Full Frame (FX) cameras and Crop (DX) cameras. Differences and difference

Article text updated: 11/23/2018

A little over a year ago, I switched from a cropped Nikon D5100 DSLR to a full-frame Nikon D610. Immediately, people began to ask me questions about whether it even made sense to spend money on buying a full frame. My answer was this: a full-frame matrix, in addition to having a working ISO two to three times higher, also allows you to get a stronger background blur and significantly improve image detail, is characterized by a different picture geometry. If the first two factors are not particularly in doubt among experienced photographers, then the last statements need clarification. Today we will figure out how full frame changes the perception of the picture by the viewer.

Note. How was this photo tutorial written? First, I compiled the theoretical part, drew diagrams explaining the statements and theoretically concluded that the full frame is significantly better than the CROP in terms of picture geometry.

Then I took a full frame cameraNikon D610 and croppedNikon D5100, went to the city to take real sample photos to illustrate what I said in the article. And what? In practice, it turned out that the difference can often not be noticed at all!

I deliberately do not change the text below (originally written) so that you, dear reader, can see the points in which I may have been mistaken.

The fact that in full-frame cameras like the Nikon D750 or Canon EOS 5D Mark III the level of working ISO exceeds the values ​​​​of cropped DSLRs, for example, Nikon D7100 and Canon EOS 70D, we were convinced in a comparative review of my new Nikon D610 DSLR (link at the bottom of the page). I am sure that manufacturers specifically do not release CROP with a sensitivity level equal to full frame, because then they may lose a significant part of the market: many amateur photographers will not buy more expensive versions of DSLRs or mirrorless ones.

The influence of a full frame on the degree of background blur (bokeh) can be explained in the diagram. Let's say we want to photograph a portrait of a beautiful girl with a Nikon D5200 cropped DSLR and a Nikon 50 mm f/1.4G lens.

What needs to be done to shoot a frame on a Nikon D800 FX camera within the same boundaries? There are 2 ways: move closer by 30% or stay still but use a lens with a focal length 1.5 times shorter (eg Sigma 35mm f/1.4 Art). As we know, the degree of background blur depends on several factors, including the distance to the subject: the smaller it is, the more expressive the bokeh, and the shorter the focal length, the weaker the bokeh.

Figure 2. To shoot a portrait with the same frame boundaries on the Nikon D5200 CROOP and Nikon D800 full frame, you will have to use a different distance to the subject (or use lenses with focal lengths that differ by 1.5 times). The girl shoots on Nikon D5200, the man - on Nikon D800.

The misconception that the focal length of the lens increases on CROPS

When it comes to such a concept as focal length, it is clear that many photographers get confused in terms of "equivalent focal length" and "angle of view", which are often used to describe the characteristics of the matrices of various cameras.

1) Actual lens focal length

To put it simply, the focal length is the distance from the optical center of the lens to the camera sensor onto which the image is projected.

We must clearly understand that the concept of “lens focal length” is an optical parameter that is not affected in any way by the camera model or the type of sensor used in it. The value of the real FR is usually indicated by the manufacturer on the lens body. For example, on the Samyang 14 mm f/2.8 lens, the actual value is indicated, which does not change whether we use this width on a Nikon D7200 crop or a Nikon D810 full frame.

Photo 5. Even on the lens of the Sony Cyber-shot DSC-W350 soap dish, the actual focal length is indicated so that there is no confusion (FR = 4.7-18.8 mm). After reviewing the technical specifications on the manufacturer's website, you can find out that the equivalent focal length for this model is 26-104 mm (crop factor Kf = 5.62). The maximum aperture ranges from f/2.7 at the short end to f/5.7 when the barrel is fully extended.

2) Field of view

Field of view (also called "angle of view" or "angle of view") - that part of the image that is visible when using the lens with the camera: from bottom to top, from left to right. If we shoot with a digital SLR, then the field of view is almost the same picture that we see in the viewfinder. True, in some SLR cameras, the viewfinder coverage is less than 100%, so we see less in it than will be displayed in the photo. For example, an amateur camera Nikon D5500 has a viewfinder field of view of 95%, i.e. it is 5% less than the camera will take a picture. Hence the real field of view - what the camera will shoot, not necessarily - what we see in the viewfinder.

3) Viewing angle (angle of view)

Lens manufacturers often use the term "angle of view" or "maximum angle of view" in their specifications. For example, when used full frame, the Canon EF 20mm f/2.8 USM prime has a maximum angle of 94°, while the Canon EF 180mm f/3.5L Macro USM only has a maximum angle of 13°40'.

As we can see, 94° is much wider than 13°40′. This is why at 20mm a lot of space will enter the frame, while at 180mm we will see a narrower part of the image.

The main difference between angle of view and field of view is that the former relates to the characteristics of the lens, while the latter relates to the lens/camera on which it is used. For example, the Canon EF 20mm f/2.8 USM fix mentioned above will only show a 94° FOV on the full frame of the Canon EOS 5D Mark III. As soon as we install it on a Canon EOS 80D camera with a cropped APS-C sensor, the field of view, i.e. the image we get is getting smaller: 63°.

I had to calculate the angle of view for Canon on my own, but Nikon publishes data for both CROP and full frame on its website: “Nikon FX format SLR cameras” and “Nikon DX format digital SLR cameras”.

actual, real physical characteristics lens (what it sees) do not change. As explained below, a cropped DSLR simply "crops" part of the image, resulting in a narrower "angle of view".

4) Equivalent focal length

Now let's move on to the definition of "equivalent focal length", which many photographers have difficulty understanding. The word "equivalent" is associated with the era of film photography. In those days, the focal length was always the one indicated on the lens barrel. When digital SLRs began to be produced, the size of the matrix was not always equal to the size of the frame on 35 mm film (more often - less, to reduce cost). Reducing the size of the sensor resulted in cropping of the edges of the image - what photographers call "crop". The most interesting thing is that the image is not cropped by the matrix or camera - it is simply "ignored".

Let's look at the illustration (red arrows are light entering the camera):

As you can see in picture (a), the full-frame sensor captures most of the image transmitted by the lens, while the cropped sensor shows mainly the central area (b). We see that the light travels the same path inside the camera, but in a cropped DSLR, only a certain part of it is exposed, and the rest passes by. The term "crop" can be misleading because it is usually associated with "cropping" part of an image. But once again - the picture is not cropped, just part of the rays passes by the sensor, is ignored.

Manufacturers are aware of this phenomenon, so they offer lenses designed specifically for cropped cameras to reduce their size and make them cheaper. In Nikon designations, “DX” is put, Canon cameras— "EF-S". In such lenses, the image construction scheme can be described as in option “a” of the picture above, only the diameter of the circle will be smaller - image (c).

