Today we are testing a very interesting camera - Nikon D610. On the one hand, this is an advanced full-frame SLR camera for serious work, on the other hand, it is the most affordable model from Nikon’s full-frame line, and it will be of interest primarily to those amateur photographers who have decided to switch to full frame from simpler models. The camera also has many automatic modes that will be useful for beginners; there are also special professional features, which will help you create excellent quality photos and videos. Who will be interested in the Nikon D610? We will try to answer this question with our test.
It's a dull winter, gradually turning into spring. Gray low sky, slush underfoot, incessant nasty runny nose, wet feet. I don’t really want to shoot anything in this weather. I want to crawl under a warm blanket and sit in front of the fireplace on long dark evenings with an interesting book, without going outside at all. What kind of photography is there, what complete and incomplete frames... However, as soon as the bright sun looks out, and even on a day off, all the people rush out of town, to parks, museums, ski resorts and just into the forest, away from the dusty metropolis, and almost Everyone has a large black DSLR with a huge lens on their neck, or a smaller mirrorless camera, and many simply take pictures with a smartphone and enjoy a good mood.
Video - our program “Photo Fire!”
In our video, we briefly looked at the ergonomics of the Nikon D610 camera, the principles of setting the main modes, gave examples of shooting photos and videos, as well as two examples of Time Lapse time-lapse photography. The film was made by the authors and is an appendix to this article.
Testing methodology
All photos were taken on a Nikon D610 camera (firmware 1.00) complete with an AF-S NIKKOR 24-85 mm f/3.5-4.5G ED VR lens, all frames were shot in RAW format (14 bit, lossless compression), SDHC memory card UHS-I Transcend SDHC 32GB 300x Class 10, developed in the program Adobe Lightroom 5.7, all photos are shown without artistic treatment, as they were filmed, the necessary retouching was carried out for the portraits.
Comparison of the main characteristics of Nikon D610 and Canon EOS 6D
Ergonomics Nikon D610
What I liked
- Secure grip, convenient body, controls as in the latest models of DSLRs - D7100, D750, everything is familiar and everything is in its place. There is no point in listing the basic principles of settings - everyone who has shot on Nikon cameras will instantly figure it out; for beginners, it is enough to remember the main point: press the control button of one or another parameter (for example ISO) and use the wheel to change the value of this parameter. We monitor on the top or main screen. Everything is simple and logical.
- Control wheels with parameter locking- the established mode will never accidentally go wrong. We hold the camera with our right hand, press the button with the index finger of our left hand, and turn the top wheel with our thumb; in the case of the lower wheel, it is more convenient to press the button with your thumb and turn it with your index finger.
- Large additional screen on the top edge- it’s convenient to read the values, and you can also save battery power if you constantly use the top screen without using the main screen for setup purposes.
- Protective cover for screen- the point is controversial. It is rather useful, as it protects the screen from damage and does not interfere at all when shooting. If anyone thinks that she is spoiling appearance, the cover can be removed.
- Two SD memory cards are very convenient! Frankly, we are accustomed to the fact that modern Nikon DSLRs have two memory cards, and using other cameras with one card is no longer comfortable.
What I didn't like
1. Shooting options and Live View. One of the most significant disadvantages is that when using Live View in photography mode, when changing the aperture and shutter speed, the digital values on the screen change, but these changes do not visually affect the picture on the screen, which misleads the user. No live histogram in Live mode View, which is not so critical compared to the non-displayed result of changing parameters.
2. Aperture in video shooting mode. In Live View mode, when shooting video, you cannot change the aperture; you can change shutter speed, ISO, white balance and some other parameters, but changing the aperture is not available. Directly when shooting a video, if there was a need to change the aperture, it would be smooth, without jumps, as on more professional models (for example, the Nikon D750 can smoothly change the aperture). Changing the aperture discretely will inevitably lead to jumps in brightness, although in some cases it is better to have a jump in brightness than to continue shooting with the wrong settings.
3. OK button when viewing. Pressing the OK button when viewing a photo does not enlarge it on the screen, as in older models. To enlarge a fragment of the frame, you need to click on the magnifying glass with the plus sign several times.
4. Built-in mono microphone. The camera records video well, but the built-in microphone is monaural. The connector for an external stereo microphone saves the day; this is the only way to record stereo sound.
Taking a portrait
The aperture at the long end is 4.5... this, of course, is not 1.4 or 2.8, as on fast primes, but it is quite possible to blur the background with this lens.
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| 50mm f/4.5 | 85 mm f/8 |
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| 85mm f/4.5 | 50mm f/4.2 |
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| 70 mm, f/5.6 | 80 mm, f/5 |
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Landscape photography
Thanks to its versatile lens and excellent sensor, the camera allows you to shoot excellent landscapes, especially when traveling. You can safely take this camera on a trip - it is simply created for travel reporting. The focal length of the kit lens - 24 mm - will allow you to shoot wide sea or mountain landscapes, and if you wish, you can set it to 85 mm and bring the subject closer or shoot a series of excellent portraits. In the evening, you don’t have to take a tripod with you - you can safely raise the ISO to 6400 and shoot city scenes handheld, and for evening portraits there is a built-in flash.
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Panorama of 5 horizontal, focal length 24 mm, 1/60 at f/5.6, ISO 100:
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Indoors, with mixed light, auto white balance does an excellent job:
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autofocus
AF-A- automatic tracking focusing: the camera itself selects single-servo AF if the subject is stationary, and continuous tracking AF if the subject is moving.
AF-S- single-frame tracking focusing: for shooting stationary objects. Focus locks when the shutter button is pressed halfway. At default settings, a shot can only be taken when the focus indicator is displayed
AF-C- continuous tracking focus: for shooting moving objects. The camera focuses continuously while the shutter button is pressed halfway; if the subject moves, the camera will engage predictive focus tracking to predict the final distance to the subject and adjust focus. With default settings, the shot can be taken regardless of whether the subject is in focus or not.
