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 model. Immediately I started getting 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 for stronger background blur and significantly improved image detail, is characterized by a different picture geometry. If the first two factors are not particularly in doubt among experienced photographers, then the latter statements require clarification. Today we will look at how a full frame changes the viewer’s perception of the image.
Note. How was this photo tutorial written? First, I compiled a theoretical part, drew diagrams explaining the statements and theoretically concluded that a full frame is significantly better than CROP in terms of picture geometry.
Then I took a full frame cameraNikon D610 and croppedNikon D5100, went into town to take real-life example photos to illustrate what I said in the article. And what? In practice, it turns out that the difference can often not be noticed at all!
I deliberately do not change the text below (as originally written), so that you, dear reader, can see the points in which I may have been mistaken.
We were convinced in the comparative review of my new Nikon D610 DSLR (link at the bottom of the page) that in full-frame cameras like 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. I am sure that manufacturers do not specifically produce CROP with a photosensitivity level equal to a full frame, since then they could lose a significant part of the market: many amateur photographers will not buy more expensive versions of DSLRs or mirrorless cameras.
The effect 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 using a cropped Nikon D5200 DSLR and a Nikon 50 mm f/1.4G lens.
What needs to be done to shoot a frame with a Nikon D800 FX camera within the same boundaries? There are 2 ways: move closer by 30% or stay in place, but use a lens with a focal length 1.5 times shorter (for example, Sigma 35 mm 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 a CROP Nikon D5200 and a full frame Nikon D800, you will have to use different distances to the subject (or use lenses with focal lengths that differ by 1.5 times). The girl is shooting with a Nikon D5200, the man is shooting with a Nikon D800.
The misconception that the focal length of the lens increases on KROP
When it comes to the concept of focal length, it is clear that many photographers are confused by the terms “equivalent focal length” and “viewing angle”, often used to describe the characteristics of the sensors of various cameras.
1) Real focal length of the lens
To put it simply, 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 in no way affected 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 real value is indicated, which does not change whether we use this width on a crop Nikon D7200 or on a full frame Nikon D810.
Photo 5. Even on the lens of the Sony Cyber-Shot DSC-W350 soap dish the real 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 with the tube fully extended.
2) Field of view
Field of view (also called “viewing angle” or “field of view angle”) is that portion 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 image 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 photograph. For example, the Nikon D5500 amateur camera has a viewfinder field of view of 95%, i.e. it is 5% less than what the camera will photograph. Hence, the real field of view is what the camera will capture, not necessarily what we see in the viewfinder.
3) Viewing angle (field of view angle)
Lens manufacturers often use the term "angle of view" or "maximum viewing angle" in their specifications. For example, when used at full frame, the Canon EF 20mm f/2.8 USM prime lens has a maximum angle of 94°, while the Canon EF 180mm f/3.5L Macro USM macro lens only has a maximum angle of 13°40′.
As we can see, 94° is much wider than 13°40′. This is why at a focal length of 20mm a lot of space will be included in the frame, but at 180mm we will see a narrower part of the image.
The main difference between viewing angle and field of view is that the former refers to the characteristics of the lens, while the latter refers to the combination of the lens and the camera on which it is used. For example, the Canon EF 20mm f/2.8 USM prime mentioned above will show an angle of view of 94° only 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 matrix, the field of view, i.e. the image we get becomes smaller: 63°.
I had to calculate the field of view angle for Canon myself, 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.”
The actual, real physical characteristics of the lens (what it sees) do not change. As explained below, the matrix of a cropped DSLR simply “cuts off” part of the image, which leads to a narrowing of the “field of view angle”.
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 same as indicated on the lens barrel. When digital SLRs began to be produced, the size of the matrix was no longer always equal to the frame size on 35 mm film (usually smaller to reduce cost). Reducing the size of the sensor has 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 represent light entering the camera):
As can be seen in figure (a), the full-frame sensor captures most of the image transmitted by the lens, and the cropped sensor mainly shows 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 "cropping" can be misleading because it is usually associated with "cutting off" part of an image. But once again, the picture is not cropped, just some of the rays pass by the sensor and are ignored.
Manufacturers are aware of this phenomenon, so they offer lenses designed specifically for cropped cameras to reduce their size and cost. Nikon’s designations are “DX”, Canon’s cameras are “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, it will “capture” only part of the scene, and 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 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 matrix. 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 area 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 forums about choosing a telephoto lens for a cropped DSLR, you can come across the following statements: “A Nikon 70-300 telephoto on a 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, magnifies the image more.” And this is a wrong statement, since the degree of increase has not changed.
Where did these big 105-450mm numbers come from? Let's look at what crop factor is and how these "equivalent" numbers are calculated.
5) What is crop factor?
We saw how smaller matrices ignore the large circle of the image. Now let's discuss the crop factor, which is used by digital camera manufacturers and amateur photographers when describing sensors and calculating the “equivalent focal length”. While reading camera reviews, you've come across phrases like “The Nikon D3300 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 produced with a matrix smaller than that of film, and it is used to show how much smaller the field of view will be when using 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 film frame (35 * 24 mm).
