APS-C, or ‘crop-sensor’ cameras, are those that have sensors smaller than a frame of 35mm film. APS-C-size sensors are found in most DSLRs and measure approximately 24x16mm, producing images with a narrower angle of view because they capture a smaller section of the image than a full-frame camera with a 35mm-size sensor can capture.

These sensors are close in size to the APS-C film format, from which they get their name. In the beginnings of digital photography, most cameras had sensors around this size. But as technology has improved, full-frame sensors have become more ubiquitous – and, crucially, cheaper in price.

Which brings us to you. What do you need to know about full-frame vs APS-C cameras when making your decision to upgrade?

Viewfinder performance
If you switch to full-frame cameras you’ll find that the images appear brighter in your viewfinder. This is simply because your full-frame camera provides a larger mirror.

Wider views with wide-angle lenses
Full-frame lenses deliver their ‘true’ focal length on full-frame cameras. There’s no need to apply a focal factor.

Lenses
Your lenses never go obsolete – and at the prices you paid for them, you probably don’t want to have to re-buy them! What you need to know about using lenses on full-frame vs APS-C cameras is that you can use your crop-factor lenses on a full-frame camera, but the camera will restrict the sensor area to an APS-C size rectangle in the middle of the frame and you won’t get the benefit of your full-frame camera’s resolution.

Depth of field
When you make the switch to full-frame, the change in the appearance of depth of field, or out-of-focus areas, becomes obvious. Let’s put it this way. If you put a 50mm lens on a full-frame camera, in order to capture that same angle of view on an APS-C camera you’d need a 35mm lens.

And the 35mm lens will yield much more depth of field because of its shorter focal length. If you’re a landscape photographer, the shallow depth of field you’ll get shooting full-frame might cause trouble for you. If you’re a portrait or close-up photographer, however, this could make all the difference.

Image quality
Images taken with full-frame cameras (provided the photographer knows what he or she is doing!) will generally have more dynamic range and better fine detail than photos taken on APS-C cameras.

Low light
A full-frame camera will generally produce cleaner images in low light. Push your ISO up to the higher settings and you’ll be amazed at the results it can deliver. If you do a lot of shooting at night, this could be a reason to make the jump.

Body size
While you get more dynamic range, cleaner images at higher ISO settings and better resolution with full-frame, you’re also getting a bigger camera body. And, frankly, that’s a deal-breaker for some people.

If you’re a street photographer and speed and portability are your chief concerns, a smaller APS-C camera might be best for you. Even many compact system cameras now boast APS-C sensors and can deliver DSLR-quality images.

File size
Prepare to invest in bigger – and more expensive – memory cards if you switch to full-frame, as these cameras produce much bigger file sizes. This will also, of course, affect your computer and photo storage options.

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Canon has announced it has developed a new high-sensitivity 35mm full-frame CMOS sensor designed for video recording, which can capture Full HD video with low noise in the darkest of environments, according to the company.

The newly developed CMOS sensor features pixels measuring 19 microns square in size – which is more than 7.5 times the surface area of the pixels on the sensor in Canon’s flagship full-frame DSLR the Canon EOS-1DX.

“Thanks to these technologies, the sensor facilitates the shooting of clearly visible video images even in dimly lit environments with as little as 0.03 lux of illumination, or approximately the brightness of a crescent moon—a level of brightness in which it is difficult for the naked eye to perceive objects,” according to the Canon announcement.

“When recording video of astral bodies, while an electron-multiplying CCD,*2 which realizes approximately the same level of perception as the naked eye, can capture magnitude-6 stars, Canon’s newly developed CMOS sensor is capable of recording faint stars with a magnitude of 8.5 and above.”

Using a prototype camera which housed the new Canon full frame sensor, the company recorded footage of a dark room being illuminated only by burning incense sticks (approximately 0.05–0.01 lux) and video footage of the Geminid meteor shower.

The image below shows a moonlight scene recorded before and after increasing sensitivity using the new Canon full frame sensor.

The company says it his aiming the new Canon full frame sensor at astronomical and natural observation, as well as medical support and the surveillance and security industries.

However, the announcement suggests that through further innovation the sensor could “expand the world of new imaging expression.”

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In this post we’ll explore some of the myths and pros and cons of full frame sensors and explain how it can affect the different types of pictures you may take. We’ll also look at ways to fine-tune your shooting technique you really use your full frame sensor to its full potential.

