Latest news with #FujifilmX-E5
Tom's Guide
29-07-2025
- Tom's Guide
I spent two weeks testing the Fujifilm X-E5 — it's the perfect street camera let down by one glaring issue
The Fujifilm X-E5 is the latest in Fuji's X-E line of street cameras, which are essentially the interchangeable lens versions of the fixed-lens X100 line, including the Fujifilm X100VI. Compact and lightweight, X-E cameras are designed for street and documentary style photography. Capable yet stripped-back, they're also intended to be fun, and to provide a classic, tactile shooting experience. The X-E5's predecessor, the Fujifilm X-E4, embodied that multi-faceted ethos perfectly, as did its predecessors the X-E3 and X-E2, so the X-E5 has some big ancestral shoes to fill. And it does fill them... and then some. Fuji has thrown the kitchen sink at this camera, fitting it with the same 40.2MP sensor, X-Processor 5 and 5-axis IBIS system as the Fujifilm X-T5 and X100VI. In predictable fashion, Fuji has also gone and thrown in a couple of extra dials for good measure, plus a smattering of 'purist'-oriented features. All in an effort to justify the elephant in the room: a list price double that of its predecessor. So, is it worth it? Could this be one of the best mirrorless cameras for street photography? Find out in my full Fujifilm X-E5 review. Sensor 40.2MP APS-C X-Trans CMOS 5 Processor X-Processor 5 Stabilization 5-axis IBIS, up to 7 stops AF System Intelligent Hybrid AF Viewfinder 0.39-inch OLED EVF, approx. 2.36 million dots Display Tilt-Type LCD touchscreen, approx. 1.04 million dots ISO range ISO125-51,200 Max video resolution 6.2K @ 30p Ports USB-C; Micro-HDMI; 3.5mm mic; 1x SD/SDHC/SDXC UHS-II Wireless connectivity Wi-Fi; Bluetooth Max shooting speed 8fps mechanical; 20fps electronic Battery life (CIPA) 310 shots Size 4.9 x 2.8 x 1.5 inches Weight 15.6 ounces You ought to sit down for this. The Fujifilm X-E5 costs $1,699 body-only, a frankly sickening price given a) the $849 list price of its predecessor; b) that the range-topping X-T5 also costs $1,699; and c) that while the X-E5 builds upon its predecessor in many ways, it's actually a backwards step in certain areas, such as display resolution and battery life. Tariffs or no, I simply cannot fathom how $1,699 is a fair price for this camera. But the very least Fuji could've done while gouging us all was to improve the X-E4 in every single way. Now, while I can't justify it, that isn't to say I'm clueless as to why this camera is so expensive. I wasn't born yesterday. Fujifilm understands that its brand is currently at a zenith of popularity. Just like the X100VI, Fuji knows the X-E5 will sell no matter how much it charges, particularly if supply is short. Profiteering, or simply capitalizing on market demand? There's a very thin line between the two, especially if Fuji deliberately limits supply to inflate demand. I'll leave you to decide which you think is at play, but you can probably guess my opinion. In the U.K., the X-E5 costs £1,299 body-only. Not quite as sharp a gut punch as the U.S. pricing, but nevertheless a £500 premium over the X-E4. Specs-wise, you're better off with the almost identically-specced Fujifilm X-T50 ($1,399) for less money, or the higher-spec X-T5 ($1,699) for the same price. If you're after as much bang for buck as possible, I'd also suggest the similarly-priced full frame Nikon Z5II, which offers much more performance (while sacrificing looks). The X-E5 was released alongside a new kit lens, the XF23mm F2.8 R WR, a weather-resistant pancake lens which replaces the X-E4's 27mm lens. I prefer the 23mm focal length to the 27mm lens, which I found rather 'here nor there' — its 40mm full frame equivalent field of view wasn't wide enough for expansive scenes, and a too wide for a typical standard field of view, it was an uncomfortable lens for me. The 23mm equates to a 34.5mm field of view on full frame, which I find much more usable. With the XF23mm, the X-E5 costs $1,899 / £1,549, so you're paying $200 for the lens (which feels fair). The lens is available for purchase standalone from November 2025. The Fujifilm X-E5 sees the reimplementation of a front grip and rear thumb rest after the X-E3's were removed for the flat-fronted, straight-backed X-E4. These make the X-E5 a much easier camera