APS-C vs. Full Frame Sensor
Derek Smith • 4 August 2022
APS-C vs Full-Frame: What’s the difference?
Full-frame sensors measure the same as 35mm film, which is 36 x 24mm. Meanwhile, smaller APS-C sized sensors measure in at either 23.6 x 15.7mm (Nikon, Pentax, Sony, Fujifilm) or 22.2 x 14.8mm (Canon). That makes full-frame about 2.6x larger in terms of total surface area size.
As already mentioned, there is also Micro Four Thirds (17.3 x 13mm, MFT), and Medium Format (43.8 x 32.9mm).
Full-frame sensors can be found in the best full-frame mirrorless cameras, as well as many of the best DSLRs. You’ll even occasionally find a full-frame sensor in a high-end compact camera. Full-frame sensors are used by Canon, Nikon, Sony, Panasonic, Pentax, Sigma and Leica.
You’ll find an APS-C sensor in many of the best mirrorless cameras too, and they’re also commonly used in DSLRs. APS-C sensors are used by Canon, Nikon, Sony, Fujifilm and Pentax. Again, occasionally there are APS-C sensors found in high-end compacts.
The physical size differences lead to both advantages and disadvantages, which we’ll discuss in more detail below.
What is a crop sensor?
You might hear the term crop sensor from time to time, which simply means something which is smaller than full-frame. It’s a term which is most commonly applied to APS-C, but it can also be used to describe even smaller sensors, such as Micro Four Thirds, or even the smaller sensors that you find in compact cameras and smartphone – though it’s rare to hear those described as such.
What is a crop factor?
Crop sensors have a crop factor that you need to take into account when using lenses with your camera. When using a full-frame camera, whatever focal length is printed on the lens (for example 100mm) is what you’ll get when you shoot with it. However, when you use a smaller sensor, you’ll need to apply a “crop factor” to get the equivalent focal length.
Nikon, Fujifilm, Sony and Pentax APS-C sensors have a 1.5x crop factor, while Canon APS-C sensors have a 1.6x crop factor. Therefore, the 100mm lens mentioned above gives you an equivalent of either 150mm or 160mm – simply times the focal length by the appropriate crop factor.
Other sensor sizes have different crop factors. A Four Thirds sensor has a 2x crop factor (100mm becomes 200mm), while a one-inch sensor has a 2.7x crop factor (100mm becomes 270mm). It also works with bigger than full-frame sensors too – medium format has a 0.79x crop factor, which would make a 100mm lens equivalent to 79mm.
List of sensor crop factors:
Medium format = 0.79x
Full frame = 1x
APS-C (general) = 1.5x
APS-C (Canon) = 1.6x
Four Thirds: 2x
One inch = 2.7x
What are the benefits of APS-C?
When it comes to image quality, it’s a general rule of thumb that a bigger sensor equals better performance – but there’s plenty of advantages to APS-C, usually depending on what exactly it is you want from your camera.
One of the big advantages is that APS-C systems are normally smaller and lighter than full-frame equivalents. With smaller bodies and smaller optics, it’s a good choice if you don’t want to carry heavy gear, such as while travelling or for hiking long distances. If you want to shoot handheld, it can be easier to keep smaller and lighter bodies stabilised, too.
On that note, the crop factor also means that your longer lenses don’t need to be as long, heavy, or expensive as full-frame equivalents to get you closer to the action. That’s why cameras such as the recently announced APS-C cameras Fujifilm X-H2S and the Canon EOS R7 have been pitched strongly as wildlife and action cameras.
Speed is also something that is generally easier to achieve with APS-C, especially at affordable prices. Cameras like the Canon EOS R7 offer up to 30fps shooting, in a camera which costs a fraction of the price of similarly speedy models, such as the Nikon Z9 or the Canon EOS R3. That gives ordinary amateur photographers without the big budgets of professionals the chance to capture fast-moving action in a much more affordable fashion.