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 times larger: on a full frame S = 36 * 24 = 864 mm 2, on crop S=24*16=384 mm 2. But when we calculate focal length, we are not talking about sensor area. The crop size is calculated by dividing the diagonal length of the full frame by the diagonal length of the cropped sensor.
It's time to remember geometry. Remember how to calculate the diagonal length of a right triangle? Here is the formula: L=√ (X² + Y²). At full frame it is 43.26 mm (square root of 35 2 + 24 2), and for CROP it is 28.84 mm (square 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 matrices (this is a rounded number, the real one is about 1.52).
What to do with this ratio? This must be multiplied by to get the “equivalent focal length”. For example, a Nikon 105mm f/2.8G macro on a cropped Nikon D500 DSLR has a field of view equivalent to 157.5 mm.
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 cropped Nikon D5100 DSLR and set the focal length to 105 mm, and then decided to change it to a full-frame Nikon D610 - to get the same field of view, for a full-frame camera you can set the lens focal length to 157.5 mm.
Looking at Figure 1 with a diagram of shooting a portrait on a full-frame Nikon D810 and on a cropped Nikon D5200, I am reminded of another myth that thrives on amateur photographers forums: “Cropped DSLRs are more suitable for photo hunting of birds and animals than full-frame ones, since the focal length is multiplied on a cropped one.” 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 cropped Nikon D7100 camera will produce a focal length of 105-450 mm (multiplied by AF=1.5 for Nikon).”
But we have already figured out above that the focal length of a lens is a value that remains constant both on 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 with us on a photo hunt and met a moose in the forest. They photographed him from a distance of 20 meters.
Now we change the carcass to a professional cropped Nikon D500 camera and photograph the animal from the same distance. Due to the smaller field of view, with the same focal length, we received a “cropped photo”. When we look at the result of our photo hunt on a Full HD monitor, the image will “stretch” across the entire screen and it will seem that it has increased.
Someone will exclaim: “I told you that the KROP Nikon D500 magnifies the image by one and a half times, so it is better suited for photographing wild animals and birds!” To this I will answer: “Once again, the focal length, and therefore the scaling, remains 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 1.84 times higher working ISO. The numbers are taken from the Dxomark website (Nikon D5 has ISO 2434 units versus 1324 for the crop Nikon D500).
Let's organize a photo hunt in practice. Let's take a Nikon D610 full-frame DSLR and photograph a sparrow.
If we want to shoot a frame with exactly the same boundaries on a crop Nikon D5100 with the same Nikon 70-300 telephoto lens, we will have to move 50% further from the subject.
Photo 12. Imitation of photo hunting for birds with a CROP (for example, Nikon D7200) and a Nikon 70-300 telephoto camera. For shooting, I took Nikon D610 and moved further 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 larger pixels and lower requirements for the quality of optics.
Let's say your telephoto lens has a focal length of 250 mm - maximum, i.e. you couldn't zoom in 50% by standing in the same position as Photo 10-1. What is the advantage of full frame? The fact is that he already has a reserve for CROP of 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 CROP: if you compare the Canon EOS 5D Mark III and Canon EOS 70D models, their working ISO is 926 and 2293, respectively - which means 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 rendition is noticeably worse if you look at the comparison table: 22.5 and 24 bits with a discernible difference of 1 bit).
Thus, when shooting wildlife on the full frame of the Nikon D5, we get the advantage of a high working ISO, and can crop (i.e. “sprinkle”) the image, if necessary, with the ratio we want, and not with the “preset” one on Nikon D500 crop factor Kf=1.5...
Why is there more detail in the full frame?
In describing a photo hunt for moose, let’s imagine that we need a frame exactly like the one in Figure 9-a. Then a photographer using a cropped Nikon D500 DSLR will have to either move 1.5 times further away, or take a telephoto with a focal length 1.5 times longer. It is clear that at a distance of 30 meters all the details will look smaller. Just for fun, let’s compare different pictures not only from full frame and CROP, but also from other devices for digital photography: point-and-shoot cameras and smartphones.
Here's a diagram showing the difference between full frame sensor, crop sensor DSLR or mirrorless, compact cameras and phones. For analysis, we will take the following models (in brackets: crop factor, real focal length, EGF):
- full frame Nikon D610 (crop factor 1.0);
- cropped FujiFilm X-Pro2 mirrorless camera (F=1.5);
- expensive Sony Cyber-shot DSC-RX10 soap dish (F=2.7; 8.8 - 73.3 mm; 24 - 199.2 mm);
- compact in the mid-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, we will have to move away at a distance proportional to the crop factor of the digital camera.
To conduct the experiment, I take a full-frame Nikon D610 camera with a Nikon 24-70mm f/2.8 lens and shoot 5 frames.
Note: in each frame the “vase” drops lower - this is my flaw: when moving away from the subject, in order to maintain the same angle, the height of the tripod should have been proportionally raised.
The resulting images eloquently indicate a change in image detail when shooting on cameras with different matrix sizes. At the same time, in our experiment the pixel size is not reduced: 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 point-and-shoot camera is 20.9 megapixels (the area is 7.4 times smaller), expensive ultrasonic Sony CyberShot DSC-HX60 - 20.4 megapixels (area 30.2 times smaller) and iPhone 6s phone - 12 megapixels (area 50 times smaller).