If you put a DX lens, for example, Nikon 17-55 mm f / 2.8 on a full-frame Nikon D700 camera, then it will “capture” only part of the scene, a dark vignette will appear around the edges. True, modern full-frame Nikon cameras recognize cropped lenses and automatically lower the resolution (if you enable this option in the menu), but Canon EF-S glasses do not work at all on a full frame.

How is it that cameras with different sensor sizes have a matrix with the same resolution? For example, the full-frame Nikon D750 has 24.3 megapixels and the cropped Nikon D7200 is equipped with a 24.2 megapixel sensor. This is because the Nikon D7200 has a much smaller pixel size (and, accordingly, their density on the sensor is higher). In practice, it turns out that more pixels enter the central region of the lens when using CROP, and a higher quality lens is required that can “resolve” this density. If the lens does not have good optical properties, the picture will be less sharp.

Let's return to the definition of "equivalent focal length". Reading discussions on the forums about choosing a telephoto lens for a cropped DSLR, you can come across such statements: “The Nikon 70-300 telephoto lens on the Nikon D7100 will have a field of view equivalent to that of a lens with a focal length of 105-450 at full frame.” And this is a true statement. Another amateur photographer says: “My Nikon 70-300 telephoto lens on my Nikon D5500 turns into 105-450 mm, it enlarges the picture more.” And this is an incorrect statement, since the degree of increase has not changed.

Where did those big 105-450mm numbers come from? Let's take a look at what the crop factor is and how these "equivalent" numbers are calculated.

5) What is the crop factor?

We have seen how smaller matrices ignore the large image circle. Now let's discuss the crop factor used by digital camera manufacturers and amateur photographers when describing sensors and calculating "equivalent focal length". When reading camera reviews, you have come across phrases like “the Nikon D3300 camera has a crop factor of 1.5” or “the Canon EOS 750D has a crop factor of 1.6”. The concept of crop factor was introduced when digital cameras began to be manufactured with a sensor smaller than film, and is used to show how much smaller the field of view will be with a lens and such a small sensor. Manufacturers needed to somehow explain how much the image on a small matrix looks "enlarged" in comparison with a 35 mm (35 * 24 mm) film frame.

When I calculated the area of ​​the matrix of a full-frame camera and compared it with the area of ​​the sensor of a cropped camera (for example, Nikon D810 and Nikon D3200), I was very surprised, since it turned out to be 2.3 more: on a full frame S = 36 * 24 = 864 mm 2, on crop S = 24 * 16 = 384 mm 2. But, when we calculate the focal length, we are not talking about the area of ​​\u200b\u200bthe matrix. The crop size is calculated by dividing the length of the diagonal of the full frame by the length of the diagonal of the cropped sensor.

It's time to remember the geometry. Remember how the length of the diagonal of a right triangle is calculated? Here is the formula: L=√ (X² + Y²). On a full frame, it is 43.26 mm (square root of 35 2 + 24 2), and for CROP it is 28.84 mm (root of 24 2 + 16 2). If we divide 43.26 by 28.84, we get 1.5 - the ratio of the lengths of the diagonals of the full-frame and cropped sensors (this is a rounded number, the real one is about 1.52).

What to do with this ratio? It must be multiplied by it to get the “equivalent focal length”. For example, a Nikon 105mm f/2.8G macro on a Nikon D500 cropped DSLR has a field of view equivalent to 157.5mm.

I don’t have this macro lens, I’ll explain using the Nikon 70-300 zoom as an example. Let's say I installed it on a Nikon D5100 cropped DSLR and set the focal length to 105 mm, and then decided to rearrange the Nikon D610 to the full frame - to get the same field of view, you can set the focal length of the lens to 157.5 mm for a full-frame camera.

Looking at Figure 1 with a portrait shooting scheme for a full frame Nikon D810 and crop Nikon D5200, another myth that flourishes on amateur photographers forums comes to mind: “Cropped DSLRs are more suitable for hunting birds and animals than full-frame ones, since the focal length is multiplied on CROPS for the crop factor! For example, a Tamron SP AF 70-300mm f / 4.0-5.6 Di VC USD Nikon F telephoto lens on a Nikon D7100 cropped camera will give a focal length of 105-450 mm (multiplied by Nikon F = 1.5) ”.

But above, we have already figured out that the focal length of the lens is a value that remains constant both on the Crop and on the full frame. Let's say we took the latest full-frame Nikon D5 model with a Nikon 70-200 mm f / 2.8 telephoto camera on a photo hunt and met an elk in the forest. Photographed from a distance of 20 meters.

Now we change the carcass to a professional cropped Nikon D500 camera and photograph the beast from the same distance. Due to the smaller field of view, with the same focal length, we got a “cropped photo”. When we view the result of our photo hunting on a Full HD monitor, the image will "stretch" to the full screen and it will seem that it has increased.

Someone will exclaim: “I told you that Nikon D500 CROP enlarges the image by one and a half times, so it is better suited for shooting wild animals and birds!” To this I will answer: “Once again, the focal length, and hence the scaling, remain unchanged on both types of matrices. A cropped Nikon D500 DSLR is preferable if you print photos on paper of maximum sizes. If you show your pictures to guests on a 1980 * 1020 px monitor or store them in a photo album with dimensions of no more than 20 * 30 cm, then a full frame is more suitable for photo hunting, since it has a working ISO 1.84 times higher. The numbers are taken from the Dxomark website (Nikon D5 has ISO 2434 units versus 1324 for the Nikon D500 crop).

Let's organize a photo hunt in practice. Let's take a Nikon D610 full-frame DSLR and take a picture of a sparrow.

If we want to shoot a frame with exactly the same boundaries on a Nikon D5100 crop with the same Nikon 70-300 telephoto lens, we will have to move 50% further from the subject.

Photo 12. Imitation of bird hunting with CROP (for example, Nikon D7200) and Nikon 70-300 telephoto. For shooting, I took the Nikon D610 and moved further by 50%. 1/2000, -0.33, 5.6, 400, 250. Please note that our imitation looks better than the original could look, since the Nikon D610 has a larger pixel and lower optical quality requirements.

Let's say your telephoto lens has a focal length of 250 mm - the maximum, i.e. you wouldn't be able to zoom in 50% if you were standing in the same position as in photo 10-1. What is the advantage of full frame? The fact that he already has a stock for CROP 50% more. Plus, the working ISO is 2 times higher than that of cropped models, which would help when shooting at dusk.

Another example of the advantage of a full frame over a CROP: if you compare the Canon EOS 5D Mark III and Canon EOS 70D models, then their working ISO is 926 and 2293, respectively, which means that a full frame will allow you to make a much shorter shutter speed, which is important in this genre (by the way, Canon 70D and color reproduction is noticeably worse if you look at the comparison table: 22.5 and 24 bits with a distinguishable difference of 1 bit).

