What is the size in mm of a full frame. What is a cropped matrix and EGF? Are they worth paying attention to? “So, what is your opinion on what to take - crop or full frame?” - you ask

Hello, dear readers of my site! Today we will analyze the questions, what is the crop factor of the matrix and the equivalent focal length?

concept full frame digital camera(Full Frame Camera) is related to the film standard proposed by Kodak. When it was not yet, then photographic film was used as a photosensitive element. The frame size in it was 36x24mm, but everyone just says "35mm film" because its width with the perforated part is exactly 35mm.

With the development of electronics, it became possible to use a digital matrix instead of film, but the production of the same size is expensive, so companies began to produce cameras with a smaller matrix or cropped ones. As a result, we introduce the value Kf— crop factor matrix (crop factor), which is equal to the ratio of the diameter of the full frame to the diagonal of the truncated matrix:

The most common cameras have a crop factor of 1.0 (full frame) to 2.

Here is a photo of a dog taken with a full sensor sensor:

If you take pictures with the same lens and under the same conditions, but only on a crop matrix, then as a result a smaller area will fall into the frame:

Thus, a crop is a kind of cropping of a future photo:

As the crop factor increases, decreases . Thus, the concept EGF(equivalent focal length), which is equal to the product of the FR (focal length) by K f (matrix crop):

EFR=FR∙K f

For example, if you install a lens with a focal length of 50 mm on a DSLR with a factor of 1.6, then it would be more correct to talk about it as an 80 mm lens for 35mm cameras.

The focal length does not depend on the size of the camera matrix.

Conclusion. When you should be sure to pay attention to the size of the camera sensor. Cameras with a cropped matrix are much cheaper. However, you have to sacrifice the quality of the photo, due to the increase in noise and a decrease in the viewing angle.

One of the most important and basic parameters of any photographic equipment is camera light sensor value. And we are not talking here, but about the real physical area of \u200b\u200bthe photosensitive element.

In the past, most photographers shot with film cameras that used the so-called 35mm film(film standard since the distant 1930s). Those were quite old times, and somewhere since 2000, digital SLR cameras (CZK) became very popular, the principle of operation of which remained the same as in film cameras, but instead of CZK film, they began to use an electronic photosensitive matrix, which forms the image .

That's just the price for the manufacture of such a matrix hundreds of times more expensive than conventional film. Due to the huge cost of manufacturing an analogue of 35mm film and the overall complexity of manufacturing a huge matrix with millions of transistors, a number of manufacturers began to produce cropped sensor cameras. Concept ‘ cropped matrix’ means that we are talking about a matrix smaller than the standard size of 35mm film.

crop factor(Crop - from English " cut”) is an indicator for cropped sensors, it measures the ratio of the diagonal of a standard 35mm film frame to the diagonal of a cropped sensor. The most popular crop factors among CZKs are K=1.3, 1.5, 1.6, 2.0. For example, K=1.6 means that the diagonal of the camera's matrix is 1.6 times smaller than the diagonal of a full-frame matrix or a diagonal of 35mm film.

In fact, not all CZKs are equipped with a cropped matrix, now there are a lot of cameras that have a matrix size equal to the size of a 35mm film, and K=1.0. Cameras that have there is a matrix the size of a classic 35mm film, are called full-frame digital SLR cameras.

Cropped cameras are usually APS-C chambers with K=1.5-1.6, or APS-H chambers with K=1.3. Full frame cameras are commonly referred to as 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 sizes 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 get that the DX matrix is less 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, it is enough to square the crop factor. So, DX cameras use crop factor K=1.5, we get 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 into 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, the lens is fine, it's just that because the crop sensor is smaller, it "cuts out" only the central area of the frame, as shown in the example below.

The difference between cropped and full frame cameras. The first shot was taken with a full frame camera and a 50mm lens, the second shot 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 focal length of the lens is changing - but this is just an illusion. What actually changes is the angle of view that a person observes in the viewfinder, the focal length of the lens does not change. Focal length is the physical size of a lens and will remain the same on any camera. But because of this illusion, it is convenient to say that on a cropped camera, the visible image 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 fasten a lens with a focal length of 75mm to a full-frame one, and a lens with a focal length of 50mm to a cropped one - then in the end we will see an identical picture, since their viewing angles will be the same.

The recalculated focal length is called Equivalent Focal Length, abbreviated EFR. EGF is recalculated even for cropped lenses such as Nikon DX and Canon EF-S.

Shot on a full-frame camera in full-frame mode

And an example of the same shot, taken from the same distance, without changing the settings, but only in cropped mode:

Shot on a full-frame camera in DX mode. You can see the difference in viewing angle. DX mode, or DX camera, seems to cut out only the central area from the original image that the lens gives.

In fact, when using lenses from full frame cameras on cropped cameras, we get some significant advantages:

Decreased viewing angle, making a telephoto from a standard lens, and a super telephoto from a telephoto. So using a 300mm telephoto we get the same viewing angle as in a 450mm lens on 35mm film. This is a pretty great opportunity for not a lot of money to buy a cheap zoom telephoto and due to the crop factor, get a large EGF.
Due to the fact that full-frame lenses work only in the central area on cropped cameras, you can get rid of such defects of the picture like vignetting, drop in resolution at the edges of the frame, part of the distortion. Typically, the image quality is at its best in the center of the frame.