to keep hold of, although it's lacking the sheer security and comfort of its grip-endowed stablemates, the X-T50 and X-T5. The general profile is more or less the same as the X-E4 — a relatively compact, rectangular rangefinder. Thanks to its stabilized sensor and full-aluminum top plate, the X-E5 weighs 2.8 ounces (81g) more than the X-E4 and is a few millimeters wider and deeper. While the difference is small, it definitely feels bigger. That said, this is still a lightweight camera in general terms. The relatively trim figure, combined with the rangefinder design, devolved ergos and classic controls, all make for a decent handling street camera. And all without sacrificing Fujifilm's typically exquisite build quality — of which the new full metal top plate is the chief highlight. The X-E4 was a stripped back camera with few buttons and dials. It gave you just what you needed to change settings quickly and intuitively, without overloading you with a plethora of custom function buttons. Everything you remapped was wholly deliberate and crucial to your shooting. The X-E5 has watered that down somewhat by adding more controls. The tactile top plate dials are familiar, as are the two command dials and limited Fn buttons. But now there's an X100VI-style lever and button up front, just by the lens, and naturally a film simulation dial — no self-respecting Fujifilm could be without a film sim dial these days. I didn't resent having either, though, and found them useful for quickly changing settings on-the-fly. Unfortunately, though, the film sim dial is placed right above the eye sensor, turning off the screen every time you use it. This is a real pain if you're framing with the display, and the worst Fuji design decision since the Fujifilm X-T30/II's awfully placed Q button. The X-E5 features the same 2.36M-dot OLED EVF as the X-E4. It would've been nice to see the higher-res 3.69M-dot EVF from the X-T5, though, befitting the resolution of the new camera, not to mention the price. The tilting rear display resolution, meanwhile, has actually decreased from 1.62M-dots on the X-E4 to 1.04M-dots on the X-E5 — unacceptable given the doubled price. Both displays are bright, and I had no issues using them in bright sunlight. There are a handful of display settings to aid immersive shooting. The front lever is a display toggle by default, letting you enable/disable displays if you'd like to avoid using the screen. This harkens to the 'purity of experience' ethos of the X-Pro line — the X-Pro 3 has a hideable rear display to discourage using it. There's also a limited display mode, which only shows key info at the bottom of the display. Naturally, Fuji is acting as though both of these are revolutionary features, although you've been able to do each of the above on, well, all recent Fujifilm cameras (albeit not as quickly and easily). Another experiential feature is the X-E5's 'Surround View' mode, essentially an Optical Viewfinder (OVF) simulator — this applies a frame crop to the EVF/display and JPEGs, but still shows the full 3:2 frame outside your frame boundaries via the EVF, like an OVF. I enjoyed using it, although I doubt die-hard OVF fans will find it satisfying. For $1,699, though, I would've liked to see the hybrid OVF/EVF of the X100VI and X-Pro 3. The X-E5 isn't particularly well connected, but as a street camera, it doesn't need to be. There's a single SD slot, which has been upgraded to UHS-II compatible from the X-E4's UHS-I, for faster write speeds. There are microphone, USB-C and micro-HDMI slots underneath the side hatch. There's no headphone jack, although the USB-C port can be used for headphones when shooting video. The X-E5's body is not weather sealed, so you'll need to be careful using it in poor conditions, and avoid using it in extremely sandy or dusty environments. However, many Fuji lenses, including the new XF23mm kit lens, are weather resistant, which will provide you with some protection if you get caught in a light shower while out on the street. The Fujifilm X-E5 features hybrid contrast/phase detection autofocus, while its X-Processor 5 image processor brings Fuji's latest AF algorithms and the familiar array of subject detection AF modes from other recent Fujifilm cameras. The AF is pretty snappy for stills using the new