Thus, shooting wildlife on a full frame Nikon D5, we get the advantage of a high working ISO, and we can crop (i.e. “crop”) the image, if necessary, with the coefficient that we want, and not with the “preset” on Nikon D500 crop factor Kf=1.5…

Why is the picture more detailed at full frame

In the description of a photo hunt for an elk, let's imagine that we need a frame exactly the same as in Figure 9-a. Then a photographer using a cropped Nikon D500 DSLR will either have to move 1.5 times farther, or take a telephoto lens with a focal length 1.5 times longer. It is clear that at a distance of 30 meters all the details will look smaller. For the sake of interest, let's compare different pictures not only from a full frame and a CROP, but also from other devices for digital photography: soap dishes and a smartphone.

Here is a diagram showing the difference between a full frame sensor, a cropped DSLR or mirrorless sensor, compact cameras and phones. For analysis, we take the following models (in brackets: crop factor, real focal length, EGF):

• full frame Nikon D610 (crop factor 1.0);
• cropped mirrorless FujiFilm X-Pro2 (Kf = 1.5);
• expensive soap dish Sony Cyber-shot DSC-RX10 (Kf = 2.7; 8.8 - 73.3 mm; 24 - 199.2 mm);
• compact in the middle price range Sony CyberShot DSC-HX60 (F = 5.62; 4.3-129 mm; 24-720 mm)
• smartphone iPhone 6s (F = 7.21, focal length: real 4.15 mm; 29.89 mm - EGF).

If we want to get a frame with the same boundaries, then we will have to move away at a distance proportional to the crop factor of the digital camera.

For the experiment, I take a Nikon D610 full-frame camera with a Nikon 24-70mm f/2.8 lens and shoot 5 frames.

Note: on each frame, the “vase” falls lower - this is my flaw: when moving away from the subject, in order to maintain the same angle, it was necessary to proportionally raise the height of the tripod.

The resulting images eloquently testify to the change in image detail when shooting on cameras with different sensor sizes. At the same time, in our experiment, the pixel size does not decrease: we use the same 24 MP full-frame sensor from Nikon D610. In practice, the FujiFilm X-Pro2 crop also has 24.3 megapixels (although the area is 2.3 times smaller), the expensive Sony Cyber-shot DSC-RX10 soap dish is 20.9 megapixels (the area is 7.4 times smaller), expensive ultrazoom Sony CyberShot DSC-HX60 - 20.4 megapixels (30.2 times smaller area) and iPhone 6s - 12 megapixels (50 times smaller area).

Pixel dimensions can be calculated by dividing the area by their number. It is clear that compact cameras it is very small, which leads to an increase in digital noise (the built-in noise reduction "chokes" them, but the image detail is lost) and requirements for optics (and on cheap digital cameras it is not so high quality).

The reader may have a question: “Why, in practice, do we not have to photograph such a composition from a great distance”? Answer: “Due to the crop factor, the iPhone 6s only crops a small piece of the image from the center, and we are able to get closer. We saw earlier that it has an equivalent focal length of 29.89mm. And if the iPhone 6s sensor was as large as the Nikon D610 full frame, then photo # 15 would look like this.

I think that photos from a full frame and from a crop are of practical importance, since other models are equipped with short-focus lenses that allow you to get much closer to the subject. But when we back away or get closer while taking a photo, we change the perspective of the image (which is why the “vase” gets smaller in each shot above, although I cropped it so that the frame borders matched).

Features of the transfer of perspective on a two-dimensional plane by different lenses used on the CROP and on the full frame

Details about the patterns of transmission of three-dimensional space on the two-dimensional plane of the image are described in Lydia Dyko's wonderful textbook "Fundamentals of Composition in Photography", 1988 (we discussed another wonderful book by this author - "Conversations about Photo Mastery" in the article on how to learn how to set the settings of digital cameras) . I will give here an exposition of one of the interesting moments describing the rules for depicting linear perspective on a plane.

It is obvious that the objects of shooting include several elements, each of which is separated from the camera at some distance. In the photograph, the scale of each block is determined by how its dimensions correspond in the picture and in reality. All this is described by a formula showing that the image scale is inversely proportional to the distance to the subject and in direct proportion depends on the focal length of the lens. As a result, the closer the subject is to the photographer, the larger it is in the photo, and the farther away, the smaller it becomes.

Let's take an example: we are photographing a spring landscape with three apple trees of the same height on a full-frame Nikon D750 camera with a Nikon 85mm f / 1.4G fix. The distance between each tree is 3 meters.

In Figure 22-1, the distance from the camera to the front apple tree is 50 meters. Accordingly, up to the 2nd - 53 meters, up to the 3rd - 56 meters. It can be seen that the difference in distances is not so great: between the near and far tree - 12% ((56/50) * 100% -100%). That is why all three objects have approximately the same size in the picture. And when the dimensions of objects are similar, it seems to the viewer that they are very close to each other and there is no gap between them - the perspective is not felt at all.

Now let's get 20 meters closer (Figure 22-2) - the ratio of distances between the first and last apple tree has increased by 2 times: 20% (from the first tree 30 meters, from the second - 33 m, from the third - 36; ((36/30 )*100%-100%=20%) Linear perspective feels better in this image, as the size of objects farther away has been reduced more noticeably.

If the amateur photographer approaches another 10 meters (Figure 22-3), the difference increases to 30% (20, 23 and 26 meters). And when he came very close (22-4), up to 5 meters, the front apple tree did not enter the frame, the rear ones were very small. The viewer understands perfectly well that there is space between objects in the frame, feels the depth (5, 8 and 11 meters, 120%).

Now let's think about what happens if a photographer removes a Nikon 85mm f / 1.4G AF-S portrait prime from his Nikon D750 camera and replaces it with a Nikon 14mm f / 2.8D ED AF Nikkor Nikkor ultra wide-angle lens. He will have to come closer to a distance of 6.1 times (P=85/14=6.07): from 50 to 8.2 meters. Then the ratio between the front and back apple tree will be 73% (8.2, 11.2 and 14.2 meters).

Returning to the topic of the article “what is the difference between a CROP and a full frame”: if an amateur photographer decides to change the Nikon D750 to a Nikon D7200 cropped DSLR, he will have to move 50% further, i.e. stop 12.3 meters from the subject. Accordingly, the difference in the ratio between the foreground and background will also become different: 49% (12.3, 15.3 and 18.3).

Maybe that 24% difference between 73% and 49% doesn't sound like much. But the proportion changes noticeably if we take other distances between our trees. For example, look in the table below, what will be the ratios if one apple tree is not 3 meters from the other, but 20 meters.

Why is there more distortion in full frame than in CROPS

In the already mentioned photography lesson on how to adjust the shooting parameters of cameras Nikon, Canon, Sony and others, we noted that high buildings you need to photograph from a distance and from a hill so that the axis of the lens is as horizontal as possible. Let's see in the diagram what happens if we get close to a subject that is taller than the photographer.