Does sensor size matter?
Having a smaller sensor can give other benefits as well, and here’s an example which illustrates the cost and weight advantage of using APS-C, particularly when looking at the whole system, which includes the camera and lenses.
APS-C system: Fujifilm X-H2S, plus 16-55mm f/2.8 and 100-400mm f/4.5-5.6 costs £5200 and weighs about 2700g.
Full-frame system: Nikon Z9, plus 24-70mm f/2.8 and 100-400mm f/4.5-5.6 costs £8800, and weighs about 3500g.
To sum up, the main advantages of APS-C cameras are:
Cheaper
Faster
Smaller
Lighter
APS-C cameras are best for:
Wildlife photography
Sports photography
Travel photography
Street photography
Photographers on a budget
What are the benefits of Full Frame?
Full-frame is often seen as the “gold-standard” for many photographers, with APS-C often thought of being the preserve of enthusiasts and those with a lower budget. While that’s not strictly fair or accurate these days, there are lots of advantages of using a camera with a larger sensor.
If the best image quality is your main concern, then generally speaking, full-frame will help you achieve that in a wider variety of settings. Low light performance is generally better, as is dynamic range for the most part.
If you crave super high resolution cameras, you’ll only find them with full-frame (and larger sensors) too. APS-C tends to max out at around 26-32 megapixels, whereas full-frame offers up to and beyond 50 or 60 megapixels (you can go even further with medium format, where you can now get 100 megapixel sensors). This generally makes full-frame better suited to high-detail type shots, as well as giving you more flexibility when it comes to cropping in post-production while still maintaining a high pixel count.
It’s easier to achieve a shallow depth of field when using a full-frame sensor. Although you can achieve the same look when using crop sensors, you might need to get too close to the subject for the same kind of background blur. It’s generally why portrait photographers, for example, prefer to use full-frame.
When it comes to using your lenses, knowing exactly what you’re getting (i.e. 100mm = 100mm) when shooting full-frame is more straightforward. That also means if you’re using older / vintage lenses from DSLR or even film days, you know exactly what you’re getting when using them on mirrorless full-frame models.
To sum up, the main advantages of full-frame cameras are:
Better image quality
Higher resolution
Easier shallow depth of field effects
Straightforward to understand lens focal lengths
Full-frame cameras are best for:
Landscape photography
Portrait photography
Low light photography
Studio photography
Which should I buy – APS-C Vs Full-Frame?
There’s not necessarily a right or wrong answer when it comes to full-frame vs APS-C and deciding which you should buy. You should think about the types of subjects you like to shoot, the budget you have available, and how much bulk and weight you are prepared to carry around.
If you’re a landscape photographer, for example, looking for a high-resolution camera which can deliver exceptional dynamic range, and you also want to shoot in low light, then full-frame is the obvious choice. Similarly, if you’re a portrait photographer who wants the best resolution and easy-to-achieve shallow depth of field effects, full-frame is the way to go.
On the other hand, if you’re a wildlife or sports photographer and don’t want to splash out on a super-expensive full-frame camera, but you do want to get close to the action, use fast-frame rates and carry something small and lightweight, then APS-C is probably the more sensible option. Travel photographers who don’t want to unnecessarily weigh themselves down might also choose to opt for APS-C, or Micro Four Thirds for an even smaller system.
To conclude, the simple truth is that no, not every photographer needs full-frame. While the larger sensor will provide higher image quality in lots of different scenarios, you’ll also have to pay the price for it both in terms of cost and size and weight. For that reason, many will be served just as well, if not better, by choosing a crop camera.