Pixel dimensions can be calculated by dividing the area by the number of pixels. It is clear that in compact cameras it is very small, which leads to an increase in digital noise (they are “strangled” by the built-in noise reduction, but at the same time the detail of the picture is lost) and requirements for optics (and on cheap digital cameras it is not of such quality).
The reader may ask: “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 smartphone only cuts out a small piece of the image from the center, and we are able to get closer. We previously saw that it has an equivalent focal length of 29.89mm. And if the matrix of the iPhone 6s was as large as that of the full frame Nikon D610, then photo No. 15 would look like this.
I think that full-frame and cropped photographs 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 move away or move closer while photographing, we change the perspective of the image (which is why in each photo above the “vase” becomes smaller, although I CROPPED so that the borders of the frames coincided).
Peculiarities of transmitting perspective on a two-dimensional plane by different lenses used on CROP and full frame
The laws governing the transfer of three-dimensional space on a two-dimensional plane of a photograph are described in detail in the wonderful textbook by Lydia Dyko, “Fundamentals of Composition in Photography,” published in 1988 (we discussed another wonderful book by this author, “Conversations about Photography Skills,” in the article on how to learn how to set the settings of digital cameras) . I will give here a presentation of one of the interesting points describing the rules for depicting linear perspective on a plane.
Obviously, the shooting objects include several elements, each of which is located at some distance from the camera. In a photograph, the scale of each block is determined by how its dimensions in the photograph and in reality compare. All this is described by a formula showing that the scale of the image is inversely proportional to the distance to the subject and depends in direct proportion on the focal length of the lens. As a result, the closer the subject is to the photographer, the larger it is in the photograph, and the further away it is, the smaller it becomes.
Let's take an example: we are photographing a spring landscape with three apple trees of the same height using a full-frame Nikon D750 camera with a Nikon 85mm f/1.4G prime. 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, to the 2nd – 53 meters, 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%). This is why all three objects are approximately the same size in the image. 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 come 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 in such a picture is felt better, since the sizes of more distant objects have decreased 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 and feels depth (5, 8 and 11 meters, 120%).
Now let's think about what will happen if a photographer removes the Nikon 85mm f/1.4G AF-S portrait prime from his Nikon D750 camera and replaces it with the Nikon 14mm f/2.8D ED AF Nikkor Nikkor ultra-wide-angle lens. He will have to come closer by 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 trees will be 73% (8.2, 11.2 and 14.2 meters).
Returning to the topic of the article “how does CROP differ from full frame”: if an amateur photographer decides to replace the Nikon D750 with a cropped Nikon D7200 DSLR, he will have to move 50% further, i.e. stop 12.3 meters from the subject. Accordingly, the difference in the ratios between the foreground and background will also become different: 49% (12.3, 15.3 and 18.3).
Maybe this 24% difference between 73 and 49% will not seem so big. But the proportion changes noticeably if we take other distances between our trees. For example, look in the table below what the ratios will be if one apple tree is separated from another not by 3 meters, but by 20 meters.
Why is there more distortion on full frame than on CROP?
In the already mentioned photography lesson about how to adjust the shooting parameters of cameras Nikon, Canon, Sony and others, we noted that tall buildings need to be photographed from afar and from an elevated position so that the lens axis is as horizontal as possible. Let's look at the diagram to see what happens if we get close to a subject who is taller than the photographer.
We see that when shooting at a long distance, the lengths of the upper (1-2) and lower (1-3) beams are approximately the same. And as we got closer, the lengths of the segments changed significantly (4-2 and 4-5). The difference in distance P1 is noticeably larger than P0. From the explanations above we know: the larger this delta, the larger the objects in the foreground are than the analogues behind; This is why distortion and tilting of vertical lines occurs if the lens axis is not horizontal during photography.
Here's another diagram showing how the proportions of an object change when we tilt the camera's axis up or down, and explains why tall buildings need to be photographed from an elevated position.
Again, when shooting our building with a full-frame mirrorless Sony Cyber-shot DSC-RX1R II camera, we get closer than when photographing with a cropped Fujifilm FinePix X100 mirrorless camera, so the degree of distortion is higher.
Which is better: CROP or full frame?
Each photographer has a different answer to this question. For me, buying a full-frame Nikon D610 DSLR meant the opportunity to get better picture detail, high working ISO and low digital noise, and more noticeable bokeh. The obvious disadvantage is the high price (although it all depends on what parameters to use to compare the cost: in the discussion of the Nikon D610 camera, I compared it with the advanced CROP Nikon D7200, where I noted that a full-frame camera is more expensive than a cropped one... by only the cost of two prime lenses - fifty dollars).
Please note that the technical features of the full frame described in this article do not have such a serious meaning if the photographer does not know the rules and laws of artistic photography. If a professional picks up a crop-top Canon EOS 1200D, he will take hundreds of times more interesting pictures than a novice amateur photographer who bought himself a professional full-frame Canon EOS 5D Mark III. Although, it is the professional who will experience the inconvenience caused 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 photographs. I understand that I could continue learning photography with the kit that I had: a cropped Nikon D5100 DSLR, a Samyang 14mm f/2.8 wide-angle lens, a Nikon 17-55mm f/2.8 reporter, and a Nikon 70-300 telephoto camera. But, as I wrote earlier: hunting is worse than captivity.
