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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).
Tom's Guide
4 days ago
- Tom's Guide
I think the new Fujifilm X-E5 is overrated — and I'm so glad I bought this camera instead
I'm no stranger to Fujifilm cameras. The Japanese giant has made some of the best mirrorless cameras and the best instant cameras I've had the pleasure of using and reviewing. Having tested cameras from the likes of Canon, Sony, Nikon and Panasonic, I keep coming back to Fujifilm. To me, Fuji cameras feel magical with film simulation recipes that are just way too delicious. So, of course, when Fujifilm announced the brand new X-E5, I was intrigued, and why wouldn't I be? It features a 40MP sensor, utilizes the X-Trans CMOS 5 processor, and has a film simulation dial... wait, that sounds an awful lot like the X-T50. And the X100VI. The Fujifilm X-T50 succeeds and improves on the X-T30 II, and it packs a punch with a huge 40.2MP sensor, excellent in-body image stabilization and reliable autofocus. It's also the first Fuji camera to sport a dedicated film simulation dial on its body for maximum (and easy-to-reach) creativity. As soon as the X-E5's product page went live, I quickly compared its specs against the X-T50 — a camera that had been sitting in my online cart for nearly a month. Nothing jumped at me (except for the price), and nothing made me go, "Okay, I'm waiting until August now." So what did I do? I paid for the X-T50 and within three days, it was in my hands. Do I regret it? No. Should you buy the X-T50 instead of the X-E5? That depends. Let me show you why I pulled the trigger when I should have done so a month ago. I have a soft spot for the Fujifilm X-T50: it's the first mirrorless camera I reviewed for Tom's Guide, and I immediately fell in love with its design. The charcoal gray colorway is stunning, and the metal alloy used in the construction of its top plate lends the X-T50 a premium edge. One of the X-E5's most significant selling points is its compact design, with a body measuring 4.9 x 2.8 x 1.5 inches. Even when combined with the new 23mm pancake lens, the size change is negligible, allowing you to slip the camera into your pocket and go about your day. However, it's not as if the X-T50 isn't portable either, measuring 4.8 x 3.3 x 1.9 inches. Its current kit lenses are bulkier than the pancake lens, but even then, a handbag is more than enough for transport. No, scratch that, I'm hanging the X-T50 around my neck because it's such a gorgeous camera — why wouldn't I want to show it off? It's not heavy either, weighing 15.5 ounces (0.2 ounces lighter than the X-E5, actually). When I tested the Fujifilm X-T50 back in May 2024, I took some lovely photos (if I can toot my own horn for a second, thank you), and you can scroll through the sample gallery above. The X-T50, like I mentioned up top, boasts a 40.2MP sensor with Fuji's latest X-Trans CMOS 5 processor, just like the X-E5. Having that many megapixels at your disposal gives you some room for tight crops. Both cameras' autofocus systems remain the same, too, utilizing 425 AF points to lock onto animals and humans. Fuji's color science is mindblowing, as always, and both cameras sport dedicated film simulation dials. You can quickly swap between recipes and assign custom ones too. The X-T50 is a year old — which isn't old at all, in camera terms — and I think it's severely underrated. I get the appeal of the X-E5. It's a shiny new thing that online forums have quickly dubbed the savior of the X-E lineup. But the X-T50 shouldn't be underestimated. I believe it's the camera for those who don't want to spend too much money but still achieve beautiful colors and be able to change lenses. Let's talk about the elephant in the room: the price difference between the Fujifilm X-E5 and the Fujifilm X-T50. The X-T50's body retails for $1,399 / £1,299, and if you're in the U.K., it's currently down to £1,039 at Amazon. On the other hand, the X-E5's body (currently available to pre-order) retails for $1,699 / £1,299. Both cameras are the same price in the U.K., but the X-E5 is pricier in the U.S. — and attaching the new 23mm pancake lens to the camera drives its price up by $200. Or you could get the X-T50 with a 15-45mm lens for $1,499 / £1,399, which isn't shabby at all. Specs-wise, the X-T50 one-ups the X-E5 in a few ways. Its 1.84 M-dot touchscreen is better than the X-E5's 1.04 M-dot one. It features a built-in flash for low-light shooting. It can shoot RAW video, which the X-E5 cannot. Both cameras' electronic shutters can shoot 20fps bursts. If you can afford it without thinking twice about the money leaving your account, I can't think of any reason to stop you from buying the X-E5. But personally, for me, the X-E5 didn't offer anything enticing enough to tempt me away from the X-T50. Sure, the flip-up screen for taking selfies is a thoughtful addition, but I'm not a chronic selfie-taker, so it's not useful enough for me. There's also a new front control lever to toggle the Surround View function, which I didn't use much even when testing the Fujifilm GFX100RF. It's simple, really: the X-E5 isn't the camera for me, but the X-T50 was always the camera for me, from the moment I first held it in my hands.
