Pollution, including from chemicals and waste, is a major driver of biodiversity and ecosystem change with especially devastating direct effects on freshwater and marine habitats. Plant and insect populations are dwindling as a result of the persistent usage of highly dangerous, non-selective insecticides.
Marine plastic pollution has increased tenfold since 1980, affecting at least 267 animal species, including 86 per cent of marine turtles, 44 per cent of seabirds and 43 per cent of marine mammals. Air and soil pollution are also on the rise.
Globally, nitrogen deposition in the atmosphere is one of the most serious threats to the integrity of global biodiversity. When nitrogen is deposited on terrestrial ecosystems, a cascade of effects can occur, often resulting in overall biodiversity declines.
Reducing air and water pollution and safely managing chemicals and waste is crucial to addressing the nature crisis.
Direct exploitation of natural resources
Persistent usage of dangerous chemicals posing threat to plants and insects. Photo by Pixabay/ Reijo Telaranta
The recent IPBES report on the sustainable use of wild species reveals that the unsustainable use of plants and animals is not just threatening the survival of one million species around the world but the livelihoods of billions of people who rely on wild species for food, fuel and income.
According to scientists, halting and reversing the degradation of lands and oceans can prevent the loss of one million endangered species. In addition, restoring only 15 per cent of ecosystems in priority areas will improve habitats, thus cutting extinctions by 60 per cent by improving habitats.
Negotiations at COP15 are expected to focus on protecting plants, animals and microbes whose genetic material is the foundation for life-saving medicines and other products. This issue is known as access and benefits sharing governed by an international accord – the Nagoya Protocol.
Delegates at COP15 will be looking at how marginalized communities, including Indigenous Peoples, can benefit from a subsistence economy – a system based on provisioning and regulating services of ecosystems for basic needs. Through their spiritual connection to the land, Indigenous Peoples play a vital protection role as guardians of biodiversity.
Invasive species
Invasive species pose a threat to native species and negatively impact the ecosystems. Photo by UNEP/ Stephanie Foote
Invasive alien species (IAS) are animals, plants, fungi and microorganisms that have entered and established themselves in the environment outside their natural habitat. IAS have devastating impacts on native plant and animal life, causing the decline or even extinction of native species and negatively affecting ecosystems.
The global economy, with increased transport of goods and travel, has facilitated the introduction of alien species over long distances and beyond natural boundaries. The negative effects of these species on biodiversity can be intensified by climate change, habitat destruction and pollution.
IAS have contributed to nearly 40 per cent of all animal extinctions since the 17th century, where the cause is known. Meanwhile, environmental losses from introduced pests in Australia, Brazil, India, South Africa, United Kingdom and the United States are estimated to reach over US$100 billion per year.
IAS is a global issue that requires international cooperation and action. Preventing the international movement of these species and rapid detection at borders is less costly than control and eradication.
How can you follow COP15?
About COP15 From December 7-19 in Montreal, Canada, 196 governments will meet to strike a landmark agreement to guide global actions on biodiversity. The framework will need to lay out an ambitious plan that addresses the key drivers of nature loss and puts us on the path to halt and reverse nature loss by 2030.
Humans have always been restless creatures who hold an innate drive to explore everything from Earth’s diverse landscapes to the planets in our solar system. And what better place to survey the night sky than at Taylor Observatory and Norton Planetarium in Lake County?
Housed in the same location, Taylor Observatory is located just outside of town, past Kelseyville High School and up the road from Kelseyville Elementary School. As visitors approach the facility, hills frame the observatory’s dome that can’t be missed as it’s silhouetted in the night sky.
A $5 donation gives visitors access to both the observatory and planetarium.
Although viewings from the large scope at Taylor Observatory are temporarily on hold, while the observatory waits for a new telescope to arrive, there’s still plenty to see. For those anxious to start stargazing, there’s another way to observe space. Weather permitting, visitors can view celestial sights through an array of smaller telescopes outside the observatory.
