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Tom's Guide
3 days ago
- 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.
The Verge
4 days ago
- The Verge
The Fujifilm X-E5 proves familiar isn't always a bad thing
The X-E5 is Fujifilm's tiny powerhouse. It's part of a line of cameras that has often been described as similar to the X100, except with an interchangeable lens. But the X-E line has evolved this year and is taking on a new shape. It used to be seen as a budget option, but at $1,699, that can no longer be said. Despite the fact that I've used almost every Fuji out there, this was my first time playing around with any of the X-E line of cameras. The X-E5 is a gorgeous, petite, and classy-looking camera with sharp lines throughout the body, and with buttons and an occasional concave edge for some extra flair and a distinctive look. It is ever-so-slightly shorter and thicker than the X100VI, but weighs about the same when paired with one of Fujifilm's pancake lenses. It is hard to keep your eyes and hands off of it. Over the last few weeks using the camera, I've had a lot of people asking me about it. Two even assumed it might be a Leica. The camera build feels incredibly solid. The dials and the buttons are very clicky; even the side door just feels right. The hinges on the flip screen are sturdy, and it can flip all the way around for some vlogging, too. All those little details matter and make the camera feel premium, but unfortunately this camera is not weather sealed (something you'd also expect for this price). The big new feature for the X-E is the dedicated film simulation dial. We've seen other Fujis adding these, but this was my first time using it. I rarely shift between film simulations since I have a few of my own, which I stick to 99 percent of the time. But the dial does make saving these sims easier, and encouraged me to experiment with different looks a lot more than before. When it comes to video, you get 6.2k up to 30fps and 1080p up to 240fps. The X-E5 can also film in F-Log and F-Log 2 color spaces, so there is plenty of latitude for post-processing, which will match well with other Fujifilm cameras. And there's HLG HDR too. The rolling shutter isn't the greatest, although it's far from bad. But the X-E5 shouldn't be your primary video camera for two big reasons: the video mode takes a toll on this battery, and I've had it overheat after 13 minutes of continuous filming. As stated earlier, this Fuji is equipped with the same sensor we've seen for a few years now. It is a 40MP BSI CMOS 5 sensor and it is capable of making some great images. It has been my favorite Fuji sensor since the CMOS III. The photos are sharp, with plenty of detail, and the noise levels are well managed. Anything above 2000 ISO will slowly start to break down and look mushy and soft. This is where the 7-stop IBIS comes in and helps you to keep that shutter open for a bit longer, therefore lowering your ISO too. I brought this camera with me on a trip to Mexico along with a handful of lenses. The X-E5 proved to be a brilliant travel camera. I loved having the option to stick to my pancake 27mm for an ultra-compact setup or bring the all-rounder 16-55mm zoom lens for some versatility on a long day out. But despite how much I loved my time with the X-E5, all of the recent Fujifilm cameras are becoming too similar to each other when it comes to performance. Some of those cameras excel in some way, but the X-E5 doesn't have anything unique going for it. It is a classic jack of all trades. And that's not a bad thing. But once you start looking at the prices, you might have some second thoughts. When the X-E4 came out it was $850 and was seen as a hidden gem in the lineup. At $1,700, it starts to become a harder sell. However, if you do pick this one, be assured you're picking a brilliant and gorgeous camera. It might no longer be a hidden gem, but it's still a gem. Posts from this author will be added to your daily email digest and your homepage feed. See All by Vjeran Pavic Posts from this topic will be added to your daily email digest and your homepage feed. See All Camera Reviews Posts from this topic will be added to your daily email digest and your homepage feed. See All Cameras Posts from this topic will be added to your daily email digest and your homepage feed. See All Gadgets Posts from this topic will be added to your daily email digest and your homepage feed. See All Reviews Posts from this topic will be added to your daily email digest and your homepage feed. See All Tech
Digital Trends
12-06-2025
- Automotive
- Digital Trends
Fed up waiting for the X100VI? Then check out the new X-E5