We’ve used the full frame Nikon D600 and Nikon APS-C sensor cameras for our examples in this article for the sake of clarity. Mixing up each camera manufacturer’s unique nomenclature can get confusing and distract from the overall discussion on full frame sensors. But the same principles discussed below will apply whether you shoot with a full frame Canon DSLR, Sony, Leica or any other full frame camera.

What is full frame?

‘Full frame’ is the term used to describe a camera with a sensor the same size as a 35mm film negative, measuring 36 x 24mm. Most DSLRs, however, use sensors measuring approximately 24 x 16mm.

This is close to the APS-C film format, which is why these are often referred to as ‘APS-C’ cameras. Nikon makes cameras in both sizes, but uses its own nomenclature. Its full frame cameras are ‘FX’ format, and its APS-C cameras as ‘DX’.

Originally almost all DSLRs used the smaller APS-C format. Sensor technology was in its infancy, and manufacturing large sensors was prohibitively expensive.

Over the past few years full frame cameras have become less costly, and while Nikon’s D3, D3s and D3x bore professional price tags, the Nikon D800 and D600 introduced in 2012 cost much less. They’re still not cheap, but they are just about affordable.

A Nikon full frame sensor

Bigger is better
In the days of film photography, bigger negatives always produced better quality than smaller ones, and the same is true of digital sensors. Nikon’s full frame FX sensors are 1.5x wider than its DX sensors, with an area roughly 2.4x greater. This has an impact on the quality of the pictures.

In general, pictures taken on full frame cameras are sharper, with better fine detail, smoother tones, a wider range of tones and a greater sense of ‘depth’.

As a result, more and more amateurs and enthusiasts will be tempted to upgrade from their DX- format Nikon cameras (or whatever brand you may shoot with) to a full frame model.

While the improvements in quality are relatively easy to demonstrate, there are disadvantages too. DX-format Nikon DSLRs aren’t just cheaper; they are in many ways easier to use and more practical.

PAGE 1: What is full frame?
PAGE 2: Lens loyalties with full frame
PAGE 3: Why the depth of field is different
PAGE 4: How to shoot with a full frame sensor
PAGE 5: How a full frame sensor affects your pictures
PAGE 6: Pros and cons of using a full frame sensor

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Our mock-up of what a 'Canon 6D' affordable full-frame EOS camera might look like.

So Nikon has just released a new compact full-frame DSLR. The Nikon D600 has a new full-frame 24.3-megapixel CMOS sensor, and is the smallest and lightest full-frame camera on the market; it weighs approx 760g and is 141 x 113 x 82mm in size.

The Nikon D600 will be on sale from the 18 September and has an RRP of £1,955 body only.

This is good news for Nikon users. And bad news for Canon users? Not necessarily so, hopefully this will prompt Canon to launch their own, compact and affordable full-frame EOS DSLR…

With the advent of Nikon’s D600, it got us thinking (and longing for) that it’s about time Canon released its own affordable, smaller full-frame camera than the EOS 5D Mark III – which is an excellent camera and our current favourite EOS DSLR – but at a current price of around £2,864.

Although down from the original RRP of £2,999, this is a hell of lot of money for a ‘semi-pro’ full-frame digital camera – the EOS 5D Mark III is a hell of a lot of camera too, which is why we’re hoping Canon will release a smaller and cheaper full-frame EOS DSLR soon!

Whether it’s Canon ‘EOS 6D’ – which has long been rumoured, and there’s talk that we might get to see one launched at the Photokina show in Germany next week (18-23 September 2012) – or a new number EOS, ideally this new EOS would sit nicely above the EOS 7D and below EOS 5D Mk III.

Physical size-wise, around the build and weight of the 7D would be great in our book.

The full-frame advantage
A full-frame camera means it has a bigger sensor (35mm film equivalent, and bigger than popular EOS APS-C sensor cameras like the 7D, 60D and 600D, which have 1.6x crop sensors), and has bigger pixels to APS-C cameras.

This means bigger and better quality images, and true wide-angle focal lengths: a 24mm lens is a true 24mm (not 1.6x 24mm = 38mm), but you loose out on telephoto focal lengths.

Full-frame 22Mp images also means bigger file sizes, with Raw files averaging at around 27Mb each – so expect to upgrade your memory cards and PC hard drive to allow for increased image sizes.

The current Canon EOS 5D Mark III has a 22-megapixel full-frame sensor. Nikon has cleverly specced the D600 with a 24-megpixel sensor – two megapixels more than the Canon EOS 5D Mk III’s CMOS sensor.