Happy photography, my friends! Let the photographic equipment you own now bring only pleasure and joy from good photographs for a long time.
P.S. I don’t mind if you subscribe to notifications about new articles on the site (see form below). And if you share the link to the article on social networks, I’ll just kiss you!
P.S. Examples of a real photo report shot with identical lenses with a full frame Nikon D610 and a cropped Nikon D5100
Theory is a theory, but it must be tested in practice. Imagine that you took two cameras and came to Yekaterinburg, walked along the pedestrian street named after Weiner. Will the KROP Nikon D5100 limit you that much? Will viewers be able to distinguish which DSLR a particular frame was shot on?
I present to your attention a pair of photographs. I tried, if possible, to use the same settings (but not always, because I forgot and was too lazy to write down) and approximately the same angles. I will keep the intrigue: I will not label which photo was taken on which camera.
Correct answer: example photos 28, 30, 32, 35, 36, 39 and 40 were taken on a cropped Nikon D5100 DSLR with a Nikon 24-70mm f/2.8 lens. The remaining images were taken on a full frame Nikon D610 with the same reportage zoom.
What conclusion can I draw from comparing these paired images? Firstly, the wider dynamic range and color rendition of the Nikon D610 compared to the Nikon D5100 is striking. Secondly, from a geometric point of view, the difference in the picture is almost unnoticeable. Thirdly, if you buy a newer cropped model, for example, Nikon D7200, then in terms of DD and color depth, as we saw in the graphs from the Dxomark website in my reviews earlier, it is comparable to the Nikon D610.
One of the most important and basic parameters of any photographic equipment is size of the photosensitive sensor of the camera. And we are not talking here, but about the actual physical area of the photosensitive element.
Previously, most photographers shot with film cameras, which used the so-called 35mm film(film standard since the distant 1930s). Those were quite a long time ago, and somewhere since 2000, digital SLR cameras (DSLRs) became very popular, the principle of operation of which remained the same as in film cameras, but instead of film, the digital SLR cameras began to use an electronic light-sensitive matrix, which forms the image .
That's just the price for making such a matrix hundreds of times more expensive than regular film. Due to the huge price of producing an analogue of 35mm film and the general complexity of manufacturing a huge matrix with millions of transistors, a number of manufacturers began to produce crop sensor cameras. Concept ‘ cropped matrix’ means that we are talking about a smaller matrix than the standard 35mm film size.
Crop factor(Crop – from English “ cut") is an indicator for cropped matrices; it measures the ratio of the diagonal of a standard 35mm film frame to the diagonal of the cropped matrix. The most popular crop factors among CZK are K=1.3, 1.5, 1.6, 2.0. For example, K=1.6 means that the diagonal of the camera matrix is 1.6 times smaller than the diagonal of a full-frame sensor or the diagonal of 35mm film.
In fact, not all central control cameras are equipped with a cropped matrix; now there are many cameras with a matrix size equal to the size of 35mm film, and K=1.0. Cameras that there is a matrix the size of a classic 35mm film, are called full frame digital SLR cameras.
Cropped cameras are usually APS-C cameras with K=1.5-1.6, or APS-H cameras with K=1.3. Full frame cameras are usually called Full Frame. For example, cropped APS-C Nikon cameras are called Nikon DX, and full-frame cameras are called Nikon FX.
DX (cropped camera, APS-C type, K=1.5) 23.6 by 15.8 mm 372.88 sq.mm.
FX (full frame camera, K=1.0) has a matrix with dimensions of approximately 36 by 23.9 mm, the area of such a matrix will be equal to 860.4 sq.mm
Now we divide the areas of the matrices and we get that the DX matrix is smaller than the full-frame matrix in 2.25 times. To quickly calculate the real difference in the physical dimensions of a full-frame and cropped camera, just square the crop factor. So, DX cameras use a crop factor K=1.5, we find that the areas of DX and FX cameras differ by 1.5*1.5=2.25 times.
If we install a standard (for example) lens with a focal length of 50mm on a cropped camera and look through the viewfinder, we will see that the viewing angle has become narrower than with the same lens on a full-frame camera. Don't worry, there's nothing wrong with the lens, just because the sensor of a cropped camera is smaller, it only “cuts out” the central area of the frame, as shown in the example below.
The difference between a cropped and full frame camera. The first photo was taken with a full frame camera and a 50mm lens, the second photo was taken with a cropped camera and the same lens. The viewing angle on the cropped camera has become smaller.
At the same time, many people have the opinion that the lens is changing - but this is just an illusion. In fact, the viewing angle that a person observes in the viewfinder changes, the lens does not change. - this is the physical size of the lens and it will remain the same on any camera. But because of this illusion, it is convenient to say that the visible image on a cropped camera is similar to a 75mm lens (50mm*1.5=75mm) when used on a full-frame sensor. That is, if you take two tripods and two cameras - one full-frame, the other cropped, and attach a lens with a focal length of 75mm to the full-frame one, and a lens with a focal length of 50mm to the cropped one - then in the end we will see an identical picture, since their viewing angles will be the same.