We see that when shooting at a great distance, the lengths of the upper (1-2) and lower (1-3) beams are approximately the same. And as they came closer, the length of the segments changed significantly (4-2 and 4-5). The distance difference P1 is noticeably larger than P0. From the explanations above, we know that the larger this delta, the larger the objects in the foreground are larger than their analogs behind; therefore, distortion occurs, the slope of the vertical lines, if the axis of the lens is not horizontal during photography.

Here is another diagram showing how the proportions of an object change if we tilt the camera axis up or down, and explaining why tall buildings need to be shot from high ground.

Again, when shooting our building with full-frame mirrorless Sony camera With the Cyber-shot DSC-RX1R II, we get closer than when shooting with a cropped Fujifilm FinePix X100 mirrorless camera, so the degree of distortion is higher.

Which is better: Crop or full frame?

Every photographer has their own answer to this question. For me, buying a Nikon D610 full-frame DSLR meant getting better image detail, high working ISO and low digital noise, more noticeable bokeh. The obvious disadvantage is the high price (although it all depends on what parameters to use to compare the cost: in a discussion of the Nikon D610 camera, I compared it with the advanced Nikon D7200 CROPS, where I noted that a full-frame camera is more expensive than a cropped one ... just the cost of two fifty-fifty fixes).

I draw your attention to the fact that the technical features of the full frame described in this article are not so serious if the photographer does not know the rules and laws of artistic photography. If a professional picks up a Canon EOS 1200D crop, he will take hundreds of times more interesting shots than a novice amateur photographer who has bought a professional Canon EOS 5D Mark III full frame. Although, it is the professional who will experience the inconvenience introduced by the limitations of the amateur Canon 1200D in comparison with the Canon 5D Mark 3 .... You have seen that the excellent technical parameters of my Nikon D610 do not lead to the same high results in the artistic value of my pictures. I understand that I could continue learning to photograph with the kit that I had: Nikon D5100 cropped SLR, Samyang 14mm f / 2.8 wide-angle lens, Nikon 17-55mm f / 2.8 reporter and Nikon 70-300 telephoto lens. But, as I wrote earlier: hunting is worse than bondage.

Good luck with your photos, my friends! Let the photographic equipment that you own now long time brings only pleasure and joy from good pictures.

P.S. I do not mind if you subscribe to the notification of new articles on the site (see the form below). And if you share a link to an article on social networks, I’ll just kiss you!

P.S. Examples of a real photo essay shot on the same lenses with a full frame Nikon D610 and crop Nikon D5100

Theory is theory, but it must be tested in practice. Imagine that you took two cameras and arrived in Yekaterinburg, walked along the pedestrian street named after Weiner. Will the Nikon D5100 CROP limit you that much? Will viewers be able to distinguish which DSLR a particular frame was shot on?

I present to your attention a couple of pictures. I tried, if possible, to use the same settings (but not always, because I forgot, and I was too lazy to write down) and approximately the same angles. I will keep the intrigue: I will not sign which photo was taken on which camera.

Correct answer: photo examples 28, 30, 32, 35, 36, 39 and 40 were taken on a Nikon D5100 cropped DSLR with a Nikon 24-70mm f / 2.8 lens. The rest of the shots were taken on a full frame Nikon D610 with the same reportage zoom.

What conclusion can I draw from a comparison of these paired shots? First, the wider dynamic range and color reproduction of the Nikon D610 is striking in comparison with the Nikon D5100. Secondly, from a geometric point of view, the difference in the picture is almost not noticeable. Thirdly, if you buy a newer cropped model, for example, Nikon D7200, then in terms of DD and color depth, as we saw on the graphs from the Dxomark website in my reviews earlier, it is comparable to Nikon D610.

More and more amateur photographers are now turning their attention to cameras with full-frame sensors, which should provide better image detail, smooth transitions in the midtone zone and a greater sense of “depth”. However, a wide variety of myths and misinformation are associated with full-frame matrices. What are the main features and advantages of cameras with a full-frame sensor, and is it worth changing a regular camera with a crop sensor to an expensive full-frame model? We will talk about this in this article.

Full frame sensor

But first, let's define what a "full frame" is. We are talking about the physical size of the photosensitive matrix used in a digital camera. She, as you know, is responsible for the quality of the image. Full frame cameras are those that have the same sensor size as a 35mm film camera with a size of 36 x 24mm.

At the beginning of the development of digital photography, almost all devices had a light-sensitive sensor of a smaller format due to the emergence of technology and the too high cost of producing full-frame sensors. However, over time, the production of full-frame sensors has become less expensive, which has allowed leading manufacturers to offer full-frame cameras to users.

Although the price for them cannot be called low today, nevertheless, such full-frame cameras have become much more affordable. Examples of full-frame cameras are Sony SLT A99 or Nikon D700.

Matrices with a crop factor, that is, with reduced physical dimensions, are usually referred to as APS-C sensors. Nikon, however, uses its own designations: "FX" for full-frame models and "DX" for cameras with cropped matrices. Typically, a crop sensor is 1.5 to 1.6 times smaller than a full-frame sensor. However, today cameras are produced with matrices having a variety of physical sizes.

Naturally, the majority of cameras with truncated matrices are in mass sale, they are cheaper and more convenient for beginners. If you shoot an image with a normal full-frame lens and superimpose it on a cropped sensor, then the image at the edges will be cropped by about thirty percent, that is, it will be one and a half times smaller. The number 1.5 is called the crop factor. Each manufacturer of photographic equipment has its own, but on average it varies within exactly 1.5 - 1.6.

As we know, back in the era of film photography, it was generally accepted that the larger the negative, the better and more detailed the image will be. A full-frame sensor is on average one and a half times wider than an APS-C sensor and, of course, this cannot but affect the image quality. What are the benefits of full frame?

Features and Benefits of Full Frame Sensors

First of all, a feature of cameras with full-frame sensors is the viewfinder scale, which is noticeably larger than that of conventional cameras with a cropped sensor. This, in turn, provides excellent opportunities for convenient selection of shooting parameters and angles. But the most important advantage of full-frame sensors is, of course, the ability to get sharper and better images at high ISO values, with much less digital noise.

Large full-frame sensor allows you to "shove" into it large quantity photocells, and even larger ones, which positively affects the perception of the light flux. Therefore, for the same number of megapixels, a full-frame camera will always provide better results at high ISO values ​​than a conventional crop sensor camera. You have the opportunity to seriously increase the ISO value when shooting, while you do not have to worry that the noise in the image will become visible.

The difference between a full-frame sensor and a crop sensor also shows up in the effect of increasing the focal length. The cropped sensor captures a smaller area of ​​the image, so the final picture looks like you were using a lens with a longer focal length. That is, on crop, the equivalent focal length increases in proportion to the crop factor.

For example, if you use a 50mm lens on a camera with an APS-C sensor, your photos will look like they were taken with a 75mm lens (crop factor = 1.5). That is, in the case of APS-C cameras, increasing the equivalent focal length can work in your favor. It is impossible to talk about the unequivocal advantage of a full-frame camera here, because everything depends solely on what you are going to shoot. Someone needs a full-frame camera to shoot a wide perspective, and someone wants to achieve a closer approximation of the objects being shot, and therefore it is more expedient for him to use a camera with a cropped matrix.