It will be interesting to see, when (not if, hopefully) Canon bring out a new full-frame camera, what resolution sensor it comes armed with. Would it match the EOS 5D Mk III’s 22-megapixel sensor, would it go bigger?

This would be odd, as it will hopefully be smaller physically and smaller in specs, but this is what Nikon did with its monster D800 36-megapixel full-frame semi-pro camera. Or more likely, will it be around 18-megapixels but with a full-frame, non-crop factor sensor?

Canon EOS 6D specs we’re hoping for

• 22Mp full-frame CMOS sensor
• ISO102,400 (with working range of 100-51200)
• 6fps Continuous Shooting rate
• Vari-angle 3in touch-screen
• Built-in flash
• 19pt AF, 63 zone metering, with more sensitivity on central AF points
• More in-camera processing and shooting modes like HDR

What specs would you like to see in a new full-frame Canon EOS DSLR?

And, biggest question and request of all, what price point would you like the new Canon full-frame camera to be? We think an RRP of around £1,800 would be great, with street/online prices eventually levelling out at around £1,500 even better.

We can but dream.

If you’re that way inclined, and what to read more on the Nikon D600, check out the hands-on Nikon D600 review at our sister site TechRadar.

• Also don’t miss the guide Nikon D600 vs D800: 20 things you need to know by our friends at N-Photo

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The Nikon D4 is the camera that Nikon is hoping will be the camera of choice for professional sports photographers and photo journalists shooting the Olympic Games in London this summer.

Consequently, it is designed as an all-purpose, go anywhere, shoot anything camera with improved low-light shooting capability and enhanced video technology.

While the Nikon D4 replaces the D3S in the Nikon DSLR lineup, the 24MP Nikon D3X continues as the company’s flagship camera – even if its pixel count is now dwarfed by that of the Nikon D800.

Features
While the Nikon D4 has plenty to get excited about, its pixel count is arguably not one of them. However, with ‘just’ 16.2 million effective pixels on its full-frame (36 x 23.9mm or FX format) CMOS sensor, the Nikon D4 should be capable of producing relatively clean images at high sensitivities.

This is just as well, given that it has a maximum native sensitivity setting of ISO 12800 and extension settings up to the equivalent of ISO 204,800. Nikon D3s owners, however, may be a little more excited about the Nikon D4′s pixel count, since it represents a big jump from 12.1MP to 16.2MP.

Despite the increase in the resolution of the sensor, and thanks to its EXPEED 3 image processing engine, the Nikon D4 is capable of shooting continuously at 10fps with full autofocus function. The D3s can only achieve 9fps at full resolution, or 11fps lower resolution images in DX mode.

If you are prepared to lose AF and exposure control, the Nikon D4′s full resolution continuous shooting rate can also be pushed up to 11fps. The EXPEED 3 engine also enables 14-bit A/D conversion and 16-bit processing for better colours and smoother tonal gradations.

Another key upgrade from the D3s is the move from a 1,005 pixel metering system to a 91,000 pixel system. As before, this is linked to Nikon’s Advanced Scene Recognition System to help inform the white balance, flash exposure, face detection and AF system.

Although Nikon has stuck with the Multi-CAM3500FX AF system that first emerged in the D3 and was continued into the D3s, it has given it something of a tune-up for the Nikon D4.

There are still 51 AF points, but the central 15 cross-type points are sensitive down to f/8. This means that the Nikon D4′s AF system will continue to work with long telephoto lens and teleconverter arrangements that have an effective maximum aperture of f/8.

This is great news for wildlife photographers, because it enables more affordable and lighter weight optics to be used. It is also something that the Canon EOS-1DX cannot match.

The Nikon D4 Verdict

Our testing team put the Nikon D4 through its paces, which you can read about in full over on our sister site, TechRadar. If you want some of the key points from the full test and the final verdict on the Nikon D4, here is what our head of testing had to say:

On Build & Handling…
To sum up, there are no major surprises in the build of the Nikon D4, and it feels solid and made to withstand some serious use. There are seals around all the joints and controls to ensure that it can cope with the usual rigours of life as a professional photographer’s tool.

On Performance…
Images look good straight from the Nikon D4 – on the whole they are well exposed when the general purpose matrix metering system is used, and the colours and contrast look natural. There is also an impressive amount of detail visible in images taken throughout the native sensitivity range. As we might expect, however, the 16MP Nikon D4 can’t quite match the 24MP Nikon D800 for detail resolution at the lower sensitivity settings.