Before guests step up to the smaller telescopes, experts give a short astronomy lesson in a 36-seat classroom where the facilitator shares up-to-the minute space-goings-on. Next, guests mosey to the Norton Planetarium which is just out the door from the classroom and the observatory. Once inside the planetarium, guests take a seat and recline. The lights are then lowered and a star projector shines on the spacious ceiling of the 20 foot high dome.
Taylor Observatory was the brainchild of then-Assistant Superintendent of Schools for Lake County Robert Taylor in the 1970s, who helped fund the construction for the observatory. Then in 1985, the planetarium was built on land owned by the elementary school in Kelseyville.
The planetary is named after Evelyn Norton, who taught astronomy and operated the facility until she retired in 2004. Later, fundraising by Kelseyville Rotary Club, Ukiah Astronomical Society and the Lake County Amateur Astronomer Club helped with renovation costs for much-needed updates.
Taylor Observatory is owned by the Lake County Office of Education and programs offered to the public are facilitated by Friends of Taylor Observatory. The organization aims to enhance astronomy-related Science, Technology, Engineering and Math (STEM) education for Lake County’s K-12 students.
“When you look at the three dimensions of science learning, I believe that the Taylor Observatory helps build connections across disciplines and explore and engage with technical/engineering practices,” said Lake County Superintendent of Schools Brock Falkenberg.
Passionate about science
Many Friends of Taylor Observatory board members have a background in science or astronomy, which helps with program planning. All board members volunteer their time.
William Haddon, Ph.D., was board member president from 2011 to 2022. His work helped ensure first-rate STEM resources for Lake County students. He also oversaw installation of the Nieman Star Deck and the purchase on and 18-inch Teeter Dobsonian telescope, which was custom-made, to view Deep Sky Objects.
Eduardo Alatorre became involved at the observatory in 2011 when he won a telescope through the Friends of Taylor Observatory’s Future Astronomer program. He has since joined the board and became vice president of communications for Friends of Taylor Observatory.
He has also lectured at the Sonoma County Astronomical Society and Ukiah Latitude Observatory along with working at the Lake County Office of Education as an observatory assistant in 2013.
Alatorre spent most of his life in Kelseyville and spent a few years in Mexico where he sharpened his skills learning to read and write in Spanish. Currently, he’s studying geology at UC Davis.
“Growing up, my father would encourage my sister and me to read as much as possible. He would take us to the Lakeport Library and encourage us to check out as many books as possible,” he said.
Now, he directs the Friends of Taylor Observatory Spanish language program. He said he would love to see more events in Spanish in the future because they are important for the community.
“I remember going to a museum with my parents and having to translate exhibits or a few words of what the tour guide said. I could tell my parents felt awkward whenever I stopped translating because I was focused on something I found interesting,“ he said. ”I believe that providing a space for parents to bring their children while also understanding what is going on will result in a better experience for everyone.”
Creating better future
In 2018, former county Supervisor Jim Steele launched the Dark Skies Initiative, which works to protect the night sky from light pollution for future generations, as an official policy in Lake County. Since then, Calpine, a geothermal company, has been making improvements to the lighting at their facility to comply with the county-wide policy.
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.
Veronica Ryan, who created the UK’s first permanent artwork to honour the Windrush generation, has won the 2022 Turner prize, one of the world’s most prestigious awards for visual arts.
Ryan, 66, becomes the oldest artist to win the prize. She was nominated for the Windrush sculpture, which was unveiled in Hackney, London, last year, and for her solo exhibition Along a Spectrum at Spike Island, Bristol.
Ryan – who received an OBE last year – was born in Plymouth, Montserrat and came to the UK as a child in the 1950s. She creates sculptural objects and installations using containers, compartments and combinations of natural and fabricated forms to reference themes such as displacement, fragmentation, alienation and loss.
The jury awarded the prize for the “personal and poetic way she extends the language of sculpture”. They also praised the noticeable shift in her use of space, colour and scale both in gallery and civic spaces.
Collecting the award, Ryan thanked her family. “Thank you so much,” she said. “I’m wearing my dad’s hat, my dad would be so pleased, he called me big eyes when I was little. That’s fabulous. Thank you mummy and daddy. All my family. My family are here. My siblings.
