Latest news with #Fujifilm
Tom's Guide
6 hours ago
- Tom's Guide
I've been shooting Fuji for 10 years, including the X-E4 — here's why I won't be buying the Fujifilm X-E5
I got my first Fujifilm in 2015, a Finepix something-or-other bridge camera. It kinda sucked in retrospect, but it was my first 'real' camera and sparked my interest in the Japanese brand. Since then, I've had a short rollick in the bushes with Canon, before embarking upon an outright steamy love affair with Sony. Then, a few years back, disillusioned with how photography was making me feel, I chucked in my 'do-everything' Sony A7 III and downsized to the Fujifilm X-E4. And oh boy, was it the best camera I could've bought. While the A7 III left me uninspired, the X-E4 made photography enjoyable again; it rekindled a love for the hobby that no camera has since lived up to. Unfortunately, mine was an ex-demo and developed a sensor issue, so I swapped to an X-Pro 3, leaving the X-E4 as the one that got away. Since then, I've owned an X-T4 and now an X-T5. I've also tested virtually every recent Fuji launch, including the Fujifilm X100VI, X-H2/S, X-S20, and even the medium format Fujifilm GFX100S II and Fujifilm GFX100 II. Same price, more camera. If, like me, you feel the X-E5 is a little overpriced, consider the Fujifilm X-T5, current holder of the "best APS-C" award on our roundup of the best mirrorless cameras. I own the X-T5 and trust me, it's a beaut! None of them, not even the X-Pro 3, has the spirit of the X-E4. While I love my X-T5, I still long for how the X-E line made me feel. Which is why I was so excited about the launch of the X-E5 — Could this be an opportunity to return to the glory days? Unfortunately, I think not. While I appreciate Fuji developing the X-E line, I'm not sure this fifth iteration is for me. To me, something about the magic of those cameras now feels lost. Here's why. Simply put, I feel Fuji has thrown too much at this camera. Part of the joy of the X-E4 was how much of a stripped back experience it proved to be. Short on physical controls, the X-E4 was a challenging camera to use at times, or at least it was when accustomed to professional cameras and the safety net of multiple Fn buttons. That made the X-E4 fun; it was an escape. It didn't have IBIS, or even a grip — that made it lightweight and plucky. It was arguably under-specced, but with purpose. It was a minimalist, simple street camera. I'm not sure the same can be said for the X-E5. I'll be reviewing the camera myself very soon, so I'll save my proper verdict until then, but from everything I've seen so far, it looks like Fuji has thrown way too much at the camera, spoiling that Spartan ethos. X-Es are lightweight street cameras that are easy to hold and keep steady. This may be an unpopular opinion, but I don't feel they need IBIS, a needless sacrifice to size and weight. Don't get me wrong, I know the value of and appreciate IBIS. I rely on it constantly in product photography either in the studio or on location, where I often need to drop my shutter. How often do I rely on it when shooting street, though? Virtually never. When am I gonna be shooting a moving, bustling street at ⅕ sec? Of course, as with almost every camera these days, the X-E5 is designed to be vlogger friendly. Hence the IBIS and the flip up screen (in fairness, also a feature on the X-E4). But wait a minute — isn't the Fujifilm X-M5 a vlogging camera? And the Fujifilm X-S20? Why does a third of the Fuji lineup need to be vlogging oriented? I know, it's all a bit 'old man shakes fist at clouds', but if the X-E5 is all about street photography and the experience and purity of shooting, as Fuji makes out, what does vlogging have to do with anything? 