The 10 Best Full-Frame DSLR Cameras
10. Sony a7 Mark II
- good dynamic range
- bionz x processor
- noisy high iso performance
|Rating||3.6 / 5.0|
9. Nikon Dƒ
- 16mp cmos sensor
- 3-inch lcd screen
- does not shoot video
|Rating||4.1 / 5.0|
8. Pentax K-1
- led-illuminated lens mount
- cross-tilt articulating lcd
- frustrating af point selection
|Model||K-1 body kit|
|Rating||4.0 / 5.0|
7. Sony A7R Mark II
- 4k video with no pixel binning
- back-illuminated sensor
- environmentally sealed
|Rating||3.9 / 5.0|
6. Nikon D810
- raw small picture option
- bypassed optical low pass filter
- noisy video above 3200 iso
|Rating||4.2 / 5.0|
5. Nikon D750
- power iris control
- great low-light performance
- wi-fi requires an accessory
|Rating||4.4 / 5.0|
4. Sony a7S Mark II
- in-body 5-axis image stabilization
- 4k video direct to card
- limited native lens selection
|Rating||3.9 / 5.0|
3. Canon 5D Mark IV
- built-in wi-fi and nfc
- dual pixel cmos sensor
- pentaprism viewfinder
|Rating||4.7 / 5.0|
2. Canon 1D X Mark II
- intelligent subject tracking af
- 16 fps burst mode
- high-quality weather sealing
|Rating||4.9 / 5.0|
1. Nikon D5
- expeed 5 processing
- iso range extends to 3280000
- 4k video at 30fps
|Rating||4.9 / 5.0|
Why Make The Jump To Full Frame?
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.