Louth Photographic Society
At our meeting last night an instructional DVD on “Macro Photography” was shown. The DVD material was quite detailed, very interesting, with lots of facts, and figures to consider. After the break, I attempted to unpack some of that detail with a practical demonstration using my own camera, (the OM Systems OM-1) a set of extension tubes, an LED light, and an on-camera flash. There’s lots to consider when beginning with macro photography, first of which I would say is get to know your camera, being able to adjust aperture, ISO, and watching the shutter speed if shooting in Aperture Priority mode to optimise exposure, and detail. Next, lens choice, select a lens with the closest focusing distance, if you have a dedicated macro lens then use that, otherwise a set of extension tubes may bring your camera closer to your subject. Choosing a subject, and lighting the subject with a LED light, or a camera flash speedlight will yield improved results. Don’t be afraid to experiment with settings, only by continual practice will the best images in this incredible genre, that is macro photography be realised, above all have fun. We meet at Red Hill Nature Reserve, Goulceby next week, Wednesday 4th June, to hopefully capture some amazing macro photography.
Good Morning all What a good night we had last Wednesday in the LPA Battle against Lincoln. We managed three twenties and overall won by twenty points, the second best score in the first round overall only bettered by Scunthorpe who we meet next. This week, Wednesday 28th May we are showing a DVD, "The Essential Guide to Close-up and Macro Photography". I was asked if I could get a speaker on the subject but there didn't seem to be any so a DVD should be a good substitute. We have a print competition coming up, with the categories of "Britain's Coastline" and "Open", it covers a very large area including all the islands. Due to outings and the LPA Battles it will not be easy getting our prints to Dave, so you can bring them this Wednesday or send an email with your entries to Dave as usual and bring them on the night if you don't see Dave beforehand. If you do this, you must send the titles to Dave to get on the scoresheet. I have confirmed our booking at the Splash on 4th July as I had twenty members and partners replying indicating they would be attending. I have paid the deposit so if you could give me £5 per person deposit when you next see me. They have also asked us to have menu choices decided two weeks before we go. Regards Graham
On Wednesday 28th May, the Society will be showing a DVD that hopefully will give advice on techniques, and skills for “Macro Photography”. The following Wednesday we will meet up at Red Hill to practice those skills, and techniques. So, what is “Macro Photography”? Wikipedia gives the following definition: "Macro photography is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life-size." To photograph small insects, or flowers larger than life-size a photographer will need to have a lens suitable for the purpose, a dedicated macro lens, a close focusing telephoto zoom lens, or the least expensive option is a set of extension tubes. With my Fuji camera system I used a 70-300mm zoom lens to capture these images, now that I am using the Olympus / OM System cameras I can buy a dedicated macro lens for about £400, however rather than spending a lot of money, I have opted to purchase a set of extension tubes, for £33, the tubes fit between the camera body and the lens enabling closer focusing to the subject. One of my techniques for close focusing is to obtain focus, either with auto focus, or manual focus, and gently rock back, and forward to fine tune the focus. A camera flash, or a portable LED light can also be used to highlight the subject.
Good Morning All Last week at the club we held our monthly PDI competition, with the categories of "Seasons" and "Open" judged by a new judge to the LPA, Dane Butler. There is a report on the evening on our blog and all the results are on our website under competitions. Well done to Steve Chapman who came first in both subjects. This week, Wednesday 21st May, we host Lincoln in the first round of the print LPA Battles judged by Brian Grommett. Don't forget, subs are now due, also keep going on your project, prime time if you are taking part. Regards Graham
The first round of the LPA Print Battles was held last night, Louth hosted Lincoln for this round. The judge for the evening was the excellent, quietly spoken, knowledgeable Brian Gromett. Brian reviewed the prints in his usual calm manner, holding back four prints from the Lincoln entries, and nine prints from Louth. The club room was packed for the evening, I was especially taken with three of the detailed insect prints submitted by Lincoln, and presumably by the same author, as the pastel like green backgrounds were in the same style. It was an excellent and close fought competition, well done to Lincoln, but after the points were added up Louth led by 20 points.