XF23mm pancake lens and my XF35mm F2. That said, the XF23mm proved a little frustrating for video, where it was quick slow to focus and refocus on continuous AF mode, especially when subjects moved out of and back into frame — I had to use focus lock for the footage in the video section below, to ensure it maintained focus when the cup came back into shot. For stills, though, it was absolutely fine. The X-E5's subject detection was able to detect and lock onto subjects quickly and easily. Humans were an absolute breeze, and in the portrait above the camera had no problem locking onto the subject's eye, even behind her glasses. It was also able to detect the eye of the sheep in the image below, tracking and holding onto it through the frame as the sheep approached me. When shooting street and architecture, I prefer to focus manually or set my focal point with the joystick. That said, it's reassuring to have such a competent AF system there when you need it, during fast-changing situations on the street, for example. The Fujifilm X-E5 is the first camera in the X-E line to feature in-body image stabilization (IBIS). I don't think these cameras particularly need it, and it sorta undermines the whole lightweight, stripped-back street camera ethos. That said, there's no disputing the fact that IBIS adds lots of functionality, so it's objectively a good feature to have for low-light shooting and video. With higher resolution sensors also comes greater amounts of micro-blur, which IBIS helps to reduce. The X-E5 features a 5-axis IBIS system providing up to 7-stops of stabilization. In the images above, I was able to shoot down to about 1/5sec before camera shake started to render the scales legends blurry. The X-E5's performance is roughly on par with Fuji's other 40MP cameras like the X-T50 and X-T5, although the lower-res (26MP) Fujifilm X-S20 ($1,299) managed down to 1sec, making that a better camera for low-light work. The Fujifilm X-E5 uses the X-Trans CMOS 5 HR 40.2MP imaging sensor, which is very familiar by now, having featured in the Fujifilm X-H2 ($2,499), X-T5 and X-T50. It's a brilliant sensor, producing highly detailed stills. The first image in the gallery above is a heavy crop of the second, and there's plenty of detail thanks to having so much resolution to play with in the first place. Of course, this is a Fujifilm street camera with a film simulation dial, so a big part of the experience of using the X-E5 is dabbling with the film recipes for retro, film-like aesthetics. The film simulation dial has the most popular recipes assigned to it, with three custom slots so you can assign any other favorites of yours. I assigned Eterna Bleach Bypass, Pro Neg Hi and Acros + R filter. The film simulations, as always, are a lot of fun to experiment with, although as a black and white shooter, Acros always has my heart. As I mentioned above, I found the OVF simulation pretty useful, allowing me to choose a crop to fit the scene (I particularly enjoy cinematic 16:9), then view it in the EVF while keeping the whole frame visible around it — this let me time my shots while subjects moved through the frame. The second and third photos in the gallery below show the cropped and un-cropped (RAW) versions of the same file. The X-E5 isn't a high-speed camera, and it only uses a single SD-slot, so I didn't spend time testing out its sustained high speed drive performance. That said, it'll shoot at up to 20fps, where in RAW + JPEG you can expect 20 frames, so around a second of shooting. If using the mechanical shutter, this will apply a crop. I used the lower drive 5fps drive setting when taking the sheep photos above, where you can expect around 20 frames again, this time equating to 4 seconds of shooting. These drive modes are more than enough for capturing some fast-paced street action. As we've seen in other cameras with this sensor, the X-E5 handles high sensitivity settings fairly well given the high MP count and modestly-sized APS-C sensor. The images in the gallery directly below are RAW files (with no noise processing), exported as JPEGs in Adobe Photoshop with no processing made at all. At ISO12,800, images are still usable. There's lots of grain visible in the background, but the subject is still reasonably sharp. Any higher, though, and noise starts