Also, using lenses from cropped matrices, we get cheaper lenses. Although it has its downsides. Lenses from cropped cameras need to cover a smaller area of the photosensitive element, which means you can use less expensive glass, make less weight, etc. At the same time, when buying lenses for cropped sensors and the subsequent transition to full frame, you will have to additionally buy new lenses for full frame. I advise you to read the related article -

The crop factor arises due to the different sizes of matrices, and the equivalent focal length (abbreviated as EGF) was introduced due to the need to correctly evaluate the changed viewing angle. Who can not wait, skip my reasoning and.

A small retrospective

Not so long ago, photographers shot on 35 mm film (side dimensions 36 mm x 24 mm). This standard has been unchanged for probably 70 years. And only at the beginning of the 2000s, film cameras began to be squeezed by the "figure". I still have dozens of boxes of Kodak and Fujifilm shots in my closet. Probably, the older generation of amateur photographers who are reading these lines now have a smile on their faces and pleasant memories of that process. Or maybe I'm wrong ... Kodak could not survive the digital revolution, and Fujifilm, to which I am not indifferent, fortunately, has found its niche of mirrorless cameras, and is quite successfully working in the new realities to the delight of lovers of non-standard colors, ergonomic retro design, traditional High Quality products and, finally, simply admirers of traditions.

Looking at the forum in the camera selection thread, going to a photoshop and talking with the seller on this topic, visiting the profile section of an online electronics store, it is highly likely that you will come across the term “crop” or “crop factor”. It is possible that you even know what it is, but there are some nuances to keep in mind. Therefore, even experienced amateur photographers recommend scrolling down the article.

With the transition from film to digital rails, the era of a unified matrix size has ended. Yes, someone will say that earlier there was a medium format, a large format. This is true, but the absolute majority of the market was occupied by a full frame - 35 mm, that is, the film familiar to everyone. Now there is no such uniformity. It all started with the economic inexpediency of producing full-frame sensors for the mass segment. Even now, when technology has become much more affordable, looking at the cameras on offer, you will find that full-frame cameras start at $ 1200, and the same mid-range cameras are around the $ 2000 mark, and then the line goes far beyond the scope of the average person's wallet.

Such high cost of full-frame cameras is primarily due to:

large die area and high production cost;
difficulties in suppressing vibration when the shutter is fired;
maintaining an acceptable size.

Therefore, for the mass segment of SLR devices, the APS-C standard appeared, which characterizes matrices of a much smaller size. Of course, there was a scattering of a wide variety of compacts, in everyday life - soap dishes with even smaller matrices.

So what does all this have to do with the crop factor?

We remembered that there are a huge variety of matrix sizes on the market. And now let's move on to how they are interconnected mathematically.

crop factor(from English crop - crop, crop) - this is the ratio of the diagonal of the full-frame matrix (35 mm) to the diagonal of the matrix in question. Designated as Kf or K.

The diagonal of the full-frame matrix = 43.3 mm, the diagonal of the matrix of mass DSLRs is ≈ 28.2 mm. Dividing the first by the second, we get ≈ 1.5. This value corresponds to Nikon's APS-C cameras. Those. the diagonal of such a matrix will be 1.5 times smaller than a full-frame one. This characterizes this coefficient.

Naming issues. It would be useful to mention that in the speech of photographers, on forums the camera reduced matrix compared to full frame called sprinkled. Keep this in mind when you read "cropped matrix", "cropped DSLR". Sounds a bit embarrassing, doesn't it? Actually, no, everything is pragmatic. In the article about matrices, we have already partly discussed this.

I want to discuss!
It is clear that the minimum Kf for FullFrame cameras is 1. Is there a crop factor?< 1? In nature, there are cameras with a frame size of 45 x 60 mm and larger. And in fact, if you divide the diagonal of the FF matrix by their diagonal, you get< 1. Но в фото-сообществе так не говорят. Камеры с упомянутыми большими матрицами в зависимости от их размера называются среднеформатными или большого формата. Кстати, полнокадровая (FF) матрица принадлежит к малому формату.

How does the matrix "see" the image?

In the article about the device of the camera, we considered in detail the path that light makes before it hits the matrix. Now I propose to compare the light that initially hits the lens and is projected onto the matrix at various sizes of the latter. I suggest you take a look at the illustration. Hope it's clear.

Here we see the lens, which will receive light from the object that we are shooting. In this case, a cheerful sunflower) But the lens is round, and the matrix is \u200b\u200brectangular. The fact is that only a part of the image that enters the lens falls on it, i.e. a region characterized by a rectangle inscribed in a circle. A smaller sensor collects light from a smaller area of the lens, capturing a smaller area.

In the figure, green shows the area that is projected onto a full-frame sensor, blue shows the area that is projected onto a 1.5 crop factor (APS-C) sensor. If we take a matrix with a crop factor, for example, 2, then the captured area will be even smaller than the blue rectangle. Olympus mirrorless cameras, micro 4/3 format, have matrices with such a crop factor. Their physical size is 17.3 x 13 mm. According to the Pythagorean theorem, it is easy to calculate the diagonal - 21.6 mm and make sure that the crop factor Kf = 43.3 / 21.6 ≈ 2 really corresponds to the declared one.