“And to my siblings that didn’t survive. And I’m going to name them: Patricia, Josephine, David. They were fantastic people. And I think they’re looking at us right now. And they’re proud. And I want to thank everybody.
“I have a few people who in my career have looked out for me, when I wasn’t visible. When I collected rubbish. I collected rubbish for a number of years. But actually, some of the rubbish is some of the most important works I think.
“Thank you to the other artists. It’s a fantastic installation. We’ve all – everyone has made fantastic work. I just want to say thank you to everyone this is wonderful.”
Alex Farquharson, the director of Tate Britain and co-chair of the jury, said Ryan was “a sculptor taking the language of sculpture and extending it in new directions”. “She has a long career going back to the 80s and it’s interesting to see that evolution but also this flourishing now,” he said.
He said the jury was highly impressed with the turns Ryan’s work had taken in the last couple of years and paid tribute to the “subtle poetics” in her work.
“It’s slow-burn work. What becomes evident is this elusive treatment of themes of survival, care and she’s even used the word trauma. The valuing of things, the remembering of things. It’s about nature and lived experience,” he said.
He spoke of the significance of the prize returning to Liverpool. “It’s really important for the city. With the pandemic, with economic downtowns, Liverpool has gone through a lot of social and economic challenges these last few years. Bringing the Turner prize here is a mark of optimism and regeneration.”
The musician Holly Johnson announced the winner of the £25,000 prize at a ceremony at the city’s St George’s Hall on Wednesday night. Established in 1984 and named after the radical British painter JMW Turner, it is intended to promote public debate about new developments in contemporary British art.
Custard Apple (Annonaceae), Breadfruit (Moraceae), and Soursop (Annonaceae) by Veronica Ryan, 2021. Photograph: Andy Keate/Courtesy the artist, Paula Cooper Gallery, New York, and Alison Jacques, London
Ryan’s Windrush commission consisted of three sculptures of Caribbean fruits – Custard Apple (Annonaceae), Breadfruit (Moraceae) and Soursop (Annonaceae) – made in bronze and marble. The artist used seeds as a metaphor for propagation and for the spread of viruses and pandemics.
When nominating her, the jury also praised the “exquisite sensuality and tactility” of Along a Spectrum, which explores ecology, history, dislocation and the psychological impact of the pandemic.
The four nominated artists nominated were from different generations and use varying media including photography, sculpture, moving image, installation, performance, sound and the spoken word, but they are connected by a number of thematic crossovers including identity, migration and a sense of place. “All have pushed the boundaries of material exploration through unravelling the complexities of body, nature and identity,” the jury said.
The other shortlisted artists – who each received £10,000 – included Ingrid Pollard, who left Guyana for the UK when she was four. Pollard, now 69, was nominated for her solo exhibition Carbon Slowly Turning at MK Gallery in Milton Keynes. Using primarily photography but also sculpture, film and sound, her work questions our relationship with the natural world and interrogates ideas such as Britishness, race and sexuality.
Heather Phillipson, 44, was nominated for her solo exhibition Rupture No 1: Blowtorching the Bitten Peach at Tate Britain and The End, her fourth-plinth sculpture in Trafalgar Square featuring a dollop of whipped cream topped with a cherry, a drone and a fly. Her practice involves collisions of different materials, media and gestures in what she calls “quantum thought experiments”.
The Canadian artist Sin Wai Kin was nominated for their involvement in the British Art Show 9 and solo presentation at Blindspot Gallery at the Frieze London art fair. They tell stories through performance, moving image, writing, and print.
This year was the first time the exhibition and ceremony returned to Liverpool since 2007, when Tate Liverpool became the first gallery outside London to host it – helping launch Liverpool’s year as European Capital of Culture.
The members of the 2022 jury were Irene Aristizábal, the head of curatorial and public practice at Baltic; Christine Eyene, a lecturer in contemporary art at Liverpool John Moores University; Robert Leckie, the director of Spike Island; and Anthony Spira, the director of MK Gallery. The jury was co-chaired by Farquharson and Helen Legg, the director of Tate Liverpool.