Nikon’s decision to restrict the Nikon D4′s effective pixel count to 16.2 million appears to be a wise one, since noise is extremely well controlled throughout the native sensitivity range. Even images captured at ISO 6400 and ISO 12800 look great when sized to make A3 prints. The dynamic range is also impressive and shadows can be lightened significantly without fear of revealing noise or missing detail.

On Noise and Dynamic Range..
TIFF images (after conversion from raw) show that the Nikon D4, has better signal to noise ratio than all but the Canon EOS 5D MK II between ISO 1600 and 6400. The Nikon D700 also just betters the D4 in this test at ISO 6400.

Final Verdict
Nikon has succeeded in building upon the D3s to produce a versatile camera that is suitable for use by professional photographers in a wide range of situations.
The Nikon D4 may not have the highest resolution, but it has lightening-quick responses, a fantastically high maximum shooting rate and is capable of capturing an impressive amount of detail across a huge sensitivity range.

The Nikon D4 is the first of the recently announced high-end cameras to go through our testing procedure, and consequently we are so far unable to compare it with its main rival, the Canon EOS-1DX. However, we will do this as soon as we get our hands on a 1DX.

The design changes made since the D3s make a significant and positive impact on the handling of the Nikon D4. Those upgrading may find it takes a while to get used to using the mini-joystick controllers to set the AF point, but they make it quicker and easier in the long run – especially when shooting in portrait format.

Nikon has produced a solid workhorse of a DSLR that professionals can depend upon to deliver good results even in low lighting conditions. Image quality is high and results look great straight from the camera.

We liked
A great AF system, good noise control and huge sensitivity range are contained in an ergonomically arranged body

We disliked
Slight movement in the memory card bay is a little disconcerting. The AF system is complex, and its various options could be made clearer in the menu for the uninitiated. There may be 51 AF points, but they are all clustered around the centre of the frame and within the DX crop.
Read the full Nikon D4 review on TechRadar and see sample photos and more.

All lenses create a circular image, and the sensor simply records a rectangular portion of this. Some lenses project a large image circle – big enough to cover a full-frame sensor. But when used with a camera with a small sensor, these create a tighter crop – called crop factor.

To create smaller and wider lenses for small-sensor cameras, some lenses create a smaller image circle to begin with, and are thus not compatible with full-frame DSLRs. If they were used on full-frame cameras, the corners of the pictures would be dark.

The infographic below helps illustrate this effect. Simply drag and drop this graphic on to your desktop and you’ll never be confused about crop factor ever again!

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One could argue that the Canon 5D Mark III is one of the most highly anticipated cameras of all time. For years, camera rumour sites have bleated on about what they think the camera will have… and now we finally know.

Below, we spoke to four professional Canon photographers about what they like (or dislike) about the Canon 5D Mark III. Adam Duckworth, James Cheadle, Patrick Sowels and Jeff Morgan – Canon pros across a range of genres – all gave us their first impressions.

We also spoke to Pete Travers, editor our sister title, the Canon magazine PhotoPlus, about his own thoughts about the new Canon DSLR.

First up, Adam Duckworth:

“The first thing that caught my attention about the Canon 5D Mark III is that it has an improved AF, a faster frame rate, better weatherproofing and can shoot video at 60fps, as well as two card slots. That’s all I need to know right there, so count me in!

“These additions make the 5D Mark III a far more useful camera for shooting sport and action, and fast video too. That’s before the claimed improvement at low-light performance.

“And the improved ergonomics like the Canon 7D that I often use for action stuff. The EOS 5D Mark III’s quiet shooting mode will be nice, too. As will being able to use the stock of LPE6 batteries I already have.

“While many people are saying the Canon 5D Mark III is evolution, not revolution, I disagree. It’s a whole new, better camera – judging by the spec sheet. If the image quality and dynamic range are improved from the Canon 5D Mark II as promised, it’ll be a real winner.”

Adam Duckworth
Professional motorsports photographer
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UPDATE: our testing team has posted their full Fuji X-Pro 1 review over at TechRadar. They like. They really like!

The Fujifilm X Pro 1 compact system camera has beaten the Leica M9 and some of the top full frame DSLRs, including the Canon EOS 5D Mark II, in resolution tests conducted by our testing team.