The area of the considered Olympus matrix with crop factor 2 = 224.9 mm 2 . Full frame sensor area = 864 mm 2 . Accordingly, a matrix with Kf = 2 will be 3.8 times smaller than a full-frame one. Popular APS-C sensors with Kf = 1.5 will be 2.3 times smaller in area than full-frame ones. Agree, a considerable reserve for cost savings in the production of matrices.

Take a closer look at the resulting photos - it seems that the image scale has increased, as if the object being shot has become larger. And the first thought that comes to our mind: "the focal length has increased." But that's not the case...

The focal length does not change when using the lens on cameras with different sensor sizes or depending on any other factors. This is a constant value within a single lens.

Equivalent focal length (EFF)

In reality, the viewing angle changes. This effect was considered when talking about matrices. Those. on cameras with matrices of different sizes, the viewing angle is different.

If we take a lens with a 35mm focal length and put it on a full-frame camera and the same lens on a cropped camera, we will see that the field of view will be narrower at the latter. We can say that the cropped camera receives light information collected only by the central part of the lens. Let's look at this with an example.

It can be seen that the viewing angle when shooting with an APS-C camera at the same focal length narrows. However, if you take a lens with a smaller focal length and put it on a cropped camera, you can get the same viewing angle and generally identical picture as on a FF camera. The question is which focal length to take? Let's deal with EFR.

Equivalent focal length determines the focal length that should be used on a full frame camera in order to obtain an image that is identical in angle of view and scale to that of a crop camera.

Calculated by the formula: EFR = FR * Kf. Those. focal length multiplied by crop factor.

For example, we shoot a tree with a cropped camera (Kf = 1.5) on a 20 mm focus lens, which fits perfectly into the frame according to our compositional ideas. To get exactly the same picture of this tree on a FF camera, you need a lens with EGF = 20 * 1.5 = 30 mm. Those. we need to take a lens with a focal length of 30mm in order to get the same picture on FF that we would get on a cropped camera at 20mm. In other words, 30mm is the equivalent of what we get when shooting with FF.

EGF gives an understanding of the viewing angle for the same FR on cameras with different sensor sizes.

This is important to consider when choosing a lens. If you are just looking at photographic equipment and thinking about choosing a lens, I recommend that you look at photos in the genre that appeals to you and pay attention to the camera and the focal length with which the shot was taken. In general, I recommend visiting the photo community where photos are published (for example, 500px.com) and periodically look at the pictures that inspire you. They are made for people to enjoy! In doing so, you will understand what you like and what you don't. By carefully analyzing, you will understand when and how to shoot in order to get similar results.

So, for example, do you like the landscapes of photographer N. After looking at the information about the pictures, we will find out what he shoots on an APS-C camera, mainly on a 20 mm FR. And you have a FF camera. This means that the EGF for obtaining the same image = 20 * 1.5 = 30 mm. And you need to look closely at lenses with a 30 mm FR.

The opposite example is another photographer shooting portraits with a FF camera, mostly at 85mm focal lengths. We have a cropped APS-C camera. So, in order to calculate the focal length of the lens to obtain the same image, we divide the EGF = 85 mm by Kf = 1.5, we get about 57 mm. We share, because 85 mm - this is our EGF (because the EGF characterizes the image in full frame).

For memorization! FR recalculation.

Photo on FF. To get the same on crop we divide on Kf.

Photo on crop. To get the same on FF multiply on Kf.

We get used to shooting on our camera with our lenses. For example, on an Olympus with a micro 4/3 size matrix (Kf = 2). And we roughly understand that on a FR of 50 mm we get a fairly narrow viewing angle, we get used to how the picture will look like at such a focal length. “Changing”, for example, to a full frame, we are surprised to find that everything is much wider on a 50 mm FR, and for a familiar picture you need a lens with a 100 mm FR. If we change to APS-C, then the same image will be with a FR of 67 mm.

In terms of viewing angle, lenses should be compared, focusing on the EGF.

For clarity, I will recalculate popular focal lengths on common matrices with different crop factors.

Kf = 1 (FF)	Kf = 1.5 (APS-C, Nikon)	Kf = 1.6 (APS-C, Canon)	Kf = 2 (micro 4/3)	Kf = 6 (1/2.3″)
10 mm	15 mm	16 mm	20 mm	60 mm
14 mm	21 mm	22.4mm	28 mm	84 mm
18 mm	27 mm	28.8mm	36 mm	108 mm
24 mm	36 mm	38.4 mm	48 mm	144 mm
35 mm	52.5 mm	56 mm	70 mm	210 mm
50 mm	75 mm	80 mm	100 mm	300 mm
85 mm	127.5 mm	136 mm	170 mm	510 mm
105 mm	157.5 mm	168 mm	210 mm	630 mm
135 mm	202.5 mm	216 mm	270 mm	810 mm
200 mm	300 mm	320 mm	400 mm	1200 mm

Converting Lens Types

Now I will briefly raise a topic that we have not yet analyzed. Looking carefully at the table above, you can see that a lens with a normal FF angle of view (50 mm) turns into a telephoto lens with 100 mm EGF. On a Canon cropped camera, this will be a standard portrait lens, giving a picture equivalent to that of a full frame with an 80mm aperture.