Last year’s Turner prize was awarded to the Array Collective, a group of 11 artists from across the sectarian divide in Northern Ireland. The 2020 Turner prize was suspended because of the Covid pandemic.
The UAE skies will dazzle with one of the most spectacular meteor showers that is set to peak on December 14-15 night. Residents will have the chance to view the Geminids Meteor Shower, the biggest and the last meteor shower of the year, according to the Dubai Astronomy Group.
The Geminids Meteor Shower are pieces of debris that enter our planet’s atmosphere at speeds of up to 70 km per second, vaporising and causing the streaks of light we call meteors. The spectacular meteor shower has been known to produce over 150 meteors per hour at its peak, although light pollution and other factors mean that in reality, the actual number visible is far less.
Geminids meteors appear to radiate from near the bright star Castor. However, the actual source of the shooting stars is a stream of debris left behind by asteroid 3200 Phaethon, making this one of the only major showers not to originate from a comet.
Residents can catch the spectacle on Wednesday, December 14 and Thursday, December 15. However, this year, there may be interference from the 70 per cent illuminated moon, which will outshine fainter meteors.
Dubai Astronomy Group CEO Hasan Al Hariri said people don’t need any special equipment or skills to view a meteor shower. All that is needed is a clear sky and a secluded viewing spot away from the city lights.
Residents planning to go out in the desert to watch the meteor show should carry warm clothes as it can get very cold in the open.
Dubai Astronomy Group is hosting a special event on December 14 at Al Qudra in Dubai. The event will take place from 8pm to12am and it will also include the observation of Moon, Mars, Jupiter, and Saturn with a telescope; astrophotography session; sky mapping; naked-eye observation of the meteors, and more.
Tickets for the event start at Dh70. For more details go to www.althurayaastronomycenter.ae/geminids-meteor-shower-2022
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.
A Maasai man walks with his livestock in search of grassland for them to graze, at Ilangeruani village, near Lake Magadi, in Kenya, Nov. 9, 2022. The conference known as COP15, which begins Tuesday, Dec. 6, hopes to set goals for the world for the next decade to help conserve the planet’s biodiversity and stem the loss of nature. Credit: AP Photo/Brian Inganga, File
Scientists around the world are warning governments who will be gathering in Montreal this week for the United Nations biodiversity summit to not repeat past mistakes and are urging officials to “avoid trade-offs” between people and conservation needs in a report Monday.
The study published in the One Earth journal found that even though there has been an increase in investment in conservation over the last three decades governments “have not succeeded in bending the curve on biodiversity decline.”
The conference known as COP15, which begins Tuesday, hopes to set the goals for the world for the next decade to help conserve the planet’s biodiversity and stem the loss of nature. So far the world has failed to meet goals set at previous meetings.
The scientists proposed six areas for action for delegates working toward what’s known as the global biodiversity framework. They include greater involvement of local communities and addressing both direct causes of nature decline such as the destruction of land and habitats as well as indirect causes such as climate change.
In the report scientists repeatedly called for officials to be “nature and people positive” in their approach, highlighting the need for solutions that are realistic and have support from local communities in order to best protect nature.
A hippopotamus cools off in a swamp under the midday sun as an egret looks for food behind, in Murchison Falls National Park, northwest Uganda, on Feb. 22, 2020. The conference known as COP15, which begins Tuesday, Dec. 6, 2022, hopes to set goals for the world for the next decade to help conserve the planet’s biodiversity and stem the loss of nature. Credit: AP Photo, File
Instead of conserving areas by making them inaccessible to local people, the scientists said greater inclusion of communities and particularly Indigenous groups will be vital in curbing even more biodiversity loss.
Reducing greenhouse gas emissions which fuel climate change that leads to the loss of land and species also needs to be addressed, the scientists said.
“No amount of conservation or restoration actions may be effective in stopping biodiversity loss if the accelerating drivers of decline continue and intensify, as has been the case to date, especially in wealthier countries and among elites, who often express commitment to conservation action,” said David Obura, who is one of the report authors and director of Coastal Oceans Research and Development for east Africa.