When the Fuji X Pro 1 was announced back in January, a ripple of disbelief spread around the globe after Fuji claimed that its APS-C sized sensor was capable of producing better results than full-frame cameras.

It does this by arranging the colour filters in a way that allows for the low-pass filter to be removed.

Naturally, the team here at Digital Camera world was very excited to receive the X-Pro 1 so we could put it through our rigorous testing to see if it managed to live up to the hype.

We are extremely pleased to report that the X Pro1 doesn’t disappoint.

Our analysis pitted the Fuji camera against the full-frame Leica M9 and two full frame DSLRs: the Canon EOS 5D Mark II and Nikon D700.

Shot using the Fujinon XF60mm f/2.4 Macro lens, it was only the 5D Mark II that had a better signal to noise ratio result for raw files.

Our testing team has also been out shooting real world images with the X Pro 1, and again we have been pleased with the initial results.

We will be putting the camera through even more extensive testing over the coming days, to bring you a full in-depth analysis. In the meantime you can read the Hands On: Fuji X Pro1 review by our testing team over on our sister site TechRadar.

As soon as we are able we will compare the X-Pro1 with the latest generation of full-frame DSLRs, the Canon 5D Mark III and Nikon D800.

Sony will eschew traditional DSLRs and concentrate on developing its DSLT cameras, the company has revealed.

Speaking to our sister website TechRadar, Paul Genge from Sony UK said, “We have no SLRs in our line-up today, and our intention is to develop the SLT technology and make that a real stand-out in the market.”

He also reiterated that Sony’s president made a statement during the IFA consumer electronics show that the company is going to be looking at full frame as the next introduction for for its SLT line of cameras.

From the outside, Sony DSLTs look almost indistinguishable from their DSLR counterparts. However, inside Sony DSLT cameras is the company’s Translucent Mirror Technology that allows around 70% of the light entering the lens to pass directly through it and onto the imaging sensor, while a smaller amount is reflected up to the camera’s phase detection autofocus sensor.

This means that in practice, the time taken to record a shot is reduced, as well as allowing for full-time phase detection AF.

At the moment, Sony’s current SLT line-up includes the Sony Alpha a77 and Sony Alpha a65, which were introduced last year.

Currently, Sony only manufactures APS-C size DSLT cameras, so the confirmation that the next full-frame camera from the company will be fixed mirror is exciting. The last full frame DSLR from Sony, the Alpha 900, was introduced in 2008.

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The Canon 5D Mark III has been released at last.

The new DSLR follows on from Canon’s popular EOS 5D Mark II, which is now over two years old.

The upgrade features a 22.3 million pixel sensor, 61 point autofocusing and 6fps continuous shooting.

Set to rival the Nikon D800, the 5D Mark III also features Canon’s recently announced Digic 5+ image processor which promises fast shooting speeds and helps to reduce noise.

Sensitivity ranges from ISO 100 – ISO 25600, which is expandable up to 51,200 in H1 mode and up to 102,400 in H2 mode. It is also expandable down to ISO 50.

Video

Naturally, the camera shoots full HD video and a headphone socket allows sound to be monitored accurately.

Autofocus operation has been dramatically improved on the camera, which now features 61 high density reticular AF points with up to 41 crosstype points.

Fast shooting is available at up to 6 frames per second, while an intelligent viewfinder allows for approximately 100% coverage.

According to Canon, the camera has been tested to a shutter durability of 150,000 cycles.

Memory

Dual card slots have been included on the camera, with one for Compact Flash and the other for SD. It seems that Canon has so far rejected the new XQD memory card format that is utilised by the Nikon D4.

The camera is also capable of creating multiple exposures and high dynamic range images (HDR) in camera, while a comparative playback function allows images to be checked against each other.

Improved durability comes in the shape of water and dust resistance which has been upgraded for the new model.

Screen

Like the EOS-1DX, the EOS 5D Mark III has a 3.2in 1,040k-dot Clear View II LCD with a gapless design to reduce reflections.

The Canon EOS 5D Mark III UK price is £2999.99, while it is expected to be available from the end of March.

Canon EOS 5D Mark III Key Specifications

22.3 million pixel sensor
ISO 100-25600 (51-102400 expandable)
Digic 5+ processor
6.0fps shooting
Full HD video recording
HDR mode
Dual CF and SD slots
3.2 inch LCD screen

Read first impressions of the Canon EOS 5D Mark III at our sister site TechRadar.