'Vlogging' seems to be the most overstated use case plaguing mirrorless cameras these days — how many people do you know who actually vlog? Then there's the film sim dial — essentially Fuji's 'look busy' trademark these days. Slap a film sim dial on it and make out it's revolutionary. Yawn. Surprise, surprise, Fujifilm has fitted the X-E5 with the 40.2MP X-Trans CMOS 5 HR APS-C sensor found in the Fujifilm X-H2 and Fujifilm X-T5. Oh, and the Fujifilm X-T50. And the Fujifilm X100VI. Does everything need a 40.2MP sensor? It's becoming a little cookie-cutter — why not just buy an X-T5? It'll cost you more or less the same. Now I know Fuji always reuses its sensors — everything had 26MP for a good while — but it now has two main X-Trans CMOS 5 variants: the 40.2MP HR and 26MP HS. The company recently equipped the X-S20 with the older X-Trans 4 26MP sensor, and fitted the Fujifilm X-H2S with the 26MP HS variant of the X-Trans 5 — so why not the X-E5? It would give fans a little variation, rather than just essentially picking from five versions of the same camera, all merely wearing different jackets. Besides, I'd argue that 40.2MP is simply not necessary in a street camera like this, or the X100VI. Again, don't get me wrong, I own the X-T5 and I appreciate the high resolution sensor when shooting product photography for work. But the X-E line is not the X-T line. I feel you lose some of the X-E line's spirit by stepping up to 40.2MP. The X-E4 was just fine with 26MP, which suited the more casual, fun, non-pixel-peeping mentality of the camera, not to mention the nostalgic look of the images. What's more, having the extra resolution (and therefore the ability to crop more aggressively) simply encourages users to shoot first and crop later, instead of taking the extra time to consider and frame your photos properly to begin with. It's just another element that chips away at the spirit of the X-E range. Apart from all the aforementioned, I would've liked to see Fuji fit the upgraded NP-W235 battery from the X-T5, rather than keeping X-E4's weakling NP-W126S. Fuji put a protruding grip on X-E5 anyway, so I wish it'd found space to house the larger battery inside. This would give users longer on the street without having to carry and change batteries — a genuinely useful upgrade for the target demographic. Most importantly, I'd have liked to see much, much better displays. Given this camera is priced similarly to the X-T5, I expected similar specification displays, namely the X-T5's tilting 1.84M-dot rear display and 3.69M-dot EVF. The X-E5 makes do with a 2.36M-dot EVF, and a puny 1.04M-dot rear LCD, which is lower resolution even than the X-E4, so we're going backwards. In a $1,699 camera, this is frankly inexcusable. It'll sell anyway, regardless of price — and Fuji knows that. It can charge whatever it wants. And that brings me onto price. On what planet should an X-E camera cost $1,699? Body only! That's literally a two-fold increase in price over the $849 X-E4 and the same price as the X-T5. Ask Fuji, and you'll probably hear some measly excuse about tariffs. Ask me, and I'll be a little more cynical. If there's anywhere near as much hype around this camera as the X100VI, it'll sell anyway, regardless of price — and Fuji knows that. It can charge whatever it wants. There are a few saving graces. There was no way this camera wasn't getting the X-Processor 5, but it's a great addition. There are new autofocus modes, which may be helpful in capturing that fleeting decisive moment on the street. This processor also brings Fuji's latest noise processing, allowing you to shoot at higher ISO without destroying files, and decreased power consumption over the X-Processor 4. The front grip is a solid addition, too. Fuji removed the X-E3's front grip on the X-E4, and despite its small stature, this caused problems when shooting at odd angles, especially in portrait orientation. I and many other users fitted aftermarket grips to the X-E4, which will no longer be necessary. Similarly, the rear of the camera sees the return of a thumb rest, which was't present on the X-E4 (again, the X-E3 had one). One of the first mods I made to the X-E4 was fitting a rear rest that slid into the hot shoe, giving extra grip when shooting in portrait. It's good to see a solution baked in here. Controversial, maybe, given online discourse, but I'm a fan of the new OVF simulation viewfinder mode and pared-back display mode. Like many Fuji fans, I'm not at all convinced of the continuation of the X-Pro line, and I think these modes are Fuji's way of merging the X-E and X-Pro ranges. Regardless, these features fit the X-E's experience-first ethos. And admittedly, I am very excited about the new 23mm pancake lens. I liked the X-E4's 27mm pancake in theory — it was super small and portable, complementing the nature of the camera. I