to overwhelm the photo and degrade sharpness. The photos below are the out of camera JPEGs files of the same images. In these files, the camera has applied noise reduction (using the default amount). As usual with Fuji cameras, the noise suppression is very good. At ISO25,600, the subject is still pleasingly sharp, although lots of half-smoothed noise is visible in the background. The ISO51,200 JPEG is still serviceable, I'd say, despite a noticeable loss of definition in the central subject. You likely wouldn't find yourself shooting here often, but it's good to know you could come away with a just-about-passable JPEG. The X-Trans CMOS 5 HR's dynamic range performance is also strong. The gallery photos below of a backlit lens are the same image, taken with the camera's default level of dynamic range optimization (DR100). The second image has had the shadows boosted and highlights reduced in post production. As you can see, I was able to reveal plenty of details in the shadows. I placed some prop ice cubes on the softbox netting behind, to check for blown highlights — lots of highlight detail was retrievable, too. This is primarily a street-oriented stills camera, although it has a few punchy (and familiar) video specs to facilitate the odd bout of video. It will shoot 6.2K video at 30p, or 4K at up to 60p, both in 4:2:2 10-bit color for a wide color gamut and extra flexibility with managing color in post. There's also F-Log and F-Log2 profiles for wide dynamic range capture, and naturally, you can use any of Fujifilm's film simulation profiles for ready-graded footage out of camera. A useful feature for vloggers is the flip-up display, which facilitates framing and settings changes when shooting to camera. Again, though, this isn't really a video-oriented camera, and Fuji isn't pushing it as such. If you do want to shoot lots of video with the benefits of Fuji styling and film simulations, I'd recommend a more video-focused camera, such as the Fujifilm X-S20 or Fujifilm X-M5 ($799). The Fujifilm X-E5 uses the same NP-W126S battery as its predecessor, which was CIPA-rated for 460 frames in the X-E4 (Normal mode). But thanks to the new sensor and process running gear, CIPA-rated battery life has gone backwards to just 310 frames in the X-E5 (Normal mode), or 400 frames (Eco mode). That's quite a slump. I think battery life is paramount in a street camera, so I prefer the chunkier NP-W235 battery from the X-T5, although this requires extra housing space in the grip, which would've compromised the X-E5's form factor. CIPA testing is done under strict conditions that don't totally reflect real world usage, however the Normal mode figures more or less bore true in testing. I was able to shoot around 250 combined stills and short 4K/60p video files before I was presented with a flashing battery icon. This also included operation of the camera, changing settings and using both the EVF and rear display on their brightest settings during bright sunlight — general usage. In short, it isn't great, so pack a spare battery (luckily, NP-W126S batteries are cheap). The Fujifilm X-E5 is a blend of evolution and devolution from the X-E4. Fuji had to do something to the X-E4: it couldn't just rerelease the same camera. Fitting the X-E5 with the latest autofocusing algos and sensor tech — not to mention IBIS — results in a highly competent camera at its core, and a strong evolution of the lineup. And of course, there's still the compact form factor, tactile handing and retro styling to live up to the spirit of the X-E line. There's a little too much devolution here, though, for me to bestow our 4.5-star rating and Editor's Choice award, and a lot of that comes down to price. $1,699 is, frankly, a crazy price, and is simply unwarranted. The X-E5 is a step backwards in certain areas, including its rear display and battery life, and for this much money, I expected the hybrid OVF/EVF from the X100VI. As I said, the X-E5 is a brilliant little camera at its core. It'll make a phenomenal street and documentary camera and I would definitely recommend it if you're willing to splash a bucket load of cash. However, the only way I could recommend the X-E5 over the cheaper X-T50 and similarly-priced X-T5 (both 4.5* cameras) would be if it were priced sensibly, which it isn't.