Shooting with a full-frame camera adds a strong sense of depth to images. This effect is achieved due to the shallow depth of field. As a general rule, on a full-frame camera, you need to close down the aperture by about 1/3 stop in order to get the same depth of field as with a camera that has a crop sensor. In optimal shooting conditions, full-frame cameras are also able to provide images with better detail and greater dynamic range due to the increased number of light sensors.

However, all these advantages of full-frame cameras are offset by the use of old or cheap lenses with them. If you decide to upgrade to a full frame camera, be prepared to invest heavily in new lenses that are compatible with full frame. You should pay attention to the optics that can convey all the advantages of a large sensor. The use of cheap and low-quality lenses negates any improvement in image quality that a full-frame sensor can bring with it.

Each manufacturer of photographic equipment currently produces optics separately for full-frame cameras and cameras with truncated matrices. For example, for amateur Canon cameras you can mount EF-S and EF lenses, the choice of which is very diverse. For full-frame models, a limited set of EF optics is provided. That is, for a full frame, the available optics park is less.

But some of these lenses have characteristics that are almost inaccessible to the crop. Accordingly, specialized and high-quality optics for full-frame cameras can really emphasize all aspects of the performance of large high-resolution sensors.

Disadvantages of full frame cameras

As already noted, the effect of changing the focal length on crop matrices can be a serious advantage for the photographer and a decisive criterion when choosing photographic equipment. All you have to do is take a 300mm f/2.8 lens and mount it on a crop sensor camera and you actually get a 450mm f/2.8 lens.

That is, the crop factor allows you to achieve an increased reach of the lens with significant savings. Therefore, conventional crop-sensor cameras can be very useful, for example, when photographing animals in their natural habitat, photographing sports events, or in reportage photography.

But the main stumbling block is still the cost of full-frame cameras. Models with full-frame sensors are still much more expensive than conventional ones, and therefore the question invariably arises as to the advisability of buying them. Full frame cameras tend to be the flagship products of any leading camera manufacturer. The acquisition of such equipment always hits the pocket. Moreover, when buying a full-frame camera, you will most likely have to buy additional lenses, because not all optics from crop cameras are compatible with full-frame cameras, and vice versa.

Due to the high cost, buying a full-frame camera for amateur photography is unlikely to be appropriate. For professional photographers, the advantages of a full frame compared to the cost of a camera are much more justified. In addition, experienced photographers know better how to properly use the features of a full frame sensor. Amateur photographers will have to improve their shooting technique when switching to full frame.

So, "full frame" due to the increase in the size of the receiving cell reduces the noise level at high ISO sensitivity, expands the dynamic range and increases the image detail. In addition, the lens on a full-frame camera gives a wider field of view, which can be required in many shooting situations. But if you decide to change your camera to a camera with a full-frame sensor, you should clearly understand for what purposes you will need it. Before buying a "full frame"

You also need to make sure you have compatible lenses so that you can take full advantage of your new camera. Beginning photographers often make a huge mistake by investing their entire budget in buying a more perfect and advanced camera, completely forgetting that it is not the camera that shoots, but the lens.

Hello again, dear reader! I'm in touch with you, Timur Mustaev. Do you know what a full-frame sensor is in SLR cameras? How does it differ from truncated matrices? Why are they more expensive? What if you don't have a full frame sensor?

Before answering these and other questions that interest you, let me congratulate you on the first day of summer. I don’t know how things are with the weather, but in Dushanbe it was +36C today. In other words, summer has begun in full. How are you doing, what can you brag about? I also congratulate you on Children's Day, take care, love, appreciate both your own and other people's children. Children, this is a ray of light in our hearts!

In one of the previous articles, the topic of the camera was touched upon. Surely after reading it, there was some ambiguity associated with full-frame cameras. Today I will tell you about their advantages and disadvantages. After reading the article, you will find out what a full-frame camera is for, how the pictures from full-frame and crop cameras will differ, what are the advantages and disadvantages of such solutions.

Full frame matrix.

So, in order to understand what a full-frame camera is, you need to understand the concept of “full frame”. The frame size is considered to be the dimensions of the photosensitive element located in the camera body. Physically, they are completely different. “Full” is considered to be standard 35 mm elements, since this size has been standard for many years.

The width and height parameters of such matrices are 36 and 24 mm, respectively. This is where the concept of a crop matrix comes from, which was discussed in one of the previous articles. The reason for the creation of "cropped" matrices was and still is the high cost of producing full-fledged sensors for digital cameras. Of course, now the technical process has become less expensive, however, the production of elements of standard sizes is still not the cheapest pleasure.

Of course, there were compact cameras before. They tried to make them as inexpensive as possible for both purchase and maintenance. This necessitated the creation of "crop films", if I may say so, but they were very rare: even now it is difficult to find a well-preserved camera with reduced film size.

Closer to the end of the training, our teacher showed a very interesting camera, which was used by the intelligence services of the USSR in the middle to the end of the last century. They showed us the Vega camera, which was produced in Kyiv in the 60s. Surprisingly, it was fully functional, even the film was in place. The size of his film frame was 14 × 10 millimeters, and only 20 shots were placed in the drum.

Of course, we ourselves could not work with him, since we were forbidden to take him with us to photo practice, but we nevertheless considered several frames captured by Vega. The quality for this kind of cameras in our exhibit was quite good, especially considering the diminutiveness of its lens. However, this did not prevent the scouts from doing their job with high quality.

Features of a full size photosensitive element

It is no secret that the image received by the crop matrix will be smaller than that obtained on the full-fledged one. This, as you can see, was discussed in a previous article. For the most part, the story was about truncated matrices, but now it's time to talk about full-sized sensors. It has both advantages and disadvantages. It seems to me that it is worth starting from the first.

So, why are they so valued by professionals?

Advantages of full-size cameras

First of all, detail. Due to the larger size of the matrix, the resulting raster image boasts better picture clarity. Even the smallest details in full frame are rendered better than in crop, if we compare the results shot with one lens.

Secondly, larger viewfinder. No matter what anyone says, it is not advisable to cover a small photosensitive element with a large mirror. Of course, the size is also affected by the prism, but the latter in such cameras, as a rule, is larger than in mass-produced ones. For mirrorless devices, this is an even more significant plus, due to the higher resolution of the resulting image.

Thirdly, the size of the pixel itself. If the manufacturer decides not to increase the number of photosensitive units, but to make them a little larger, then this will make the sensor more sensitive to light rays. Regardless of what some photographers say, full-frame cameras tend to produce lighter images.

Fourth, good depth of field. at the expense best score ISO sensitivity provided by big size pixel, it will be much easier to achieve a good depth of field on such a device.