just never really got on with its field of view, equating to around 40mm in full frame terms, which is a bit nothingy. Slightly too wide for street or portraits, but not wide enough for properly expansive scenes, like architecture. I'm glad Fuji has decided on a camp this time and gone wide. I'll be reviewing the X-E5 very soon, and my verdict will primarily be on the basis of how it performs as a standalone camera, which I'm sure will be excellent. Make no mistake, I don't think the X-E5 looks like a bad camera. The point of this ramble is that the X-E line has sentimental significance for me, like many others, which at its core lay in how the camera made me feel. That, in turn, stemmed from how well the X-E cameras lived up to a specific ethos: minimalist, engaging, fun. Same price, more camera. If, like me, you feel the X-E5 is a little overpriced, consider the Fujifilm X-T5, current holder of the "best APS-C" award on our roundup of the best mirrorless cameras. I own the X-T5 and trust me, it's a beaut! With the X-E5, I feel Fuji has eroded that ethos. And the reason, I think, is a lack of conviction. Fujifilm has tried to please too many people with the X-E5, and in turn has made it simply a cookie-cutter rehash of cameras that already exist, only worse, and ludicrously expensive. The X-E cameras are not vlogging cameras, so why try and sell the X-E5 to vloggers? The X-E cameras are street cameras, so why give in to a load of spec-swinging forum-dwellers complaining online about not having IBIS? Why fit it with the exact same running gear as four other cameras when we could've had variation, not to mention purity of purpose? I just don't get it, and I certainly won't buy it at that price. What I might just do, though, is go and pick up a used X-E4 before they skyrocket in value (again).
The Verge
6 hours ago
- Entertainment
- The Verge
How Texas' hands-off approach to autonomous vehicles gave Tesla an opening
Fujifilm's new X Half camera is quirky, limited, and kind of fascinating. It ditches modern features like RAW, EVF and stabilization in favor of film-like charm, a small 1-inch sensor, built-in filters, and a digital 'film advance' lever. It's not for everyone — (mainly because of its price) but if you love capturing scrappy, spontaneous moments, this might be your new favorite camera. Here's what it's like to use.
The Sun
a day ago
- Health
- The Sun
Melaka eyes collaboration with Fujifilm Healthcare to establish R&D centre
MELAKA: The Melaka government is exploring a collaboration with Fujifilm Healthcare to attract future investments or the potential establishment of a healthcare research and development (R&D) centre. Chief Minister Datuk Seri Ab Rauf Yusoh expressed confidence that such a partnership could position Melaka as a leading regional healthcare hub, not only in terms of medical treatment but also innovation and investment in health technology. As a first step, he said Fujifilm Healthcare and Hospital Putra Melaka have begun discussions on the proposed acquisition of advanced Magnetic Resonance Imaging (MRI) machines for the hospital and a new facility currently in the planning stage. 'Fujifilm's cutting-edge healthcare technologies, from prevention and diagnosis to treatment and AI (artificial intelligence) integration, present significant opportunities for strategic collaboration with Hospital Putra,' he said in a statement on his official Facebook page today. He added that the goal of the collaboration is to enhance the use of technology, including AI, in the hospital's healthcare delivery, enabling faster access to services, improved treatment quality and reduced patient waiting times. Ab Rauf said he believes the proposed innovation, backed by Fujifilm's expertise, has the potential to strengthen Melaka's healthcare ecosystem through Hospital Putra Melaka, which is fully owned by the state government. The proposed collaboration was discussed during an official state delegation visit to Fujifilm Healthcare, which included the presence of Ulf Neumann, regional sales manager of Fujifilm Healthcare Germany. Also part of the delegation were the state executive councillor for Health, Human Resources and Unity, Datuk Ngwe Hee Sem, and chief executive officer of Hospital Putra Melaka, Mohd Zahiruddin Ahmad.
