No they don't work the same, the Hasselblad medium format delivers pixel size of 5.3 microns where full frame only 4.1 Microns.. dynamic range is 14 stops and TRUE 16 bit, unlike full fame is NOT!!
Correction, i didn't mean 8 bit, i meant 12 and 14 bit for full frame and crop sensors..
the Nikon D3 and D300 are both capable of recording in both 12-bit and 14-bit modes. The method of recording 14-bit files on the D300 is substantively different from that for recording 12-bit files; in particular, the frame rate slows by a factor 3-4. Reading out the sensor more slowly allows it to be read more accurately, and so there may indeed by a perceptible improvement in D300 14-bit files over D300 12-bit files (specifically, less read noise, including pattern noise). That does not, however, mean that the data need be recorded at 14-bit tonal depth -- the improvement in image quality comes from the slower readout, and because the noise is still more than four 14-bit levels, the image could still be recorded in 12-bit tonal depth and be indistinguishable from the 14-bit data it was derived from.
Hasselblad does not record image in the same way as the full frame or crop sensor, yes it does in the same general way, but not exactly, they are different factors in the medium format because it is different more dynamic range, the 5.3 microns vs the 4.1 microns, the speed that the sensor picks up the image and filters and all that.
they make different sensors because, because sensors record in different ways thus giving you different results..
this is a fact..
ADVANTAGES OF A LARGER SENSOR
A larger sensor has a larger area to gather light and the pixels are not so tightly packed as in a smaller format sensor. The larger sensor area means the individual pixels can be larger, too. For example, on a 50 megapixel Hasselblad CMOS camera, the pixel size is about 5.3 microns. Compare that to the pixel size on a standard high resolution DSLR and the size is about 4.14 microns. Thus, low light performance is much better, because the signal to noise ratio is favorable. In plain English that translates to 28 percent greater light capturing capacity.
But that’s not all. A larger sensor provides much greater dynamic range, which gives a larger transitional tonal value, greater tonal accuracy, and better color accuracy. The dynamic range on a medium format camera is 14-stops more than that of a DSLR! The images shot are true 16-bit.
A larger sensor provides room to produce larger lenses, which are easier to make, and thus the optical quality of such lenses is superior. Add to this the benefit that medium format lenses can deliver a shallower depth of field when compared to full-frame DSLRs at the same aperture settings. Even at smaller apertures the quality of the images produced are sharp and devoid of diffraction, thanks to the superior optical quality.
Besides the advantage in pixel count, the much larger area of the medium-format sensors gives them an advantage in image noise. A larger sensor area can collect more light (photons) than a smaller one when you use the same shutter speed and aperture. And the more light, the higher the signal-to-noise (S/N) ratio. That’s because photonic noise (the noise carried by light itself and the main source of noise in most digital images with current cameras) increases as the square root of the signal: If you have 4 photons of signal, you’ll get 2 photons of noise, for a photonic S/N ratio of 2:1. If you have 100 photons of signal, noise will be 10 photons, for a 10:1 S/N ratio. If you have 10,000 photons of signal, you get 100 photons of noise, for a photonic S/N ratio of 100:1. A better S/N ratio means fewer fine details and steps of dynamic range are lost to noise, and that means better image quality, including higher resolution for a given pixel count (because less detail is lost to noise). Of course, there are other sources of image noise, but from a photonic noise standpoint, bigger is better.
Nearly all medium-format digital cameras are 16-bit devices, while DSLRs are 14- or 12-bit. This means the medium-format cameras can provide a smoother range of tones (especially important in portrait work, but almost always a good thing), theoretically, 65,536 tones or color shades per channel versus 16,384 for 14-bit and 4,096 for 12-bit cameras.
(JPEGs from any camera are 8-bit—just 256 tones from black to white—one of many reasons to shoot RAW.) Of course, some of these steps are lost to noise (if the difference from one step to the next is less than the noise level, you won’t be able to differentiate those steps), but still, 16-bit medium-format images can reproduce a smoother range of tones and colors than 14- and 12-bit DSLR images.
This is a Fact and Undisputed!!!!
this is how it is... This is why a hassy goes for 40k vs your best full frame camera maybe 8 k at most..
there is a reason why the hassy is 5 times the price, it's not because of it's name..
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