When Is the Right Time to Upgrade to Full Frame?

Hello, and how the hell are you? If this is your first time here, thanks for stopping by! Today, we’re diving into a question that’s been floating around the photography world: When is it time to upgrade to full frame?

There’s this common notion online that your work isn’t “pro-level” unless you’re shooting on a full-frame camera. But is that really the case? The truth is, whether or not you need a full-frame camera depends on several factors, and the short answer is both yes and no.

Shot on a Canon. 60d and kit lens

Why You Might Need to Upgrade

The “yes” side of the argument largely comes down to image quality and ISO performance. Full-frame cameras excel at reducing noise, even at higher ISO settings. With many crop-sensor cameras, like the Canon 80D (one of my personal favorites), you’ll start noticing noise in your images as early as ISO 400. This has been my experience shooting with the 80D—a fantastic APS-C camera.

Shot with a Canon 80d and the Tokina 11-16

I used the 80D for years without feeling the need to upgrade. Its performance was so good and clean that it took a lot to convince me otherwise. However, when it comes to low-light shooting, a full-frame camera undeniably pulls ahead. Starting at ISO 400 and going all the way up to ISO 6400, full-frame cameras produce cleaner images with minimal noise.

For example, with my Canon 6D, I can confidently shoot at ISO 640 in broad daylight without worrying about noise. If I tried the same with the 80D, I’d see noticeable noise in areas like the sky, and the overall level of detail wouldn’t be as good.

Features and Personal Preference

Another reason to consider upgrading is the feature set. Full-frame cameras often come loaded with pro-level features that are simply missing on most crop-sensor bodies. That said, the gap is closing. Take the 80D again—it’s so feature-rich that I call it my “mini 5D Mark IV.” For static subjects like portraits, its autofocus is fantastic.

Shot with the Canon 5D2 and the Canon 24-105

Ultimately, deciding to upgrade often comes down to what you personally need and want in a camera. Are the additional features of a full-frame camera going to enhance your work? If not, a crop-sensor camera might still meet your needs.

Why You Might Not Need to Upgrade

Now, let’s talk about where crop-sensor cameras shine. One major advantage is depth of field. Crop-sensor cameras naturally provide a larger depth of field, which can save you time when shooting multiple images for focus stacking. Additionally, they’re typically smaller and lighter, meaning you can shoot for longer periods without fatigue.

Shot with the Canon 6D and the Tamron 28-75

This lighter setup can be a double-edged sword, though. While it allows you to stay on location longer and capture more images, there’s also value in slowing down to craft the perfect shot.

Price is another factor. Older full-frame cameras have become much more affordable, but the cost of maintaining two systems—full-frame and crop-sensor—can still be reasonable. In fact, today, you can pick up older, top-tier gear at a fraction of the cost of a brand-new mirrorless full-frame body.

Shot with a Nikon Point and shoot from 2005

Should You Upgrade?

At the end of the day, the decision to upgrade is a personal one. If you want a full-frame camera, go for it. If you’re happy with your crop-sensor camera but want more features, consider upgrading to a higher-end crop body instead.

Personally, I use both systems. This allows me to enjoy the lightweight versatility of a crop-sensor setup and the image quality of a full-frame system. It’s the best of both worlds without paying the “full-frame tax” for a cutting-edge setup.

Shot with the Canon 5D3 and the Canon 24-85

We live in a great time for photographers. The affordability of older gear means you can build a complete setup—both crop and full frame—for the same price as a single high-end full-frame body.

Thanks for stopping by! Until next time, enjoy shooting from St. Johns, AZ, y’all!

Shot with a Canon 80d and the Tamron 17-50

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