The Hindu
3 days ago
- Entertainment
- The Hindu
This photography movement has disavowed AI
In a world of images infused with AI, it is hard to pick up the camera and snap a picture that doesn't have a tech enhancement. From autofocus to removing unwanted objects in an image, automated features are turning photographs into a sort of plastic reality. However, there is an elegance to film photographs that are steeped in quiet dignity, thanks to their mellow colours and soft treatment of light. Some of those less-than-perfect photos with blurred subjects, light leaks, and overexposed or underexposed backgrounds, were hidden by photographers of the past as failed images — but no longer. Enter the Lomographers, a motley band of global film photographers who belong to a community with rules like 'take your camera everywhere you go' and 'don't think' and 'be fast' and finally, 'don't worry about any rules.' Their photographic results include haphazard shots full of unorthodox compositions, flaring light leaks, warped colours, bold vignettes, and blurred movements that would scandalise traditional film photographers. Lomographers, however, are using film cameras with joy and reckless abandon in the age of meticulous, AI-enhanced smartphone and digital photography Surreal international roots Founded in Vienna in the 1990s, Lomography is both a company and an artistic movement that allows film photographers to embrace a spontaneous approach to analog photography; a 'Lomographer' is encouraged to use their film roll more freely, and then go out to buy some more. The company was born when its Viennese founders tried to popularise the Russian remake of the Japanese film camera Cosina CX-1. The fruit of their labour was the resurgence of the LOMO LC-A camera. The mission was a quiet success, and helped bring together like-minded film photographers who adored the strange visual effects that the camera inadvertently achieved, even if they looked like mistakes to photographers with less daring eyes. Today, Lomography produces a diverse line-up of gadgets, ranging from disposable cameras (that are actually reusable) and mini toy cameras to twin-lens reflex cameras and even premium art lenses, not to mention a respectable range of film rolls. Many of the company's best-known cameras are largely plastic commercial remakes of classical cameras from decades ago, reincarnating them for 21st century users who would not be able to find or even afford the historic originals. Lomography's film rolls, unlike the standard Fujifilm or Kodak rolls, offer bold takes on colour and grain, with one variant transforming everyday scenes into a dreamy painting of purple and teal hues. Furthermore, Lomography's cameras and film rolls are designed to surprise, so photographers look forward to getting back their developed pictures to admire the unpredictable interplay of light and colour in their shots. Accessibility vs affordability In spite of Lomography's founding aims of making unique film cameras and rolls more commercially available, the truth is that few Indians can afford to sustain a film photography hobby today. Lomography's cameras begin at around $50 and can go up to hundreds of dollars, not to mention the cost of buying film rolls and developing photos. For that price, photographers in India would be more inclined to invest in a smartphone or even an affordable DSLR camera. Critics of the movement go so far as to accuse the company of re-packaging and upselling film rolls that were rejected by legacy brands due to manufacturing defects. Lomography is confident that there is a strong community of film photographers who don't just click pictures on special occasions, but are actively experimenting with new (or rather, old) formats and devices. 'We have over a million community members from all around the world — across North America, Europe, and Asia. To inspire them, we continuously innovate and release brand-new analogue photography products. Providing fresh creative tools to the film community is at the heart of our mission, and we're committed to keeping analogue photography alive, ' said Lomography in response to The Hindu's query. In the past year, the company's bestsellers included the LomoMatic 110 film camera, Lomo'Instant Wide Glass, Daylight Development Tank, DigitaLIZA scanning kits, LomoApparat, and Art Lenses, not to mention its own quirky LomoChrome film rolls. The company promised more launches across product lines in the near future. India's Lomography scene Chirantan Pramanik and Ruby Saha, who enjoy photography as a couple, started using analog cameras more than ten years ago after being inspired by friends from IISc Bangalore and professional photographers at the Prabhu Photos studio on MG Road. The studio now sells Lomography products. 'Over the years, the number of analog users has expanded drastically, and now there are more than 10 excellent analog stores and studios throughout India. Most of the people who use analog media click photos as a hobby in excellent Lomographic style,' explained Chirantan. 'There are online analog photography groups consisting of around 1,000 members, including professional photographers. Additionally, there are technical sides like 3D printing for special equipment and adapters, making 35mm camera usable rolls from bulk movie rolls, adapting old movie and projector lenses to old and new cameras, stylising the old cameras, etc, that have arisen to support the Indian Lomography community in the recent past.' Ruby said that it took some time to get even fellow photographers to warm up to the modern, Lomography approach to shooting film. 