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We Are in an APS-C Camera Renaissance

Chris Gampat
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06/27/2022
3 Mins read
Chris Gampat The Phoblographer Canon EOS R7 first impressions product images 41-25s3200 1

Photographers for years, have always said that they don’t want anything smaller than full-frame. Indeed, I still know a lot of photographers who think this way. But if manufacturers have shown us anything, it’s that we’re in an APS-C camera renaissance. Canon, Sony, Nikon, and Fujifilm have all released some sort of support for APS-C cameras due to the supply shortages that are going around. Until that issue is totally sorted out, we may be in an APS-C camera renaissance for a while.

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Now, don’t get me wrong, not all is great in the APS-C camera world. Leica discontinued their L-mount APS-C cameras. But considering that Sigma released APS-C lenses for the format, we’re probably bound to see new entries. With all the other manufacturers, though, you can see a fair amount of APS-C growth.

Let’s go down the list here:

  • Nikon released with ZFc along with APS-C lenses in the past year
  • Canon released with Canon EOS R10 and Canon EOS R7 along with lenses
  • Sony released APS-C lenses
  • Fujifilm continues to support the X series by announcing new lenses, announcing the XH2s, and showing a roadmap for new lenses to hit the market.
  • Tamron continues to support and provide lenses for APS-C cameras
  • Sigma does the same

The sad thing, though, is that with so many photographers only wanting full-frame cameras, there are lots who won’t understand just how good APS-C cameras have become. But with that in mind, there are tons of great reasons why we’re in an APS-C camera renaissance besides what’s being made right now. Some of it has to do with consumer spending and not wanting to spend money they don’t have. Combine this with people wanting to get outdoors a lot more and having smaller, lighter cameras, and you’ll have a winning combination. Pixel for pixel, APS-C cameras get smaller when full-frame cameras get smaller. At the same time, the ergonomics are still satisfactory for lots of photographers out there.

I’m confident that we’re going to see more full-frame cameras before the end of the year. But I also believe that we’re going to see a lot more support for APS-C cameras. After using the Canon EOS R7 on a press trip, I’m incredibly impressed with it. Similarly, the Fujifilm XH2s satisfies the needs of lots of photographers with its updated features. Further, we’re bound to see some sort of Sony a6600 update come that takes on the likes of Canon and Fujifilm. Sony might even find a way to undercut the prices of both Canon and Fujifilm.

Photographers who own full-frame cameras, I don’t think, would have any particular interest in APS-C cameras. However, I own full-frame and also have a strong interest in APS-C. There are moments where all I need is a good point and shoot that’s small and reliable. A camera like the Fujifilm X100V would be perfect for that. But I’ve instead opted to try to get a Fujifilm 27mm f2.8 R WR for my X Pro 3. Further, the only APS-C cameras I own are from Fujifilm. If you have a look at the entire pack of manufacturers, they’re genuinely the most unique. How can you hate on superior ergonomics and image quality?

I just worked on an article talking to photographers about fitness, and they talk about stretching the lower back and spending time at a computer. Fujifilm cameras let me avoid needing to be at the computer in the first place for the most part.

Passionate photographers would buy APS-C cameras because of the image quality, size, and price point that they provide. This is especially the case with Fujifilm, as their film simulations make you need to do far less post-production if you use them correctly. Years ago, there wasn’t a lot of lens support for these cameras, but now there is. I’d hope that more professional photographers wake up and realize the same thing.

APS-C Camera Cameras canon fujifilm L mount leica lenses nikon renaissance sony
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Chris Gampat is the Editor in Chief, Founder, and Publisher of the Phoblographer. He provides oversight to all of the daily tasks, including editorial, administrative, and advertising work. Chris's editorial work includes not only editing and scheduling articles but also writing them himself. He's the author of various product guides, educational pieces, product reviews, and interviews with photographers. He's fascinated by how photographers create, considering the fact that he's legally blind./ HIGHLIGHTS: Chris used to work in Men's lifestyle and tech. He's a veteran technology writer, editor, and reviewer with more than 15 years experience. He's also a Photographer that has had his share of bylines and viral projects like "Secret Order of the Slice." PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. EXPERIENCE: Chris Gampat began working in tech and art journalism both in 2008. He started at PCMag, Magnum Photos, and Geek.com. He founded the Phoblographer in 2009 after working at places like PDN and Photography Bay. He left his day job as the Social Media Content Developer at B&H Photo in the early 2010s. Since then, he's evolved as a publisher using AI ethically, coming up with ethical ways to bring in affiliate income, and preaching the word of diversity in the photo industry. His background and work has spread to non-profits like American Photographic Arts where he's done work to get photographers various benefits. His skills are in SEO, app development, content planning, ethics management, photography, Wordpress, and other things. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. FAVORITE SUBJECT TO PHOTOGRAPH: Chris enjoys creating conceptual work that makes people stare at his photos. But he doesn't get to do much of this because of the high demand of photography content. / BEST PHOTOGRAPHY TIP: Don't do it in post-production when you can do it in-camera.
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