Newborn photography is one of the most popular genres in the world, and for a good reason. The first few days of life are fleeting, so capturing these moments is essential before they disappear forever. Trying to figure out how best to approach this type of shoot can be overwhelming, especially when working with an adorable little bundle of joy.
Here are some simple tips that will set you up for success and help you get stunning results in your newborn photography sessions.
#1 Consider Hiring a Professional Baby Photographer
If you are looking for a professional baby photographer, it is essential to do your research. When looking at websites, look at the portfolio section of the site. Does their work show strong composition and creative techniques? Are the photos taken in natural light? Is there any evidence of Photoshop or other editing tools used in post-production?
Does their website contain a well-designed layout that is easy on the eyes? If they have a blog, check it out as well. It will give you an idea of how they write and express themselves online, which can indicate whether they would fit your personality and style well.
Furthermore, when looking for a photographer, consider one from your area. Try searching for these details location-wise. Thus, if you live in Washington, DC, look for a newborn photographer from your area. Choosing a local newborn photographer in DC can be one of the best decisions you make as a new parent. Here are some reasons to consider:
The photographer will know your area and may have experience with the type of location you hope to use for your shoot.
A local DC photographer can help select the best locations, saving you time and effort.
Local photographers will be familiar with the best times of day for outdoor shoots in DC, which can make all the difference in getting great photos.
Finally, you’ll be able to easily schedule sessions around nap times and feedings, which will keep your little one happy and comfortable during photos.
#2 Choose a Place with Ample Natural Light
Use the natural light to your advantage. Natural light is more flattering and forgiving than artificial light, so it’s great for newborn photography. In addition, it allows you to create various effects without purchasing additional equipment or spending hours retouching photos in post-production.
In terms of revenue, the photography industry will have a market size of $10 billion in 2022, as per research by IBIS World. The business is booming and is set to rise more, which is always helpful. Coming back to the point, one of the best times to shoot is at sunrise or sunset. The sunlight will be softer and warmer, which makes babies look especially cute in their photos.
#3 Use Pillows to Prop Your Newborn Up
You can use pillows to prop up a newborn in various positions. The first way to utilize pillows is to simply use them to support the head and neck of the infant. It will help keep the neck in a more natural position for less stress on the muscles and ligaments.
The second way pillows can be used is by placing them under the body of the baby, which allows you to have both arms and legs down. However, this position can sometimes cause babies’ feet or hands to fall asleep. Because they aren’t getting enough circulation, make sure not to leave this position too long.
The third way to use pillows with newborns is by placing them under their backside when lying on their stomachs so that they don’t roll over too quickly while sleeping. However, it can lead to some dangerous situations.
Just be sure not to use any kind of blanket with this method. Instead, just place your hands underneath them while they are sleeping, and then when ready, wake up slowly so as not to disrupt any sleep patterns.
#4 Get Down on the Baby’s Level
Next, get down on the baby’s level. A photographer crouched down or lying flat on her back can get a much more intimate perspective than someone standing up and looking down at the baby. Also, make sure to buy a better camera. A report by Digital Camera World states that Canon controls 48% of the camera market share, Sony 22%, and Nikon is down to 14% in 2021. Therefore, make your choice wisely.
If you have a beanbag or pillow handy or even a rolled-up blanket, prop yourself up so that you are at eye level with your subject. Try to be as close as possible without scaring them off. It may feel strange to be lying on the floor, but babies feel most comfortable when they have another human being in their sight that they recognize and trust.
#5 Embrace Imperfection
One of the most crucial things to remember when taking photos of your newborn is that they are just babies. They don’t understand what’s happening and will not sit still for any length of time. They’ll likely be moving around a lot. That’s perfectly fine. It means you have some great opportunities for capturing pictures that are authentic to who your little one is.
You don’t need expensive equipment or fancy techniques to take fantastic photos with your smartphone. Creativity and an open mind about using the tools at hand work well.
#6 Take Advantage of Bath Time
There are many opportunities to take advantage of bath time when photographing newborns. It can be as simple as photographing your subject in the bathtub or using a sink, but you can also utilize the water to create some stunning effects.
For example, you can use warm water and a washcloth to gently cleanse your baby’s skin and hair before applying any products such as baby shampoo or oil. This step can increase the likelihood that these items will stick better to the skin and hair follicles, making them more visible in photos after being washed off later.
In addition, you might find it helpful to have an assistant standing by while you’re bathing your subject so they can assist with washing up afterward.
#7 Coordinate with the Parents and Older Siblings
The most vital part of the newborn photo shoot is the parents. They are taking care of this little human being, and they will be the ones who spend their lives with him or her. Therefore, it’s essential that they feel comfortable with you. You want them to be themselves and feel like they can open up and share their emotions during your session.
Another way to ensure the baby stays calm and happy during your photo shoot is by involving the older siblings in all aspects. You may even consider asking them if there are any special things from home that they would like included, such as a favorite blanket or stuffed animal. Just remember not to overwhelm yourself with too many props.
#8 Incorporate Props
Statista states that a total of 2.16 million DSLR cameras were shipped globally by CIPA businesses in 2021. Along with a well-off camera, incorporating props is another great way to make your photos unique. Props are tools that can help you tell a story with your images, like a baby’s favorite blanket or toy.
They can also be used to highlight certain features of the baby, such as their face or hands. If you’re looking for something super cute and sweet, try different outfits for your newborn.
The Best Newborn Photography Sessions Turn Out Great When You’re Prepared
You can have the finest newborn photography sessions when you are organized and have a strategy. To get the most out of your session, research photographers in your area and ensure they have experience working with newborns. You also want to look for someone good at working with babies.
Your photographer should know how to pose them, so they can give you the best results possible. You may also consider hiring a professional photographer with a good reputation and reviews online. They will be able to give you an idea of what kind of shoot will work well for your baby and you.
Who said wildlife can’t be humorous? The annual Comedy Wildlife Photography Awards highlight hilarious photos of animals in the wild and this year’s offering left us in stitches. Take a look.
Picture: Martin Grace (Keep calm and keep your head)
Picture: John Chaney (Fight back)
Picture: Mark Schocken (Tight fight)
Picture: Alex Pansier (Jumping jack)
Picture: Ryan Sims (Excuse me…pardon me!)
Picture: Emmanuel Do Linh San (I’m gonna strangle you!)
Picture: Jagdeep Rajput (Pegasus, The flying horse)
Picture: Frederica Vinci (Monkey wellness centre)
Picture: Miroslav Srb (Hello everyone)
Picture: Michael Eastwell (It’s all kicking off!)
Picture: Jia Chen (Football dreams)
Picture: Arshdeep Singh (I see you, boy!)
Picture: Jennifer Hadley (Talk to the fin!)
Picture: Jean Jacques Alcalay (Misleading African Viewpoints 2)
Picture: Jennifer Hadley (Not so cat-like reflexes)
Picture: Arturo Telle Thiemann (Say cheese)
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Annie Lennox, Mick Fleetwood and Sting are just some of the big names Anna Gabriel has captured in her time as a portrait photographer.
But Gabriel is no stranger to the rock and roll lifestyle, growing up with her father, former Genesis frontman Peter Gabriel.
In fact, Gabriel first got the idea for her new photobook Ey3-D while helping her father design his album artwork.
You can sign up for the Today newsletter here. (Today)Mick Fleetwood by Anna Gabriel. (Anna Gabriel)
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“I was helping him with ways of capturing all the artists who worked on the album and thumbprints was the original idea, but I scrapped that and decided to go with just eyes and it turned out to be an interesting series,” Gabriel told Today Extra.
They say the eyes are the window to the soul and Anna’s portraits give the audience an intimate look at some of the music world’s biggest names (and some major movie stars if the name Kevin Bacon rings a bell?).
“I got to his apartment and the doorman said he had just left,” she said.
“I thought, ‘Oh, no, what’s happened? had he forgotten?’, but there was a mix-up with his schedule and his assistant called him and he came right back and was apologising and super lovely.”