The practical consequence of this is the ability to shoot scenes on a larger scale for less money. Let me explain - for systems with different crop factors, lenses have different prices. For a full frame, the same FR lens will be significantly more expensive, and telephoto lenses are expensive for many people. The same lenses for APS-C or micro 4/3 cameras will cost less, but will provide a larger scale.

Take a look at how big the difference in scale is at full frame and micro 4/3 (Kf = 2).

Hover over the image to see the difference.

Tele-range on cropped cameras is cheaper. You can credit this feature to their advantages. But don't jump to the conclusion that cropped cameras are better than full-frame cameras, or vice versa. They have their own advantages and disadvantages, and there is the concept of a camera that is best suited to the goals and objectives of a particular photographer. But this is a topic for another discussion.

Briefly about the main

The crop factor Kf determines the ratio of the diagonal of the full frame matrix and other sizes (smaller matrices).
A cropped sensor captures only part of the light collected by the lens (we are talking about a full-frame lens).
The equivalent focal length is directly dependent on the crop factor and allows you to understand what focal length on a full frame corresponds to the focal length on matrices of a different size.
On smaller sensors, you can get a larger image, in other words, a cheaper tele-focal length.

This article is written in photographic slang and, at times, filled with my subjective opinions. This article describes the nuances of using cropped cameras and lenses, which few people pay due attention to.

'Crop', 'Crop', 'cropped camera', 'cropped camera', 'cropped matrix', 'cropped sensor' are synonyms for a camera with a reduced photosensitive element (matrix, film). These concepts are strongly intertwined with the concept and you can read basic information about crop in the ‘ ‘ section.

Full-frame, full-format cameras, Full Frame, FF, FF, Full sensor size are synonyms for cameras that have an original, not reduced photosensitive element. Nowadays, many amateur photographers believe that FF cameras are a panacea and a peak. evolutionary development modern digital cameras. Due to the fact that the price of amateur cropped cameras is several times lower than for full-frame cameras, a lot of amateur photographers use cropped cameras and dream of switching to full frame. full-length cameras is equal to the size of standard 35mm film (film type 135). But full frame is not the limit.

There are medium and large format cameras, where the size of the photosensitive element is many times larger than the size of the photosensitive elements in full-frame cameras. Strange as it may sound, but modern full-frame digital cameras are narrow format. It turns out a kind of deception - on the one hand, the full frame is something transcendent, on the other hand, the full frame is just a narrow format.

Photographers who have been shooting medium or large format all their lives most often look down on modern prohibitively expensive 'Full Frame Cameras' Nikon D4s, Canon 1DX, etc. I am writing this to the fact that there should be a clear understanding that full-frame cameras are just one of the steps in the evolution of camera engineering.

Since I use the Nikon system most of all, I will give examples based on Nikon's photographic equipment.

Basically, everyone knows that with the help of a FF camera it is easier to control the depth of field. With the help of a full-frame camera, it is easier to achieve a thin depth of field, blurring the background and background.

But there is another side of the coin, in which crop outperforms full frame. To get the same angle of view from a full frame lens Nikon AF-S Nikkor 24-70mm 1:2.8G ED N used on a full-length camera, on the crop you need to use an analogue -. We will assume that 17mm crop and 24mm full frame give approximately same viewing angle and lower the difference 1.5mm EGF (E equivalent F okusnoe R distance, 17mm*1.5-24mm=1.5mm). But due to different real focal lengths, lenses have different depth of field and different . In practice, this is reflected in the fact that with 17mm it is easier to achieve a wide depth of field than with 24mm at full frame. On an example, this is expressed by the fact that when I photograph a group of people in poor lighting (for example, in a temple), a thin depth of field is felt very strongly [email protected]/ 2.8 lens at full frame and some of the people who 'fall out' of the sharpness zone are blurry. I don't want anyone to be blurry in the picture at all. At the same time, if you shoot the same scene with [email protected]/ 2.8 lens on the crop, the sharpness zone will be larger, this will capture all people in the sharpness zone, and when printing such a picture, all participants in the shooting will admire their sharp image. In this case, the lenses use the same lens, and photography takes place at the same lens.

You can often find the recalculation of the f-number for cropped lenses. For example F/2.8 for Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM DX on cameras will have the equivalent of F / 4.2. You can look at the Nikon 14-24 2.8 example at photozone.de. This does not mean that such a lens has a real darker aperture (smaller) when used on cropped cameras - it only means that the depth of field for such a lens will be F / 4.2 equivalent for full-frame cameras. Attention: this recalculation does not affect the exposure, it only affects the depth of field recalculation.

Thus, using Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM DX at 17mm and f/2.8 we get the equivalent of 25.5mm and f/4.2. That is, to get the same large depth of field as with a cropped lens Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM DX, using Nikon AF-S Nikkor 24-70mm 1:2.8G ED AF-S N we will have to close the aperture to f / 4.2. But in the case of a full-length lens, this will entail not only an increase in depth of field, but also a decrease in . The exposure will have to be compensated for either by a longer ISO, a higher ISO speed, or a higher flash output.