Conclusions:
Cropped cameras (cropped matrices) are simply smaller matrices, and in order to understand the amount of matrix reduction, the concept of crop factor is used. The crop factor is convenient to use to obtain the EGF of lenses when using them on cropped cameras. To get the EGF of any lens when using it on a cropped camera, it is enough to multiply the focal length of this lens by the crop factor of the camera.
More information in sections
For six months now I have been the very happy owner of a Canon EOS 6D and, having shot more than 15,000 frames during this time, I can reliably talk about its pros and cons. But first, a little about your activities and the reason for the purchase.
I am a professional photographer in a small town. I specialize in family, children's, studio, wedding, fashion photography and related areas of photography. At the beginning of the summer of 2016, my old Canon 500D, which served me faithfully for 8 (!) years, broke down, there was no point in repairing such an old camera, savings did not allow me to take a swing at 5Dm3, but I really wanted to switch to FF - under these conditions, there was a choice only one is obvious.
The camera cost me about 86,000 (with a price of about 105,000 in official partner stores, i.e. suppliers of “white” equipment, at that time). No, it was not purchased from famous Indians at VDNH. The discount of almost 20 thousand was obtained due to the already annual cashback from Canon and coupons from the Svyaznoy store, Googled in 10 minutes. Nowadays you can buy a camera even cheaper if you follow the same scheme. Well, or go to stores with gray equipment.
General impressions of the camera: I am completely satisfied with it, it’s enough for work, new opportunities have opened up. But you need to understand that the camera is NOT DESIGNED for dynamic reporting. I was slightly shocked by some reviews in which people complain about focusing or rate of fire - my dears, this is all indicated in the camera’s characteristics, why buy a device that has nothing to do with your type of activity, and then blame the mirror?
It's perfect for leisurely creative photography! At the end of the review, I’ll tell you how not to make a mistake when choosing a camera and what to look for when buying.
What made you happy with the 6D?
1. Good working ISOs
This is the most important plus and an inexhaustible source of joy for me. With my old camera, I couldn’t even dream of shooting at ISO 2000-4000, which meant that entire genres were closed to me, and the picture in dimly lit rooms was indigestible. Now everything has changed, I have gained greater freedom, in the twilight of a restaurant I no longer necessarily grab a flash, in simple Soviet apartments there is enough light from the window, you can safely experiment with night photo shoots and even astrophotography. But photos can speak louder than a thousand words:
Filmed in a closed church, cloudy day, the only light source is a medium-sized window:
At 100% magnification:
The quality is more than acceptable for use on the web, a personal album, and even for A4 printing.
And here is a photo from a report on the arrival of my regular client’s husband from the army. The train arrived at one in the morning, with only city illumination for illumination:
Same source + flash on the ground behind:
Light from a curtained window:
Suddenly, during the shooting, a strong thunderstorm began, in the blink of an eye it became dark, like late evening, and heavy rain poured:
The only light source is candles:
I think you understood my point. The camera is very friendly with high ISOs! Of course, at 8000 the mess starts, but this range is enough for work. With this camera, for the first time, I was able to see the Milky Way without leaving the city!
2. Full frame and all that it entails
Wide-angle lenses have finally become so, and to use my favorite 135mm from Canon, you no longer need to travel 5 km per shoot. In general, the legs are resting
I almost never leave this lens, so this is important to me. Now sometimes I even manage to fit in a cramped studio with him. A few examples of photos with my favorite and 6D:
3.GPS and Wi-fi
Filming takes me to the craziest places, not only in my hometown, but throughout Russia, and sometimes beyond its borders, so keeping track of the map of my movements is a kind of little game for me. But unfortunately, GPS noticeably affects the camera’s operating time without recharging, so I don’t always keep it turned on. I often take one or two frames in a new place with GPS turned on, so that I have a mark that “I was here”
GPS is very accurate, determines the location with an accuracy of up to a meter, you can then see what happened during the shooting using the map tab in Lightroom or a program from Canon.
Here is a map from one of my photo days at one stable, it’s clear that during the 8 hours of shooting I did a fair amount of running:
4.Other nice little things
- The raw file size is noticeably smaller than on my old camera, but the resolution is higher.
- Long-lasting battery (can easily withstand an entire wedding or several smaller shoots without recharging)
- Uses SD cards (for me this is a plus, since there are a lot of SD cards left from the 500D and I didn’t have to buy cards of a different format)
- 3 different resolutions for raw (very useful when you know for sure that large photos are not boring)
And now about the unpleasant:
I won’t find fault with the design and placement of the buttons (especially since it clearly wins in comparison with the 5Dm3), since this is a matter of individual preference and a matter of habit. The first time was difficult, changing settings required several seconds of “stupidity” on my part, since the controls were radically different from my previous camera. But this is a matter of practice, now I feel quite comfortable with it.
All of the listed disadvantages do not interfere with working in my genres, so my rating for the camera is 4.75, rounded to 5.
And now some photos under different lighting conditions.
The perfect golden hour
And now about how to choose a camera and not make a mistake.
The first question you should ask yourself is “who am I and why do I need a camera?”