Tom's Guide
23-06-2025
- Automotive
- Tom's Guide
The Fujifilm X-E5 is coming soon — here are the first 5 lenses I would buy
The new Fujifilm X-E5 has caused quite an uproar. It's the latest addition to Fuji's X-E lineup and it succeeds the X-E4. Featuring a 40MP sensor, X-Trans CMOS 5 processor, a film simulation dial, a flip-up screen and more, it hopes to be the ultimate compact camera for travel and street photography. While I'm not fully convinced by the camera yet and much prefer the Fujifilm X-T50, that could change and who knows, I may want an X-E5 someday. And if that day does come, I ask myself, "Which lenses would I buy for it?" Like I said, it's a street camera so the lenses would need to be not too bulky. I like the look of the new XF 23mm F2.8 R WR pancake lens but I'd like a couple other lenses alongside it. Glass is, of course, very expensive so if I was buying the X-E5, I'd be picky and get these five lenses first. The best way I'd describe the Fujinon XF 16-50mm F2.8-4.8 R LM WR is by saying it's a do-anything lens. It originally launched as the Fujifilm X-T50's kit lens and it pairs extremely well with the camera. Considering the Fujifilm X-E5 has the same 40.2MP sensor as the X-T50, I'm certain it would do wonders when paired with Fuji's latest camera. It's a general purpose zoom lens suitable for landscapes, architecture, street, travel, thanks to its 16-50mm variable focal length. It's weather-sealed so it can be used in nearly any environment, it's built extremely well and it looks premium. Originally launched as the Fujifilm X-T50's kit lens, the XF 16-50mm is a lens that can do everything: landscapes, architecture, street, you name it. Its autofocus is quick and fantastic, and the photos come out sharp too. The f/2.8 aperture also means that the lens performs fairly well in dimly lit environments and can generate a pleasantly out of focus background. The lens is quick to focus and the photos it takes are extremely sharp. The one thing missing from it is Optical Image Stabilization (OIS) but most of Fuji's latest cameras come equipped with in-body image stabilization (IBIS) these days, including the X-E5, so you won't miss it as much. Above is a sample gallery of the photos I took on the X-T50 with the XF 16-50mm lens. These are also some of my favorite photos I've ever taken, and if the lens is paired with the X-E5, I'm sure I'd taken even more that I'd deem my favorites too. The Fujinon XF 16-50mm F2.8-4.8 R LM WR lens is available for $699 / £599 at Amazon. Fujifilm's new XF 23mm pancake lens is designed for street photography, yes, but if I had to pick another, I'd choose the XF 35mm F2 R WR to pair with the Fujifilm X-E5. 35mm is the ideal focal length for street photography on APS-C cameras, equating to a field of view equivalent to 52mm on a full frame camera — this is called a 'standard' field of view, and makes for a great all-purpose prime lens, not just street. Tom's Guide's senior cameras and reviews editor, Pete Wolinski, recommends this as the first prime lens any Fuji shooter should buy: "Sharp, small, lightweight, with a fairly wide f/2 maximum aperture, this 35mm should be top on every new Fuji shooter's buy list. It's a brilliant general purpose lens, which I use for everything, from street to architecture and even product photography. Make sure you get one of those crushed can lens hoods for it, too — for the classic Fuji look." The XF 35mm F2 R WR is a great alternative to Fuji's new 23mm pancake lens when it comes to shooting the streets. It's sharp and quick to focus (0.08s, according to Fujifilm), and its 35mm focal length makes it a great all-purpose prime lens, not just for street. Even at its widest f/2 aperture, the XF 35mm lens makes photos appear super sharp, and autofocus is quiet and fast, so I'll be able to quickly focus on passersby when I'm out and about. Fuji claims that the lens boasts the fastest autofocus of 0.08 sec, and boy would I love to try that out. What's more, the XF 35mm lens' compact size sells it to me. Also, being weather-sealed, this is the one for street photography. The Fujinon XF 35mm F2 R WR is available for $399 / £335 at Amazon. Next, I'd want a wide-angle lens to shoot landscapes. I frequently travel to the Peak District National Park up north in the U.K. and am often going on long walks with stunning vistas at the end. I'd like an ultra-wide-angle lens to photograph them, and I can't