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
Good Morning All We have got back from a week away staying in the Yorkshire Dales near Reeth. It certainly was all four seasons in one week arriving in a storm with the rivers in full flow and getting better as the week went on with a frost as we left. It was a very good week for walking and taking photographs. Reading the blog you had a good week last week, not sure why the N&EMPF print exhibition video was not finished ready for us. This week, Wednesday 4th November, Janice Lusby from NELPS is our speaker showing us "Around these Islands". The following week it is Retro night where we turn the clock back to the days of transparencies, it's done in the same form as mini lectures and time will depend on how many take part, if you can let me know if you would like to take part, I have myself and Richard Hildred so far. Today, Sunday the 1 st November it is the Inter club PDI competition at Nettleham village Hall starting at 2pm, Louth have entered so it would be good if some of us attend. Regards Graham
The planned event for the evening was to have been a showing of the N&EMPF Exhibition prints, but unfortunately the link for the prints was not available. Instead Harry, and I had both prepared a talk on our respective camera systems. Many regular readers of my musings will know that I had lost my photographic “mojo” earlier on in the year, I was reassessing my photographic style, and camera equipment to recover my enthusiasm, so it was that I sold all of my OM Systems cameras, and lenses, and unknown to most in the club bought a Canon EOS R7 APS-C camera, and 4 lenses as a complete kit. Learning a new camera system has made me reconnect with photography, and begin enjoying my hobby again. In the first half of the meeting last night I talked about my journey, my camera system, and showed some of the images taken with my new outfit. After the break Harry showed some of his excellent, and inspiring macro fungi images, taken with his Canon EOS R6, and a Sigma macro lens. It was an interesting evening, and hopefully everyone enjoyed the evening, and learned something about Canon mirrorless cameras.
Good Morning All The Autumn colours at Sedbergh was one of my entries which sum up the time of year. Last week at the club we held our monthly print competition, with the categories of "Mono" and "Open". There was a very good entry with 27 prints in each subject, well done to Derek Smith for a first in the Mono and Robin Begley for a first in the Open, all the results are on our website. This week, Wednesday 28th October, all being well, I am informed that the N&EMPF Exhibition print show was a bit behind schedule, it will hopefully be finished by now but if not, Derek will let us know, and we will do mini lectures instead. Derek, and Harry have prepared mini lectures on their favourite camera systems, if a couple of other members could prepare a mini lecture on the same theme that would be most helpful. The LPA POTY deadline date is nearly upon us; they are panels of three prints as we discussed last Wednesday. If you want to enter either attend the club PDI competition on 1 st November at Nettleton village hall or bring your prints in on Wednesday and hand them to a member who is going and will take them for you. Regards Graham
Our Society held a print competition last night, the set subject category was "Mono", whereby the prints were black and white, or single tone images. The "Open" category prints consisted of any subject of the authors choice, and the judge for the evening was Grahame Dunkin. It was an exciting competition, with 27 prints in each category, the standard was incredibly high, giving Grahame a difficult time of determining the points for each print and choosing the top three prints in each category. Grahame judges very well, he giving a relaxed, and helpful critique of each image. The website Competition page has been updated with the results of the competition. Our next meeting will be held on the 28th October, and should be a showing of the N&EMPF Exhibition prints, however if the Exhibition prints are not available, I would ask members to think about giving a talk on their "Favourite Camera Systems" just showing what they shoot with, and providing a few sample images.