'Initially, we got a lot of schooling about our photography style! And it took a long time for others to accept the contemporary style of photography. But, at present, I know at least 20 persons who have their modern style, and their photography style is very unique,' she said. Discussing their love for analog photography, the couple revelled in the creativity and freedom offered by the film format that many smartphone photographers today believe is limiting in nature. Chirantan said he liked to experiment with multiple exposures, long exposures, tilt shift shots, red scale photography (flipping the loaded film in the camera before shooting), and cross-processed images. Ruby enjoyed Lomography's film rolls that came with subtle colour distortion. 'I need to make a special mention of purple chrome, which creates a purple forest!' she shared. The couple also shoots on digital cameras, but Chirantan and Ruby find themselves yearning for the film-based medium. While a digital photographer can flick through numerous automatic modes and settings, Ruby explained that a film photographer's choice of film roll can drastically change even the way they construct their shot. 'To be honest, digital photography demands richness!' said Ruby. 'A new camera model is launched frequently with new features and promises. Then editing them takes forever, because it depends on mood! But with film photography, it is irreplaceable, and I know its potential. If I want to click a good sunset photo at the beach and carry a black and white film (bad choice!), instead, I would wait for someone wearing white breezy clothes or fur babies to come before my camera.' Chirantan has tried out innovative ways of blending digital and analog camera hardware for better photos. At the end of the day, however, film photography calls them both home. 'We started using DSLRs in 2011 and got bored pretty soon with the color and tones. Adding a digital full frame and a few prime lenses from the analog era, adapted to the digital, gave much better results and more freedom. But then we started using the analog bodies with those lenses and were surprised to experience what we were searching for. We particularly enjoy the entire slow-paced process full of surprises and, of course, the imperfections, tone, and color produced in the analog medium,' Chirantan said. 'In these busy times, I feel content through film photography.'
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Korea Herald
4 days ago
- Business
- Korea Herald
[Bio USA] Korea Bio opens largest national pavilion at Bio USA 2025
BOSTON — The Korea Bio, in collaboration with KOTRA, has showcased the largest national pavilion at this year's BIO International Convention, occupying an expansive 1,800-square-meter space. Featuring booths for 51 companies and organizations, the Korea Pavilion was bustling with company officials engaging with visitors, hosting investor relations sessions and showcasing their innovations on the first day. 'Korea securing the largest exhibition space among all national pavilions is a clear signal that the global market recognizes the potential of Korean biotech,' said Lee Seung-kyu, vice chairman of Korea Bio, during a press briefing at the pavilion on Monday. 'This year's event particularly reflects heightened global market volatility post US presidential election,' Lee said. 'It's not just industry players, but government agencies, regulators and moderators from the regulatory sphere participating as well. The atmosphere underscores how biotech is no longer just a promising sector, but it's becoming a 'strategic asset' for national interests.' The vice president also pointed to the rise of aggressive competitors in the region, including India, Thailand and Indonesia, and most notably Japan, which is stepping up its presence in the global biotech space. 'Fujifilm for instance, which previously focused on chemicals, has now transformed into a full-fledged life science company with a well-established system. They're actively expanding, building new manufacturing facilities in the US," Lee explained. Looking at countries such as Thailand and Indonesia that are ramping up investment in biotech, Lee insisted that Korea must secure a "meaningful position" within the next 'three to five years.' Lee also commented on former US President George W. Bush's scheduled keynote address on Tuesday, saying it reflects how seriously the US regards the biotechnology sector. 'The US is increasingly anxious about being outpaced by countries like China, and from what I hear within the American biotech community, even they are tense about those unpredictable policy changes,' Lee said. With the US government now scrutinizing issues such as inflated drug prices and health insurance premiums, the vice president believes this could benefit the biosimilar sector, and Korean companies may be well-positioned to capitalize on the shift. Lastly, Lee emphasized Korea Bio's commitment to becoming a unifying force for the nation's biotech industry by fostering greater collaboration across institutions to strengthen Korea's position in the global value chain. 'For global big pharma, CDMO capabilities are important, but drug discovery and innovation are also crucial touchpoints. Korean companies have so far made strides as 'fast followers,' but now is the time to become 'first movers,'' he said. 'To support this transition, the new Korean government must also provide policy-level support from a truly global perspective.'