“What is IPIG?” you ask. This stands for Depth of Field used space. Why is this needed? It's simple: for stronger or weaker blurring of the background. The main thing you need to know here is that full-frame matrices allow you to “conjure” with this parameter most effectively.

Fifth, no zoom effect. It was also mentioned in the article about the crop factor. Perhaps this is one of the main differences from reduced matrices, which allows you to save more images on one frame. This can play both a positive role in the frame and a negative one. For example, at a great distance from the object being photographed, this can play a negative role, and when working in the “portrait” genre, everything will be exactly the opposite.

At sixth, even when large values ISO setting 1600-3200, the appearance of digital noise is minimal.

Comparison of full-frame and cropped devices. Case of life

I want to say right away that the comparison turned out to be very subjective, since the cameras were of different levels, they used different optics, they were controlled different people. So, after showing the spy device, the teacher began to voice the task for the next work for us: it was necessary to create a full-fledged photo essay.

In part, we were lucky: in the center of additional training, a driving school neighbored us, and that day, a driving competition among novice drivers was held on the territory of the local autodrome. I think it's not worth going into the essence of the details, that's not what you came here for.

So, the competition began, and my classmates and I went to the circuit to take the treasured shots. I did not have the best in my hands best nikon D3100, so I decided to immediately arrange with the guys working with the Canon 5D Mark II to shoot in turn. Both devices, by the way, were used with whale lenses. We agreed that after some time we would exchange cameras for a better understanding of the devices themselves and to get the maximum number of shots.

Upon arrival at the studio, everyone immediately began to transfer frames to laptops for processing. Inserting a memory card, I did the same, after which I began to consider the result. Looking through the photo for the second time, I caught myself thinking that at long distances (about 50-100 meters) Canon took pictures of more or less acceptable quality, but the D3100 showed an impressive result, as for a budget amateur SLR camera.

Of course, close-up pictures were taken: it was necessary to take pictures of the winners, the cars that brought them to such a result, and the teachers-mentors. The result on Canon was impressive. Nikon also performed well, but somewhere he lacked sharpness, in other places the picture seemed a little noisy, and you should not forget about the zoom effect.

After viewing the photos, I came to the following conclusions: Canon is capable of everything, you just need to choose the right set of lenses, but with Nikon everything is not so simple. Of course, you can get high-quality pictures, but Nikon’s getting perfect shots at a short distance is quite difficult, due to the crop factor. Nevertheless, he more than justified his cost, however, like Canon.

Disadvantages of full size cameras

First and, perhaps most significantly, the difficulty of photographing at long distances. The larger light range, good image clarity and ease of taking pictures are offset by weaknesses when shooting at long focal lengths. Of course, this is solved by a specialized lens, which will significantly hit your pocket.

Second but no less significant is the cost. In addition to expensive "glasses" (as the lens is called in slang), you will have to pay a round sum for the carcass itself. Of course, professionals will not stop even at a six-figure price tag, since such an acquisition will pay off quickly enough.

The third minus weight. A large matrix, a large mirror, a large viewfinder ... More and more requires a capacious body to accommodate. Among other things, lenses for large carcasses have also never been famous for their lightness. Configurations with expensive telephoto lenses, the lenses of which are made of glass with a special coating, will be especially difficult.

Fourth the disadvantage is the narrow specialization of full-frame matrices. While a crop with a coefficient of 1.5-1.6 can be called standard and universal. Full-frame sensors are focused mainly on shooting up close. Of course, you can use a full-frame camera for long-range shooting, but it will be much more difficult and expensive to do this. In addition, it will not be easy for a beginner to implement a device with a standard-sized matrix, even close up.

So, the moment has come to understand whether we need a full-frame camera or not? If you are one of the top photographers in the city and photography is your main income, then it is definitely worth it. If you are a hobbyist thinking about upgrading your crop camera, then the acquisition will be a very dubious action. Whatever is written here, you should correctly evaluate all the pros and cons, and then decide which type of matrix to choose.

If you want to get to know your camera in more detail, understand what it is capable of, understand the basic properties of building a composition, understand how to make a beautiful blurred background, learn how to control the depth of field and much, much more. Then to help you, a really super video course " Digital SLR for beginners 2.0". Believe me, you will draw a lot from it useful information, and your pictures will turn into masterpieces.

I hope you enjoyed this article and now you know what the phrase "full-frame camera" means. If the information turned out to be useful, then be sure to subscribe to my blog, there are a lot of interesting things ahead of you. You can tell your photographer friends about the blog, let them also join quality photography. All the best, dear reader, see you soon!

All the best to you, Timur Mustaev.

As a rule, people come to the full frame consciously, after many years of practice and passion for photography. They choose Nikon or Canon and stay true to the system, acquiring optics and additional accessories. And if before the full frame was the territory of the pros, for whom the presence of a camera with a full-frame sensor was critical for work, today such cameras have become more widespread. They simply became cheaper and more compact.

By and large, a full-frame sensor has one advantage over smaller sensors - higher image quality. Naturally, this parameter consists of several components, primarily higher detail and a wide dynamic range, and they directly depend on the physical dimensions of the sensor.

The skeleton of a typical full-frame DSLR

In addition, the larger sensor performs better in low light shooting. And here it is not only a wide dynamic range, but also a low noise level. The top lines of the DxO Mark rating have long been occupied by full-frame cameras, and devices based on Sony matrices predominate among them.

Full frame is necessary for high-quality night shooting and, in particular, for recording night time-lapse videos. Have you seen videos of milky way, with northern lights? All this was filmed with full-frame cameras.

How about nice bokeh? It is also easier to get when shooting on a camera with a full frame sensor. Although in this case, the role of optics should not be underestimated.

Size comparison of all existing matrix formats

For a long time, full-frame cameras were too large and a stereotype was established in the minds of the consumer, they say, a full frame is too cumbersome and heavy. Although it was possible to refute this even before Sony showed the world the Cyber-shot RX1 and full-frame E-mount cameras, digital Lakes were quite compact. They remain one of the most compact full frames today. However, Leica is a very special matter. What, besides Leica, is the current market for full-frame cameras rich in?

Canon EOS 6D

The Canon EOS 6D was one of the first full frames available, along with the Nikon D600. The camera was introduced in the fall of 2012 and there are no rumors about its replacement yet. This is a full-frame DSLR in the classic sense of the word, which, in terms of its capabilities, is slightly lower than the Canon 5D Mark III. Some of the characteristics are artificially low for a clearer positioning. This is especially true of the burst rate, the available shutter speed range and the autofocus system.