Everything else will depend on the answer to this question. Here are the possible answers that come to my mind:
1) You are an amateur photographer, you know little about the technical side of photography, you need a camera to
- photograph family, children, get-togethers with friends, parties, in general for social purposes. In this case, you definitely don't need a 6D, even if your friend has one and you like the photos from it. For these purposes, there are more budget solutions that are no worse and do not weigh more than a kilogram with a lens. Pay attention to the most budget DSLR models, and spend the saved money on a good fast lens and on-camera flash; in your case, much more will depend on them than on the camera. You can take a closer look at used cameras.
- take pictures while traveling, hiking, trips, in general for tourist purposes. You don't need a 6D either. Pay attention to mirrorless cameras with interchangeable lenses; when packing suitcases, long walks and on mountain trails, size will matter and every gram will count. The motivation to carry 1.5 kg of camera equipment with you disappears quite quickly when you go on 10 km walks in mountainous areas.
- shoot for yourself - macro, objects, portraits, in general for creative purposes. For you, I have the same advice as for the first point - a budget DSLR + a good lens. The 6D is only worth buying if the lion's share of your creativity is shooting in low light and your budget allows.
2) You are a professional or are going to become one in the near future, you need a camera to
- shoot reports, sporting events, club parties, etc., in general, everything that is in constant motion. The 6D will absolutely not suit you and its characteristics simply scream about it. Pay attention to the number of frames per second, the shortest shutter speed, the focusing system, and then choose according to your budget; reportage cameras sometimes cost half a million. Don't skimp on memory cards, as they can also affect your burst shooting speed.
- shoot portraits in the studio or outdoors, subjects, macro, in general, everything that allows you to shoot thoughtfully and slowly. 6D is perfect for these purposes for professionals of any level. In some circles there has been a somewhat snobbish attitude towards it, saying that it is not the most serious camera for a professional, but in my opinion this is a misconception, and thousands of professionals will support me in this. However, if you are a novice photographer, I would advise you to pay attention to more budget crops, you will always have time to change the camera when you realize that the crop has become cramped for you, but if you immediately invest in a full frame and end up with a photo you are not it will be a shame, and the camera will not be suitable for home purposes. Invest in lenses and lighting equipment - they make a big difference big role in the final picture than the camera itself, and a full frame is not a magic wand and will not automatically make your photos better, just keep practicing and learning, and you will always have time to switch to expensive equipment.
To summarize, I will say that 6D left a mostly positive impression, allowed me to expand my horizons, and opened up something that was previously inaccessible. And I can definitely recommend this camera. I hope that she and I have many more years of adventures ahead of us.
If you still have any questions after reading my review, write in the comments and I will definitely answer them.
In the modern world, cameras are gaining more and more popularity. Photography is a new art that everyone can do. With the help of photographs, we convey emotions, feelings, and record the history of our lives, as well as the world around us. Most people take photographs for themselves, simply to capture something important. But there are also real professionals in creating photographs, they live their photographs, and in order to convey the mood as much as possible, they wait for hours for the right moment, go on special trips, chasing a sensual and emotional photo. Millions of websites are being created with photography as their main theme. People convey their experiences in this way.
Thanks to its simplicity, this art form has deeply ingrained itself in the hearts of many. And progress does not stand still, and people come up with new things, improve cameras, making the picture better and more natural. Nowadays, full-frame cameras are gaining popularity, which provide good detail and show excellent quality and color gamut.
Briefly about devices
The name of the cameras comes from the phrase “full frame”. The full frame is the size of the photosensitive matrix responsible for the quality of the image. The larger the matrix, the better the picture quality, the less noise there will be when there is a lack of light. Cameras most often use a half-format size, that is, an APS-C 23x15 mm matrix. APS-C is a generally accepted designation for matrices with a crop factor (reduced size). For full-frame cameras, it matches the dimensions of a 35mm film camera (35x24mm). Pictures taken with a full-frame camera are 1.5 times larger than with a camera with a half-format sensor.
What is the popularity?
Film cameras appeared in the 19th century, but why are full-frame devices only now gaining popularity? The fact is that when active production of digital cameras began, smaller matrices were most often used due to the too high cost of full-frame sensors. Now such matrices have become more accessible, so the demand for them is growing.
Are such cameras really necessary?
Although full-frame photographic equipment has become quite accessible and cheap compared to previous decades, many large companies still prefer cameras with a trimmed matrix, simply improving and improving them. This begs the question: “Since it’s more popular, does it make sense to buy full-frame equipment?”
First, you need to figure out why you need a camera at all. Most often, people buy cameras in order to leave a memory of some significant event in their life, for example, a holiday or a pleasant trip. It is clear that in the family archive or social networks no one will look at the dimensions of the matrix of the camera on which the photo was taken. If you use the camera only for yourself, then there is no need to spend money, the main thing is to remember that in photography it is not only the quality that is valued, but also the composition and the meaning inherent in it.
What about those who make a living from photography? This is the same profession where you need to improve your skills and improve yourself, work on the quality of your work, the depth of color. In fact, many manufacturers have managed to create full-frame models with a resolution of more than 16 megapixels, while the quality remains high even at ISO 1600.
Narrow depth of field (depth of field) has always been a hallmark of full-frame technology, with which you can create a bokeh effect, but now, using lenses with ultra-high aperture 1.2, you can achieve the same picture.