think of one better than the Fujifilm Fujinon XF 14mm F2.8 R. The lens, with its 14mm focal length, would enable me to fit a lot into the frame. It can also focus down to as close as 0.18m, so I'd be able to get really close to subjects while retaining a lot of the frame behind them. I asked the Tom's Guide senior editor, Pete Wolinski, about this lens, as he owned it for architecture photography. Here's what he had to say: "This lens is kinda unbelievable. It's a wide angle lens, but absolutely dead straight, with very little barrel distortion. For stills shooters snapping architecture, landscapes or sweeping vistas, this is the best Fuji wide angle prime, in my opinion. It's old now, though, meaning it's slow focusing compared to Fuji's newer lenses, and it's a noisy one, so not great for video. For stills, though, that's no so important. This is a really lovable lens." The XF 14mm F2.8 R is an ultra-wide-angle lens for shooting landscapes and architecture and capturing a lot of the scene in frame. It's compact and lightweight too, perfect for pairing with the new Fujifilm X-E5. Despite its wide angle, this lens is outrageously straight with almost no barrel distortion and high levels of sharpness. I also like that the XF 14mm lens is compact and lightweight, so it wouldn't add too much bulk to the also-compact X-E5. And from what I've seen, it looks super easy to use, thanks to focusing distances and a depth-of-field scale etched on to the lens barrel. The latter should come in handy to pre-focus at a certain distance when capturing, say, street images. The Fujinon XF 14mm F2.8 R is available for $899 / £349 at Amazon. The Fujifilm X-E5 is equipped with vlogging and video capabilities as it can record 6.2K/30p video. I'm not usually a vlogger or videographer but if I can afford it, I may as well get a lens for some video work, right? How about the XF 16-80mm F4 R OIS WR? That's my choice, for now at least. Here's what our camera's editor Pete Wolinski had to say about this lens: "Ah, the Fujinon 16-80mm. Quite a divisive lens, and not one that I've owned personally, although this lens is often sent to us for testing Fuji cameras, so I've used it a lot. Now, the XF16-55mm f/2.8 lens is the better lens for video, given its wider constant f/2.8 maximum aperture and sharper optics. However, that lens costs a lot more. The 16-80mm F4 is still a decent lens for video, especially as a first video lens, with a wide focal range equating to 120mm full frame equivalent at the top end. The lens is relatively sharp and it features OIS, another boon for video, as combined with the X-E5's IBIS, you'll have lots of stabilization to keep handheld video stable." The XF 16-80mm F4 R OIS WR is a great first lens for video work, and it would pair extremely well with the Fujifilm X-E5. Although a little bulkier than the other two lenses on the list, I'd still like to have this lens in my gear bag. It's quite chunky, so may be a bit cumbersome when mounted on the X-E5, and I wouldn't think of going for a bigger lens than this. To me, it sounds like a great lens for video because of the constant f/4 aperture as it would let me maintain a consistent depth of field throughout the zoom range, allowing for more predictable and cinematic results. The lens is also equipped with OIS and autofocus is fast and silent. The Fujinon XF 16-80mm F4 R OIS WR is available for $799 / £539 at Amazon. I'm a sucker for a good portraiture lens. Every time I test a camera, I love taking photos of the people I love, which means I'm always bothering my partner (and she happily complies). This is why I'd get the Fujinon XF 50mm F1.0 R WR for portraits. The reason lies in its f/1.0 aperture, which is the widest available on any Fuji XF lens. With a very wide f/1.0 aperture, the Fujinon XF 50mm F1.0 R WR creates lovely, creamy background bokeh, making the subject stand out. It's also compact and lightweight enough to pair well with the Fujifilm X-E5. The wide aperture would allow me to create an extremely shallow depth of field, which would make the subject pop while creating a beautifully blurred background bokeh. While the edges of the frame may be slightly softer, I'd like my primary subject in the centre to be sharp, and that's what this lens would do. The lens is also weather-resistant, perfect for outdoor portraits. The Fujinon XF 50mm F1.0 R WR is available for $1,499 at Amazon U.S. / £1,499 at Fujifilm U.K.