Today was the LPA Battle finals day at Nettleham, it was the last one in its present form, and six clubs including Louth made the final. The judge was Alan Young from Rolls Royce camera club, Derby. Alan was quite straight to the point and as he said there were so many good prints in the competition, he wouldn't be marking low and would have quite a task giving scores to the best ones. Alan was quick to see anything he didn't think was right with the prints and was looking for more than just a record photograph. Louth had a very good start with our first three prints being held back, it then didn't go so well but we did have six hold backs altogether which were Sleeping-David Whitehouse 18 points, Morning sun Whitby-Dave Turner 18 points, Hairy shield bug-Graham Harrison 17 points, Evening light Chapel St Leonards -Tony Gaskins 17 points, Cosmos-Harry Kerman 17 points and Evening Light Whitby Harbour -Tony Gaskins 18 points. 1 st place - Axholme - 256 2 nd place - Cleethorpes - 255 3 rd place - Scunthorpe - 248 4 th place - Grantham - 246 5 th place - Louth - 244 6 th place - Lincoln - 242
Good Morning, All, Last week at the club Steve West gave a presentation on the history of Louth's cinema's, Steve started at the beginning in 1896 with the original Louth Photographic Society being involved with showing films in what was thought to be Westgate Fields. Steve went through all the other locations ending up with just the one cinema now on Cannon Street. There is a report on our blog page. This week, Wednesday 21st October, we will hold a monthly print competition, with the categories of "Mono" and "Open" judged by the LPA president Grahame Dunkin. There are just over 50 prints to be judged so should be a very good night. Today (Sunday 18th) is the LPA Print Battle final at Nettleham, the judging starts at 1pm. Regards Graham
Last night, Steve West gave a fascinating illustrated presentation on the long history of cinema, and stage plays in Louth. In the late 1890s some films were shown at various locations, in 1910 a “tent” cinema was showing films on Westgate Fields. During 1913 a site was purchased of 2 retail units, on Eastgate, the retail units were demolished, and the Palace cinema / theatre was constructed on the site ready for opening in 1914. During the interwar years many plays were staged at the Palace, and Steve has collected many of the original programs from this era. The current Playhouse was constructed in Canon Street in 1921 in the “art deco” style, some poor quality housing was demolished to make way for this new cinema. The Playhouse, and the Palace both continued in operation until 1960 when the Palace was sold, and the building was converted into a Fine Fare supermarket. During the 1970s when Bingo became popular, part of the Playhouse was used as a Bingo hall, with the reception area restyled to suit the new usage. The Playhouse was converted into a multi-screen cinema when purchased by the Parkway Cinema group in the mid 1990s. Louth is extremely fortunate to have retained a viable cinema in the town, many thanks to Steve West for a very polished presentation.
Good Morning All Sand racing starts again this week at Mablethorpe, this Sunday is practice day, times are on their website. Last week at the club we held a local competition, with the categories of: "Straight out of the camera" and "Open", there was a very good entry in each subject with Tony Gaskins having the task of judging the unedited ones and Robin Begley judging the Open. There is a full report on our website but well done to Harry for first place in the Straight out of the camera and Keith Rossington for first place in the Open. This week, Wednesday 14th, Steve West will be our speaker, talking and showing PDI's on the subject of the Louth cinema. The following week will be a print competition, with the categories of "Mono" and "Open", you need to bring your prints in this week and send an email to Dave Turner with your titles. Regards Graham
At our meeting last night we held a PDI (printed digital image) competition, with the categories of "Local Unedited", and "Open". As this was a members competition one of our members judged the competition, Tony Gaskins was our first judge for the "Local Unedited" category, these were .jpg images taken straight from the camera, without any editing, apart from the resizing for projection. Presenting an image such as this in a competition is quite a difficult task, the photographer has to ensure that the correct exposure is chosen, the composition, and subject matter has to be precise, everything done in camera. Normally for competition entries, a degree of post processing would be involved, simple edits like toning down highlights, or even removing extraneous objects from a scene, emphasising a moody sky, all not allowed. Tony Gaskins did an excellent job with his judging, providing clear and concise critique of the images presented, he "held back" 8 images for further consideration, awarding higher points, and finally choosing the top three placements. After the break it was Robin Begley's turn to judge the "Open" category, as these were post process edited images the standard was higher than the unedited images, but surprisingly not markedly so. Robin is potentially hoping to become a N&EMPF approved judge, and he had a different style, able to suggest edits that could have improved an image, again his critique was clear and concise communicating well with members. Robin chose 8 images for further consideration, awarding higher points, and finally selecting the top three placements. It was a fabulous, and interesting competition with excellent images, many thanks to both our judges, it's not an easy job, probably nearly as bad as being a referee in a football match!! Many thanks to both our judges, well done.
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