The growing demands of rich nations, in particular “excess consumption and unsustainable trade and investments” also need to be halted if groups are to be protected, co-author and University of Arizona professor Diana Liverman said. “Consumption footprints in richer countries consistently drive biodiversity loss in poorer countries,” she added.
A boat, with marine protected areas officials, moves in Mediterranean Sea marine natural reserve of Rosh Hanikra in northern Israel, Oct. 26, 2022. Israel is blazing forward with a plan to protect sections of its 118-mile coastline, a measure experts say is crucial to maintain biodiversity and shield ecosystems from humanity. Credit: AP Photo/Ariel Schalit, File
A nomad herds his Himalayan goats and sheep in a remote area in Ladakh, India, Sept. 17, 2022. The conference known as COP15, which begins Tuesday, Dec. 6, hopes to set goals for the world for the next decade to help conserve the planet’s biodiversity and stem the loss of nature. Credit: AP Photo/Mukhtar Khan, File
Outside experts’ views of how the summit can be a success were in line with the report’s findings.
“The Montreal COP needs to send that signal that the global economy is transitioning to be nature positive,” said The Nature Conservancy’s Linda Kreuger who wasn’t part of the report.
“Much of the conversation in Montreal is likely to revolve around money and specifically how much of it wealthier countries are willing to make available to support the conservation efforts of emerging economies.”
Indigenous rights groups led by Survival International and Amnesty International agreed that local communities were central to protecting local biodiversity.
“Indigenous peoples are the best guardians of the natural world and an essential part of human diversity,” said Fiore Longo of Survival International. “The best way to protect biodiversity is to respect the land rights of Indigenous peoples.”
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UN summit: Don’t repeat mistakes on nature, scientists warn (2022, December 7)
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With the launch of the James Webb Space Telescope (JWST), 2022 was a spectacular year for astronomy and astrophotography. Since the moment it was announced, both the scientific community and the public were excited about the new possibilities in space exploration that would come with this new telescope. In the end, the JWST exceeded expectations and gave us some incredible images of neighboring planets and far away galaxies.
From its first Deep Field image—which gave us a crystal clear view of galaxy cluster SMACS 0723—to a marvelous picture of auroras on Jupiter taken with its Near-Infrared Camera (NIRCam), we’ve been privy to a visual feast of colors, shapes, and activity beyond the confines of our atmosphere. The photos taken by the JWST have challenged what we thought we knew about space while making us fall in love with it all over again every time.
As for independent astrophotographers, 2022 also brought some unique chances for them to take their craft to the next level. From Paul Cheyne’s beautiful image of the Milky Way glittering over the famous Racetrack Playa in California’s Death Valley to Dane Smith’s one-in-a-lifetime picture of both the Milky Way and an eclipse within the same frame to Andrew McCarthy’s collage of the phases of the last lunar eclipse of 2022, it’s clear astrophotographers have been actively capturing and creating this past year.
As a reminder of how absolutely stellar 2022 has been for photographers and space lovers, scroll down and check out some of the best astrophotography of the year. (You can also click on each image to read more about it.)
With the launch of the James Webb Space Telescope, 2022 was a monumental year for astronomy and astrophotography.
Pillars of Creation
Photo: NASA, ESA, CSA, STScI; J. DePasquale, A. Koekemoer, A. Pagan (STScI)
Tarantula Nebula
Photo: NASA, ESA, CSA, STScI, Webb ERO Production Team
Spiral Galaxy NGC 628
Photo: NASA, ESA, CSA; image processing by Judy Schmidt (CC BY 2.0)
Butterfly Nebula
Photo: NASA/ESA/Hubble; image processing by William Ostling (APOD)
Jupiter’s Auroras
Photo: NASA, ESA, CSA, Jupiter ERS Team; image processing by Judy Schmidt
Neptune (Clearest Image Ever Taken)
Photo: NASA, ESA, CSA, STScI; image processing by Joseph DePasquale (STScI)
Eye of God
Photo: Connor Matherne (Website | Instagram)
Close-Up of Sun’s Surface
Photo: NSO/AURA/NSF
Square-Shaped “Dust Shell” Ripple Rings
Cartwheel Galaxy
Photo: NASA, ESA, CSA, STScI
James Webb Space Telescope’s First Deep Field
Photo: James Webb Space Telescope (NASA, ESA, CSA, STScI) (Website | Facebook | Instagram | Twitter)
As for independent astrophotographers, 2022 also brought some unique chances for them to take their craft to the next level.