When you change the aperture by one step, the depth of field changes twice. Aperture numbers by steps are F / 1.4, F / 2.0, F / 2.8, F / 4.0, F / 5.6, etc. The difference between F / 2.8 and F / 4.0 is one stop (two times). It turns out that when using a cropped lens, we win in increasing the depth of field more than twice (F / 2.8 vs. F / 4.2). To be precise, the depth of field increases by 2.25 times for DX Nikon cameras. The increase in depth of field is linearly related to the size of the matrix. In fact, the Nikon FX and Nikon DX sensors differ in their area by 2.25 times. The number 2.25 is obtained very simply, you just need to square (Kf=1.5): 1.5*1.5=2.25.

This trick is used in many macro cameras. The tiny sensors of digital cameras can produce huge depth of field with small aperture numbers, which is very important for macro photography. So, to get similar pictures with a simple soap box and + Nikon AF Micro Nikkor 105mm 1:2.8D on a soap dish, it will be possible to easily shoot at F / 5.6 from hands with a short one, and on a large full-frame lens, you will have to close the aperture very much to get the same depth of field.

Personal experience:

I have described in detail the difference in DOF only because I often shoot with wide-angle lenses at an open aperture of various kinds, weddings, etc. I usually use a 28mm lens. On a full frame at 28mm F / 3.5, it is already very noticeable that people 'fall out' from the depth of field. When printing in a format of 20 X 30 and more, it is already quite noticeable that some people are in focus, and some are 'floated'. Sometimes clients complain to me that part of the picture is not sharp. Using a crop camera and a lens with a similar EGF, you can increase the depth of field by 2.25 times while maintaining aperture ratio and simplify shooting of this kind. I understand that you can close the aperture and get a wide depth of field, but in some cases you can’t shoot at F / 11.0, since there is very, very little light for the scene, and using a flash is highly undesirable.

Conclusion:

Equivalent focal lengths when using cropped lenses allow you to get more depth of field for free, more objects in the focus area, more satisfied customers. This requires the same lens.

After the previous point, the crop has risen to its feet and can now compete with the full frame. But there is one very serious problem when using cropped cameras. And this problem is the lack of lenses. In general, this refers to the absence good professional fast lenses with convenient EGF. Professional photographers, such as wedding photographers, studio photographers, reporters, most often use a certain set of lenses with overlapping a certain focal length. Usually this range is 14-200mm.

But for cropped cameras, there are simply no lenses for comfortable shooting. For example, for Nikon DX cameras there is nothing to replace Nikon 14-24 F / 2.8, Nikon 17-35 F / 2.8, Nikon 70-200 F / 2.8, Nikon 80-200 F / 2.8, Nikon 85mm F / 1.4. There is only a replacement for the Nikon 24-70 F / 2.8 in the face of the Nikon 17-55 F / 2.8 DX (and then there is the Nikon 24-70 F / 2.8 VR, which, again, has no replacement).

Lenses have historically undergone a number of adjustments to the needs of photographers when working on narrow 35mm film. There are optimal standards. For example, reporting in 'close combat' is easier than ever to shoot on Nikon 17-35 F / 2.8, and for portraits, weddings, use Nikon 70-200 F / 2.8. These lenses complement each other and provide the photographer with the coverage of the focal length range that the photographer needs, are very comfortable to use and are a kind of standard. These lenses have undergone a number of modifications, have been hardened by time, and their focal lengths were chosen for a reason.

As a result, for the Nikon DX crop there is neither a fast aperture-panorama (14-24 F / 2.8), nor a reportage width (Nikon 17-35 F / 2.8), nor a telephoto portrait (Nikon 70-200 F / 2.8), no fixed portrait lens (Nikon 85mm F1.4).

In general, for 'professional photography' on crop, you can only use the Nikon 17-55mm F / 2.8 as a station wagon to replace the full-frame Nikon 24-70mm F / 2.8.

When using lenses from full-frame cameras, the EGF changes and full-frame lenses largely lose their functionality on crop. To reinforce my words, I will give an example from personal practice. When using a Nikon 70-200 F/2.8 lens on a full-frame camera, I can easily shoot wedding walks and small groups of people at 70mm, all I have to do is step back a little. But when using the same lens on a crop, I have to run back and forth with 70-200mm to shoot witnesses, young people and a few more people. As a result, the 70-200 does not fulfill its function as a normal 70mm lens. For serious photography, crop is a road to nowhere due to the lack of a set of lenses the photographer needs.

There is one more thing - third-party manufacturers realized the nuance described above and released equivalents. For Nikon 14-24 F / 2.8 there is Tokina 11-16 F / 2.8, for Nikon 70-200 F / 2.8 there is Tokina AF 50-135mm F / 2.8. Nikon 17-35 F / 2.8 replacements were never invented. On the one hand, I often recommend third-party lenses, but I do this only for amateurs. On the other hand, there is one unwritten rule for professionals to use only 'native' lenses on their cameras. Let me give you an example, so I came to the wedding with 'Tamron', 'Sigma', 'Tokina'. They ask me, what kind of lens is this? I answer - 'Tamron', 'Sigma', 'Tokina'. In response, I hear only “There ... What? ... Zigma? Bokin? And all my professionalism and trust in me is multiplied by zero. It is difficult to prove to the client that, and not with the help of which technique. Give everyone only Nikon, Canon, Sony.