Annie Lennox, lead singer of Eurythmics. (Anna Gabriel)
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Despite the caliber of her subjects, Gabriel said she felt at complete ease taking their photo and it was actually easier than some of the other photography she’s done.
“It was easy to work with them, it only ever took 15 minutes,” she said.
“I’d shoot it in a hotel room, backstage, wherever they happened to be with natural daylight.
“Most of the responses were, ‘Was that it? God, so easy’, you’re only shooting the eye so you don’t have to worry about hair and make-up and whatever else they were doing.”
Sting gave an intense glare directly at the camera. (Anna Gabriel)
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Gabriel has known Sting for years and said he can be quite intimidating sometimes and looked directly into the camera.
“Sting was interesting – I shot that at his apartment in New York so it was a relaxed atmosphere, but I liked the intensity of the way he was looking at the camera – it was a fun shoot,” she said.
Surprisingly, British rocker Noel Gallagher was one of her easiest subjects to photograph.
“He was great, very funny,” she said.
Noel Gallagher insisted on wearing his sunnies for the shoot. (Anna Gabriel)
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“My husband came along and we went to his studio in London and it was a great time – He was making jokes, showing us around, very relaxed.
“He was telling about his sunglasses, he loves them, and likes to buy expensive ones so I had to shoot him with his sunglasses on but I like that shot.”
If you’d like a copy of Anna’s book Ey3-D click here.
See what else Anna had to say about her experiences in the video above
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Every animation creates the illusion of motion by taking a series of still shots and stringing them together in quick succession.
You don’t need to work at Disney to create animated content, and in fact, it has never been easier to do this as an amateur thanks to digital tools and techniques.
Let’s discuss a few of the options you have for converting your photos into coherent animation and cover some tips to ensure you get the best results.
Take a class
While you can piece together the skills needed to start animating on your own, it’s more efficient and less frustrating to receive tuition from an expert.
With the help of VFX classes, you’ll quickly get to grips with the basics, saving yourself the time that might otherwise be spent on trial-and-error attempts at animation.
Even if you’re already somewhat experienced in things like photo editing, it’s worth brushing up on your abilities under the guidance of a pro.
Use an app
The easiest way to transform pics into videos is with a mobile app, of which there are many examples that offer this functionality.
One of the top-rated apps in this category is Motionleap, and it’s worth paying for the premium version rather than just sticking with the free edition because of all the benefits that this unlocks.
For instance, as well as being able to stitch together photos in whatever way you choose, applying effects and transitions as required, you can also use this app to create GIFs that are great for sharing to social platforms, as well as standard video files.
There are also web-friendly apps like Werble and ImgPlay that do a decent job without costing a penny; just be prepared to put up with having watermarks automatically applied to your creations unless you fork out to disable this.
Consider the impact of motion
When capturing the still photos that you intend to animate, it’s vital to remember that this is a very different process to the one you’ll use if you’re only focusing on getting that single, perfect shot.
You need to be aware not only of the composition of each frame in isolation but also of how they relate to one another.
If the camera’s position remains static, in the case of a time-lapse type clip, then this is less relevant. But when the camera is in motion and the subjects being captured are also moving, taking this into account is crucial.
It’s worth experimenting and getting a feel for what works best, and of course, it’s possible to smooth this out to a degree with software.
Professionals will plot out every last fractional change in the camera’s position ahead of time, effectively storyboarding each sequence. You don’t necessarily need to go this far, but that really depends on the scope of your ambition.
Explore the potential of an individual photo
You don’t need to snap hundreds of stills to create a compelling animated addition to a project. Just one picture can be manipulated to make something poignant.
You’ll often see stills used in documentaries, but they are rarely left front and center with no adornments. Cropping, zooming, panning, transforming, adding texture with post-processing effects, and many other techniques can bring stills to life and emphasize whatever point you want to make at the moment.
Final thoughts
All that remains is for you to get started on your photo animation journey. For the most flexibility and control, taking classes will give you the best results, although even the simple apps mentioned can produce quality clips.
The annual Comedy Wildlife Photography Awards highlight hilarious photos of animals in the wild.
This year’s winning photo, taken by Jennifer Hadley, shows a hapless lion cub falling out of a tree.
Hadley titled the photo “Not So Cat-Like Reflexes.”
The annual Comedy Wildlife Photography Awards highlight hilarious photos of wild animals taken at the perfect time.
Photographer Jennifer Hadley took this year’s top prize with her photo “Not So Cat-Like Reflexes.” She captured the moment a young lion cub took a tumble out of a tree.
Hadley’s photograph beat out 5,000 entries from over 85 countries, according to a press release.
“I think part of what makes this contest great is that most of these photos probably happen by complete accident, and that was certainly the case with the lion cub falling out of the tree,” she said in a statement provided by the contest.
Hadley captured the photo on a safari in Serengeti, Tanzania, when she noticed a 3-month-old lion cub walking around in a tree. She positioned her camera, then the unexpected happened.
“It didn’t even occur to me that he would make a go of getting down by himself in the most un-cat-like fashion. I mean, how often do cats fall out of trees?” she said.
The people in her truck gasped, she said. “No one expected this to happen and of course we were concerned for his safety, but happily as cats do, he righted himself just in time and landed on all fours and ran off with his siblings,” she said. “A happy ending for a hapless kitty who didn’t quite know how to get down from a tree.”
As the winner of this year’s contest, Hadley won a safari trip in Masai Mara, Kenya, along with a Think Tank camera bag and a handmade trophy from Tanzania.
‘Not so cat-like reflexes, Overall Winner, Serengeti, Tanzania
Photo: Jennifer Hadley, U.S. – The Comedy Wildlife Photography Awards 2022
The close race for the overall winner title of the funniest wildlife photo of 2022 was awarded to the above image of a lion cub losing its grip on a tree trunk and entitled ‘Not so cat-like reflexes.”
The shot by photographer Jennifer Hadley also won the Creatures of the Land category.
The Wildlife Photography Awards competition, “the funniest and most popular photography competition in the world” according to the organizers, also unveiled five additional category winners and 10 Highly Commended Entries.
This year’s winning photos were chosen by a jury of experts from more than 5,000 entries from 85 countries around the world.
MORE FROM FORBESThe Funniest Animal Photos: 20 Finalists Of Comedy Wildlife Photography Awards 2022By Cecilia Rodriguez
Hadley managed to capture the winning image as a three-month old lion cub was trying to descend from a tree..well, it didn’t go the cub planned.
“It was probably his first time in a tree,” Hadley said. “And he decided to just go for it. Happily, as cats do, he righted himself just in time, landed on all fours and ran off with his siblings.”
Hadley’s reward for her winning shot: a safari in the Masai Mara, Kenya, with Alex Walker’s Serian plus a unique handmade trophy from the Wonder Workshop in Tanzania.
MORE FROM FORBES10 Funny Wild Animals Photos: A Tease Preview From Comedy Wildlife Photography AwardsBy Cecilia Rodriguez
The Comedy Wildlife Photography Awards was founded in 2015 by Paul Joynson Hicks and Tom Sullam, both professional photographers and passionate conservationists. The competition is global, online and free to enter.
“In addition to providing some lighthearted relief and joy, the competition aims to highlight the extremely important message of wildlife conservation in an engaging and positive way,” the organizers explain.
The competition champions the work of charity partner Whitley Fund for Nature (WFN), a British non-profit organization that supports conservation leaders working in their home countries across the global south.
Over 29 years, it has channeled £20 million to more than 200 conservationists in 80 countries.
‘Misleading African Viewpoints 2’, Winner, Air Award, Kruger National Park, South Africa
Photo: Jean-Jacques Alcalay-Marcon, France – The Comedy Wildlife Photography Awards 2022
The hippo looks like he’s about to snack on a whole heron, while the bird seems completely oblivious. Maybe it knew that, in fact, the hippo is actually just yawning.
