![]() ![]() Having borrowed a full-frame Sony A850 for several months while living in New York, I found myself constantly impressed with its results inside dark bars, or during dimly-lit concerts – and obviously it worked perfectly well in bright sunshine as well.īut I’m not envisioning my new full-frame life to be all rainbows, ponies and endless bags of photographic Haribo.įirst off, full-frame cameras tend to be tougher on the wallet than their APS-C brethren, and even the cheapest new camera I can find – the 2013-released 24.3MP Sony A7 – is £899. Pair a full-frame camera with a reasonably fast lens and you can snap away in all but the very murkiest of conditions and still come away with sharp, detailed and noise-free photos – or video clips if that’s your bag.Īs a photographer who prefers working with natural, available light rather than a flash, a full-frame camera means I can get stunningly clear shots at times and places where my current, crop-sensored DSLR would serve up nothing but grainy, blur-ridden disappointment. ![]() Because full-frame cameras, blessed as they are with those huge sensors, are the best at sucking up huge amounts of the stuff in the shortest amount of time. To me, going full-frame is all about light. ![]() And full-frame cameras are pricier, bulkier and fussier about their lenses than other cameras. So, why go full-frame? After all, DSLRs with smaller sensors work just fine – in fact, Stuff‘s current top system camera recommendation, the Fujifilm X-T2, uses a 23.6×15.6mm APS-C sensor. ![]()
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