It is based on a 20-megapixel full-frame sensor and a dual DIGIC 5+ processor, which has also been used in flagships for more than high level. All the stuffing is enclosed in a weatherproof magnesium alloy case. Pentaprism viewfinder provides 97% frame coverage and 0.71x magnification. The burst rate is a modest 4.5 frames per second, the shutter works out shutter speeds up to 1/4000 s, there is no built-in flash, but even more significant drawback is weak autofocus. Phase autofocus works on 11 points in the central part of the frame, of which only one central is cross-shaped. The camera is capable of processing RAW files, as well as correcting vignetting and chromatic aberrations of compatible optics. Video shooting is available in Full HD resolution at 30, 25 or 24 full frames per second, and to record high-quality sound, you will have to purchase an external stereo microphone.

The key difference between the Canon EOS 6D and its competitors is the presence of built-in GPS and Wi-Fi modules. The first allows you to add information about the coordinates of the shooting point to the images and even record the route traveled. The EOS Remote mobile app supports image copying, remote camera control and remote shooting, as well as social media uploads, standard wireless features. The battery is rated for 1000 shots, and the optional battery grip will help extend battery life.

Canon EOS-1D C and Canon EOS-1D X

The Canon EOS-1D X is the top professional DSLR, while its more recent modification Canon EOS-1D C is focused on professional 4K video shooting and costs almost three times as much. At the heart of the original Canon EOS-1D X is an 18-megapixel CMOS sensor with gapless pixels and a dual DIGIC 5+ processor. The sensitivity limit here is an ultra-high value of ISO 204 800. The magnesium body of the camera is protected from moisture and dust.

The EOS-1DX was the first camera with two joystick controls for landscape and portrait orientation, and the first DSLR to support Ethernet connections. The camera also stands out with an advanced 61-point phase-detection system and 14fps burst shooting, which means it will be of interest to professional reporters. The main emphasis here is on ergonomics and speed. In addition, the camera is equipped with two CF card slots. Video recording is available in 1920x1080 resolution at 30, 25 and 24 frames per second, and full 60 fps is recorded only in 1280x720 resolution. The Canon EOS-1D X is compatible with accessories such as an external Wi-Fi module, stereo microphone, or remote shutter.

Canon EOS-1D C is a much more specific and more expensive product. People who select a device of this class are unlikely to read our review now. However, a few words should be said about him. Its technical equipment is almost the same as that of the EOS-1D X, except for the sensor optimized for recording 4K video. Video modes are much more diverse here. For example, Full HD video is recorded at a maximum rate of 60 full frames per second. Log Gamma can be used to record video, and uncompressed video can be streamed via the HDMI port to an external receiver. However, the 4K mode here is more of a marketing gimmick, since the frame rate for such video is only 24 frames per second, and the stream is compressed by the Motion JPEG codec.

Canon EOS 5D Mark III

The Canon EOS 5D Mark III has become a long-awaited gift for professional photographers, even more in demand than the above-described EOS-1D X. Recall that at one time the EOS 5D Mark II became the first full-frame camera to support Full HD video recording. The Canon EOS 5D Mark III is housed in a dust and moisture-resistant magnesium alloy body, and the shell design can be called conservatively established.

The camera supports two types of memory cards at once - CF and SD, which can work in pairs. The Five is equipped with a 22-megapixel full-frame sensor and a DIGIC 5+ processor, as well as a 61-point phase detection autofocus system with 41 cross-type sensors with object tracking function. The camera, however, has only a mono mixer, lacks an autofocus assist lamp and built-in flash - this will have to be put up with.

Automation allows you to shoot series in full resolution at a frequency of 6 frames per second, set any shutter speed up to 1/8000 s, shoot with multiple exposures, stitch together HDR images and record time lapse videos. It also provides tools for in-camera RAW processing, shooting full-size photos during video recording and a lot of fine-tuning for professionals. Video recording, however, does not fit into modern requirements and standards. The frame rate is 30 when shooting in Full HD with ALL-I or IPB compression. Disappointing is the lack of full-fledged continuous autofocus and the ability to output an uncompressed video stream via HDMI. A direct competitor in the face of Nikon D800 in this regard looks more maneuverable.

Well, it’s not worth talking about the affordable collection of full-frame optics and accessories once again - the choice is huge. The camera is compatible with a battery grip and an external Wi-Fi transmitter, triggers and external flashes, and underwater housings. The standard battery is rated for 900 shutter clicks.

Nikon Df

Nikon Df stands out among peers in the first place for its vintage design. Without exaggeration, this is the most beautiful full-frame DSLR to date. Created for adherents of "analogue" sensations, the camera at the same time offers a serious technical stuffing. It is housed in a magnesium alloy body with plastic inserts and is the most compact SLR camera with a full frame sensor, and also weatherproof.

Among the ergonomic features, it is worth highlighting a very small handle, a four-position mode selector, a tiny auxiliary monochrome display, one memory card slot and the absence of a built-in flash.

The main pride of Nikon Df is the 16-megapixel sensor inherited from Nikon D4, as well as the EXPEED 3 processor. The camera is compatible with both full-frame optics and lenses with one and a half crop in DX mode.

Nikon positions the camera as a tool for the aesthete, old-school professional photographer and artificially limits the camera to only the ability to take photos. No plot programs and other chips for beginners are not provided here. But in the presence of multiple exposure, and interval shooting, HDR and Active D-Lighting functions. The phase focusing system works on 39 points, and the burst rate is 5.5 frames per second. The camera does not have built-in Wi-Fi. But this problem is solved by purchasing an external transmitter WU-1a.

Nikon D610

Strictly speaking, the first relatively affordable full-frame DSLR was the Nikon D600. However, very soon, due to a problem with the shutter and sensor, it needed to be replaced in the form of the D610. The Nikon D610 is in the same class as the Canon EOS 6D. The SLR is protected from moisture and dust, enclosed in a magnesium alloy body with a polycarbonate front panel. The camera has a number of advantages over its closest competitor: 39-point phase-detection autofocus, built-in flash, and even two SD card slots.

The full frame is equipped with a 24-megapixel sensor manufactured by Sony and can work in 1.5 crop (DX) mode paired with the appropriate optics. The camera mount has a special mechanism for controlling aperture on older Nikon manual lenses. A new shutter has been specially developed for the Nikon D610, eliminating the annoying problem of oil splatter. The shutter works from 1/4000s to 30s, and the burst rate is 6 frames per second with active autofocus. The video modes here are the same as those of the closest competitor. The maximum resolution of the videos is 1920x1080, and the frame rate is selected from a range of 30p, 25p or 24p. The lack of built-in Wi-Fi and sync contact, as well as a mono microphone, can be considered disadvantages of this model. At the same time, Nikon D610 can be "pumped" with a battery grip, an external stereo microphone, Wi-Fi and GPS modules, and, of course, an external flash.

Nikon D800 and Nikon D800E

Nikon D800 and its more expensive modification with a sensor without an AA filter has become a kind of counterbalance to the competitor Canon EOS 5D Mark III, but the focus here is shifted to landscape-studio shooting. The cameras received full-frame sensors with an impressive resolution of 36 megapixels, and the main focus is on image detail and advanced video shooting. Like most Nikon DSLRs, the camera can also shoot in 1.5 crop mode, which is indispensable when using DX optics. In this case, the resolution drops to 15 megapixels. The frequency of continuous shooting at such a high resolution of the matrix was 4 frames per second, and video recording is possible at a frequency of 30, 25 and 24 frames per second in Full HD.