Focus points can be selected:
Single point autofocus: used for stationary objects.
Dynamic autofocus: In AF-A and AF-C modes, the camera will focus based on information received from surrounding focus points if the subject moves away from the selected point for a while. The number of focus points depends on the selected mode:
- Dynamic, 9 points
- Dynamic, 21 points
- Dynamic, 39 points
3D tracking: In AF-A and AF-C modes, the camera will track subjects that have left the selected focus point and select new focus points if necessary.
Automatic AF area selection: The camera automatically detects the subject and selects the focus point. When using a G, E, or D lens, the camera may differ human faces away from the background to enhance object definition.
In Live View mode, the camera can focus:
AF-S- single-servo focus: for shooting stationary subjects - focus is locked when the shutter button is pressed halfway.
AF-F- constant tracking focus: for objects that move - the camera focuses constantly while the shutter button is pressed; Focus is locked when pressed halfway.
In Live view, you can select the following AF area modes:
- Face priority autofocus- for shooting portraits.
- Wide autofocus area- for shooting landscapes and other objects handheld.
- Normal AF area- for precise focusing at a selected point in the frame.
- Autofocus subject tracking- the focus point will follow the selected object as it moves in the frame.
Lens included
The camera came to us for testing with the AF-S NIKKOR 24-85 mm f/3.5-4.5G ED VR kit lens - this lens is well known to everyone who shoots on Nikon cameras - affordable whale lens, which is included with full-frame cameras. In the case of this optics, whale - does not mean "simple" - the lens provides excellent optical characteristics and covers the most popular focal lengths - from a wide angle of 24 mm with a minimum aperture of 3.5 for landscapes and urban scenes to classic portraits of 85 mm with an aperture of 4.5.
The lens has a built-in ultrasonic autofocus motor, thanks to which it focuses instantly and almost silently, and is equipped with 2nd generation image stabilization (VR II). The lens provides good sharpness in the center of the frame, but the resolution at the edges and corners is much worse.
Test: focal length 24mm, ISO 100, F11
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Test: focal length 50mm, ISO 100, F11
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Test: focal length 85mm, ISO 100, F11
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The disadvantages of the lens are noticeable barrel, vignetting and chromatic aberration, these parameters can be compensated either by the camera itself (for shooting in JPEG), this is included in the menu, or using software when processing, for example in Lightroom 5.7 in the case of RAW. average price for this lens, according to Yandex Market, as of February 2015 was 21,800 rubles.
As an alternative, you can consider the even more versatile Nikon 24-120mm f/4G ED VR AF-S Nikkor lens - constant f/4 aperture at all focal lengths and 120 mm at telephoto will be clear advantages, but such a lens costs about 10,000 more rubles
Using DX Lenses
The D610 can be equipped with any DX lens that is designed specifically for Nikon crop factor cameras. Of course, such lenses are equipped with exactly the same mount, so they will install without problems, the only problem is strong vignetting at the edges at wide angles.
To reduce the vignetting effect when installing DX lenses, you need to specify the frame size in the menu not FX, but DX (see screenshot below), the camera uses only part of the matrix and there will be no vignetting effect. In our opinion, if the camera already has a full-frame sensor, it is better to use its full potential, and do such a trick only when necessary. The only plus is that the coverage area of the autofocus points will be very close to the edges of the frame, and we will be able to focus almost anywhere in the frame.
Nikon D610 with DX NIKKOR 18-55mm 1:3.5-5.6 G VR lens
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| At a focal length of 18 mm, the strongest vignetting is noticeable | Now you need to enable DX in the menu |
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| The viewfinder will display the full frame, but the crop frame will be drawn in the center, this is how the frame will be taken | In Live View mode, the camera immediately crops the frame to DX size |
ISO sensitivity test
At this point in the review I would like to make a small digression. , this is the first time we have encountered full-frame DSLRs from the Nikon line; before that, we only tested models with a crop factor. And the amazing quality that the matrix produced in the Nikon DF camera at almost all ISOs, up to 51200, seemed to us to be in the order of things. We were happy and decided that this was the norm for all Nikon full-frame DSLRs.
Friends, this is not true. See how much Nikon DF costs. This is despite the fact that the camera does not shoot video, there is no battery grip for it, it has an outdated processor, the screen does not rotate, the battery is rather weak, the hinges of the battery compartment lid are weak... The Nikon DF camera has one undeniable advantage that easily and naturally puts on both blades any DSLR on the market, excluding only the top-end Nikon D4S (it has the exact same matrix) and Canon 1D (of course, we do not take into account medium format devices and the just announced Canon 5DSR). This advantage is its chic matrix.
We invite you to watch the ISO test we shot on the Nikon D610. Shooting parameters: aperture priority F/8, NEF format, all processing such as noise reduction long exposures and high ISO are turned off. Click on photo - magnification 1:1. The quality of the Nikon D610 is quite suitable for work, so don’t look at the Nikon DF test and don’t compare, don’t be upset.
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| 50 | 64 | 80 |
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| 100 | 125 | 160 |
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| 200 | 250 | 320 |
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| 400 | 500 | 640 |
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| 800 | 1000 | 1250 |
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| 1600 | 2000 | 2500 |
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| 3200 | 4000 | 5000 |
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| 6400 | 8000 | 10000 |
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| 12800 | 25600 |
High dynamic range
Classic HDR with Exposure Bracketing
We pay great attention to HDR shooting in every report, and there are many reasons for this. Firstly, even the coolest modern matrices are unable to convey the range of brightness that we see with our own eyes at the shooting location, and secondly, this style allows you to turn on your imagination and creatively process the frame, making it more dramatic.