‘Talk To The Fin!’, Winner, Affinity Photo Award and People’s Choice Award, Falkland Islands
Photo: Jennifer Hadley, U.S. – Comedy Wildlife Photography Awards 2022
These two gentoo penguins were hanging out on the beach when one shook himself off and gave his mate the snub.
‘I CU boy!’ Winner, Junior Award, Bikaner, India
Photo: Arshdeep Singh, India – The Comedy Wildlife Photography Awards 2022
This owlet peeking from a pipe looked directly at the young photographer and seemed to wink before retreating inside. “It felt like he wanted to say I CU boy,” said Singh.
Photo: Arthur Telle Thiemann, Spain – The Comedy Wildlife Photography Awards 2022
A couple of grey triggerfish smile magnificently for the camera. But even if they look funny, these fish can be quite aggressive. In this case, they didn’t attempt to bite the photographer but his camera housing endured some scratches.
‘Jumping Jack’, Highly Commended, The Netherlands, Maashorst.
Photo: Alex Pansier, Netherlands – The Comedy Wildlife Photography Awards 2022
A red squirrel jumps during a rainstorm, hence the drops flying around it.
“I’m gonna strangle you!” Highly Commended, Kalahari Trails Game Reserve, South Africa
Photo: Emmanuel Do Linh, South Africa – The Comedy Wildlife Photography Awards 2022
Most individuals in this group of meerkats, including the adults, were in a playful mood. There’s no aggression between individuals in the photo but, rather, an interaction that reminds us of humans when one friend pretends to strangle another.
‘Tight Fit!,’ Highly Commended, Largo, Florida
Photo: Mark Schocken, U.S. – The Comedy Wildlife Photography Awards 2022
One morning in a local park in Florida, before the two owlets fledged one tried to squeeze into the nest hole with Mom — perhaps to see the outside world for the first time. The moment lasted only a few seconds as Mom didn’t seem very happy with the arrangement.
‘Excuse Me… Pardon Me!’ Highly Commended photo, Juanita Bay Park, Lake Washington, Kirkland, U.S
Photo: Ryan Sims, U.S – The Comedy Wildlife Photography Awards 2022
A duckling walking/waddling across a turtle-covered log at the Juanita wetlands. The duckling fell off after a few turtle crossings.
Goodby everyone
PHOTO: MIROSLAV SRB, CZECH REPUBLIC – THE COMEDY WILDLIFE PHOTOGRAPHY AWARDS 2022
This squirrel name called “Jill” was rescued from hurricane Isaac and refuses to go to sleep without her teddy. Jill is the 10-year-old and most famous squirrel on Instagram with more than 690K followers. Jill was rescued from hurricane Isaac after it hit Louisiana in August 2012.
According to her owners, she fell out of her nest during the store, so they had to take her home temporarily and take care of her. She ended up loving her new home and the family was happy to keep her as a pet.
Scroll down and enjoy yourself. Check the Instagram for more adorable pictures.
Photo Submitted Kristin Powell submitted one of the winning entries in the Harrodsburg-Mercer County Tourist Commission’s photography contest for November. For all the winners, check out their Facebook page. This month’s theme is “Holiday Happenings.”
With all the holiday decorations, there isn’t a better time to take some pictures. Two photography contests are giving local shutterbugs a chance to let Mercer County show off for the holidays.
First up, the website herringtonlakeky.com is sponsoring a Deck the Lake photo contest for people who live along the lake. Pictures of holiday decorations can be submitted to the Herrington Lake Photography Group on Facebook. Photographers should include what area of the lake they are from and any special meaning they may have for their decorations.
Photo Submitted Celys Flores submitted one of the winning entries in the Harrodsburg-Mercer County Tourist Commission’s photography contest for November.
Whether you are decorating your porch or your dock, your boat or your lawn, your campsite, or just the one little lonely tree out your window, the organizers say they want to see it.
Submissions will close on Christmas Day, Sunday Dec. 25. More information about voting will be posted at that time.
Prizes are a $25 gift certificate to Pete’s Diner for first place, a custom printed Herrington Lake beach towel for second place and a $10 gift certificate to Herrington Lake Trading Post for third. All winners will also receive a homemade pecan pie.
Amy Raney submitted one of the winning entries in the Harrodsburg-Mercer County Tourist Commission’s photography contest for November.
The Harrodsburg-Mercer County Tourist Commission’s monthly photography competition continues. This month’s theme is “Holiday Happenings.” Submit your best pictures on the commission’s Facebook page.
Kristin Powell, Celys Flores, Amy Raney and Rebecca Mitchell Sims won $25 gift certificates for November.
Rebecca Mitchell Sims submitted one of the winning entries in the Harrodsburg-Mercer County Tourist Commission’s photography contest for November.
Submissions for this month’s contest must be entered by announced Sunday, Jan. 1, 2023, at midnight. The four winners will be announced later that week with each winner receiving a $25 gift card to a local restaurant or business.
For more great stories, check out this week’s issue of the Harrodsburg Herald. Click here to subscribe.
The Fujifilm X-T5 is a flagship APS-C sensor mirrorless camera which was released in November 2022. It effectively replaces the two-year-old X-T4 model.
The X-T5 has a 40.2 megapixel, APSC sized, X-Trans CMOS 5 HR back-side illuminated (BSI) sensor and X-Processor 5 image processing engine, and an extended ISO range of 64-51,200.
It is capable of recording 6.2K/30p and DCI 4K video at up to 60p in 4:2:0 8-bit internally and 4:2.2 10-bit externally via HDMI for up to 160 minutes.
The XT5 can shoot blackout-free at 20fps with continuous phase-detect auto-focus and auto-exposure when using the electronic shutter with a 1.29x crop applied and 15fps continuous shooting when using the mechanical shutter.
Other key features include 5-axis in-body image stabilisation (IBIS) which provides up to 7 shutter steps of compensation for stills, a 3.68M-dot OLED electronic viewfinder with 0.75x magnification and 100fps refresh rate, a tilting 3-inch touchscreen LCD with 1.84-million-dot resolution, and dual UHS-II SD memory card slots.
There are 425 AF points with phase detection pixels across the entire frame and the auto-focus algorithm has been improved so that it’s 3x faster and offers better eye/face detection than the X-T4.
The X-T5 can automatically detect animals, birds, cars, bikes, planes and trains thanks to the X-Processor 5’s AI deep learning capabilities.
This is the second ever X-Series camera to feature Pixel Shift Multi-Shot, with the camera automatically combining 20 shots to deliver 160 megapixel images for the ultimate quality when detail really matters.
The XT5 additionally offers an ultra-fast electronic shutter that is capable of exposures up to 1/180000sec, exposure compensation up to ±5 stops, wi-fi and Bluetooth connectivity, 740-shot battery life and USB-C charging, interval timer shooting, in-camera raw conversion, multiple exposure and panoramic shooting modes, and a wide range of filter effects and film simulation modes.
The Fujifilm X-T5 is available in either Black or Silver priced at £1699 / $1799 for the camera body only in the UK and US respectively. The XT5 is designed and manufactured in Japan.
Ease of Use
The new X-T5 concentrates on delivering sheer resolution and high levels of detail by utilising exactly the same 40-megapixel X-Trans CMOS 5 HR sensor that first made its debut in the Fuji X-series camera range with the recent launch of the X-H2.
This is a BSI (back-side illuminated) sensor design that has much more of a focus on detail and resolution than out-and-out speed, backed up by the inclusion of the special Pixel Shift Multi Shot mode which creates 160 megapixel images.
Previously only seen on the X-H2 and the company’s GFX-branded medium-format cameras, in the Pixel Shift Multi-Shot the camera records 20 frames, shifting the sensor by 0.5 pixels between each frame.
The resulting images are then automatically combined into one DNG RAW file, which can be output to a desired file format using suitable RAW processing software.
The 40 megapixel sensor allows the XT5 to record 6.2K/30p video, but despite using the same sensor, it surprisingly can’t also match the highest quality 8K/30p mode offered by the X-H2.