Fujifilm has just unveiled the X-E5, and it might just be the answer for those folks who are still waiting around for the X100VI. The Japanese camera maker released the X100VI in March 2024, at a time when its predecessor, the X100V, had gone viral and was pretty much impossible to buy new. While Fujifilm promised better availability with the X100VI, its popularity exceeded that of the X100V, and many customers have had to wait months to receive their purchase. The new X-E5, unveiled by Fujifilm on Thursday, sports the popular retro styling of the X100VI, and includes many similar features. But the one key difference that may excite potential buyers is the fact that the new camera lets you change the lens — something you can't do with the X100VI, which has a fixed 23mm lens (35mm equivalent on its crop sensor). The X-E5 is the successor to the X-E4, which came out four years ago, though the older model fell well short when it came to matching the X100 series. But the new X-E5 has received a significant spec bump that includes the same 40.2MP APS-C X-Trans CMOS 5 HR sensor as the X100VI, along with the X-Processor 5. And just like the X100VI, the X-E5 also comes with in-body stabilization, an articulating back display panel, a similar layout of vintage-inspired dials on the top, and a compact body. Another feature that might appeal to fans of Fujifilm's X series is the new dedicated film simulation dial offering easy access 20 built-in simulations. Differences, however, include the lack of an optical viewfinder for the X-E5, the absence of an ISO dial on the top, no weather sealing for the body, and no built-in ND filter. Additionally, the 28mm kit lens for the X-E5 starts at f/2.8 compared to f/2 for the X100VI, making the new camera slightly less suitable for low-light conditions. The Fujifilm X-E5 is out in August and will cost $1,699.95 for the body only. A kit including a 23mm (35mm equivalent) f/2.8 lens will also be available for $1,899.95. The X-E5 certainly looks like a compelling piece of kit, with the interchangeable lens feature sure to make the decision harder when it comes to choosing between the X100VI and this new camera.
Engadget
12-06-2025
- Engadget
The Fujifilm X-E5 is basically an interchangeable lens X100VI
If you have ever looked at the X100VI said to yourself, "Man, I wish Fujifilm would just make an interchangeable lens version of this camera," consider your request answered. Four years after the release of the X-E4, the company has announced the X-E5, a compact, $1,699.95 camera that should appeal to the same crowd that loves X100VI. Inside, the X-E5 has Fujifilm's latest X-Trans CMOS 5 HR sensor. That's the same sensor you'll find on the X100VI, X-T5 and X-T50. It's capable of capturing 40.2-megapixel stills, and video at up to 6.2K and 30 frames per second. Thanks to improvements Fujifilm has made to the sensor's pixel structure, the X-E5 offers a native 125 ISO, and there's AI-based autofocus to make it easier to capture moving subjects such as animals, birds, insects, motorcycles, planes and more. Also new to the X-E5 is the inclusion of in-body image stabilization (IBIS). It offers up to seven stops of stabilization near the center of the frame and six stops toward the periphery. Fujifilm has also once again tweaked the exterior of the camera. If the X-E4 was a bit too minimalistic for your taste, the good news is the X-E5 has a front grip where Fujifilm did away with that on the X-E4. The camera's top plate is machined from a single piece of aluminum, an addition that should make the X-E5 feel more premium than its predecessor. On the top, you'll find all the usual dials, including one for shutter speed and another for exposure compensation. There's also an entirely new dial dedicated to Fujifilm's film simulations. In addition to the usual presets like Classic Chrome and Velvia, you can save up to three of your own recipes for easy access. As before, the external LCD can flip up 180-degrees to make it easier to capture selfies and vlog. Fujifilm has also redesigned the X-E5's viewfinder. It offers two new modes. First, there's a "Classic" mode, which simplifies the interface so it's more like what you would find on an old film camera. All your exposure settings are displayed along the bottom of the screen in a deep red color, with the light meter present on the side. Alternatively, the other new mode, "Surround View," displays a black, semi-transparent or outlined area outside of the aspect ratio you've set. In practice, that should make it easier to frame your shots. Alongside the X-E5, Fujifilm announced a new pancake lens, the XF23mm f/2.8 R WR. It's a full stop slower than the fixed, 35mm equivalent you'll find on the X100VI, but it's about the same size and should be a lot faster to focus thanks to inclusion of a direct current motor. Fujifilm will offer the X-E5 in black and silver. The camera will be available starting in August. At $1,699.95 for just the camera body, the X-E5 is twice as expensive as its predecessor. In fact, it's more expensive than the $1,599 X100VI, which features a leaf shutter and hybrid optical viewfinder. Personally, I'm sad about that since the X-E4 was my recommendation for a great starter camera. Now I'll need to tell people to look elsewhere.