In the Nikon D610 camera, AE bracketing can be selected:
- 2 frames: one of which will be shot with normal exposure, the second with either plus or minus to choose from.
- classic 3 frames with 0.3, 0.7, 1, 2 or 3 steps fork.
The Nikon D610 camera allows you to take only three exposures in a series, so all that remains is to select a bracket on the spot. We most often make two series - with plug 2 or 3, since it is sometimes difficult to decide which brightness range is suitable for a particular plot. A narrower fork than 2EV, in our opinion, makes no sense - such a result is easier to achieve by processing one RAW than fiddling with a series and subsequent gluing.
Example with fork 2
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| -2EV | 0EV | +2EV |
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Example with fork 3
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| -3EV | 0EV | +3EV |
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Some more HDR shots with different processing:
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Setting parameters in the menu
In-camera HDR
The camera also has an automatic HDR stitching mode, it is included in the menu and only works when shooting in JPEG - the camera itself will take a series of two frames and stitch the finished file. In order for the camera to remember the fact that this mode is turned on, you need to set it to “series”, otherwise before each next HDR-style shot, this function will have to be re-activated in the menu.
You can adjust the fork (in the menu it is called “Exposure Diff”) and the hardness of the processing (for some reason it is called “Softening”). As practice shows, special miracles from shooting in this mode should not be expected. For the example below, we took a landscape in all modes and compared the result with classic HDR, which was shot at the same time from the same point. Comments, as they say in such cases, are unnecessary.
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| HDR Off | HDR Auto, Normal | HDR 1EV, Normal |
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| HDR 2EV, Normal | HDR 3EV, Normal | HDR 1EV, High |
Classic HDR with three exposures, shot in RAW from this point and assembled in a graphics editor:
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| -2EV | 0EV | +2EV |
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Active D-Lighting
This is a feature of all Nikon DSLRs; we test this mode every time we work on camera reviews. And every time the operation of this function causes bewilderment - why? You can’t see much of a difference in the photo, but when processing RAW in a graphics editor, you can easily achieve more interesting results. And another strange moment: this function does not affect the raw file, only JPEG. Or rather, not quite like that: when you open NEF in the Nikon program, Capture NX-D, information about Active D-Lighting will be read and the file will be displayed according to the specified settings for this parameter. If you work with this NEF in any other editor, there is no point in using this function; rather, it makes sense to disable it so as not to waste energy.
Example of Active D-Lighting
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| ADL AUTO | ADL moderate | ADL normal |
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| ADL reinforced | ADL Super Reinforced | ADL Off |
IN this example A photo with ADL turned off looks much cleaner and interesting, while the super-boosted mode adds a gray veil to the photo.
Setting parameters in the menu
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| We shoot in JPEG | Settings Active D-Lighting | Setting up HDR |
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Shooting video
The main video parameters are configured in the menu before shooting: quality and frame rate (we shot 1920x1080 24p), memory card number. Many parameters can be adjusted when switching to video mode before recording has started. And some parameters can be changed directly while recording a video.
If you set the creative mode to M and switch to video shooting mode, but do not start recording yet, you can configure many recording parameters. A picture will appear on the screen, already cropped to 16:9 format, which is good, and then:
What can be configured:
- Exposure
- white balance
- Brightness
- Microphone level
- Picture Control
- Autofocus mode and move autofocus area
What cannot be configured:
- Aperture - turning the wheel does not change the aperture number and does not affect the picture in any way
- Exposure compensation - changing the exposure compensation is visually displayed on the screen, but does not affect the picture in any way
If you start recording video, then right while shooting the video you can change:
- Exposure
- white balance
- Brightness
- Autofocus mode and move the autofocus area
The built-in microphone is monaural, the sound in the video will be flat, which does not make watching the video any better. But the most difficult thing is to adjust the diaphragm, because no matter how you turn the front steering wheel, there is no point. And in the field, when you urgently need to shoot, you start hastily turning different wheels and pressing all the buttons in a row, eventually setting the parameters at random. It's good if you guessed right.
Examples of shooting video on Nikon D610 are given in our video
Interval photography - Time Lapse
The camera can shoot the classic version time-lapse photography- frames over a period of time specified by the photographer. In this case, the output is a series of files that will need to be assembled into a video clip on a computer in an editing program, for example Adobe Premiere or Adobe After Effects.
Time-lapse video shooting- everything is the same, only the camera will independently stitch together the final video, and the resolution and frame rate will be copied from the video recording settings.
Important points when shooting Time Lapse
- When shooting Time Lapse Be sure to disable autofocus! If this is not done, the camera will focus anew each time it takes a new frame, which will inevitably lead to focus jumps in the video. If when shooting a photo or even a video this is not noticeable to the eye, then in the case of Time Lapse this fact will completely ruin the video. And besides, the battery power will be wasted. An example of unsuccessful shooting is given in our video - while filming the Moscow City International Business Center in the evening, we forgot to turn off autofocus. The second example in the video turned out to be more successful, where we turned off all automation altogether.
- The mistake would be choosing shutter priority mode or software P - the camera, when shooting each next frame, will re-evaluate the exposure and select some kind of aperture, which will inevitably lead to a change in brightness from frame to frame, which in turn will lead to flickering in the frame. The aperture must be clearly set.
- It is better to refuse automatic ISO selection, you must select and set the desired value.
- Set the desired white balance, just not automatic. On a cloudy day it can be a cloud, on a clear day it can be sunny. Otherwise, the white balance may also “walk” from frame to frame, which will inevitably lead to jumps in the color tone in the video.