However, full-frame cameras are much more expensive than full-frame cameras, and they are also heavier and take up more space.
A person who is not a professional will not notice the difference between cameras with a crop factor and full-frame ones, therefore, whether to buy full-frame cameras is up to you to decide, after weighing all the pros and cons. Retro lovers appreciated this initiative, as film technology became a staple for many.
Pros and cons of full frame cameras
As mentioned in the previous paragraph, modern half-format cameras can easily compete with full-frame ones in terms of image quality, size and price. What are the positive aspects of full-frame photographic equipment?
- The size and light sensitivity of the matrix help create images of very high quality and with good detail.
- Works with a low noise level, which is good for photographers who, for example, photograph rare animals.
- The presence of burst shooting allows you to capture natural movement.
- With fast autofocus, you can quickly switch from subject to subject, which will prevent the photo from being blurred.
Of course, full-frame cameras also have disadvantages:
- Dimensions of cameras. The weight and dimensions do not always make it easy to carry equipment, and without a tripod, your hands get tired quite quickly.
- Slow shooting speed. Despite fast autofocus and continuous shooting, you still won't be able to instantly capture the moment.
- Cost of cameras and additional equipment.
- Careful approach to technology and selection of optics. Many full frame cameras will not accept lenses from other brands.
As we can see, the number of pros and cons of full-frame technology coincides. This means that everyone is free to choose for themselves, based on their tastes and preferences.
Nikon company
The history of the company began in 1917 in the Japanese city of Tokyo. Since then, Nikon has been one of the leaders in the production of optics and various photographic equipment.
This manufacturer makes cameras for different tastes: there are budget, amateur and professional cameras. Since Nikon is responsible for the quality of its products, even the cheapest cameras up to two thousand rubles have good content for their money. As for very expensive equipment, the price of professional cameras, for example, varies between 200 - 400 thousand rubles. Interestingly, Nikon produces not only equipment for photography and video recording, but also microscopes and other devices needed in medicine.
Nikon's main competitor has always been and will be Canon; they often share first place in ratings of the best cameras. Both companies are located in Japan and have a similar look and build.
What are the features of Nikon? This manufacturer pays great attention to low-light shooting quality. Another advantage is the large sensor size, making high-quality photos with a small number of pixels. The company also adds small details that make the job much easier. Nikon, even in its most basic and cheap models, has good autofocus, many modes, and an HDR effect (which not all cameras have, even Canon).
Everyone chooses a camera according to their taste, and Nikon is one of those companies that has millions of fans around the world. Among its products you can choose a good camera that will be convenient and easy to use.
Features of Nikon full-frame cameras
Nikon was one of the first to produce full-frame cameras. And many photographic equipment users prefer this particular manufacturer. How does a full-frame Nikon differ from its counterparts from other brands? Let's try to figure it out.
Firstly, since the company already has experience in creating such equipment, the quality of the Nikon full-frame camera is highly valued in the market. Such a device will delight you with long-term operation. Not many manufacturers can compete with Nikon in terms of performance. Full-frame cameras from their production are distinguished by high resolution of more than 35 megapixels, striking in their detail. And this is very important for amateur photographers.
Secondly, the full-frame Nikon has a lower price compared to Sony and Canon, which cost at least 150 thousand rubles. As for Nikon cameras, professional devices can be found in up to 90 thousand.
In the end, cameras from this company are very affordable. Full-frame Nikon can be found in many popular stores; you don’t have to constantly look for cameras on various sites, repurchasing already used products.
List
When choosing a Nikon camera, it is worth remembering that this company has its own designations. How to determine which Nikon is full frame? Let's illustrate with an example. FX is a full-frame Nikon, and DX has a matrix size of 23.6x15.7 mm.
So, below is a list of full-frame Nikon cameras in terms of price and quality.
Hello again, dear reader! I’m in touch with you, Timur Mustaev. Do you know what a full-frame matrix is in SLR cameras? How does it differ from reduced matrices? Why are they more expensive? What to do 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 your weather, but here in Dushanbe today it was +36C. In other words, summer has begun in full force. How is the weather with you, 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 remains some uncertainty associated with full-frame cameras. Today I will tell you about their advantages and disadvantages. After reading the article, you will learn why a full-frame camera is needed, how pictures from full-frame and cropped cameras will differ, and what are the advantages and disadvantages of such solutions.
Full frame sensor.
So, to understand what a full-frame camera is, you need to understand the concept of “full frame”. The frame size is usually 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 35mm elements, since this size has been the standard for many years.
The width and height parameters of such matrices are 36 and 24 millimeters, respectively. This is where the concept of crop matrix appears, which was touched upon 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 used to be compact cameras. They tried to make them as inexpensive as possible both to purchase and to maintain. This necessitated the creation of “crop films,” so to speak, but they were very rare: even now it is difficult to find a well-preserved camera with reduced-size film.
Towards the end of the training, our teacher showed a very interesting camera that was used by the USSR intelligence services in the mid-late last century. They showed us the Vega camera, produced in Kyiv in the 60s. It's amazing that it was fully functional, even the film was in place. The size of its film frame was 14x10 millimeters, and the drum held only 20 photographs.