Of course, there must be an understanding that the concepts of 'professional photographer' and 'professional photographic equipment' have very vague boundaries.

You can also mention Canon cameras with an APS-H sensor - Canon EOS-1D, 1D Mark II N, 1D Mark III, 1D Mark IV, which have 1.3 and for which neither the native manufacturer nor third-party ones produce crop lenses. Only full-length native lenses are suitable for such cameras.

Findings:

For full-frame cameras, there are lens solutions with a convenient set of focal lengths. There are practically no such lenses for cropped cameras.

In the previous paragraph, I tried to crush the crop. At this point I will try to finish it off.

Not only professional lenses have evolved, but also a number of simple 'dark' zooms. Usually, for comfortable, simple photography, the 28mm-XXXmm range is used. For example, 28-50mm, 28-70mm, 28-85mm, 28-100mm, 28-105mm, 28-200mm, 28-300mm. Such lenses are called universal, with their help you can practically shoot anything. Most of their versatility lies in the ability to use a wide 28mm field of view on a full frame camera. The equivalent of 28mm on crop is 18mm, for example 18-55m, 18-70mm, 18-105mm, 18-135mm, 18-200mm, 18-300mm.

For example, Nikon has over 10 universal autofocus lenses of class 28-XXX and their modifications. All these lenses are practically unprofitable when used on cropped Nikon DX cameras, as they completely lose their versatility due to the fact that 28mm gives an EGF of 42mm (almost fifty dollars). Now good old lenses, for example, Nikon 28-105mm F / 3.5-4.5 Macro with outrageous image quality and super fast focusing, are sold for $ 150, since no one needs them.

This applies not only universal lenses, but almost all full-frame lenses that have been designed for full-frame cameras. Black magic happens on the crop, permanent full-frame lenses with specific goals and objectives ' turn into something‘. For example, fifty dollars in an under-portrait, any wide - in a standard lens, over wide - in wide. Televisions are the only constant. Telephoto and telephoto on crop.

The main advantage of crop marketers distinguish 'free' increase in equivalent focal length. In fact, such an increase is needed only in very rare tasks. For example, I very rarely need a lens longer than 200mm at full frame. This advantage can be used by few photographers with real benefit for shooting distant subjects. An ordinary amateur photographer often does not need such an increase in EGF. Many are deceived by what is usually said about the increase in EGF for telephoto lenses. Everything is extremely simple there - the longer the focal length, the better. But due to the fact that the EGF is increasing not only for telephoto lenses, but for all lenses, from this wide-angle suffer greatly. That is, the wide angle of a wide-angle full-length lens simply disappears when using such a lens on a cropped camera. In general, it is better to shoot wider than narrower - the image can then be cropped, but not vice versa. That's why I really like the expression: crop eats the frame‘.

Conclusion:

When using cropped cameras, the possibility of using a huge number of old full-frame lenses with excellent optical and mechanical indicators. Often such lenses cost a penny, and their image quality is at a high level.

Another important note is accuracy of the focusing system when used on crop and full frame FX lenses. This is due to the peculiarity of the focusing system of each lens separately.

To shoot the same subject with the same full-length lens for crop and full frame with the same crop, you need get closer or farther to the subject.The difference in shooting distance between the camera Nikon DX and Nikon FX will be 1.5 times. For example, if you need to shoot something with a cropped camera and a full-frame lens from a distance of 6 meters, you will need to shoot something with the same lens and a full-frame camera with the same framing from a distance of 4 meters.

It is often easier for the focusing system to focus the lens at medium focusing distances. This can be related to the pitch of the focus ring. When focusing in the region of infinity, the focus ring pitch is very small, which may cause more problems with focusing accuracy in this range. When using an FX lens on a crop, focusing shifts towards infinity, which generally worsens the accuracy and smoothness of focusing. This is a very subtle nuance that can not always be traced. It takes a lot of practice to feel the difference.

And another important point - the smaller the focusing distance, the visually the subject seems sharper (although the depth of field decreases).

It is often said that cropped cameras weigh less than full-frame cameras. This is not always true. For example, full-length cameras, Nikon D800E, weigh less than cropped Nikon D1, Nikon D2hs. Also, the full-length one weighs about the same as the cropped Nikon D500 line,. In the general case, the weight of the camera is determined not by the size of the sensor, but by the belonging of the camera to a certain level, for example, . The weight of the camera is highly dependent on the materials from which the body is made. Typically, professional cameras have an all-metal body, unlike amateur cameras that use plastic. So it turns out that professional flagship(with a combo body) cropped cameras of the Nikon D1, D2 series weigh more than an amateur full-frame or professional Nikon D810, D800E. The weight of the camera can be both a plus and a minus, like everything else in matters of crop.