- Floating shutter speed. If you choose aperture priority, say, f/8, then the camera will re-select the shutter speed for each subsequent frame, lengthening it as it gets dark in the evening, and shortening it at dawn. When shooting on a bright day, this can again harm the video if the sun hides behind a cloud, then comes out again, and so on - brightness jumps are inevitable. Or a passer-by will accidentally appear in the frame - this will only add dynamics to the picture, but we are guaranteed a jump in brightness.
Multiple exposure
Like most modern Nikon DSLRs, the D610 can shoot multiple exposure style shots. Overlay of 2 or 3 frames is available, and you can shoot in RAW. The default maximum time between exposures is 30 seconds, which can be extended using Custom Setting c2 (Standby timer). As with HDR, the menu can be set to On. (series) or On (single shot) - in the first case, the camera will take one multiple exposure, and you can start shooting the next, while in the second case, after shooting one multiple exposure, the camera will automatically switch this setting to Off.
There is also such a parameter as "Auto Gain". This setting should be adjusted to your taste, the manual does not give any specific recommendations in this regard, except that it suggests disabling auto-gain if the background is dark.
Shooting in multiple exposure style is not an easy creative task. If in the case of HDR you can at least roughly imagine what the future frame will look like (for example, mentally darken the sky and lighten the shadows on the ground), when shooting Time Lapse you can again mentally accelerate the movement of clouds in the sky or the course of any events, then In the case of multiple exposure, it is incredibly difficult to imagine the future frame.
Anyone interested in multiple exposures can be recommended to study the works of the masters, and you can start with the works
@talentonatural77
We've selected the 10 best full-frame DSLR cameras for 2018. Studio heavyweights optimal for enthusiasts and two cameras for photojournalists.
Despite the fact that mirrorless cameras are advancing, you shouldn’t write off DSLRs too early. In this selection we included mid-range and top-end DSLR cameras.
1.Nikon D850
Nikon D850 is the company's flagship and, according to the editors, the best SLR camera on the market.
The 45.4 MP full-frame sensor delivers stunningly clear images with huge dynamic range and high working ISO. Fast autofocus is provided by a 153-point system. Video recording available in 4K format with all necessary
Nikon's signature deep-grip, spill-resistant design and rotating touchscreen display provide incredible ease of use.
The 30.4 megapixel matrix and 61-point autofocus make this camera an excellent option for professionals. With this resolution, you can shoot footage of any genre and not suffer from a clogged disk.
Canon EOS The 5D Mark IV is one of the best DSLR cameras available today. Although it lost the top of the chart to the D850.
3.Nikon D810
Despite the release of the D850, this model is still a very powerful tool.
36.3 megapixel matrix, high detail, no AA filter, wide dynamic range and 1200 frames on one battery. The camera copes with scenes of any complexity thanks to the 51-point autofocus system from the reportage D4S.
It doesn't have a rotating display, Wi-Fi or 4K, but it remains an excellent studio and reportage camera with water resistance and high resolution.
4. Canon EOS 5DS
If you need to get maximum resolution, then you should choose the Canon 5DS with its 50.6 megapixel matrix. This is the highest resolution among DSLR cameras today.
Stunning detail, low noise and good dynamic range make this camera ideal for the studio and landscape photographer.
The other side of the coin is slowness, lack of Wi-Fi and 4k video, and, of course, huge files requiring huge memory cards and hard drives.
5.Nikon D750
The first four places were taken by very expensive cameras. In 4th place is the Nikon D750, the main advantage of which is its affordable price.
The camera is equipped with a 24.3-megapixel matrix, a 51-point autofocus system and a high operating ISO. Camera body with water and dust protection like the D810, tilting display and built-in Wi-Fi.
Nikon D750 is a harmonious and affordable full-frame SLR camera.
6. Sony Alpha A99 II
https://www.instagram.com/digitalrev/ Strictly speaking, the Sony A99 II is a pseudo-DSLR; it is equipped with a translucent mirror and an electronic viewfinder. But still, half of it is a DSLR and therefore ends up in our selection.
Autofocus when shooting at 12 fps, a 42.2-megapixel matrix with back illumination, a built-in stabilizer and ample shooting capabilities in 4k format.
The flagship and best DSLR for photojournalists. D5 is attached to lenses at the Olympics and various world championships.
Everything in the camera is subordinated to one goal - to take the desired frame. 20.8 megapixel matrix, shooting speed 12 frames per second, unprecedented maximum sensitivity ISO 3,280,000. 173-point autofocus system.
The ability to shoot video in 4k is limited to 3 minutes. But these are minor things.
https://www.instagram.com/digitalrev/ A photojournalist chooses a camera based on the system his news agency uses.
The Canon 1D X Mark II received a 20.2 megapixel sensor, 61 focus points and a shooting speed of 14 frames per second, which is more than the D5.
The camera does not boast a huge maximum ISO, here it is weaker than the D5, but nevertheless, in low light the camera produces high-quality images even at high values.
9. Canon EOS 6D Mark II
https://www.instagram.com/michalbarok/ The specifications of the 6D Mark II are quite simple. 26.2 MP sensor, 45 autofocus points, rotating touch display and excellent autofocus performance in Live View.
The disadvantages are weak dynamic range and autofocus with small frame coverage.
The company has done a lot of work on the 6D Mark II and has made a nice camera for enthusiasts who want to upgrade to a full frame camera.
10. Pentax K-1 mark II
This is a unique and controversial DSLR camera.
The Pentax K-1 mark II is equipped with a time-tested 36-megapixel sensor with good dynamic range, serious weather protection, built-in GPS, the ability to shoot handheld in Pixel Shift mode and a lot of functions not available on other cameras on the market.
However, it also has a lot of weak points. The shooting speed is limited to 4.4 frames per second, there is no 4k video recording, and the autofocus area does not cover the entire frame.
P.S.