The Multi-CAM 3500FX focusing system is directly copied from the flagship Nikon D4 and has 51 phase detection autofocus points. Unlike the EOS 5D Mark III, Nikon offers an AF assist lamp and HDMI uncompressed video output. The shutter works out shutter speeds up to 1/8000 s, and flash synchronization is possible at shutter speeds up to 1/250 s. The minimum shutter life is 200,000 clicks. It is also worth noting the support of the USB 3.0 standard, built-in flash, headphone jack and the presence of two slots for memory cards - CF and SD. Both cameras are equipped with 1900 mAh batteries, which will be enough for about 750 shots, but there is also the possibility of docking a battery grip.

Nikon D4 and Nikon D4s

In early 2012, the Nikon D4 replaced the Nikon D3 as the flagship, although Japanese manufacturers usually avoid the "four" in the names. The professional Nikon D4 features a 16.2-megapixel full frame CMOS sensor, offering the sweet spot between high-resolution images and image quality. increased values ISO. Subsequently, the same successful sensor was used to create the Nikon Df.

The "brain" of the camera was the EXPEED 3 processor, later also used in the development of Nikon 1 mirrorless models. A dedicated 51-point sensor is dedicated to focusing, and the burst rate is 10 frames per second with active autofocus. Nikon D4 became the second camera after the Canon EOS 1D X, which acquired an Ethernet controller and a corresponding connector. It is also the first and so far the only camera to support the new XQD memory card format. At the same time, the camera is equipped with two slots at once - for XQD and CF cards.

After reading a bunch of spam on the topic “Which is better - crop or full frame”, I decided to try to understand this issue.

To begin with, let's recall the main provisions (we have already talked a little about).

The crop factor changes the field of view without changing the focal length. Exactly the same results can be obtained when shooting full frame and then cropping the edges of the frame. This also means that when using a crop factor camera perspectivedoes not change. You can do this experiment: look with one eye into the viewfinder of a camera with a 50mm lens, and with the other - at the same scene without a camera. You will see that the angle of view will be the same. Regardless of whether you have a full-frame sensor or a crop.

But, if the number of pixels is the same, then it will seem that the focal length has just changed by the value of the crop factor. See? The scene remained the same, the angle of view did not change, but the picture turned out to be, as it were, cut out of a larger one. Hence the feeling of changing the focal length of the lens. Stopping for a second and thinking, even re-reading the above and checking with your feelings, you will understand that all this is true. The focal length of the lens has not changed. Only the scope of its use has changed. Of the entire area covered by it, we have chosen only the middle.

Now let's think: what do we get from this? What is the strength, brother, and what will you have to put up with?

Firstly, when using a device with a crop matrix, more effective application long-focus optics. After all, the entire line of interchangeable lenses is shifting to a longer area - instead of 85mm (on film and a full-frame matrix this is a good portrait lens), we get 85 * 1.5 = 130mm. And this is a decent TV. And from 200mm you get 300! Free! Here is some very good news for hunters and sports reporters. The other side of the coin is a wash out of the line of wide-angle lenses. Judge for yourself - 24mm turns into 36, and 20 - into 30. In film times, a 20mm lens completed the line of wide-angle optics and was an object of sighing for an army of professionals. And having turned into 30, it became an ordinary budget glass. Here is the conclusion for lovers of landscape and architectural photography - it is better to be friends with full-frame equipment and get good old film lenses out of closets.

Secondly. As you know, the quality of the lens changes from the center to the periphery (for the worse). If you stumble upon data on lens resolution somewhere in the literature, you will see that it is measured as the ratio of the number of lines per millimeter in the center to the number of lines per millimeter at the periphery. Therefore, using a full-size lens with a cropped sensor, we win in terms of lens quality, since only the central, higher-quality area is taken into account.

Manufacturers of photographic equipment, simultaneously with the start of production of devices, began the production of entire lines of special lenses designed specifically for such devices. It is clear that these lenses are backwards incompatible with full-frame counterparts, if only because of the strong . In addition, for example, Canon, in their devices, also applied the technical incompatibility of lenses from bottom to top.

Here are the names of the series of digital lens lines from leading manufacturers:

• Canon— EF-S
• Nikon— dx
• Sony— DT
• Pentax— DA
• Sigma— DC
• Tamron— Di II

Now here's something else. Let's take two devices - one with a full-frame matrix, the other with a cropped one. We will put a 50 / 1.4 lens on a full-frame device, and on a device with a crop matrix - to get the same fields images - 35 / 1.4. The image area will be the same, but what will happen to ? Remember, we found out that, all other things being equal, the depth of field will be smaller at the lens with more focal length. This means that in order to get the same pictures, the aperture of the 50 / 1.4 lens will have to be covered. The difference will be even more significant when using, for example, a pair of 85mm versus 135mm. But how much? I managed to find such data in an article on choosing a normal lens for a full-frame device. The article, however, is dated 2010, but for understanding the essence of the process, I think this is not particularly important. (Of course, simple calculations can be easily carried out, but in the picture it looks much more spectacular).

See what's the difference? Conclusion - with the same image field (for example, when shooting a portrait) and using a full-frame sensor and a lens for it, we will get a smaller depth of field. On the other hand, when using a cropped matrix, the depth of field increases, which cannot but rejoice when shooting, for example, a landscape.

Another very important advantage of a full-frame device is its increased . Moreover, the difference is so significant that for the sake of this fact alone, many professionals switch to full frame.

dry residue.

Pluses of a full-frame matrix (Full Frame - FF).

• Matrix, and therefore a wide range of sensitivity, and, consequently, a wider range of possibilities for using the camera;
• As a result of belonging to an expensive class - a rich strapping: a metal case, two flash drives, a large bright viewfinder, a shutter designed for a million clicks and other premium goodies;
• Smaller depth of field (not the fact that this is always a plus).

Minuses.

These devices have only one minus - the price as a reflection of belonging to an expensive class, because the matrix is ​​​​the most expensive part of the device.

Advantages of a crop sensor camera

• Shift the focal length of the entire line of lenses to a "longer" area. It becomes a plus for photo hunting and sports reporting;
• The ability to use old film and modern full-frame optics (taking into account the crop factor, and almost certainly - in manual mode, which, by the way, is not always a drawback. For example, if autofocus does not work in video mode, then film fast fixes in this case - the best choice);
• Large depth of field (maybe a minus).

Minuses

• Shift the focal length of the entire line of lenses to a "longer" area. The downside is for shooting landscape and architecture. For real wide angle lenses- digital only.

That's all. The final choice, as always, is yours. I sincerely hope I didn't confuse you even more. If so, welcome to the comments.