkor D-Types lenses – yet they will still control aperture but forget about AF. Nikon PC-E lenses are also incompatible.

You can pick up fast manual focus Nikon AIS glass at a great price these days. Metabones Nikon F to Sony E-Mount Adapter II ($90 at Amazon | B&H Photo) is a great choice to mount them on A7/A7R. I picked up a Lens: Nikkor 55 f/1.2 AI-S for $350 which combined with the Metabones adapter makes for a killer combo for available light that’s hard to beat for $450.

However, if you plan to use Nikon G lenses, which have no aperture ring, a better choice is to use the Novoflex Nikon to Sony E-Mount Adapter ($293 at Amazon | B&H Photo), Metabones Nikon G to Sony E-Mount Adapter ($139 at Amazon | B&H Photo), Vello Nikon G Lens to Sony E-Mount Adapter ($60 at B&H) or FotodioX Adapter for Nikon G to Sony E-Mount ($60 at Amazon | B&H Photo) which allows you to control the aperture of Nikon G lenses. You can use Nikon F lenses on Nikon G adapters – but Nikon F adapters can’t control the aperture of Nikon G lenses.

Focus Peaking is a great tool to quickly confirm focus with manual focus lenses. It takes bit of practice, but when focus peaking is enabled in manual focus mode, in-focus areas appear highlighted in red, yellow or white in your EVF or LCD. To activate focus peaking, press Menu > Custom Settings 2 > Peaking Level, and then select High, Mid, or Low. I find that the Mid setting works best.

Since the debut of the original NEX-5, I’ve been using Leica M to Sony E adapters to use my Vintage Leica, Zeiss and Voigtlander M-mount glass on Sony mirrorless bodies. I’ve tried quite a few from the inexpensive Chinese ebay adapters to the top of the line Novoflex and they all work fine – though the cheaper ones need a bit more upkeep like occasional tightening of the mount. Metabones Leica M Mount Lens to Sony E-Mount Adapters ($90 at Amazon | B&H Photo) hit a sweet spot between price and quality.

However there is one Leica M to Sony E adapter that stands out from the rest. The biggest problem with rangefinder lenses is that they rarely focus as closely and SLR glass. It’s not unusual for a 50mm M-Mount lens to focus no closer than one meter. That’s where the Voigtlander VM-E Close Focus M-Mount to Sony E-Mount Lens Adapter ($309 at Amazon | B&H Photo) comes in handy. Its Helicoid focus extension allows you to rack out an additional 4mm focus extension to the nearest focus point the lens. That’s enough to go from half body to a tight face when shooting with a 50mmm.