All these models have mirrorless cameras breathing in their backs. At the moment, the market for full-frame mirrorless cameras is represented by the Sony A7R III and , which by their third iteration have become close to ideal. Plus the first reportage Sony A9. You won't see it in stadiums yet, but this is partly due to logistics.
Very soon, or more precisely on August 23, they will be joined by the first full-frame mirrorless Nikon Z, followed by the full-frame Canon. The timing of the announcement of the latter is not known, but reports are coming that Canon is trying its best to make it happen as soon as possible.
At the same time, do not forget mirrorless cameras with APS-C matrices. They become serious players. Especially Fujifilm with its X-H1 (read it, it's cool) and the future one, which we expect to see on.
© 2014 website
Digital cameras are called full-frame (FX or Full-Frame) if the dimensions of their matrix are 36 x 24 mm, coinciding with the dimensions of a standard frame of small-format film type 135. Cameras with a smaller sensor (APS-C, DX, Micro 4/3), i.e. having a crop factor greater than one are called part-frame, cropped, or simply cropped.
The myth about the absolute superiority of full-frame cameras over crop-factor cameras is so firmly rooted in the mass consciousness that I’m even somehow embarrassed to debunk it. After all, everyone knows that a full-frame camera is better than a cropped one. And why is it better, if it’s not a secret? Most amateur photographers find it difficult to answer this question, but are firmly convinced that “real quality” is achievable only with a full frame. Since Nikon and Canon unanimously declare that purchasing a full-frame camera is the ideal solution to all photographic problems, and a legion of amateur photographers unconditionally agree with this thesis, then maybe the full frame really does have some wonderful properties that evaporate without a trace if you just reduce it the size of the sensor is one and a half to two times?
It is not difficult to understand photographic equipment manufacturers. Their goal is to increase profits, which means that both Nikon and Canon would prefer that when choosing a camera, you buy the most expensive model, regardless of whether it suits your true needs. Since full-frame DSLRs are more expensive than cropped ones, the desire of photo giants to convince potential buyers of the need to purchase a full-frame camera seems quite natural. Amateur photographers, in turn, readily believe advertising because, firstly, they are not used to thinking critically, secondly, they sincerely believe that “more” or “more expensive” always means “better”, and thirdly, they are generally inclined greatly exaggerate the role of photographic equipment in the process of obtaining a beautiful photograph.
The desire of a beginning amateur photographer for a full frame is usually emotional, not rational. Everyone wants to shoot full frame, but not everyone really needs it. Meanwhile, often using a camera with a crop factor is a completely reasonable decision, and its capabilities are sufficient for almost most photographic situations.
Do not misunderstand me. There is absolutely nothing wrong with full frame cameras. After all, the size of the photosensitive material is one thing you can never have too much of. And the need to operate with such a clumsy artificial concept as equivalent focal length irritates many. If you passionately want to shoot at full frame and you can afford it, then why not? Just don't be under the illusion that your photos will automatically improve as a result of switching to full-frame technology.
This article is addressed primarily to those who are hesitating between crop and full frame and would like to know about the practical consequences of increasing the sensor and whether the game is even worth the candle? The problem is becoming even more pressing due to the fact that full-frame cameras, gradually becoming cheaper, are ceasing to be purely professional tools, and now there are models on the market that differ from each other almost exclusively in sensor size and price, but are otherwise similar to each other, like twins (for example, Nikon D7100 and Nikon D610).
In the following paragraphs, I will try to reveal as objectively as possible the actual differences between crop and full frame, which affect both image quality and ease of use. You will see that both classes of cameras are not without both advantages and disadvantages, although the gap between them is not nearly as wide as between DSLRs in general and compacts, the sensors of which are truly negligible. I'll mainly be referring to Nikon and Canon DSLR systems as the most popular, but most of the material holds true for other brands as well.
Dynamic range
A full-frame camera potentially has a greater dynamic range than a camera with a crop factor. This is a direct consequence of the increase in the physical size of the photomatrix. As you know, the size of the full frame is 36 x 24 mm, while the size of the APS-C format matrix (Nikon DX), which has a crop factor of 1.5, is 24 x 16 mm. A change in the linear dimensions of the sensor by 1.5 times means a change in its area by 2.25 times. Thus, with equal resolution, i.e. With the same number of photodiodes, larger photodiodes on a full-frame sensor will have approximately twice the capacity compared to photodiodes on an APS-C sensor. Twice the photodiode capacity means a twofold increase in the signal-to-noise ratio, i.e. Increasing the dynamic range by one exposure stop. As a result, full frame cameras maximum value ISO sensitivity is on average one stop higher than similar models with an APS-C format matrix, and at equal ISO values, full-frame sensor noise is less noticeable. Roughly speaking, APS-C at ISO 3200 is noisier than full frame at ISO 6400. At lower ISOs the difference is not nearly as obvious, and when shooting at the base sensitivity value (usually ISO 100), the advantage of full frame is manifested only in the ability to stretch a little more freely shadows in post-processing.
I would like to emphasize that the above comparison is valid only for cameras that have the same resolution and were released at approximately the same time. Technologies do not stand still and modern cropped cameras are objectively superior to older full-frame models, including in terms of dynamic range. If you don't intend to shoot at crazy ISO values, the dynamic range of any modern camera will be quite enough for you, as long as it has a crop factor of no more than two. Most people are unlikely to notice a difference of one or two stops of dynamic range at all. If it seems to you that your camera is noisy at high ISOs, then, in order to prevent perfectionism, try shooting a little film with a sensitivity of ISO 800, and you will be surprised at how clear the picture is produced by your amateur digital SLR.