We ourselves, of course, were not able to work with him, since we were forbidden to take him with us to photographic practice, but we nevertheless examined several frames captured by Vega. The quality of our exhibit was quite good for this type of camera, especially considering the diminutiveness of its lens. However, this did not prevent the scouts from doing their job efficiently.
Features of a full-size photosensitive element
It is no secret that the image obtained with a crop matrix will be smaller than that obtained with a full-fledged one. This, as you can see, was discussed in the previous article. To a large extent, the story was about cut-down matrices, but now it’s time to talk about full-size sensors. It has both advantages and disadvantages. It seems to me that we should start with the first ones.
So why are they so valued by professionals?
Advantages of full-size cameras
Firstly, detail. Due to the larger matrix size, the resulting raster image can boast better image clarity. Even the smallest details will be depicted better in full frame than on a cropped lens, if you compare the results shot with one lens.
Secondly, larger viewfinder size. No matter what anyone says, covering a small light-sensitive element with a large mirror is inappropriate. Of course, the size is also affected by the prism, but the latter in such cameras is usually larger than in mass-produced ones. For mirrorless cameras, this is an even more significant advantage, due to the higher resolution of the resulting image.
Third, 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, this will make the sensor more sensitive to light rays. No matter how some photographers explain it, full-frame cameras tend to produce lighter images.
Fourth, good depth of field. Due to the better ISO sensitivity provided by the larger pixel size, it will be much easier to achieve a good depth of field on such a device.
“What is depth of field?” you ask. This stands for depth of field of the space used. Why is this necessary? It's simple: for stronger or weaker background blur. The main thing you need to know here is that full-frame matrices allow you to “work magic” with this parameter most effectively.
Fifthly, 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 in one frame. This can play both a positive role in the frame and a negative one. For example, at a great distance from the subject being photographed, this can play a negative role, but when working in the “portrait” genre, everything will be exactly the opposite.
At sixth, even at high ISO settings of 1600–3200, the appearance of digital noise is minimal.
Comparison of full-frame and cropped devices. A case from one's life
I would like to say right away that the comparison turned out to be very subjective, since the cameras were of different levels, they used different optics, and they were operated by different people. So, after showing the spy device, the teacher began to tell us the task for the next work: we had to create a full-fledged photo report.
We were partly lucky: at the additional training center there was a driving school next to us, and that day a driving competition among novice drivers was being held on the territory of the local race track. I don’t think it’s worth going into details; that’s not what you came here for.
So, the competition began, and my classmates and I went to the race track to take the cherished shots. I didn’t have the best Nikon D3100 in my hands, so I decided to immediately agree with the guys working with the Canon 5D Mark II to take turns shooting. Both devices, by the way, were used with whale lenses. We agreed that after some time we would exchange cameras to better understand the devices themselves and get the largest possible number of pictures.
Upon arrival at the studio, everyone immediately began transferring frames to laptops for processing. Having inserted the memory card, I did the same, after which I began to examine the resulting 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 impressive results, as for a budget amateur SLR camera.
Of course, close-up photographs were taken: it was necessary to photograph the winners, the cars that brought them to this result, and their mentor teachers. The result on Canon was impressive. Nikon also performed well, but in some places it lacked sharpness, in other places the picture seemed a little noisy, and you shouldn’t forget about the zoom effect.
After finishing looking at the photos, I came to the following conclusions: Canon is capable of anything, 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 images, but Nikon makes it quite difficult to get perfect images at short distances due to the crop factor. Nevertheless, it more than justified its cost, just like Canon.
Disadvantages of full-size cameras
First and, perhaps most significant, the difficulty of photographing at long distances. A larger light range, good image clarity and ease of taking pictures are offset by weaknesses when shooting with a long focal length. Of course, this can be solved by using 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 for itself quickly enough.
Third minus - weight. A large matrix, a large mirror, a large viewfinder... It increasingly requires a spacious housing for placement. Among other things, lenses for large bodies have also never been famous for their lightness. Particularly difficult will be configurations with expensive telephoto lenses, the lenses of which are made of glass with a special coating.
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 primarily focused on close-up photography. Of course, you can use a full-frame camera for long-distance shooting, but this will be much more difficult and more expensive. In addition, even up close it will be difficult for a beginner to implement a device with a standard size matrix.
So, the time 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’s definitely worth it. If you are an amateur thinking about upgrading your crop camera, then the purchase will be a very dubious action. Whatever is written here, you should competently evaluate all the pros and cons, and then decide which type of matrix to choose.
If you want to get acquainted with your camera in more detail, understand what it is capable of, understand the basic properties of composition, understand how to create a beautiful blurred background, learn how to control the depth of field and much, much more. Then a really great video course will help you " Digital SLR for a beginner 2.0" Believe me, you will get a lot of useful information from it, and your photos will turn into masterpieces.
I hope you found this article interesting and now you know what the phrase “full-frame camera” means. If the information was useful, then be sure to subscribe to my blog, a lot of interesting things await you ahead. You can tell your photographer friends about the blog, let them also get involved in high-quality photography. All the best, dear reader, see you soon!
All the best to you, Timur Mustaev.