If you don’t like the less traditional, less Fuji-like user interface or the rather eye-watering price-tag of the X-H2 but you still want the highest-resolution cropped-sensor camera on the market, the XT5 is the one to spring for.
It is virtually identical to its predecessor, the X-T4, retaining all of the traditional dials and controls that Fuji users have come to know and love, including the classic Fujifilm ISO, Shutter Speed and Exposure Compensation dials on top of the camera.
The XT5 weighs 476g or 557g with a battery fitted, making it 50g lighter than the XT4.
Measuring 129.5 x 91x 63.8mm, the new X-T5 is slightly smaller than the X-T4 (which measures 134.6 x 92.8 x 63.8mm) , although not by that much.
It’s actually almost as small and portable as the original X-T1 model, just measuring 16mm deeper because of the IBIS unit and larger capacity battery.
If you’re a long-time user of the XT-series than you won’t notice too much difference between all of the models regards to their in size, weight or control layouts.
The X-T5 has a large, sculpted hand-grip at the front. You can definitely fit three fingers on it, maybe even four depending on your hand size, with your little finger naturally curling underneath the bottom of the body. There’s also a prominent grip on the rear of the camera for your right thumb.
A textured faux-leather surface runs around the full width of the camera, with two metal eyelets on either side of the body used for connecting the supplied shoulder strap.
Fujifilm’s ethos with its flagship X-T cameras has long captured the imagination of ‘purist’ photographers. One of the first things you will notice about the X-T5 is the solid metal top plate adorned with dials to control ISO, shutter speed and exposure compensation.
Add an X-series lens with aperture ring to the equation and you have direct access to the key exposure controls without needing to eye a screen. Once acclimatised to this ‘traditional’ form of operation, it’s hard to go back (or should we say forward) to the ‘modern’ way. For us, this handling approach is refreshing.
But the Fuji XT5 is certainly no dinosaur. with a switch under the shutter speed dial offering a choice between Still and Movie shooting. This is a camera that fully embraces both photography and video.
The Still/ Movie switch swaps between dedicated in-camera menu systems, so you don’t have to scroll through excessive video options when all you want to do is photography, and vice versa, and the menu system for both disciplines is really well laid out.
Typically, navigating through this many shooting options to the one that you want is painful. Yet, the in-camera video mode menu is broken down logically into three sub groups; resolution, frame rate and bit rate so you can select the combination that you desire.
A nice touch is that the front and rear control wheels can now be used quietly in movie mode to make changes to exposure settings, even during capture. (The top dials are redundant in video mode.) In conjunction with the touchscreen menu, most other key video controls such as white balance and image stabilisation can be adjusted too.
The X-H2 offers a slightly better video mode than the X-T5 and is the one to buy if you’re predominantly a videographer, although this new model certainly gives it a run for its money.
The XH2 offers a highest quality rate of 8K/30p with no crop recorded in 4:2:2 10-bit internally for approximately 160 minutes, whereas the XT5 can’t record at all in 8K, despite using the same sensor, topping out at 6.2K/30p with a modest 1.23x crop recorded in 4:2:2 10-bit internally.
Both cameras support up to DCI 4K/60p recording with no cropping, and both can shoot 1080/240p slow-motion footage. They also offer the new F-Log 2 profile with up to 14+ stops of dynamic range.
Combined with a compatible HDMI recording device from Atomos or Blackmagic Design, 12-bit RAW video output from both cameras can be recorded as Apple ProRes RAW or Blackmagic RAW.
They also feature a digital zoom function that uses the camera’s 40.2MP sensor to deliver up to 2x of digital zoom with little to no loss in resolution, when recording video in 4K.
The X-H2 has a much larger buffer, though, which increases the maximum available affect bit rate for video in comparison with the X-T5.
Also, you can’t fit an external cooling fan to the XT5, unlike the XH2, and because it’s substantially smaller there is no full size HDMI port or 3.5mm headphone socket on the XT5 either.
The X-T5 offers a slightly different standard sensitivity range of ISO 125 to ISO 12,800 to the X-T4, which can be expanded down to ISO 64 and up to ISO 51,200.
This makes the X-T5 well suited to low-light shooting, allowing you to hand-hold the camera in places where you’d usually be reaching for a tripod or other support.
Fuji’s clever ISO Auto Control setting allows you to set a maximum sensitivity (up to 6400) and a minimum shutter speed (1/30th is a good starting point), with the camera over-riding your ISO choice if it thinks you’re being too ambitious whilst maintaining a shutter speed that won’t introduce camera shake.
The image sensor used in the X-T5 is the next generation 40.2 megapixel, APS-C sized, X-Trans CMOS 5 HR back-side illuminated (BSI) sensor, making its second appearance in the Fuji X-series camera range.
Although it can’t match up to the headline-grabbing 40fps continuous shooting speed offered by the X-H2S and its stacked sensor, the new XT5 is certainly no slouch when it comes to burst sequences.
This new model offers exactly the same burst shooting rates as the X-H2. They can both shoot at 20fps when using the electronic shutter, with a 1.29x crop applied, and both offer the same 15fps continuous shooting speed when using the mechanical shutter.
There is one very important difference between them, though, and that’s the size of the internal buffer.
Whereas the XH2 can record up to 1000+ JPEGs or 400 RAW files at 20fps, the X-T5 can only manage a comparatively meager 119+ JPEGs or 19 RAW files before the continuous shooting rate starts to slow down.
In comparison to its predecessor, the X-T4 was something of a speed demon when it was released in 2020, so much so that it actually still out-performs the new X-T5.
It can shoot at 20fps when using the electronic shutter without any crop, or 30fps with a 1.25x crop applied, whereas the XT5 can only shoot at up to 20fps when using the electronic shutter, and that’s with a 1.29x crop applied.
To help with capturing the precise moment, the X-T5 has a clever Pre-shot burst shooting mode, with the camera constantly filling the buffer while your half-press the shutter button, and then keeping the most recent ones taken 0.5-1 seconds before a full press of the shutter button, eliminating any camera and human-added delay. Note that this feature only works with the electronic shutter.
Thanks to its 40 megapixel sensor, the XT5 offers a greater number of PDAF points (3.3 million) than the XT4. Fujifilm say that the new model isn’t quite as fast at tracking moving subjects as the flagship X-H2S, though, thanks to that camera’s stacked sensor.
The X-T5 actually has two kinds of shutter, mechanical and electronic. When using its mechanical focal-plane shutter, it has a top shutter-speed limit of 1/8000th second in all shooting modes.
There’s no built-in ND filter, so if you want to use a very fast lens in very bright sunlight when using the mechanical shutter, then it’s a good idea to buy an actual glass ND filter.
It considerably improves the fastest shutter speed for the electronic shutter by 2.5 stops, from 1/32000 sec on the previous generation XT4 to a remarkable 1/180,000 sec on the XT5.
This allows users to leave the aperture wide open in very bright conditions such as a sunny beach or a ski slope, or to capture a split-second motion.
This allows you to continue shooting wide-open with fast aperture lenses in the brightest of conditions without having to resort to fitting a glass ND filter or using an external flash and lights.
The X-T5 has a flash-sync speed of 1/250th second with the mechanical shutter and 1/125th second with the electronic shutter.
To make the camera even less obtrusive, when the electronic shutter is selected there’s a Silent menu option which turns off the speaker, flash, AF-assist lamp and most importantly the shutter-release sound, instantly making the X-T5 perfectly suited to more candid photography.
It’s all very well being able to record at 20fps, but unless the camera can quickly, accurately and reliably focus on whatever fast-moving subject you’re trying to capture, it’s all for nothing.
Thankfully, although the new X-T5 has the same hybrid autofocus system with up to 425 selectable phase detection and and contrast detections points as the X-H1, X-T4 and X-Pro3 models, Fujifilm have made a number of really significant improvements to make it their best AF system yet.
Chief amongst these is the inclusion of subject-based computational AI, with the XT5 being able to automatically detect animals, birds, automobiles, motorcycles and bikes, airplanes and train.