Depth of field
Depth of field depends on frame size only indirectly. To obtain the same image angle, a camera with a crop factor needs a lens with a shorter focal length than a full-frame camera. Reducing the focal length leads to an increase in depth of field in proportion to the crop factor, and vice versa - the longer the focal length, the smaller the depth of field. As a result, with equal values of aperture, equivalent focal length, focusing distance and resolution, a full frame gives approximately one and a half times less depth of field than APS-C. For example, if an aperture of f/4 was used for a certain photo taken full frame, then to obtain a similar image (while maintaining perspective and depth of field) using an APS-C camera, you will need an aperture of f/2.8.
Obviously, full-frame cameras have some advantage in cases where you need to separate the main subject from the background using a shallow depth of field, as is the case when shooting portraits. On the contrary, if the photographer’s goal is to get a sharp frame right up to the horizon, which often happens in landscape photography, then the advantage is on the side of cameras with a smaller format sensor, since, all other things being equal, they provide a greater depth of field.
Lenses
Full frame Nikon and Canon systems include a huge variety of lenses to suit any need. The choice of lenses for cropped cameras is much more modest. Of course, you can use full-frame lenses on cropped cameras, but, firstly, due to the crop factor, choosing the right lens with a given equivalent focal length is not always possible, and secondly, is that why they buy cropped cameras to put heavy equipment on them? and expensive full-format optics? Unfortunately, neither Nikon nor Canon consider it necessary to produce lightweight and compact crop primes, being in the naive delusion that superzooms are enough for the user of amateur DSLRs, and in general, it would be better if he switched to full frame and did not deprive the poor Japanese of their earnings. Wide Angle Lenses from Nikon and Canon for full-frame cameras can be counted on the fingers of one hand. Exotics like tilt-shift lenses are only available within Canon Full-Frame and Nikon FX.
But when it comes to telephoto lenses, owners of cropped cameras are in an advantageous position, and this is where the use of full-frame optics is completely justified. Due to the notorious crop factor, 200 mm turns into at least the equivalent of 300, and 300 into 450, which is not so bad even for photographing wild animals. This is why many photo hunters who want to optimize their expenses prefer cropped crops.
Viewfinder
Optical viewfinders on full-frame cameras are definitely more convenient, larger and brighter. A large viewfinder makes the eye less tired and allows better control over autofocus, not to mention manual focusing.
But cropped cameras have an unexpected advantage over full-frame cameras, which lies in the convenient location of autofocus points in the viewfinder. If in cropped cameras the focusing points cover a fairly large part of the viewfinder field, then in full-frame cameras all the points, no matter how many there are, are grouped in the center of the frame.
The fact is that the dimensions of the focusing module in all SLR cameras, both cropped and full-frame, are approximately the same, but since the viewfinder of full-frame cameras is itself larger, the area covered by the focusing points seems smaller. If you focus primarily using the central AF sensor and then recompose the frame, the squashed focus points won't bother you, but if you prefer not to change your composition after focusing, the lack of peripheral sensors may be an issue for you.
Dimensions and weight
On average, full-frame cameras are larger and heavier than cropped ones, but the reason for this is not the sensor, which weighs a little, but rather the positioning of a particular model and related design features. Reliable and, as a result, overweight professional models are now universally equipped with full-frame sensors, while lightweight plastic amateur cameras make do with reduced-format matrices. At the same time, models located at the intersection of two classes can be very similar in their parameters and differ from each other only in the size of the sensor and accompanying units (such as the shutter and viewfinder), and as a result have almost the same dimensions and weight.
However, few people carry a camera without a lens. Full-frame lenses are noticeably heavier and bulkier than crop lenses. Of two homologous ones, i.e. covering the same range of equivalent focal lengths sets of optics, a full-frame set will weigh on average one and a half times more.
Thus, if you need a lightweight travel system, the total weight of which will not exceed one kilogram, consisting of a camera and two or three lenses covering a range of focal lengths from 28 to at least 300 mm equivalent, then full-frame solutions simply do not exist here. If you need professional reporting equipment, which today is exclusively full-frame, then you will inevitably have to put up with its impressive dimensions and solid weight.
Price
Of course, full-frame cameras are more expensive than cropped cameras. Today, prices for current cropped SLR cameras start from five hundred dollars, while full-frame ones start from about two thousand. The difference in price is explained not only by the fact that the photomatrix is really the most expensive part digital camera, but also by the pragmatic approach of photographic equipment manufacturers to the formation of a model range. Even if the sensors were worthless, Nikon and Canon would still make full-frame cameras more expensive for purely marketing reasons.
In any case, even if you have enough money to switch to full frame, think about it: have you really exhausted the photographic capabilities of the crop, or is this idea artificially imposed on you? Isn't it better to spend extra money on purchasing additional lenses, flashes, a tripod, educational literature, in a word, those things that will have a much more direct and obvious effect on your photographs than simply increasing the format?
Thank you for your attention!
Vasily A.
post scriptum
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IN modern world cameras are gaining more and more popularity. Photography is a new art that everyone can do. With the help of photographs, we convey emotions, feelings, and record the history of our lives, as well as the world around us. Most people take photographs for themselves, simply to capture something important. But there are also real professionals in creating photographs, they live their photographs, and in order to convey the mood as much as possible, they wait for hours for the right moment, go on special trips, chasing a sensual and emotional photo. Millions of websites are being created with photography as their main theme. People convey their experiences in this way.
Thanks to simplicity this type art is deeply embedded in the hearts of many. And progress does not stand still, and people come up with new things, improve cameras, making the picture better and more natural. Nowadays, full-frame cameras are gaining popularity, which provide good detail and show excellent quality and color gamut.