Our PDI (Projected Digital Image) competition with the categories of “Seasons”, and “Open” was held last night. Dane Butler was the judge for the evening, and there were some stunning images submitted into the competition to review. Dane judged the images fairly, majoring on the technical imperfections of the images, depth of focus, composition, elements within an image that could have been removed, improved cropping of an image, and image titling. Thank you to Dane who is a new judge on the LPA circuit, I felt he did well, he does need to think about addressing the audience with his critique of the submitted images, and speak a little louder. I know that the technical critique helps us to develop our skills as photographers, sometimes though, it would be nice if a judge could concentrate on the pleasing aesthetics of a submitted image, rather than on the technical deficiencies of an image, for me as a personal viewpoint it should be how an image has an impact on the viewer, or the story that the image conveys. I present two images for consideration, the first of the heritage passenger train hauled by the steam locomotive “Eric Treacy” drawing into Goathland station and being met by the Stationmaster on the platform conveys a story, the second is of a visually impactful corn flower, both images have technical imperfections but are nevertheless stunning. Congratulations to Steve Chapman, and Graham Harrison for achieving the highest placings in the competition. All the competition results, and top three placements from the competition categories have been uploaded to the Competition page on the website.
Good Morning All Last Wednesday we held our Annual General Meeting, it was a good attendance, with all the Officer, and Committee posts filled for another year, thank you to all. This week, Wednesday 14th May, we hold our monthly PDI competition, with the categories of "Seasons" and "Open" to be judged by Dane Butler, entries to Harry by midnight tonight please. Regards Graham
Our AGM was held last night; it was a productive evening with all the Society Officers re-elected for the forthcoming year. A big thank you to Peter Cory who has stood down from the Committee, Paul Twomey has been nominated in his place on the Committee. Following the AGM, the cups, and trophies were awarded to members with the highest points scores in the competitions.
We held a PDI Competition last night with the categories of “Local Events”, (the “Local” designation applies to any photograph taken within a 25-mile radius of St. James Church, Louth) and “Open”. Our own Graham Harrison was the judge for the evening, and he did a sterling job of selecting the top three highest placed images in each category. All the results of the competition can be viewed on our Competition webpage. I want to take a moment to praise the work of our Competition Secretaries, Dave Turner is the Print Secretary, he collects, collates the submitted competition prints, and produces the score sheets, he also submits club entries into the LPA Fosters competition, and the LPA Battles for members. Harry Kerman is our PDI Secretary, he receives submitted digital images usually via WeTransfer, collates the entries, produces the score sheets, and presents the images on the competition evening, as he did last night. Our Society would be much poorer without the hard work and dedication of these two individuals. It would be a real help to both Competition Secretaries if you could pay attention to the titles of your submitted entries, in the topic categories a judge must be guided by the title, as well as the image to evaluate whether the image meets the topic criteria. Our next PDI competition has the topic of “Seasons”, carefully choose both the image and the appropriate title to help the judge. It seems a shame to put a lot of hard work into taking a photograph, editing the image, and submitting the entry, only to lose points because your image did not meet the criteria. I would also encourage you to join our outings in June, it’s where we can socialise, and learn from other members how to use our cameras and gain some composition tips. This photo of an Orb Weaver spider taken at Chambers Farm Wood, from last year, is an example of what can be achieved on our outings.
Good Morning All Last week at the club Derek Smith kindly organised a studio night for us all, it was a very successful evening with Derek providing all the lighting, backdrops, and booking the model. Thank you, Derek, for all your hard work organising the evening. This week, Wednesday 30th April, we are holding a local PDI competition, with the categories of "Local Events" and "Open", you have until midnight tonight to get your entries to Harry. The local is always judged by members and this week you have yours truly judging. The following week it is that time of year already when we hold our AGM and presentation night. If any members have trophies to hand in, this week please. The week after the AGM it is the first monthly PDI competition of our new competition year, Seasons and Open, you can begin sorting out your entries for that one as well now and send them to Harry after this Monday to avoid confusion. Regards Graham