You do have to specifically choose which of those you want to track from the Subject Detection Setting menu, but you can easily register different settings to the camera’s various custom modes.
Turning this feature on resulted in a super-high hit rate in terms of auto-focusing, with the camera often able to focus on the subject before we’d even spotted it ourselves.
The improved auto-focus algorithm that’s claimed to be 3x faster than the X-T4 and particularly the subject detection modes help to ensure that the vast majority of your images are sharp.
The XT5 is the sixth Fujifilm camera to feature 5-axis in-body image stabilisation (IBIS), following on from the X-H1, X-H2, X-H2S, X-T4 and the X-S10.
The X-T4 provides up to 6.5 shutter steps of compensation for stills, whereas the X-T5 provides up to a maximum of 7 stops, half a stop better and the joint-best of any current Fujifilm camera with the X-H2 and X-H2S.
The XT5 has the same very good 3.68M-dot OLED electronic viewfinder, 100fps refresh rate and a built-in eye sensor as the X-T4, but the EVF on the XT5 offers slightly higher magnification (0.80x vs 0.75x).
The even better OLED electronic viewfinder on the X-H2 has greater 5.76M-dot resolution, larger 0.80x magnification and a faster 120fps refresh rate.
One of the biggest differences between the new X-T5 and the X-T4 and X-H2 cameras is the action of the LCD screen.
Fujifilm have gone back to a 3-way tilting LCD on the XT5, rather than the vari-angle screen on the XT4 and XH2, saying that it better matches the more stills-focused nature of the newer model.
The resolution of the screen has been increased slightly from 1.62M-dots to 1.84M-dots, actually making it the highest-res screen of any current Fujifilm APS-C camera.
The X-T5 features both built-in wi-fi and Bluetooth connectivity. The latter option creates a constant, low-power connection between the camera and a smartphone/tablet to transfer images and video using the Fujifilm Camera Remote smartphone app, while the former allows you to remotely control the X-T5 via either a 2.4Ghz or 5GHz wi-fi connection using a smartphone or tablet and the Fujifilm app, and transfer images and video from one device to the other.
The X-T5 has dual memory card slots, just the X-T4, and just like the X-T4 it has two UHS-II SD card slots, rather than one UHS-II SD slot and one CFexpress Type B slot as seen on the recent X-H2S and X-H2 cameras.
Despite the X-T5 using exactly the same NP-W235 batteries as the X-T4, Fujifilm are claiming that it offers 740 shot battery life in economy mode, which is actually 20% better than the XT4.
Both cameras can also be powered and charged via a USB-C connection, which is useful if you’re out and about and have a compatible power-bank to plug the camera into.
Perhaps somewhat controversially, the new X-T5 does not support a vertical battery grip (there are no contacts on the bottom of the camera).
Fujifilm say this is based on market data for the X-T4 which showed that the majority of owners did not buy one.
Instead you can purchase the optional MHG-XT5 metal hand grip if you feel than the body on its own is too small.
Note that there is a Vertical Battery Grip (VBG-XH) available for the X-H2 model which accepts two NP-W235 rechargeable lithium-ion batteries to extend the life for up to 1700 frames between recharges.
The previous X-T4 also supports a vertical battery grip, which as well as making handling easier in portrait mode, again greatly increases the available battery life.
A metal tripod mount is positioned inline with the centre of the lens and far away from the battery/memory card compartment, so you don’t have to remove the camera from the tripod to change the battery.
The new Fujifilm X-T5 retains the classic retro styling and control layout of its predecessor but uses the same 5th generation sensor and processor as the X-H2.
Therefore it represents a big step forward in many ways for the XT-series, from the 40 megapixel resolution to unlimited 4K/60p recording with no crop, and from the faster, AI-driven AF system that can recognise a lot more subjects to the improved EVF and IBIS.
The XT5 provides exactly the same image quality as the XH2, but it doesn’t offer 8K video recording, has a much smaller buffer, uses slower memory cards, has a lower-spec EVF, doesn’t have full size HDMI or 3.5mm headphone sockets, and doesn’t support an external cooling fan or a vertical grip.
Image Quality
All of the sample images in this review were taken using the 40.2 megapixel Fine JPEG setting, which gives an average image size of around 18Mb.
The Fujifilm X-T5 produced images of outstanding quality. It records noise-free JPEG images from ISO 64 up to ISO 3200, with a little noise at ISO 6400 and more visible noise at the faster settings of ISO 12800 and 25600 (ISO 51200 is best avoided), an amazing performance for a camera with a 40 megapixel APS-C sensor. The RAW files were also excellent, exhibiting more noise than their JPEG counterparts but still producing very usable images from ISO 64-6400.
The night photograph was excellent, with the maximum shutter speed of 30 seconds being long enough for most after-dark shots, and the Bulb mode allowing much longer exposures if required. The Dynamic Range and HDR settings subtly improve detail in the shadows and highlights, while the extensive range of Film Simulation modes hark back to a bygone era, and the Advanced Filters allow you to have a little fun with your images in-camera.
Noise
There are 11 full ISO settings available on the Fujifilm X-T5 for JPEGs and RAW files. Here are some 100% crops which show the noise levels for each ISO setting.
File Quality
The Fujifilm X-T5 has 2 different image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.
Fine (18Mb) (100% Crop)
Normal (9.1Mb) (100% Crop)
RAW (85.5Mb) (100% Crop)
Night
The Fujifilm X-T5’s maximum shutter speed is 30 seconds in the Time shutter speed mode, and there’s a Bulb mode which allows exposures up to 60 minutes long, which is excellent news if you’re seriously interested in night photography. The shot below was taken using a shutter speed of 15 seconds at ISO 125.
Pixel Shift Multi Shot
Pixel Shift is a special Multi-Shot function that can be used to create 160 megapixel images!
The camera’s built-in IBIS unit is used to shift the image sensor by up to a pixel in various directions during the sequence of 20 shots.
You then need to download the Pixel Shift Combiner software from Fujifilm.com, manually select the 20 files that make up each Pixel Shift shot, and the software will then automatically combine them into a single DNG file.
Multiple Exposure
The Fujifilm X-T5’s Multiple Exposure mode combines up to 9 different images together in-camera to create one composite image, with four different ways of combining them – Additive, Average, Bright, Dark.
Dynamic Range
The Fujifilm X-T5 has three dynamic range settings – 100% (on by default), 200%, and 400% – and an Auto setting if you want to let the camera take control.
These settings gradually increase the amount of detail visible in the shadow and highlight areas, with the side-effect of more noise appearing in the image. Note that you can’t actually turn this feature off. All three settings are available from ISO 500 upwards.
HDR
The Fujifilm X-T5 has a High Dynamic Range mode with five different settings – AUTO, 200%, 400%, 800%, 800%+. The camera takes three shots with different exposures, changing the shutter speed for each one, and then combining them in-camera.
Film Simulations
The Fujifilm X-T5 offers 19 different film simulation modes to help replicate the look of your favourite film stock from the past.
Advanced Filters
The Fujifilm X-T5 offers 13 different creative filter effects which can be previewed on the LCD screen and/or in the EVF before taking a photo.
Toy Camera
Miniature
Pop Color
High-Key
Low-Key
Dynamic Tone
Soft Focus
Partial Color (Red)
Partial Color (Orange)
Partial Color (Yellow)
Partial Color (Green)
Partial Color (Blue)
Partial Color (Purple)
Sample Images
This is a selection of sample images from the Fujifilm X-T5 camera, which were all taken using the 40.2 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
Sample RAW Images
The Fujifilm X-T5 enables users to capture RAW and JPEG format files. We’ve provided some Fujifilm RAW (RAF) samples for you to download (thumbnail images shown below are not 100% representative).
Sample Movies & Video
This is a sample 6.2K movie at the quality setting of 6240×3150 pixels at 30 frames per second. Please note that this 15 second movie is 192Mb in size.
