We spent 46 hours on research, videography, and editing, to review the top choices for this wiki. Making the jump to full-frame photography can be frightening. It often requires that you purchase a few new lenses, get used to a different crop factor, and improve your skills in post. But for all that trepidation, the feeling you get in your bones when you take that first picture and see its incredible detail and dynamic range will make your hesitation seem downright silly. When users buy our independently chosen editorial picks, we may earn commissions to support our work.
10. Canon EOS 6D II
Shooters who want to make the jump to full frame, but might not be able to afford some of the pro-level bodies out there will find a reliable tool in the Canon EOS 6D II. It produces excellent images with ease, and its skin tone reproduction is very flattering.
The Pentax K-1 Mk II will appeal to any photographers who spent their film days shooting on the company’s K-1000, as all of those old lenses are compatible with this new digital body. It has a 36.4MP sensor that’s had its anti-aliasing filter removed for sharpness.
The Sony a7S II uses fewer megapixels so that each can absorb more light. It also has cinema-specific picture profile logarithms that capture your movies as a flat, desaturated base ideal for manipulation in high-end color correction software.
The Nikon D750 FX takes the company’s sought after discontinued model, the D700, and gives it a modern makeover while preserving much of what is, to many shooters, the most intuitive button layout on any body. Its upgrades include a 24.3MP sensor and a tilting LCD monitor.
The Sony a7 III boasts 693 phase detection and 425 contrast autofocus points, which combine to give you fast and accurate focusing that covers up to 93 percent of your image area. Its silent shutter release allows you to snap photos without drawing attention to yourself.
The sensor inside the Nikon D850 boasts an impressive 45.7 megapixels, giving you the ability to deeply crop into your photos without losing any resolution. That also makes for some pretty big files, but the unit supports a small RAW format for your convenience.
A long-awaited upgrade to one of the most highly coveted cameras among videographers, the Canon 5D Mark IV offers improved resolution over its predecessor, as well as a larger LCD monitor with touchscreen capabilities. It writes to SDXC memory cards.
The processing speed of the Sony a7R III Mirrorless is nearly double that of the company’s previous model in this lineup, giving shooters an incredibly fast burst rate from a packed 42.2 megapixel sensor. With 15 stops of dynamic range, it’s great in high contrast light.
The Nikon D5 represents the absolute pinnacle of the company’s lineup. It shoots raw stills at 12 frames per second in its burst mode, and can buffer up to 200 images, so sports photographers can feel free to capture every instant of a game.
With the ability to capture 4K video at up to 60 fps, the Canon 1D X Mark II keeps with the company’s tradition of providing movie-making excellence. Its 61-point autofocus system and DIGIC 6+ image processors offer stellar stills performance, as well.
If you’re in the middle of your research into full frame DSLR cameras, you probably fall into one of two camps. You either already own a camera and are looking to upgrade, or you’re about to buy your first camera, and you want to start at the top of the market. True, there are cameras out there that exceed the potential of full frame DSLRs, but these are usually reserved for photographers whose work garners obscene amounts of money — most of which they spend on those very cameras.
For the rest of humanity, our selection represents the cream of the crop factor. That pun brings us to our first reason to make the jump to full frame: no more math. If you have a camera with interchangeable lenses and a sensor any smaller than full frame, you’ve already dealt with this issue.
For example, a lot of consumer and entry-level DSLRs utilize APS-C sized sensors. These are the next best thing after full frame, and many of them will take professional-quality photos. Because the sensor is smaller, however, it suffers from a crop factor. The APS-C crop factor is roughly 1.5. That means that a 35mm lens won’t actually give you a 35mm focal length. Instead, it’ll give you 1.5x that, which is about 52.5mm. At the telephoto end, this is actually an advantage of the smaller sensor. When shooting wide — at an indoor event like a family party, for example — it’s a huge disadvantage.
Other benefits of full frame sensors include improved dynamic range, better low light performance, and access to the best lenses by renowned manufacturers. Improved dynamic range means that your images will have more detail in both their shadow and highlight areas. You’ll see better low light performance because the pixels on a full frame sensor have a superior pixel pitch (they’re larger) than the same amount of pixels packed tightly onto a smaller sensor. As for those lenses, well, we’ll get to that below.
What To Expect From Your New Full Frame DSLR
When you finish unboxing your brand new full frame camera, you’ll begin to notice some interesting things about it right from the start. To begin with, it’s probably bigger than your previous camera. That sensor requires a larger housing and, in traditional DLSR designs, a larger mirror and pentaprism. If you have big hands, it’s liable to feel pretty comfortable and secure in them. If not, you may want to invest in some kind of strap or harness for the camera’s safety.
If you already have a selection of lenses for whatever brand you choose, you may find that some of them aren’t built for full frame sensors. APS-C sensors are so popular (they were the first size of digital sensor manufactured by Nikon and Canon), that there’s an entire series of lenses within each brand made just for the smaller sensor. On a full frame camera, these lenses can’t fill the sensor with light, and you’re left with exaggerated vignetting. With a short menu dive, you’ll find a setting that automatically crops these images to their APS-C size. You won’t get the full benefit of your new camera’s sensor, but you’ll still be able to shoot while you save up for new glass.
When you do get around to buying some new full frame lenses, you’ll find that these are larger, as well. Because full frame cameras represent a higher class in the market, manufacturers don’t see much of a use for low-end glass. Even the least expensive full frame lenses often cost about as much as an entry-level DSLR, with the best among the glass costing far more that whatever you’ll pay for your new camera body.
Another aspect of your shooting life that’s liable to increase in size are your files. Full frame cameras, especially when their sensors boast a large number of pixels, produce very big files. That could necessitate upgrades to other parts of your workflow, as well, from memory cards and hard drives to whatever computer you use to edit your images.
Smaller In The Mirror
If it sounds like everything about the jump to full frame results in an increase in size, then you understand the mindset of the engineers who developed the full frame mirrorless camera. While these cameras aren’t DSLRs by the strictest definition, the market treats them as such. They are in direct competition with the heights of production from Nikon and Canon, and they have, in many ways, eclipsed those two brands.
Sony is currently the undisputed full frame mirrorless king. Their a7 series of cameras brought a downsized body to consumers who didn’t like how enormous the full frame world had become.
The mirror in a camera is usually the same size as its sensor, and it spends the vast majority of its life sitting above that sensor at a roughly 45-degree angle. It has to physically jump out of the way and into a little hiding place whenever you take a picture. That adds a great deal of height, weight, and depth to the design of a camera body.
Of course, the mirror used to be a necessity. It was the only way you could see what the lens could see. But now, with the quality of the electronic viewfinders on the market, that mirror seems less and less like an asset.
The downside to the mirrorless movement is that, for the time being, they don’t have a quality selection of lenses that can compete with those of Nikon and Canon. There are adapters out there that allow you to slap almost any conceivable lens onto a mirrorless camera, but unless you’re using expensive rangefinder lenses, you’re going to end up right back at that size problem again.
So, should you buy mirrorless? If you shoot many more stills than movies, then probably not yet. If you’re investigating these DSLRs for video applications, however, then it’s as good a choice as any.