WIRED
7 days ago
- WIRED
Fujifilm's X-E5, New Bose Speakers, and Qualcomm's Smart Glasses Chip—Your Gear News of the Week
Plus: Sonos rolls out a software update for its Ace headphones. Courtesy of Bose; Fujifilm All products featured on WIRED are independently selected by our editors. However, we may receive compensation from retailers and/or from purchases of products through these links. Fujifilm announced a new camera this week, the X-E5, the latest in its X-E rangefinder-style mirrorless camera series. Think of the X-E as an interchangeable lens version of the X100. The big news in the X-E5 is Fujifilm's latest 40-megapixel APS-C sensor and 7-stop in-body image stabilization (IBIS). This is the first X-E series camera with IBIS, which Fujifilm says will gain you about 7 stops of handholding. The new sensor also means video specs jump to 6.2K at 30 frames per second (with a 1.23 crop) and 4K 30 fps full sensor video. The X-E5 regains the focus mode switch on the side of the body (notably absent from the X-E4), and adds a new film simulation dial. While many of Fujifilm's enthusiast-level cameras have this control, the one on the X-E5 can store custom presets with your own film recipes. One thing that remains unchanged is the weather sealing, which still doesn't exist here. Also disappointing is that the viewfinder remains small, with the same paltry resolution (2.36M dot, 1025 x 768) as the older model. The X-E5 will be available in the US in August for $1,699 for the body only and $1,899 for a version with Fujifilm's new 23mm f/2.8R WR lens, launching alongside the X-E5. To meet demand (something Fujifilm failed to do with the X-E4), the company won't be selling the lens as a standalone until late 2025. You can preorder it at Adorama or B&H Photo now. — Scott Gilbertson Bose Announces New Buds And Speakers Bose has a trio of new products incoming, including an update to some of our favourite earbuds. The QuietComfort Ultra Earbuds (2nd Gen) are getting a whole host of improvements, including better AI algorithms to help them filter out noise spikes more effectively and improve overall voice pickup and call quality. There's also wireless charging out of the box now, a new wax-guard, and a punchy, limited-edition Deep Plum colourway. They'll cost $299/£299, and can be pre-ordered now. Joining the buds are two new speakers, the SoundLink Plus and the SoundLink Micro (2nd Gen). No prizes for guessing the big difference between them, but the Plus is a new mid-range portable speaker that sits between the SoundLink Flex and the SoundLink Max in the range, while the Micro is an updated version of the company's smallest Bluetooth speaker. For the latter, Bose is promising improved sound quality—particularly in the upper frequencies—USB-C charging, a better 12-hour battery life and Bose app compatibility. The Plus promises a 'ready-for-anything' design that 'brings the bass,' along with a 20-hour battery, charging USB-C port, and IP67 rating. It'll be available in Black, Blue Dusk and summer-ready Citrus Yellow for $269/£249, while the Micro will cost $129/£119, with colorways coming soon. — Verity Burns Qualcomm Demos a New Chip for Smart Glasses At Augmented World Expo (AWE) this week, Qualcomm demoed its new Snapdragon AR1+ chipset designed for smart glasses, and its capability to run a small language model without the need to be tethered to a smartphone or rely on the cloud for processing. Right now, most smart glasses are designed to stay connected with smartphones, which will handle any processing for AI-related queries, like when you ask Meta AI a question via the Meta Ray-Bans (powered by the original AR1). But that sucks up valuable battery life and can also introduce some delay as the request ping pongs to the phone and back. By integrating the capability to process a small language model directly via the AR1+ chip on smart glasses, you can expect faster response, better battery life, and improved privacy as everything stays on device. That also means you don't need your phone nearby to get a response from an AI chatbot. The AR1+ chipset is also 26 percent smaller than its predecessor, which Qualcomm thinks will help make smart glasses slightly less cumbersome to wear. Improvements to power management also help make the chip more efficient, and the company has added image processing techniques from smartphones to aid smart glasses with built-in cameras to better understand the world around. 'You're not connected," Ziad Asghar, General Manager of XR at Qualcomm, tells WIRED. "You're still able to get a very good response back, such that you have continuity of experiences independent of whether you have your phone next to you or not.' Sonos Updates Its Ace Headphones Sonos this week announced several new software features for those invested in the brand's Ace headphones, including more natural call quality with the addition of voice side-tone, and upgraded noise canceling designed to account for changes in position around your ears from glasses or hats in real time, similar to rivals like Sony's new WH-1000XM6. Sonos has also upgraded the Ace's distinctive home theater functionality. The TV Swap feature, which beams audio from Sonos soundbars to the headphones with a tap, now works with two pairs instead of just one, based on requests from users. The Ace will also offer a new TrueCinema feature designed to emulate your listening space to provide a more immersive, customized experience that 'feels like you aren't wearing headphones,' according to the company's VP of Product, Chris Kallai. The free software update will begin rolling out to Sonos users globally this week. — Ryan Waniata
Tom's Guide
13-06-2025
- Tom's Guide
I flew to Europe to test the new Fujifilm X-E5 — it took my photography to a whole new level
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. Fujifilm X-T50: $1,399 @ AmazonCant wait until August? I'd recommend the Fujifilm X-T50. It features the same 40.2MP sensor and processor as the X-E5, plus a film simulation dial. It has more ergonmic handling than the X-E5, but still has bags of retro charm. 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 prove 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.
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.