This is a sample 4K DCI HQ movie at the quality setting of 40960×2160 pixels at 30 frames per second. Please note that this 16 second movie is 204Mb in size.
This is a sample 4K DCI movie at the quality setting of 4096×2160 pixels at 30 frames per second. Please note that this 15 second movie is 192Mb in size.
This is a sample 4K HQ movie at the quality setting of 3840×2160 pixels at 30 frames per second. Please note that this 16 second movie is 204Mb in size.
This is a sample 4K movie at the quality setting of 3840×2160 pixels at 60 frames per second. Please note that this 16 second movie is 204Mb in size.
This is a sample 1080p Full HD movie at the quality setting of 1920×1080 pixels at 60 frames per second. Please note that this 15 second movie is 192Mb in size.
This is a sample Full HD 8x slow-motion movie at the quality setting of 1920×1080 pixels at 240 frames per second. Please note that this 120 second movie is 369Mb in size.
This is a sample Full HD 8x slow-motion movie at the quality setting of 1920×1080 pixels at 240 frames per second. Please note that this 88 second movie is 272Mb in size.
Product Images
Conclusion
2022 has been a massive year for Fujifilm, with the launch of not one, not two, but three flagship APS-C cameras in the identical shapes of the X-H2 and X-H2S and now the brand new X-T5.
Whereas the former two models largely eschewed the traditional dials and controls that Fuji users have come to know and love, the XT5 marks a return to the familiar control-heavy approach that the XT-series has long been known for, including the now classic Fujifilm ISO, Shutter Speed and Exposure Compensation dials found on top of the camera.
In fact, the new Fujifilm X-T5 essentially retains the classic retro styling and control layout of its XT4 predecessor and combines it with the same 5th generation sensor and processor as used by the X-H2, thereby providing exactly the same stills image quality as its more expensive sibling.
Those would-be-buyers who were hoping for an XH2 in XT-series clothing will be mostly, but not entirely, satisfied with what the X-T5. What it notably doesn’t offer when compared to the XH2 is 8K video recording, which seems to purely be a marketing rather than technical decision on the part of Fujifilm.
Also in direct comparison the XT5 has a much smaller buffer, uses slower memory cards, has a lower-spec EVF, doesn’t have full size HDMI or 3.5mm headphone sockets, and doesn’t support an external cooling fan or a vertical grip, some or all of which may persuade you to forgo the XT5’s traditional controls in exchange for the undoubtedly better specification offered by the X-H2.
Compared to its predecessor, the XT4, which a lot of people may be looking to upgrade from, the new XT5 represents a big step forward in many ways for the XT-series, from the 40 megapixel resolution with 160mp pixel-shift mode to unlimited 4K/60p recording with no crop, and from the faster, AI-driven AF system that can recognise a lot more subjects to the improved EVF, even more capable IBIS and longer battery life.
The X-T4 was something of a speed demon when it was released in 2020, so much so that it actually still out-performs the new X-T5. Fujifilm have also gone back to a 3-way tilting LCD on the new X-T5, rather than the vari-angle screen on the X-T4, saying that it better matches the more stills-focused nature of the newer model. And again the lack of a vertical grip option for the newer model is definitely a brave marketing choice on the part of Fuji.
There’s only a relatively small price difference between them, with the new Fujifilm X-T5 is priced at £1699 / $1799 body-only in the UK and USA respectively and the similarly specced Fujifilm X-H2 costing £1899 / $1999 body only, making it just £$200 more than the XT5.
Overall, the Fujifilm X-T5 certainly succeeds in combining the much-loved design of its predecessors with the cutting-edge specification of the X-H2 at a more competitive price-point, and is therefore worthy of our coveted Essential award.
Ratings (out of 5)
Design
5
Features
4.5
Ease-of-use
4.5
Image quality
5
Value for money
4.5
Main Rivals
Listed below are some of the rivals of the Fujifilm X-T5.
Canon is back in the APS-C game with the much-anticipated launch of the EOS R7, a very capable prosumer camera with a clear focus on speed. Billed as the mirrorless successor to the much loved EOS 7D Mark II DSLR, does the new R7 have what it takes to compete against the likes of Fujifilm and Sony? Find out now by reading our in-depth Canon R7 review…
After 4 long years of patiently waiting, the Fujifilm X-E4 has finally arrived. Boasting all of Fuji’s latest imaging tech wrapped up in a beautiful classic rangefinder design, could this small, lightweight and very affordable mirrorless camera be the right one for you? Find out now by reading our in-depth Fuji XE4 review, complete with full-size sample photos…
The X-H2 is the highest resolution APS-C camera that Fujifilm have ever released, offering a 40 megapixel BSI sensor that can record 8K/30p video and shoot burst sequences at 20fps. Find out exactly what this new flagship camera is capable of and who it’s aimed at by reading our complete Fuji XH2 review complete with full-size JPEG, Raw and video samples.
The X-H2S is the fastest, most capable APS-C sensor camera that Fujifilm have ever released, but it’s also by far the most expensive. Find out exactly what this new flagship camera is capable of and who it’s aimed at by reading our complete Fuji XH2S review complete with full-size JPEG, Raw and video samples.
The Fujifilm X-S10 mirrorless camera aims to bring the renowned X-series image quality and colour science to a wider audience by being smaller, easier to use and cheaper than the company’s flagship cameras. Does it strike the right balance between simplicity and accessibility? Find out now by reading our in-depth Fuji XS10 review…
The Fujifilm X-T4 is the successor to the very popular X-T3, which was released in 2018, principally adding in-body image stabilisation, greatly improved battery life, a quicker and quieter mechanical shutter, enhanced continuous AF and a number of design tweaks. Can the new X-T4 improve on what was already an outstanding camera? Find out now by reading our in-depth Fujifilm X-T4 review…
Nikon have introduced their second APS-C, cropped-sensor mirrorless camera with the launch of the Z fc. Almost identical to the Z50 model in terms of its key specifications, the new Z fc offers a much more retro, classic design. Read our in-depth Nikon Z fc review to find out if it’s the perfect blend of old and new…
The new OM-1 flagship is both the last ever Olympus camera and the first ever OM System camera. Confused? Well no need to worry, as we take an in-depth look at what this new Micro Four Thirds flagship has to offer in our OM System OM-1 review, complete with full-size sample photos and videos…
OM System have just updated their enthusiast model for 2022 with the launch of the new OM-5, but is it any good? Find out now by reading our review of the OM System OM5 mirrorless camera, complete with full-size sample photos and videos…
The much anticipated Panasonic GH6 is finally here! But what does this new flagship camera offer, and can it really improve on the best-selling GH5? We find out in our review of the Panasonic Lumix GH6 mirrorless camera, complete with sample photos, test shots, videos and more…
The A6600 is the new all-singing, all-dancing flagship camera in Sony’s extensive range of APS-C mirrorless cameras, but does it offer enough to out-gun both its main rivals and its cheaper siblings? Find out now by reading our in-depth Sony A6600 review, complete with full-size sample images and videos.
Sony are attempting to turn the camera world on its head by creating a new 35mm full-frame camera that’s the same size and weight as one with a smaller APS-C sensor. Have they succeeded with the new Sony A7C, and is it a great camera in its own right? Find out now by reading our Sony A7C review complete with full-size sample photos and videos.
Review Roundup
Reviews of the Fujifilm X-T5 from around the web.
Few cameras have captured photographers’ imaginations quite like Fujifilm’s premium X-T models. Ever since the original X-T1 appeared back in 2014, they’ve found favour due to their compact size, robust weather-sealed construction, and traditional analogue control dials. Latest in the range is the Fujifilm X-T5, which uses the same 40MP image sensor as the recent Fujifilm X-H2. But while that model was aimed at hybrid shooters equally interested in both stills and video, the X-T5 is focused primarily on the needs of stills photographers.
