Why I Use Crop-Sensor Cameras in My Professional Photography Career

Why I Use Crop-Sensor Cameras in My Professional Photography Career

Full-frame cameras are superior to the crop sensor ones. There's no doubt. Most of the professional photographers out there are making a living with full-frame bodies and thus those cameras are considered professional. What if you shoot with smaller sensor cameras? Let me share my own story.

First Encounter With a Camera

I never had photography as a hobby. I started it as a business. In order to justify my expenses I taught myself the basics buying books and video workshops. I did that even before I owned a camera. For most of you that's not the case. For me, I needed to know what I was getting into before spending thousands in gear. I had to understand how the camera worked: what were the aperture, shutter speed, and ISO. I didn't know anything about cameras less than 10 years ago. I even searched the web if I could change the aperture of an f/2.8 lens or it was always constant.

As I went deeper in knowledge, I became fascinated with lighting. I wanted to do a specific type of images and I found it was the lighting that I liked the most. But first of all, I had to buy a camera being the basic tool in the craft.

Pool game


My main criteria was the cost. I wanted to spend as little as possible on a camera that could get the job done. I started my investigation comparing the differences between the mid-priced and high-end DSLRs. I had to be aware what I was paying for if I didn't own the most expensive machine of them all.

Running girl


I come from a music background where the weight of a musical piece of gear is proportional to its build and sound quality, whether that's a piano, guitar, microphone, amplifier, or cable. A common sense for me was the more a camera weighs the better the materials and the more hardware perks it had. I wasn't far from the truth. It turned out a heavier camera felt more stable in the hands and images had less blur at lower shutter speeds. My first consideration was to buy a camera that feels solid. Imagine myself going into the store and comparing the weight of cameras and buying the heaviest. I did not have that joyful experience because I chose and bought it online.

Ad for the Sensata company


After deciding I wanted a heavier camera body with a better build quality I looked at the sensors. Budget was still an issue, so I chose a combination of a crop sensor with a good dynamic range and a tank-like body. My only drawbacks then were the small image resolution and noise starting to get quite visible even at 400 ISO. A quick calculation showed me I could have big enough prints for commercial use out of 10-megapixel files. For the noise I comforted myself that I'd use lights and most of the time I wouldn't need to shoot at high ISO values. I made my choice and bought a Canon 40D.



With lights, the price was not my main criteria. I spent much more on lights than on the camera and the lenses. I look at images the same as I look at paintings. I focus on the story, the light, and the nuances. I don't care if the painting is big or small, if it's photorealistic or not. That's the reason I chose to spend my budget ot lights than on sensor pixel parameters and resolution.

Back from work

Do I Know What I'm Missing?

Yes. I'm fully aware I'm missing a fat pixel that absorbs more light which means less noise at high ISO. The field of view is so much wider that I could shoot with higher focal range in tight spaces avoiding the distortion I have with a crop sensor and wide-angle lenses. If I shot architecture, a full-frame or medium-format sensor would definitely be my choice. The sharpness with full frames is usually better because of the sensor pixel size and the (often) bigger resolution.


Do I Care That I Miss Full Frame Features?

Most of the times, no. Lots of my clients rarely print their images and it's often at a maximum size of 8x10 inches. The majority of my clients use their files online. In cases when I know the files will be displayed as bigger prints or the project calls for a higher resolution images, I would rent a full frame. Most images of mine printed in magazines were from those humble 10-megapixel files from the crop-sensor camera.

Do Clients Care About Full Frame?

No. They just need certain types of images for certain purposes. They care to see nice sharp results. I can deliver them with a crop-sensor camera. Can you see the difference between full-frame and crop-sensor cameras in these images?

Headshots side by side

No? Then what, pixel peep? But why? To prove which is which or to tell me there's an striking obvious difference?

Do Fellow Photographers Care About Full Frame?

Definitely, yes. Not only that, but I have clients who hire me and own more expensive camera bodies than I do. Lots of aspiring photographers wonder why I don't use a full-frame body. Others are maybe looking down on me.