An implicit advantage of a reduced sensor on cropped cameras is the ability to quickly read the signal from the matrix cells and lower power consumption. In fact, it greatly affects the video. So, the first Nikon camera that could shoot video was not, but. Currently, they can shoot Full HD at 60 frames per second, and more expensive cameras, the D800E, can only squeeze out a maximum of 30 frames per second in Full HD mode. This also affects the speed of shooting photos. So cameras with interchangeable lenses, Nikon 1 S1, Nikon 1 V2, Nikon 1 V1, Nikon 1 J2, Nikn 1 J3 and can take pictures at a speed of 60 (sixty) photos in one second. It turns out that crumbs Nikon 1 with 2.7X shoot 5 times faster than Nikon D4s or Canon 1DX. Such speed is possible precisely due to the fast reading and processing of the signal from the 'small' matrix.

Unlike Canon cameras, Nikon full-frame CZKs can operate in DX image mode. This means that any full-frame camera can only use the central part of its sensor, which is completely identical in size to the classic Nikon DX crop. To do this, simply select the DX image area in the camera menu. Thus, using any Nikon FX cameras, you can simultaneously have at hand an analogue of a cropped camera. For example, in Nikon DX mode, the camera receives 16MP shots, which are almost the same in size and quality as when using cropped cameras or combo monsters ', the last of which was released back in 2006. In 2007, Nikon's line of TOP professional cameras was replaced by a full-length line, the first of which was the Nikon D3. In the future, all the lineup of such cameras includes exclusively full-length models.

The same fate befell Canon's cropped TOP cameras with an APS-H sensor. The last model, the Canon 1D Mark IV, was released in 2009, replaced in 2012 by the Canon 1D X full-frame camera.

All the previous ones are just flowers :) (which are on screensavers). For me, as a photographer, full-frame cameras are valued more than cropped cameras due to lower noise at equivalent ISO values. Full-format cameras have higher ISO values that allow you to take pictures of acceptable quality. If you take a cropped and a full-frame camera of the same , then the shots from the full-frame camera will always be more flexible in post-processing, they are much easier ‘ ‘ and finalize (especially when shooting in RAW).

Let's take the latest full-length model among Nikon cameras - D4s, and the latest advanced cropped -, even by synthetic tests it is easy to see that Nikon D4s have 'working' ISOs. Many little things for photos can be found on Aliexpress.

Global output:

Crop is insidious. Now you know that:

A full frame can be considered a crop from medium format cameras;
Crop has the advantage of a larger depth of field with the same F number and the same viewing angle. This is important for shooting with wide-angle lenses;
For crop, there is no line of professional lenses with a convenient focal length. In my opinion, this is a very serious shortcoming of the crop;
Cropped cameras cannot be used normally with a huge number of good old full-length lenses;
When using full-length lenses on crop, the smoothness and convenience of focusing changes;
Cropped cameras are not always lighter than full frame cameras;
Full frame cameras have noticeably less noise at high ISOs;
There is less and less room for crop among professional cameras.

Cameras with a full frame sensor ("full frame" cameras) are in great demand today. More and more people are switching from crop factor cameras to cameras with a large 35mm sensor. Today we will try to understand why.

What is a full frame camera

First, we need to understand what a full frame camera is and how it differs from a crop factor camera. These terms - "full frame" and "crop factor" - refer to one specific part of the camera: the sensor. Just as the film is responsible for capturing images on a film camera, so the camera matrix is designed to record images on modern digital cameras. In combination with the shutter, mirror and lens, the sensor is a key part of the imaging system.

Camera sensors vary in size. Camera matrices in phones are even smaller than those built into most "soap dishes". In general, the larger the sensor, the better quality Images.

The full frame sensor is so named because it is the same size as a full frame of 35mm film. You may have never shot film, but you should know what it looks like. Examples of full frame cameras are Nikon D700 and Canon 5D. Cameras with crop factor have smaller sensors, "crop" (from the English "crop"), i.e. stripped down. Examples include Nikon D40, D7000 and Canon Rebel T2i and 60D cameras.

The picture above perfectly illustrates the difference between full frame cameras and crop factor cameras. The whole image is what your eye sees. The area framed by the red rectangle is what a camera with a full frame sensor perceives. The smaller area inside the blue box is what we will see through the same lens, but on a crop factor camera.

The sizes of sensors can be completely different. Crop factor cameras are often referred to as "APS-C" (Canon's Digital Rebel range). The size between full frame and APS-C is commonly referred to as APS-H. These are also cameras with a crop factor (sensor smaller size frame in 35mm film), but their sensor is larger than in APS-C cameras. At the moment, APS-H cameras are generally limited to the Canon 1D line, such as the 1D Mark IV. If you are interested in learning more technical details about camera sensors, take a look at.

Full Frame Benefits

Now that we have best performance about what full-frame cameras are, let's take a look at a few features that make them so attractive.

Viewfinder

In my opinion, the main advantage of full-frame cameras is the quality of the viewfinder. If you've ever used an old film SLR, you've probably been impressed by the size and brightness of the viewfinder. Moreover, one of the disadvantages of crop factor DSLRs is the relatively small viewfinder. Full-frame cameras excel at this.