Read the full review »
Specifications
Model name
FUJIFILM X-T5
Lens Mount
FUJIFILM X mount
Image sensor
23.5mm x 15.7mm (APS-C) X-Trans CMOS 5 HR with primary color filter
Number of effective pixels
40.2 millions pixels
Sensor Cleaning System
Ultra Sonic Vibration
Image Processing Engine
X-Processor 5
Storage media
SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-2TB) / UHS-I / UHS-II / Video Speed Class V90 *Please check Compatibilityfor more detail.
File format of still image
DCF
Compliant with Design rule for Camera File system (DCF2.0)
JPEG
Exif Ver.2.32*1
HEIF
4:2:2 10bit
RAW
14bit RAW (RAF original format)
TIFF
8bit / 16bit RGB (In-camera Raw Conversion Only)
Number of recorded pixels
［L］
〈4:3〉 6864 x 5152 〈3:2〉 7728 x 5152 〈16:9〉 7728 x 4344 〈1:1〉 5152 x 5152 〈5:4〉 6432×5152
［M］
〈4:3〉 4864 x 3648 〈3:2〉 5472 x 3648 〈16:9〉 5472 x 3080 〈1:1〉 3648 x 3648 〈5:4〉 4560×3648
［S］
〈4:3〉 3456 x 2592 〈3:2〉 3888 x 2592 〈16:9〉 3888 x 2184 〈1:1〉 2592 x 2592 〈5:4〉 3264×2592
Standard Output: AUTO / ISO125 – 12800 (1/3 step) Extended Output: ISO25600
Exposure control
TTL 256-zone metering / Multi / Spot / Average / Center Weighted
Exposure mode
P (Program AE) / A (Aperture Priority AE) / S (Shutter Speed Priority AE) / M (Manual Exposure)
Exposure compensation
Still
-5.0EV – +5.0EV 1/3EV step
Movie
-2.0EV – +2.0EV 1/3EV step
Image stabilizer
Mechanism
Image sensor shift mechanism with 5-axis compensation
Compensation Effect
7.0 stops *based on CIPA standard *Pitch/yaw shake only *With XF35mmF1.4 R lens mounted
Digital Image Stabilization
Yes (movie mode only)
IS MODE BOOST
Yes (movie mode only)
Shutter type
Focal Plane Shutter
Shutter speed
Mechanical shutter
P mode: 30sec. to 1/8000sec. A mode: 30sec. to 1/8000sec. S/M mode: 15min. to 1/8000sec. Bulb: up to 60min.
Electronic shutter
P mode: 30sec. to 1/180000sec. A mode: 30sec. to 1/180000sec. S/M mode: 15min. to 1/180000sec. Bulb: 1sec. Fixed
Electronic front curtain shutter
P mode: 30sec. to 1/8000sec. A mode: 30sec. to 1/8000sec. S/M mode: 15min. to 1/8000sec. Bulb: up to 60min.
Mechanical + Electronic shutter
P mode: 30sec. to 1/180000sec. A mode: 30sec. to 1/180000sec. S/M mode: 15min. to 1/180000sec. Bulb: up to 60min. *Mechanical shutter works until 1/8000sec.
E-front + Mechanical shutter
P mode: 30sec. to 1/8000sec. A mode: 30sec. to 1/8000sec. S/M mode: 15min. to 1/8000sec. Bulb: up to 60min. *Electronic front curtain shutter works until 1/2000sec.
E-front + Mechanical + Electronic shutter
P mode: 30sec. to 1/180000sec. A mode: 30sec. to 1/180000sec. S/M mode: 15min. to 1/180000sec. Bulb: up to 60min. *Electronic front curtain shutter works until 1/2000sec, Mechanical shutter works until 1/8000sec. *The Electronic Shutter may not be suitable for fast-moving objects or handheld shooting. Flash can not be used.
Movie
6.2K: 1/8000sec. to 1/24 sec. DCI4K/4K: 1/8000sec. to 1/4 sec. FHD: 1/8000sec. to 1/4 sec. *Cannot choose slower shutter speed than framerate for some settings.
Synchronized shutter speed for flash
Mechanical shutter: 1/250sec. or slower
Continuous shooting
CH Electronic shutter Approx. 20fps (1.29x Crop) (JPEG 168 frames, Compressed RAW 72 frames, Lossless compressed RAW 41 frames, Uncompressed RAW 23 frames, Compressed RAW + JPEG 37 frames, Lossless compressed RAW + JPEG 31 frames, Uncompressed RAW + JPEG 23 frames) CH Electronic shutter Approx. 13fps (1.29x Crop) (JPEG 1000+ frames, Compressed RAW 104 frames, Lossless compressed RAW 53 frames, Uncompressed RAW 23 frames, Compressed RAW + JPEG 56 frames, Lossless compressed RAW + JPEG 44 frames, Uncompressed RAW + JPEG 23 frames) CH Electronic shutter Approx. 10fps (1.29x Crop) (JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 70 frames, Uncompressed RAW 25 frames, Compressed RAW + JPEG 72 frames, Lossless compressed RAW + JPEG 53 frames, Uncompressed RAW + JPEG 23 frames) CH Electronic shutter Approx. 13fps (JPEG 163 frames, Compressed RAW 56 frames, Lossless compressed RAW 29 frames, Uncompressed RAW 22 frames, Compressed RAW+JPEG 32 frames, Lossless compressed RAW+JPEG 26 frames, Uncompressed RAW+JPEG 20 frames) CH Electronic shutter Approx. 8.9fps (JPEG 1000+ frames, Compressed RAW 94 frames, Lossless compressed RAW 40 frames, Uncompressed RAW 23 frames, Compressed RAW+JPEG 45 frames, Lossless compressed RAW+JPEG 30 frames, Uncompressed RAW+JPEG 22 frames) CH Mechanical shutter Approx. 15fps (JPEG 119 frames, Compressed RAW 39 frames, Lossless compressed RAW 22 frames, Uncompressed RAW 19 frames, Compressed RAW+JPEG 27 frames, Lossless compressed RAW+JPEG 21 frames, Uncompressed RAW+JPEG 19 frames) CH Mechanical shutter Approx. 10fps (JPEG 1000+ frames, Compressed RAW 56 frames, Lossless compressed RAW 29 frames, Uncompressed RAW 19 frames, Compressed RAW+JPEG 34 frames, Lossless compressed RAW+JPEG 25 frames, Uncompressed RAW+JPEG 19 frames) CH Mechanical shutter Approx. 7.0fps (JPEG 1000+ frames, Compressed RAW 1000+ frames, Lossless compressed RAW 33 frames, Uncompressed RAW 20 frames, Compressed RAW+JPEG 45 frames, Lossless compressed RAW+JPEG 22 frames, Uncompressed RAW+JPEG 20 frames) Pre-shot Electronic shutter Approx. 20fps (1.29x Crop) (While half press 20 frames, After full press 140 frames) Pre-shot Electronic shutter Approx. 13fps (1.29x Crop) (While half press 13 frames, After full press 300 frames) Pre-shot Electronic shutter Approx. 10fps (1.29x Crop) (While half press 10 frames, After full press 370 frames) Pre-shot Electronic shutter Approx. 13fps (While half press 13 frames, After full press 70 frames) *Recordable frames depends on recording media *Speed of continuous shooting depends on shooting environment and shooting frames
Single point AF: 13×9 / 25×17 (Changeable size of AF frame) Zone AF: 3×3 / 5×5 / 7×7 from 117 areas on 13×9 grid Wide/Tracking AF: Yes (AF-S: Wide / AF-C: Tracking) All: Yes
EVF: 0.5 inch OLED Color Viewfinder, Approx. 3.69 million dots Coverage of Viewing Area vs. Capturing Area: Approx. 100% Eyepoint: Approx. 24mm (from the Rear End of the Camera’s Eyepiece) Diopter Adjustment: -5 – +3m-1 Magnification: 0.80x with 50mm Lens (35mm Equivalent) at infinity and Diopter set to -1.0m-1 Diagonal Angle of View: approx. 39° (Horizontal angle of view: approx. 32° ) Built-In Eye Sensor
LCD monitor
3.0 inch Tilt-Type(Three Direction) Touch Screen Color LCD Monitor Aspect Ratio: 3:2 Dots: Approx. 1.84 million dots
Touch Screen Mode
Shooting Mode
Shooting, AF, Focus Area, OFF, Double Tap Setting (ON/OFF), Touch Function Setting (ON/OFF), Touch Zoom (ON/OFF), EVF Touch Screen Area Setting
[6.2K(16:9)] 6240 x 3510 29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [DCI4K HQ(17:9)] 4096 x 2160 29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [4K HQ(16:9)] 3840 x 2160 29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [DCI4K(17:9)] 4096 x 2160 59.94p/50p/29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [4K(16:9)] 3840 x 2160 59.94p/50p/29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [Full HD(17:9)] 2048 x 1080 59.94p/50p/29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [Full HD(16:9)] 1920 x 1080 59.94p/50p/29.97p/25p/24p/23.98p 360Mbps/200Mbps/100Mbps/50Mbps [Full HD(17:9) High speed rec.] 2048 x 1080 240p/200p/120p/100p 360Mbps(recording)/200Mbps(recording) [Full HD(16:9) High speed rec.] 1920 x 1080 240p/200p/120p/100p 360Mbps(recording)/200Mbps(recording) *For recording movies, use a SD memory card with UHS Speed Class 3 or higher. *For recording movies in 360Mbps, use a SD memory card with Video Speed Class 60 or higher. *Selectable bitrate will be changed depends on the setting. *Recording time can become short depending on the temperature and/or shooting conditions