Engadget
29-05-2025
- Engadget
Fujifilm GFX100RF review: A powerful and fun camera that's far from perfect
After watching its fixed-lens X100 VI camera do stratospheric sales numbers, Fujifilm decided to build a bigger and badder version that could go up against Leica's full-frame Q3. The result is the $4,899 GFX100RF, the first-ever 100-megapixel medium format compact camera. The GFX100RF has some novel features, like a crop dial that lets you choose aspect ratios ranging from vertical 3:4 to a panoramic 65:24. It can digitally zoom via a dedicated toggle and offers all the social media-friendly benefits of the X100 VI, including film simulations. You can even shoot medium-format 4K video. However, the GFX100RF has some flaws. Where Leica's Q3 has a fast 28mm f/1.7 lens and optical stabilization, Fujifilm's 35mm lens (28mm equivalent) here is limited to f4 and lacks any shake reduction, hurting the camera in low light. I've used the camera for nearly two weeks now and enjoyed it, but given the high price and quirks, it's definitely not for everyone. The GFX100RF is the world's first 100MP medium format compact camera. It offers incredible image quality and flexibility but isn't great in low light, and the high price makes it a niche product. $4,899 at B&H Photo Video Though it's Fujifilm's smallest medium-format camera, the GFX100RF is still a hefty unit at 735 grams. That's more than many full-frame mirrorless cameras and around the same weight as the Q3. The control layout is similar to the X100 VI with control dials on the front and back, along with exposure compensation, shutter speed and ISO controls on top. What's new is the aspect ratio dial that offers modes for 4:3, 3:2, 16:9, 17:6, 3:4, 1:1, 7:6, 5:4 and 65:24 (the latter pays tribute to Fujifilm's TX-1 panoramic camera). The GFX100RF also has a toggle up front to select 28mm, 35mm, 50mm and 63mm (full-frame equivalent) zoom levels. Those gradually lose resolution due to cropping, from 100MP at 28mm down to 20MP at 63mm. Bokeh is also reduced as the sensor size shrinks. The rear 2.1-million-dot, 3.15-inch display only tilts up and down, but that's fine for the camera's primary street photo role. Though sharp and detailed, the 5.76-million-dot electronic viewfinder unfortunately lacks the X100 VI's signature hybrid display that lets you switch between optical and electronic views. However, it does offer three modes to support the aspect ratio dial and make composition easier. One only shows the selected crop, another shows the full scene with a box around the crop and the third displays everything outside the crop at 50 percent opacity. Fujifilm's GFX100RF includes an innovative aspect ratio dial at back (Steve Dent for Engadget) Battery life on the GFX100RF is outstanding with up to 820 shots on a charge or about 100 minutes of 4K 30 fps video shooting. For me, that amounted to nearly two days of use, which is better than nearly every other (non-DSLR) camera I've tested. The camera also includes dual UHS-II memory card slots plus mic, headphone, microHDMI and USB-C ports. The latter allows not only data transfers and charging, but also SSD video recording. The GFX100RF is essentially a GFX100S II squeezed into a compact body, so performance is similar with up to 6 fps burst shooting speeds. However, each RAW file is up to 150MB in size and JPEGs are 70MB, so even at those slower speeds, you can fill your memory cards very quickly. That said, this camera definitely isn't designed for sports or wildlife, so I didn't use burst shooting often. The autofocus is reliable when shooting single photos, but it's a little laggy for bursts. Using the face and eye detect AI modes helps nail eye focus reliably, but it's not as fast as Sony and Canon's systems. It also supports animal, bird and vehicle tracking, which helped me capture sharp photos of ducks floating on the Seine river in Paris. The GFX100RF has both mechanical and silent electronic shutter modes. Rolling shutter skew is a big issue with this sensor in silent mode with fast moving subjects, though. Luckily, the mechanical shutter eliminates that and is nearly inaudible. The built-in ND filter can reduce light up to four stops, letting