Tom's Guide
12-06-2025
- Tom's Guide
I spent two days shooting street with the new Fujifilm X-E5 — here's what I think of it so far
Taking pictures has been one of my favorite hobbies since I was young. Getting out and about with a camera to capture what I see is my idea of a great day. So when Fujifilm invited me to test out the newly announced X-E5 camera in Valencia, Spain (famed for its architecture) how could I say no? The X-E5 is the new and improved iteration of the Fujifilm X-E4 which was discontinued over two years ago. It was a fan favorite but had its drawbacks including lack of image stabilization and weather sealing, and the ageing X-Processor 4, which lacked advanced AF algorithms. But with the X-E5 Fujifilm has listened to the community and given fans everything they've been asking for… apart from weather proofing, but I'll let it slide. Oh, and there's the little matter of price (it's hella steep), but more on that later. Admittedly, I am new to Fujifilm cameras. While I know they're some of the best mirrorless cameras, and I have always admired the film reproduction and ease of use Fujifilms offer, my trusty Sony a6100 never lets me down… but I think the X-E5 might just take its place. I am pretty new to street photography. Being from a town surrounded by beaches and lakes, landscape photography has always been my go-to. But the Fujifilm X-E5 camera made the whole experience so easy. The combination of five-axis image stabilization and the latest AF algorithms from Fuji's X-Processor 5 meant that I was almost guaranteed a perfect shot regardless of the scenario or lighting conditions. Whether it was getting quick snaps of tourists meandering the tall city walls or of the cascading architecture, the X-E5 made it easy to capture stills without worrying about shake or out of focus images. The X-E5 features subject detection for humans and lots of other subjects, so it was super easy to nail focus. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. Fujifilm is known for its cameras being super user friendly and tactile. But the X-E5 takes it to a whole new level. Fuji has loaded the X-E5 with new features to improve the experience of using the camera and bring focus to the enjoyment of photography. My favourite new feature is the Surround View function, which allowed me to alter the aspect ratio of the image and have a semi-transparent framing on the peripheries of the EVF so I could see what was happening outside of the frame — simulating one of the key benefits of an optical viewfinder. This meant I was able to position my shot according to what was happening around my frame — like when I took this still of a motorcyclist, I was able to time the shot perfectly as I could see them coming into frame. It's a Fuji, so we can't ignore the film simulations, and the X-E5 now houses a handy dial above the LCD screen for quick effect selection, similar to the dial on the Fujifilm X-T50. There are plenty of settings to choose from and even an option to save three preset recipes that best suit your style, or even the vibe of the place you are shooting. By simply turning the dial I was able to cycle through the presets to get the best one really quickly, but I could also use the LCD touch screen to select the effects. My favorites for the bright sunlight of Valencia were Velvia and Classic Chrome, but I spent a lot of time in Acros, which complemented the bright sunlight and strong contrast. The easy-to-use nature of the camera and the film simulation options makes the X-E5 perfect for anyone interested in the retro style of film photography — Let's be honest, film photography is a commitment in both time and money, so Fujifilm's profiles are always a good place to start. The Fujifilm X-100VI was loved by Instagram users everywhere, but its lack of interchangeable lenses might not be for everyone — it can provide quite limiting if you want to expand your creative options. That's where the X-E5 comes in. It has the 40.2MP X-Trans CMOS 5 HR sensor and X-processor 5 image processor, just like the X-100VI, plus an extra stop of IBIS, taking it to 7 stops. It handles very similarly, and is ideal for people who love the Fuji street camera style and handling, but want to switch lenses. And on the topic of lenses, for the launch of this new camera, Fujifilm is also releasing a new pancake kit lens: the XF 23mm F2.8 R WR, which replaces