Film simulation mode
19 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg.Hi, PRO Neg.Std, Classic Neg., Nostalgic Neg., ETERNA/Cinema, ETERNA BLEACH BYPASS, ACROS, ACROS + Ye Filter, ACROS + R Filter, ACROS + G Filter, Black & White, Black & White + Ye Filter, Black & White + R Filter, Black & White + G Filter, Sepia)
Monochromatic Color
Yes
Grain Effect
Roughness
STRONG, WEAK, OFF
Size
LARGE, SMALL
Color Chrome Effect
STRONG, WEAK, OFF
Color chrome Blue
STRONG, WEAK, OFF
Smooth Skin Effect
STRONG, WEAK, OFF
Dynamic range setting
Still
AUTO / 100％ / 200％ / 400％ ISO restriction: DR100%: No limit、DR200%: ISO250 or more、DR400%: ISO500 or more
Movie
100％ / 200％ / 400％ ISO restriction: DR100%: No limit、DR200%: ISO250 or more、DR400%: ISO500 or more
including battery and memory card: Approx. 557g excluding battery and memory card: Approx. 476g
Operation Environment
Operating Temperature
-10℃ – +40℃
Operating Humidity
10% – 80% (no condensation)
Starting up period
Approx. 0.49sec.
Accessories included
Li-ion battery NP-W235 AC power adapter AC-5VJ Plug adapter USB cable Headphone adapter Shoulder strap Body cap Hot shoe cover Sync terminal cover Owner’s manual
*1 Exif 2.32 is a digital camera file format that contains a variety of shooting information for optimal printing
*2 Approximate number of frames or movie recording time that can be taken with a fully-charged based on CIPA Standard.
Photography can be a daunting hobby for newcomers and experienced shutterbugs alike. With so many cameras and lenses to choose from (many of which will happily drain your wallet without a second thought), it can be tricky to navigate the photography gear minefield.
Enter MPB — a world-class photography equipment platform that allows photographers from all skill levels to buy and sell equipment to help them evolve and grow as their creative skills and interests change and develop. Designed from the ground up with a passion for photography at the forefront of everything, MPB offers near-countless benefits for users compared to the traditional method of buying everything brand-new.
But don’t just take our word at face value — let’s take a closer look…
Old dogs, reliable tricks
If you’re not used to buying used photography and video equipment (or anything else, for that matter), then we don’t blame you for having any trepidations. But unlike a pair of used hole-riddled trainers that slurp up puddle water with unfortunate gusto, properly cared-for photography equipment will serve users well for generations, with no degradation in performance whatsoever.
It’s not uncommon, for example, for photographers to snap up second, third or even fourth-hand lenses, achieving the same sharp, crisp, superb results as the day the lens was first unboxed — and all for a fraction of the RRP. On average in fact, prices at MPB are 30% cheaper than those for brand-new equipment. And if you need any extra piece of mind, you can rest assured in the knowledge that all MPB products undergo rigorous tests and assessments by trained product specialists, so that everything works flawlessly. If that wasn’t enough, each product also has images available for you to peruse from every angle, letting you see exactly what you’re going to get. With ratings from ‘Like new’ to ‘Well used’, there won’t be any surprises — just superb bargains.
Overall, when you think about the fact that you’re getting the same performance for less, buying used equipment suddenly seems like an incredibly sensible choice, especially in these particularly budget-conscious times. Throw in MPB’s free six-month warranty, which is included as standard with each purchase, and the company’s accumulation of thousands of five-star ratings on Trustpilot, the idea of buying used equipment becomes an iron-clad no-brainer. Savings aside though, there’s also another important factor to consider:
It’s more sustainable
Sustainability awareness has never been higher — and with good reason. Today, more of us are actively thinking about the products we buy, where they’re coming from, and their impact on the environment. And with research showing that there’s a staggering £1 trillion worth of unused tech lying around in homes across the UK, EU and US, there’s a massive amount of untapped potential to give perfectly useable tech a new lease of life. To put that gargantuan figure into a more relatable perspective, on average, a single adult has around £1,736 worth of unused tech, with the figure jumping to £2,618 for Gen Z and Millenials. Despite these eye-opening figures, 60% of those surveyed have never traded a used tech item. Even without diving deeper into the figures, it’s clear to see the circular benefits of trading and buying used tech like camera equipment. Sellers get to net some extra cash, and buyers save money while reducing waste in the process. It’s the very definition of a win-win.
Each year, MPB recirculates and rehomes more than 300,000 cameras and lenses, breathing new life into perfectly healthy, usable pieces of equipment. Not only does that mean that something like a beloved lens can enter the next chapter in someone else’s life, but it also means a reduction in needless waste.
Combined with MPB’s insistence on plastic-free packaging (made from 100% recyclable and recyclable materials), it’s clear to see why buying and trading used equipment is better for more than just your budget, but great for the environment too.
Beyond helping users trade used equipment, MPB also applies its passion for sustainability at an operational level too, with renewable energy making up more than 50% of the electricity it uses, with an aim to reach 100% by 2025. With an ambition to reach net zero carbon for all buildings, data centres and couriers by 2035, sustainability is a core foundation of everything it stands for.
An amazing gift for every budget
Whether you’re looking to treat yourself to a new camera or lens, or are on the hunt for a special present to light up the creative photographer or videographer in your life, MPB has you covered.
Because buying used equipment is so much more affordable, you can afford to stretch your budget further, buying better, more advanced equipment to really nail the Wow Factor. Watching someone’s face light up when they’ve received an even better gift than the one they were expecting never gets old. And if you’ve bought it for yourself, even better.
Unleash your creativity
Whether you’re looking to upgrade to more advanced equipment as you hone your skills, or just starting out on your creative journey, MPB is by far the best destination to help you get the tools you need to express yourself to your fullest — and this goes far beyond offering physical equipment. MPB’s original content hub, for example, is the perfect place for enthusiasts, newcomers, and veterans to come together to get inspired and share their work. From competitions and inspirational interviews, to kit guides, tips, podcasts and a whole lot more, it’s one of the best places for content creators to get inspired and hone their skills.
Ultimately, there’s something quite beautiful about giving things like cameras and lenses new homes, letting newer generations of creatives capture the world as they see fit. With MPB’s passionate support team on hand too, users can rest assured that all levels of experience are catered for.
With every brand under the sun available in its vast catalogue, there’s something there for everyone. Have a browse, find your perfect kit, and happy shooting.
