Zack Arias has always been an avid Fuji shooter (starting off with the fabulous X100) and was one of the biggest influences in my decision to finally take the plunge and co-purchase an X-Pro 1 this summer. In this video Zack knocks some sense into you about how silly the full frame / crop debate really is by reviewing the progression of different formats from eight by ten through 4:3. Take a look.
Having shot full frame 35mm digital for a while now it's been interesting how pleased I've been with this little crop sensor camera. When I was first considering the X-Pro someone pointed me to a chart detailing just how minimal the change in DOF really was from FX to DX or APS-C. In technical terms, you loose roughly a stop in terms of blur and OOF elements, so when shooting with a 35 f/1.4 on my Fuji you get roughly a 53mm f/2.0, or with the monster Fuji 56mm f/1.2 you'd get the same effective DOF as a full frame 85mm at f/1.8 — which is more than enough for my purposes. The quality was there for me, for most intents and purposes it'd be there for you too.
Of course, at the end of the day the equipment isn't really going to be limiting us. While there are perks that make a D4s appealing to sports photographers, Leicas to those shooting street, and MF to product and studio guys a pro can create with just about any tool they have available (See Digital Rev's Pro Tog, Cheap Camera Challenge).
Zack put it best:
Cameras can't see. This Fuji has no vision. This Phase doesn't know anything about light. This Nikon over here, knows nothing about moment. The eight by ten is a cold beast that knows nothing of emotion. The GH4 shooting this video right now, doesn't have any idea about composition. So what's it come down to? Full frame? No. APS-C? Eh, no. The moron behind the camera. That's you.