you shoot on sunny days while retaining some bokeh. However, the main problem is when there's not enough light. The minimum f4 aperture is simply inadequate and the lack of stabilization exacerbates the issue as you risk blurry photos at slow shutter speeds. In dim light you may need to pack a tripod, which isn't ideal for a compact camera. The aspect ratio and zoom options on the GFX100RF are handy and fun. Some curmudgeons may prefer to shoot full sensor 100MP photos and then just crop later in post production. But the GFX100RF lets you have your cake and eat it, too. You can apply all the crops, zooms and film simulations you want and save them as JPEGs for easy sharing. Then, if you need to go back and change something, you also have the full 100MP RAW image as a backup (though obviously, shooting both will fill your memory card more quickly). Shot at 4:3 aspect ratio, ISO 1600, 1/200th, f/10 As with the GFX100S II, the GFX100RF is a top performer when it comes to detail and sharpness. Colors are pleasing and RAW files retain high amounts of dynamic range, allowing for easy adjustment in Lightroom. And of course, Fujifilm's film simulations give you colorful, nostalgic options — like Reala Ace or the dramatic black and white look of Acros — straight out of the camera. The GFX100RF also delivers beautiful bokeh, with the f4 aperture equivalent to around f3 for a full-frame camera in terms of depth of field (but not light gathering). Like other GFX models, the large sensor produces more dramatic images than full frame for portraits, landscapes or street shots. Like I mentioned, things fall apart when the light dims, though. With no option below f4 and no stabilization, I relied on high ISOs to boost exposure. The GFX100RF isn't bad in this area, with controllable noise up to about ISO 8000, but that's not high enough considering the other factors. For these reasons, the GFX100RF is less versatile than it could be. The GFX100RF can handle 4K and widescreen DCI 4K at up to 30 fps with fairly high bit rates, as long as you have a fast UHS-II SD card. It can even shoot ProRes with at much higher data speeds, but for those, you'll need to record directly to an SSD via the USB Type-C port. Autofocus for video is decent but not incredibly fast, so ideally your subjects don't move too much. The AI-powered face and eye detection helps nail focus when filming people, but again, can fail if subjects dart around. Video has a dreamy quality and bokeh that only a large sensor can offer. Like the GFX100S II, the GFX100RF captures video using the full width of the sensor in most modes, albeit with pixel binning that reduces quality. The sharpest video comes with a 1.32x crop, but that reduces the image quality benefits of a large sensor. Video on the GFX100RF has one thing going for it that the photo side lacks: digital stabilization. This smooths out shakiness for handheld shots, but the excessive rolling shutter limits your ability to move the camera quickly. Colors are pleasing and easy to adjust, particularly when using Fujifilim's F-Log or F-Log2 10-bit modes to boost dynamic range. And of course, Reala Ace, Acros and other film simulations are available in video modes to create great looks straight out of the camera. Fujifilm's $4,899 GFX100RF is a powerful camera with incredible image quality that's hampered by a lack of low-light performance. It's also a niche and expensive product that, unlike Fujifilm's popular X100 VI, only appeals to a small group of photographers. Its primary rival in this space is Leica's Q3, which has a smaller 60MP full-frame sensor and higher $6,735 price tag. However, the Q3 has a much faster 28mm f/1.7 lens, less rolling shutter, a single SD UHS-II card slot and up to 8K video. It also has the Leica brand cachet, which does mean something to people spending this kind of money. The GFX100RF is fun to use, though, and introduces several innovations like the aspect ratio dial. Though it may never have a huge market, I think products like this push the industry in new directions and create conversations that draw new people into photography. So even though I'd never buy one, I'm glad the GFX100RF exists for those reasons.