Fashion portrait

My Second Camera

After working with just one camera body and risking it a lot (except for the times I rented a full frame as a primary camera) I bought a second camera. Guess what it was? A crop-sensor camera. Now my primary criterion wasn't the price. I sat down and took time to estimate if full frame would bring my business more profit than a smaller sensor. The answer was no. I know what I'm missing but nobody really sees the difference, so why should I pour money into a something that won't return my investment faster? Instead, I spend money on knowledge (workshops, books), additional gear such as computer hardware, and in the last several years, on video equipment. If I need a full-frame body on a shoot, it's cheaper to rent it than buy it.

In the Future

I still don't know if I would buy a bigger-sensor camera in the future. Maybe if I need the resolution I'd spare more on a camera body. Until then I better get a few more lights and modifiers. There can never be enough lights whatever camera I use.

Log in or register to post comments


michael buehrle's picture

and now you can get a quality used full frame pretty cheaply if you need one.

Tihomir Lazarov's picture

Yes, but I'm not a fan of used cameras. Although it's an option, I'm working on more and more video projects today, so stills camera is not a priority. It's not about the money anymore. It's about priorities and ROI.

Spy Black's picture

"Can you see the difference between full-frame and crop-sensor cameras in these images?"
Whether the image on the right is full or cropped, it is soft. Looks like either a focusing issue or an older lens shot wide open.

Tihomir Lazarov's picture

Thanks for giving it a try. The lens is the same. The settings are the same. Yes, the lens was wide open here and that's why it's soft. It's almost impossible to guess which is which at this resolution and as you saw, sharpness or bad focus could be an issue regardless of the sensor size.

Other than that, the right one is with a full frame. And yes, it appears soft indeed. It seems the one on the left has been sharpened more than the one on the right (these have been shot in a span of about 1 year and I don't remember how much I sharpened them).

Lenn Long's picture

Confession - I'm a lifetime professional photographer and I have NEVER owned a full frame digital camera. It's not a requirement. Will I in the future? Maybe. However many of the points you addressed are the exact same reason I haven't needed one. In my studio, I control the lights and the majority of my studio portraiture is done at f5.6 - f11. When I'm at events I need the additional range that my crop sensor adds to my 70-200 2.8 a lot more than I need a wider angle of view or shallower depth of field. And I've always been a photographer that wants to have a backup camera that matches the primary so controls are consistently set and I don't have to think "what camera am I holding now?".

Tihomir Lazarov's picture

I'm glad to hear I'm not the only one who decided to go in this direction.

David B's picture

Thats another great story explaining spending more on the most expensive gear doesn't matter. I had the budget for a full frame camera, but with ISO performance getting better every year, any camera would be an improvement. I have a personal gripe about using large aperture tele lenses on a crop body, but thats just the engineer inside me talking.

Tihomir Lazarov's picture

Yes, you are right about the ISO performance. The only major advantage of the full frame today is the sensor size and thus the larger field view.

Alexander Petrenko's picture

As I'm shooting a lot of events, it gives me that extra working ISO, which I could miss if I use the crop. As for the reach - you can crop in post.

Tihomir Lazarov's picture

Yes, full frame is quite essential for events.

Gerardo D. Duran Jr.'s picture

I’ve always found that it’s all about quality and acceptance (Q&A) and who is doing the acceptance, of the quality.

Heratch Ekmekjian's picture

Nice work! Your photos look really good. I think you're correct that the people that care most about full-frame versus crop sensor cameras are other photographers.

Tihomir Lazarov's picture

Thanks and yes, photographers care the most, especially beginners.

Richard McNamee's picture

Old Fuji S2 files still look nice. I've borrowed or rented full frame from time to time, very nice but not essential. I watched a young man with a Phase 1 rig and wondered how many jobs to justify a $40K investment? I'm thinking about the Sony as I can use my Canon lens. We should work on composition, lighting and marketing. A 24 meg crop sensor goes a long way.