Briefly about devices
The name of the cameras comes from the phrase “full frame”. The full frame is the size of the photosensitive matrix responsible for the quality of the image. The larger the matrix, the better the picture quality, the less noise there will be in the absence of light. Cameras most often use a half-format size, that is, an APS-C 23x15 mm matrix. APS-C is a generally accepted designation for matrices with a crop factor (reduced size). For full-frame cameras, it matches the dimensions of a 35mm film camera (35x24mm). Pictures taken with a full-frame camera are 1.5 times larger than with a camera with a half-format sensor.
What is the popularity?
Film cameras appeared in the 19th century, but why are full-frame devices only now gaining popularity? The fact is that when active production began digital cameras, most often used smaller matrices due to the too high cost of full-frame sensors. Now such matrices have become more accessible, so the demand for them is growing.
Is such a camera necessary?
Although full-frame photographic equipment has become quite accessible and cheap compared to previous decades, many large companies still prefer cameras with a trimmed matrix, simply improving and improving them. This begs the question: “Since it’s more popular, does it make sense to buy full-frame equipment?”
First, you need to figure out why you need a camera at all. Most often, people buy cameras in order to leave a memory of some significant event in their life, for example, a holiday or a pleasant trip. It is clear that in the family archive or in social networks no one will look at the dimensions of the matrix of the camera on which the photo was taken. If you use the camera only for yourself, then there is no need to spend money, the main thing is to remember that in photography it is not only the quality that is valued, but also the composition and the meaning inherent in it.
What about those who make a living from photography? This is the same profession where you need to improve your skills and improve yourself, work on the quality of your work, the depth of color. In fact, many manufacturers have managed to create full-frame models with a resolution of more than 16 megapixels, while the quality remains high even at ISO 1600.
Narrow depth of field (depth of field) has always been a hallmark of full-frame technology, with which you can create a bokeh effect, but now, using lenses with ultra-high aperture 1.2, you can achieve the same picture.
However, full-frame cameras are much more expensive than full-frame cameras, and they are also heavier and take up more space.
A person who is not a professional will not notice the difference between cameras with a crop factor and full-frame ones, therefore, whether to buy full-frame cameras is up to you to decide, after weighing all the pros and cons. Retro lovers appreciated this initiative, as film technology became a staple for many.
Pros and cons of full frame cameras
As mentioned in the previous paragraph, modern half-format cameras can easily compete with full-frame ones in terms of image quality, size and price. What are the positive aspects of full-frame photographic equipment?
- The size and light sensitivity of the matrix help create images very High Quality and with good detail.
- Works with a low noise level, which is good for photographers who, for example, photograph rare animals.
- The presence of burst shooting allows you to capture natural movement.
- With fast autofocus, you can quickly switch from subject to subject, which will prevent the photo from being blurred.
Of course, full-frame cameras also have disadvantages:
- Camera dimensions. The weight and dimensions do not always make it easy to carry equipment, and without a tripod, your hands get tired quite quickly.
- Slow shooting speed. Despite fast autofocus and continuous shooting, you still won't be able to instantly capture the moment.
- Cost of cameras and additional equipment.
- Careful approach to technology and selection of optics. Many full frame cameras will not accept lenses from other brands.
As we can see, the number of pros and cons of full-frame technology coincides. This means that everyone is free to choose for themselves, based on their tastes and preferences.
Company "Nikon"
The history of the company began in 1917 in the Japanese city of Tokyo. Since then, Nikon has been one of the leaders in the production of optics and various photographic equipment.
This manufacturer makes cameras for different tastes: there are budget, amateur and professional cameras. Since Nikon is responsible for the quality of its products, even the cheapest cameras up to two thousand rubles have good content for their money. As for very expensive equipment, the price of professional cameras, for example, varies between 200 - 400 thousand rubles. Interestingly, Nikon produces not only equipment for photography and video recording, but also microscopes and other devices needed in medicine.
Nikon's main competitor has always been and will be Canon; they often share first place in ratings of the best cameras. Both companies are located in Japan and have a similar look and build.
What are the features of Nikon? This manufacturer pays great attention to low-light shooting quality. It is also an advantage big size sensor, taking high-quality photos with a small number of pixels. The company also adds small details that make the job much easier. Nikon, even in its most basic and cheap models, has good autofocus, many modes, and an HDR effect (which not all cameras have, even Canon).
Everyone chooses a camera according to their taste, and Nikon is one of those companies that has millions of fans around the world. Among its products you can choose a good camera that will be convenient and easy to use.
Features of Nikon full-frame cameras
Nikon was one of the first to produce full-frame cameras. And many photographic equipment users prefer this particular manufacturer. How does full-frame Nikon differ from its counterparts from other brands? Let's try to figure it out.
Firstly, since the company already has experience in creating such equipment, the quality of the Nikon full-frame camera is highly valued in the market. Such a device will please with long work. Not many manufacturers can compete with Nikon in terms of performance. Full-frame cameras from their production are distinguished by high resolution of more than 35 megapixels, striking in their detail. And this is very important for amateur photographers.
Secondly, the full-frame Nikon has a lower price compared to Sony and Canon, which cost at least 150 thousand rubles. As for Nikon cameras, professional devices can be found in up to 90 thousand.
In the end, cameras from this company are very affordable. Full-frame Nikon can be found in many popular stores; you don’t have to constantly look for cameras on various sites, repurchasing already used products.
List
When choosing a Nikon camera, it is worth remembering that this company has its own designations. How to determine which Nikon is full frame? Let's illustrate with an example. FX is a full-frame Nikon, and DX has a matrix size of 23.6x15.7 mm.
So, below is a list of full-frame Nikon cameras in terms of price and quality.
Most budget and mid-priced DSLRs are equipped with an APS-C sensor with a physical chip size of 23.6x15.7 mm (22.2x14.8 mm in Canon DSLRs).
- Best DSLR Camera 2019: Best Canon and Nikon DSLRs
The full-frame sensor is larger at 36x24mm, the same size as a 35mm film frame (hence the name "full frame"), and offers 2.5 times the surface area of an APS-C-sized sensor.