Now that I have a full frame camera, looking through the viewfinder of a crop factor camera, I kind of feel like I'm looking into a tunnel. If you've never checked out how a full-frame viewfinder works, give it a try. With it, it is much easier to manually focus the lens and control the areas of sharpness in comparison with crop factor opponents.

Focal length

You are probably aware of the focal length multiplication effect that crop factor cameras have.

I prefer the view that a full frame camera provides because I like wide perspectives. On my full frame 5D, I often use a 24mm f/1.4 lens for weddings. On a crop factor camera, this lens will have an effective focal length of 36mm. To reproduce a similar picture, you would need to find a 16mm lens for a crop factor camera; the 16mm f/1.4 fix doesn't even exist. In short, fast wide-angle lenses are much easier to use at full frame.

High ISO

If there's one measure of performance that I really appreciate in a full frame camera, it's shooting at high ISOs. The larger sensor has technical advantages. talking in simple words, a larger sensor allows the manufacturer not to cram photocells into it, and therefore the camera is able to shoot at higher ISOs. The photocells can be larger and each will be able to take in more light.

Canon and Nikon approach this issue differently. Nikon releases cameras with larger sensor sizes, but keeps the megapixel count pretty low, and really delivers amazingly high ISO performance in their cameras. Nikon D700, D3 and D3s are 12 megapixels, but they can take amazingly high-quality pictures. Canon also makes full-frame cameras with outstanding ISO performance, but is taking the high-resolution path with the 21-megapixel 5D Mark II. The Sony lineup also includes cameras of this type, the A850 and A900.

In general, full-frame cameras will please you with high ISO values due to the larger sensor. There are many different manufacturers on the market, so there is something for everyone.

disadvantages

Full frame cameras are not for everyone; Some photographers choose crop factor cameras for a variety of reasons. Let's look at some of them.

Reach area

Remember, above, we talked about the effect of the multiplied focal length of the lens that a camera with crop factor gives? For some photographers, the increased reach of the lens is a major advantage. For example, in the case of sports photographers or those who take pictures wildlife, a closer approximation will always be a significant plus. A photographer friend of mine once remarked that shooting with a crop factor camera is like getting a free 1.6x teleconverter.

This is a teleconverter manufactured by Canon. It increases the focal length to provide greater zoom. This is the same effect that is obtained when shooting on cameras with a crop factor.

Price

The acquisition of good equipment always hits the pocket. Although full frame cameras are becoming more popular and thus more affordable options are coming soon. At the moment, each manufacturer's flagship offering is a high-priced full-frame model.

Many people assume that the more popular full-frame cameras become, the lower the price will go until it eventually returns to normal levels. Given the benefits of full frame, it's not hard to imagine that all DSLR cameras will be full frame for the foreseeable future. The technology will fall in value and could easily become the standard offering on the market.

The advantage of the full frame is that, due to the smaller number of full frame models available, they can be found in the used market at a better price than crop factor cameras.

Go to full frame

So you've decided you're ready to go full frame - what should you choose? If you've already invested in a particular system, it makes sense to keep using the same system and stick with a full-frame camera from the same manufacturer.

As discussed above, full frame has many advantages. However, cost can be an insurmountable barrier for many people. If you're looking for the least expensive option to upgrade to a full frame system, check out a used Canon 5D that can cost up to $1,000.

Many people make the mistake of putting all their available budget into the body of a camera. Before you upgrade to a system with a full frame sensor, make sure you have lenses that will take full advantage of your new camera. Check the compatibility of your camera and available lenses.

For example, Nikon lenses DX are not compatible with full frame cameras like D700. If you try to use them on such a device, you will get shadowy corners, a vignetting effect. On a Canon system, EF-S lenses will not work on full frame cameras such as the 5D.

All of the shots above are taken on a full frame camera, but at varying degrees of zoom to illustrate the differences between images produced by the same lens at different sensor crop factors. The top shot was shot at 70mm full frame - hence there is no crop factor multiplier. Below is a frame with a crop factor of 1.3x. 70mm times 1.3 is equivalent to about 91mm. Finally, the bottom frame shows what the same 70mm would look like on a camera with a crop factor of 1.6x, which is about 112mm.

As already mentioned, you need to choose compatible lenses, but in addition, you should also pay attention to those lenses that can convey all the advantages of a large sensor. Often full frame cameras are high resolution models, such as the 21 megapixel 5D Mark II. The use of cheap and low-quality lenses negates any improvement in image quality that a full-frame camera can provide. We need good lenses to bring out all the details of these high resolution quality sensors.

I'm sure you've heard this tip before: build a lens collection first. I sincerely believe in this rule ... even though I am guilty of breaking it. My lens collection couldn't keep up with the cost of upgrading my camera. If I went through this again, I would first form a set good lenses on a crop factor camera and then switch to a full frame model. If you think you'll be moving to a full-frame sensor system very soon, remember to choose lenses that suit that purpose.

Conclusion

A full frame DSLR is an amazing tool, but it's just a tool, nothing more. With many significant benefits, it can help you get top scores when shooting in low light conditions. More and more cameras with full frame sensors are becoming available, so this is definitely the format of the future for professionals.