Tihomir Lazarov's picture

Yes, a 20+ megapixel file on today's crop sensors is more than enough for almost anything.

Medium format is way better than full frame in terms of sharpness and field of view. Architecture and landscape photographers can take a great advantage of the size of the sensor without the need to use ultra wide angle lenses or make panoramas. These expensive cameras are also great for portrait work but there needs to be a solid ROI in order to spend those $40K.

James karczewski's picture

Who cares wtf you use. If you are more concerned about what other people think of your equipment you have bigger problems to deal with in your life. I was shooting my little 1dx and 70-200/2.8 with 1.4xtc on next to a guy using a 400/2.8 and a slew of d3's. We both got what our client wanted. So my big lens was in the shop, so what. Do the job you were paid to do and move the hell on. If I need to shoot an assignment with a cell phone I wouldn't turn it down. It's a tool. Tools are just like cars, there are a ton of them out there and everyone has their favorite.

K SANDMANN's picture

I've likewise stuck with cropped sensor myself. Anyhow the 70mm range lol very often frustrates me being just a bit two long. Meh the grass is always greener -

Tihomir Lazarov's picture

I feel you. That's one of the tiny disadvantages of the crop sensor with nice lenses such as 24-70.

Kang Lee's picture

I went from full frame Nikon D750 to Fujifilm APS-c, no regrets there. My wallet and my back are happier.

Tihomir Lazarov's picture

I'm glad I'm not alone (at least from wallet's standpoint).

Alexander Petrenko's picture

What do you usually shoot?

Kang Lee's picture

Portraits and weddings

Korey Napier's picture

Kang, I, too switched from the D750 to Fujifilm over a year ago. I haven't regretted it at all.

Indy Thomas's picture

I have used both and I have to say as a working pro there is no real difference to clients in deliverables.
Some clients like high end beauty products will insist on MF and then if you have FF you are SOL anyway.

The only reason I still use FF is for the Canon 17TS-E. I shoot architecture and products so the issue with low light performance is immaterial.
However I would note that I have used sensors as small as µ43 and still had deliverable product at ISO6400 for event work. People forget that in the days of film ISO 400 transparency film was being crazy bordering on reckless while 1600 color print film only became passable in the waning days of film.

I would note that the article is incorrect in stating that there is more distortion on wide angle lenses on cropped sensor cameras. The distortion (more importantly geometric distortion) is a factor of AOV and is exactly the same irrespective of sensor size.

Anonymous's picture

Regarding your last paragraph, are you sure that's correct? To get the same angle of view, you obviously need a wider lens with an aps-c sensor and I would think the optics are what matters, more than the resulting AOV. In either case, I doubt it's significant. But I don't have much experience with aps-c cameras so this is all just me thinkin'.

Indy Thomas's picture

Perspective is determined by where you place your camera in relation to the subject. Angle of view is determined by focal length.
Thus, I always tell my students, choose where you want to stand first, then choose your focal length.
This also points up the weakness of "zooming with your feet". You can change your AOV but you also change the perspective that can change the entire feel of the image.

Anonymous's picture

I see your point. What about the affect of the lenses ability to correct distortion? I know this is a bigger problem for wider lenses and, again, an aps-c sensor requires a wider lens for the same FOV.

Indy Thomas's picture

Think of a 300 mm lens as a 15mm with a mad crop.
The perspective problem of wide angle lenses is a factor of the proximity of image elements that appear larger or stretched at the edges.
If you crop out the offending bits the perspective is very "normal".

In APS-C a 35 mm lens gives the AOV of a 50 of FF. The perspective is precisely the same in both cases assuming one is standing in the same position.
If you get "distortion" on an APS-C camera because your 10mm lens needs to be used to get in all the subject, your FF image of 15mm will look exactly the same.

Anonymous's picture

While I understand the concept, you can't ignore the fact you have to change your relative position in order to achieve the same AOV with FF vs APS-C. Maybe we're saying the same thing from different perspectives (pun intended). :-)

More comments