the 27mm pancake kit lens available with the X-E4. Super compact, but beautifully sharp, the 23mm is nice and wide for scenic shots, but has a minimum focal distance of 20mm making it perfect for detailed shots as well. The lens will be available for purchase as part of the camera kit in early August, but won't be available for purchase on its own until November. The Fujifilm X-E5 is the camera perfect for street photographers who want the look of film but the freedom of digital — especially those who value handling and purity of shooting experience. It's also great for newcomers to photography, who are aiming for a retro film look but don't want to fork out a ton of cash on rolls of film before getting the technique and framing down. That being said, it is quite the investment. $1,899 (with the lens, but if you're a newbie you'll need it) is a big ask. Considering the previous models of the X-E series have been somewhat affordable, it does feel like a bit of a jump. But unfortunately, like with most things, the pricing has been affected by the U.S. tariffs. If you want to conserve cash you can spring for the X-T50 instead which, internally, is effectively the same camera. Personally, I love the X-E5. It is one of the easiest I have used and with all of the film simulation options I was able to get creative in any setting. It is of course a very different style of camera to my usual Sony a6100, but I do think it will have me switching over to Fuji for all of my travel photography in the future.
Stuff.tv
12-06-2025
- Stuff.tv
Fujifilm X-E5 camera fixes my biggest issue with its predecessor
Fujifilm has made a lot of fantastic cameras in recent years, but it's fair to say 2021's X-E4 isn't widely regarded as a modern classic. Few could find fault with its retro style, compact size or general image quality, but the fact that it lacked in-body image stabilisation (IBIS) was a bit of a shocker for a mirrorless camera in its price bracket. The X-E4 was quietly discontinued in 2023, but it's now been given a successor in the gorgeous form of the Fujifilm X-E5. Launched today, the X-E5 has a striking rangefinder-style body (with silver or black accent colour), the very same 40.2MP X-Trans CMOS 5 HR sensor as found in the X-T5 and X100VI and, finally, IBIS. The new five-axis in-body stabilisation gives the X-E5 up to 7 stops of compensation, delivering sharper shots and steadier video when shooting handheld. And it's not the only first the Fujifilm X-E5 brings to the series, either. Construction quality has been given a glow-up too, with a new machined aluminium top plate replacing the plastic one of past X-E models. Formed from a single slab of metal, the top plate's new design not only looks a little more premium than that of older X-Es, but should make the twiddling the dials a more tactile and pleasing experience. There are three dials up top: one for shutter speed, one for exposure compensation and one enabling users to swiftly flick between Fujifilm's signature Film Simulation modes, immediately altering the look of photos and videos. The Fujifilm X-E5 can shoot 6.2K video at up to 30fps, features AI-assisted tracking autofocus and a tilting rear monitor capable of flipping up 180 degrees. In keeping with the X-E5's retro styling, the tiny EVF now features a stripped-back Classic Disply mode, which Fujifilm says replicates the simplified, clutter-free viewfinder experience of a 35mm film camera (it's still a tiny and outdated EVF, though – seemingly the very same one as was used on the 13-year-old X-E1). There's also a user-customisable control lever on the front, which can be set to adjust things like the view mode, digital zoom or image aspect ratio. And even the supplied shoulder strap is retro, with its fetching rope-style texture. Fujifilm is also launching a new ultra-compact and weather-resistant pancake lens alongside the camera: the XF23mm F2.8 R WR. The two together form a lightweight and highly portable team, with a combined weight of only 535g. The Fujifilm X-E5 will be available from August 2025, priced at £1299 body only or £1549 in a kit with the 28mm lens. US pricing is $1699 body only and $1899 in the kit, which seems to be a quite a premium over the UK price; perhaps that's a sign that the Trump administration's tariffs are beginning to have a marked effect on imports. For more information, head over to the Fujifilm site.