This allows you to take larger photos (with more pixels), and the sensor also receives more light, which in turn means best quality images - especially at higher sensitivities.
Full-frame DSLRs used to be the domain professional photographers, but as costs and models have come down, they have started to be purchased by hobbyists and enthusiasts who can now enjoy the benefits of full-frame photography.
It's also worth mentioning full-frame mirrorless cameras. These are not exactly DSLR cameras, however, they are also in demand, they are especially interesting for those who also need to shoot video.
Rating of the best full-frame cameras
| Place | Name | Rating |
|---|---|---|
| Best full frame mirrorless camera | ||
| 1 | 4.5 | |
| The best full frame system camera | ||
| 2 | 4.5 | |
| The best full frame Canon camera | ||
| 3 | 4.5 | |
| The best affordable full frame camera | ||
| 4 | 4.0 | |
| Best Value Full Frame Camera | ||
| 5 | 4.0 | |
| Best full frame camera | ||
| 6 | 4.0 | |
| Best full frame DSLR camera | ||
| 7 | 4.0 | |
| Best full frame camera | ||
| 8 | 4.5 | |
| The best professional DSLR camera | ||
| 9 | 4.5 | |
| The best full frame camera for beginners | ||
| 10 | 4.5 | |
Top 10 best full frame cameras
Nikon's duo of full-frame mirrorless cameras have had a huge impact on the market as a whole. It felt like we waited an age for the company to release the Z7 and Z6.
Both models are the same size and design, but the Z6 offers a lower resolution sensor than its more expensive sibling. However, this does give it some advantages - the camera can take photos at 12 frames per second, which actually makes it a pretty decent device for shooting sports. Additionally, with fewer pixels, the camera produces lower light performance.
The Z6 features an electronic viewfinder and a tilting touchscreen. There really aren't many cons to the Z6 - its biggest drawback is that the memory cards you need to use it (XQD) are expensive and harder to find than the more common SD cards.
Having been in the full-frame mirrorless business the longest, Sony knows this market better than anyone. The A7 III is the third iteration of Sony's mid-range A7 lineup. This means you get an all-in-one device with an excellent range of specifications in a convenient package.
It has a great sensor that produces top-notch images, good battery life by mirrorless camera standards, excellent focusing, and a shooting rate of 10 frames per second - which is actually not too bad for sports and action if that's not your main priority.
The other good news is that if you're on a budget, you can still opt for older models in the A7 range - look at the A7 II or even the original A7.
If you've been shooting with a DSLR until now, you probably won't want to change anything. The larger size of the 6D Mark II, compared to the EOS RP, gives you arguably better handling, with a shorter grip and more space for the buttons and space between them.
The 6D Mark II is capable of some very nice pictures and overall the camera is good enough to use. The viewfinder, which only offers 98% coverage, is a bit disappointing, while the lack of 4K video capability may be a bummer for many.
The 6D Mark II is inferior to the newer mirrorless models, but if you're looking for a device to get you started in full-frame photography and a DSLR is where your heart lies, then the 6D Mark II makes sense.
This is a great all-around device for those who aren't big Nikon or Canon fans. You might even have some old Pentax Legacy lenses tucked away in the attic somewhere.
For a very reasonable price, you get a high-resolution sensor - higher resolution here than any device on this list - and a set of very comfortable and traditional controls that are great to use.
Image quality is very good, and the camera offers some interesting options, such as a dynamic pixel shift mode for even higher resolution images. The body is also weatherproof, making it a good option for landscape photographers.
Other cool features include a tilting screen, an excellent autofocus system, and dual memory card slots.
The Sony A7 II may be the best compromise between price, image quality and features. The A7 Mark II is a great upgrade from the original A7. The main benefit of the A7 Mark II is that you get built-in optical image stabilization, which allows you to take clearer photos in a wide range of lighting conditions. This also means you can use a wider range or lens and still get maximum stabilization. Autofocus and startup times are also faster than the A7, although understandably slower than the Mark III. The 117-point AF system works in conjunction with a 25-point contrast detection system, which together ensure clarity no matter where the subject is.
This model may seem expensive, but the Nikon D850 is the best full-frame DSLR camera you can buy right now. The 45.4-megapixel full-frame sensor delivers excellent image detail with vibrant dynamic range and excellent high ISO performance, while the advanced 153-point autofocus system is second to none.
Add in a 7fps shooting speed, a rugged body and an attractive design, and the D850 delivers on all fronts. An excellent model that will not disappoint you.
The 5D Mark IV is essentially a much improved upgrade of the Mark III. It boasts a new 31.7-megapixel sensor that delivers sharp images, an advanced 61-point autofocus system, Pro-spec performance, 4K video capability, and a sleek, polished body.
Combine all this with a host of other features, and the EOS 5D Mark IV is one of the best DSLRs we've seen.
The D850 may have replaced it, but the D810 is still a brilliant full-frame DSLR. Images captured by Nikon's 36.3-megapixel sensor are richly detailed, while its 1,200-photo battery definitely puts the 50.6-megapixel EOS 5DS to shame.
The 51-point AF system handles tricky focusing situations well, mainly because both the AF and metering systems are taken from the now-outdated Nikon D4S. Excellent performance and relatively modest size make the D810 an excellent choice.
With 50.6 million effective pixels, the Canon EOS 5DS offers the most... a high resolution among the full frame DSLRs on the market today. Image quality is excellent, with excellent detail, low noise and good dynamic range, making this model an ideal choice for landscape or studio photographers.
Of the minuses – not too much high performance, lack of video recording in 4K and Wi-Fi, and the huge sizes of image files require the installation of large-capacity memory cards.
