Micro four thirds vs full frame3/8/2023 ![]() The less experienced photographers will presume that there is no requirement to worry about additive lighting (if allowed at the location) since a full frame sensor and a very fast lens is all that matters – and many less competent photographers also feel it is not a requirement to learn the art of lighting for this reason.īut here’s the thing – if you have a bride and groom in front of you, or a family group during a location sitting or party, it is very unlikely that they will be on exactly the same plane of focus. What are we talking about exactly? Well, the real world situations in which the social photographer is likely to encounter lowlight would probably be a winter wedding, or dark church, or evening party. But in any given situation it’s interesting to consider how full frame settings might differ to my Micro 4/3 settings. But there are a great many newer photographers who are conditioned to believe that this is an unacceptable statement, because of the following:Ī full frame sensor is better in low light – with like for like settings it will be, the noise response of the full frame sensor will almost always exceed that of the smaller sensor. And pretty much every modern well-spec’d FX, APS-C, APS-H or u4/3 camera will fit the bill. What matters the most is that the photographer is appropriately skilled and uses equipment which is suited to the job at hand. There are many elements of a well crafted image, and in professional portraiture and wedding photography much depends upon the photographer’s understanding of light, supplementary lighting, posing, direction, narrative, timing, spatial awareness and composition, people management, and a number of other factors which will clearly separate the professional from the casual amateur.Īdditionally, equipment choices are often personal. My perspective is also that of the professional portrait photographer, not the advertising photographer who might naturally be drawn towards medium format equipment. I will say that I have rarely heard this expression from a professional photographer and this viewpoint seems to be representative of the amateur and hobbyist community.Ī camera is a recording device, and it can only record what the photographer creates for it (I must preface this discussion by saying that I am referring to recent generation cameras at and above a certain level of performance – I’m not talking about low-priced, low-end, low featured machines destined for the family marketplace). There is and there remains a pervasive belief that every professional portrait or wedding photographer should be using full frame cameras and if they do not they are somehow failing their customers. And not very long ago, we saw the introduction of full frame 135 format digital cameras which have broadened our options still further. ![]() I’ve been around enough years to see the evolution of digital technology throughout the professional photography world and not very long ago (and currently) we were all doing very well with our APS-C systems which were the mainstay of the vast majority of professional studios – nobody questioned us about our camera choices, we delivered good imagery to our clients, and everybody was happy. I have a reputation to protect and it goes without saying that when it comes to equipment choices I need kit which delivers excellent performance and reliability (together with several levels of backup). ![]() Elsewhere here on the blog I’ve stated my opinions about the usefulness of the latest generation of mirrorless camera systems, and as a full-time photographer I can offer my own perspective on real-world performance and usability. ![]() The Micro Four Thirds vs Full Frame argument is becoming a real cliche and is being discussed (and argued) to death on photography forums throughout the world.
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