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Tom's Guide
10 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).
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.
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.
Tom's Guide
12-06-2025
- Tom's Guide
Fujifilm finally just announced the X-E5 — here's everything that matters
Fujifilm has just announced the X-E5: the long awaited and much anticipated upgrade from the discontinued Fujifilm X-E4. More compact than the Fujifilm X-T line (some of the best mirrorless cameras you can buy), the X-E line is back with Fuji's 40.2MP sensor, plus a new film simulation dial, viewing modes and an OVF simulator. While it shares most of its internals with the Fujifilm X100VI, with interchangeable lenses, the X-E5 is pitched at anyone who wants the form of the X100VI, but more creative freedom, or who has so far missed out on that in-demand camera altogether. I got to test the X-E5 on some of the most beautiful architecture in Valencia and I'll be sharing my detailed thoughts in a separate article. We'll also be reviewing the camera fully very soon. But for now, here is everything you need to know about the Fujifilm X-E5. Unsurprisingly, the X-E5 has received significant upgrades from the X-E4. The most notable difference is Fuji's X-Trans CMOS 5 HR 40.2MP sensor and X-Processor 5 combo as we've already seen in the Fujifilm X-100VI and Fujifilm X-T50, where the X-E4 only had a 26MP sensor. The X-E5 also has in-body stabilization which is new to the X-E range. IBIS, new features and an improved build (such as the aluminium top plate and a better grip) make it 81 grams heavier than the X-E4 at 445 grams — not so ideal in a street camera but maybe worth it for the increased usability brought by IBIS. The X-E5 has a 0.39-inch OLED viewfinder with a 3-inch, 1.04 million dot LCD screen at the rear. The LCD screen of the X-E4 was actually 1.62 million dots, so we've lost some quality here, but the size and touch screen capabilities remain the same. That being said, neither of these are as crisp as the 1.84 million dot LCD screen of the X-T50. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. The X-E5 does have a few tricks up its sleeve though, with its EVF and display, which I will get into later. The rear monitor extends and tilts 180° like the X-E4 to help achieve perfect angles without getting on the floor. It even flips up so you can get selfie-style shots too. The controls are, as with most Fujifilm cameras, tactile and about as user friendly as you can get. There are the typical retro dials on the top panel, with the addition of a new film simulation dial, that I'll cover below. The X-E5 uses Fuji's NP-W125 battery, the same as the X-E4. It has a battery life rating of 400 shots (CIPA), and I got 398 before the camera died on me. This slimmer battery allows the the profile of the grip to remain small. Unfortunately, like the X-E4, the X-E5 is not weather sealed, so while it's great in the sunshine and dry weather, it's not one to take out on rainy days. Most importantly, as I mentioned earlier, the X-E5 is the first in the X-E series to get IBIS, which is big news — if you've spent time dwelling on camera forums, this is something the community has been pining for. The X-E5 uses the same five-axis IBIS mechanism we've seen in other recent Fuji cameras like the Fujifilm X-S20, X-T50 and X100VI, for up to 7 stops. It was a solid system to begin with, allowing sharp results at low shutter speeds as low as 2-secs in the X-S20. However, in the X-E5, the detection accuracy of the gyro sensor has been improved over previous models to enhance responsiveness to shake, according to Fujifilm. Continuing Fuji's trend of adding simulation dials to everything, the X-E5 has (you guessed it) a film simulation dial with a display window on top, and three of these can be programmed with your own recipe presets. There is now a toggle on the front of the camera that allows you to alter the aspect ratio visible through the EVF and in SOOC (straight out of camera) JPEGs. This operates the Surround View Function, too, which allows you to see outside the boundaries of your chosen frame/aspect ratio, to simulate an Optical Viewfinder (OVF). There's also a Classic Display mode, which tidies up the image's information at the bottom of the frame to provide a stripped back and more engaging experience. Could these features be a death knell for the X-Pro line, with its hybrid EVF/OVF and emphasis on purity of experience? Just like the Fujifilm GFX100 RF, the X-E5 comes with a rope strap included that is padded around the neck. So while it is a little heavier than the X-E4, it is still super comfortable. The X-E5 launch comes with the news of an interchangeable pancake lens — the XF 23mm F2.8 R WR. At 23mm focal length, this lens offers a slightly wider field of view than the 27mm pancake kit lens of the X-E4, making it a little better for wider street scenes or architecture. The minimum focal distance of the lens is a relatively short 20cm so I was able to get some great detail shots in my time with it. Following on from the X-E4 and its 27mm kit lens, the X-E5 camera body isn't weather resistant, but the lens is. The lens won't be available for purchase separately until November 2025. While the camera is certainly suitable for casual shooters who want a sleek street camera with film simulations, it's quite the investment, and is priced for enthusiasts, just like the X100VI. Available in all black or with silver accents, the camera is priced at $1,699 / £1,299 for the body only and $1,899 / £1,549 for the kit. The kit includes the camera body and the new pancake lens. The prices have been pretty significantly affected by the tariffs in America. This puts the X-E5 on the more expensive side of the X series cameras, with the X-E4 originally being priced at $849 for body only, so even without the effect of the tariffs, this is a stark price jump.