Photo: Andrew McCarthy (Website | Instagram | Patreon | YouTube)
Photo: Andrew McCarthy (Website | Instagram | Patreon | YouTube)
Photo: Dane Smith (Website | Instagram | Facebook)
Photo: Paul Cheyne (Website | Instagram)
My Modern Met granted permission to feature photos.
Related Articles:
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NASA’s JunoCam Shares Stunning Rendering of Jupiter’s “Frosting-Like” Clouds
James Webb Telescope Gives Us Our Clearest View of Neptune in Over 30 Years
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.
On Wednesday (Dec. 7) the moon will reach its full moon phase as December’s aptly-named Cold Moon, the final full moon of 2022, rises for most of the night.
The Cold Moon rises above the horizon at around sunset and sets at sunrise reaching peak illumination at around 11:09 p.m. EST (0409 GMT) according to Farmer’s Almanac. (opens in new tab) December’s Cold Moon has a higher trajectory than most, which means it will stay above the horizon for longer than many full moons.
The Cold Moon will also be joined by a guest this year as a bright Mars meets the moon in the sky, eventually disappearing behind the moon in what is known as a lunar occultation before reappearing again. We’ve put together guides on how to see the event in the sky and how to watch the moon eclipse Mars online courtesy of several free livestreams.
Related: December full moon 2022: The Cold Moon occults Mars
In the build-up to the Cold Moon, the moon has risen an hour earlier each day. Following the full moon and leading to the new moon and the next lunar cycle the moon will rise an hour later each day and will be visible for less and less of the night.
A week after the full moon when the moon is in its last quarter phase, it will rise around midnight and set around noon. By the time of the new moon, the moon rises at sunrise and sets at sunset.
As the times of the rising and setting of the moon change from the full moon to the new moon, the illuminated face of the moon recedes. This goes from fully illuminated during tonight’s full moon to half-illuminated during the final quarter moon, then to fully dark during the new moon.
The name for December’s full moon, the Cold Moon, is attributed to the tradition of the Mohawk people, according to the Farmer’s Almanac (opens in new tab). The name reflects the frigid conditions of December and the increasing grip of winter.
Other names for December’s full moon also reflect icy conditions and the deepening of winter. These include the Snow Moon from the Haida and Cherokee traditions and the Western Abenaki people’s Winter Maker Moon.
An illustration of the night sky on Dec. 07 showing the full Cold Moon prior to occulting Mars. (Image credit: Sky Safari Astronomy)
Alternative names for the Cold Moon describe the effects of winter on the environment and nature. These include the Cree’s Frost Exploding Trees Moon and the Moon of the Popping Trees from the Oglala people. These nature-based names include the Dakota people’s name for the December full moon, the Moon When the Deer Shed Their Antlers.
Some names for the December full moon relate to other observations of the period surrounding this full moon, such as the Mohican name for this full moon, the Long Night Moon, which references the fact it rises on the nights close to the winter solstice which are the longest nights of the years.
The next full moon and the first of 2023 is January’s Wolf Moon which rises six days into the new year.
The full moon is a great time to try your hand at lunar photography or skywatching. Whether you’re new to skywatching or have been it at for years, be sure not to miss our guides for the best binoculars and the best telescopes to view the occultation of Mars and other incredible things in the night sky. For capturing the best Mars pictures you can, check out our recommendations for the best cameras for astrophotography and best lenses for astrophotography. Meanwhile, for capturing lunar images, we have a guide on how to photograph the moon.
Editor’s Note: If you catch a good photo of December’s full moon and would like to share it with Space.com’s readers, send your photo(s), comments, and your name and location to [email protected].
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