Hands on with the FUJIFILM X-E5

What is the X-E5 and who is it for?

The Fujifilm X-E5 has just launched – and if you’re looking for a headline, this thing is pretty much the interchangeable-lens version of the X100VI. It’s got the same sensor and processor, and it’s available bundled with a new 23mm pancake lens – the FUJINON XF23mmF2.8 R WR – that makes the whole set-up roughly the same size and weight as the fixed-lens model.

This is the first interchangeable-lens rangefinder body Fujifilm have released in over two years – which means fans of this style of camera have had to wait until now to get their hands on something combining the company’s most up-to-date X-Processor 5 and the 40-megapixel X-Trans CMOS 5 HR sensor.

This means it’s not a step forward in terms of imaging capabilities within the X Series, but more a case of achieving parity with cameras like the X-H2 and X-T5 – though that’s not to say there’s nothing innovative about the X-E5.

Given its form factor, it’s definitely geared towards travel, street and everyday photographers, though it packs enough oomph and has the versatility to deliver great results in all genres.

We took the new camera and lens around Valencia to put it through its paces.

X-E5 body and handling

While a popular camera at the time, 2021’s X-E4 drew some criticism from users over its stripped-back ergonomics and build quality – it was argued that the design felt somewhat flimsy, and that the lack of any kind of handgrip was a choice that bolstered the minimalistic aesthetic of the camera but impeded comfortable use.

Comparatively, the X-E5 has been beefed up – it’s got a nice, contoured grip for the right hand, while the machined aluminium top-plate gives an immediate feeling of robustness. And while the camera isn’t heavy by any stretch, this time round it doesn’t feel that Fujifilm’s primary objective was to create the lightest possible camera. At 445g (compared to the X-E4’s 364g) with battery and card, it’s perfectly portable while still having a reassuring heft to it.

There’s no weather sealing – which does feel like a bit of a miss for a travel-oriented camera, although there was zero call for it during my time in Spain. That does drive down its value as a daily camera though, when the comparable X100VI can be made weather resistant with its optional adapter ring.

Aesthetically, it’s a very nice camera to look at. I was using the retro-inspired silver version, though an all-black option is also available. Interestingly, it comes as standard with the same rope-like strap as the GFX100RF – a small touch, but one that underlines the fact that Fujifilm are pushing the premium, luxury aspect of this design.

With the new pancake lens attached, the camera weighs just 15g more than the X100VI, which is renowned for its portability. I found this set-up really easy to use at full stretch when getting creative with my compositions – aided by the tilting rear monitor – and in general found that it makes for a genuinely great travel camera, fitting neatly into a class of devices that you barely even register you’re carrying.

X-E5 specifications and performance

While the design of the X-E5 means that it’s going to be compared most often to the X100VI, internally, it’s actually identical to the FUJIFILM X-T50. It’s got the same sensor and processor combo and it uses the same IBIS system – though with an improved algorithm that now offers up to 7 stops of compensation in the centre of the image and 6 on the edge.

The 0.39-inch, 2.36m dot EVF is also the same as the X-T50’s, although the rear LCD is lower resolution, at 1.04m dots compared to the X-T50’s 1.84m. It would always be nicer to have more detail in either of these, but they’re both good enough to get the job done.

The X-E5 uses the same NP-W126S battery as the X100VI and X-T50. It would be nice to see more Fujifilm cameras using the larger NP-W235 seen in the X-T5 and X-H2, but there is clearly a limit to how sleek you can make a camera body while still finding room for a chunky high-capacity battery.

The X-E5 is rated for 310 frames in normal mode, or 400 in economy mode – and to be honest, I didn’t have any problems with the battery life whatsoever. I walked around for two days photographing almost non-stop (recharging overnight) and I didn’t run dry once – although I did have a fully charged spare cell with me, which certainly provided some peace of mind. I am quite diligent in turning my camera off between shots though – and if you’re a prolific video user, your mileage may vary.

In terms of performance, the X-E5 is standard-issue fifth-generation X Series. And by that, I mean excellent. If you’ve used any camera that’s got the same sensor and processor – so the X-H2, X-T5, X-T50 or X100VI – then you already know what the X-E5 is capable of. The image quality is brilliant and the autofocus works very well. The IBIS wasn’t hugely necessary for me, working in the bright Valencian sunshine, but it’s certainly nice to have if you have a penchant for lower shutter speeds.

There is something hugely gratifying about using a camera this small that packs so much resolution in. I think this is amplified by the fact that the EVF and LCD don’t have the best quality – so when you get the photos off the camera and look at them on a larger screen, the amount of detail you can uncover in post-processing is just incredible. I had a blast using it.

What’s new on the X-E5?

The X-E5 brings a number of new features to the table – the most obvious of which is the new Film Simulation dial on the top-plate. This redesigned control is integrated into the body of the camera, with an indicator window showing the currently selected profile.

Alongside the default simulations on the dial – Provia, Astia, Velvia, Classic Chrome, Reala Ace and Acros – there are three custom slots where you can assign Film Simulations and image quality settings, giving you instant access to your own custom Film Sim recipes.

I wasn’t convinced of the need for a Film Simulation dial on cameras like the X-M5 and X-T50 – especially when that dial was coming at the expense of something more functional like an exposure control. With the X-E5 though, this dial is an addition, not a replacement. This space was free real estate on the X-E4’s top-plate, so its inclusion makes a lot more sense to me.

I was a little resistant to using it at first – I love to tinker, so I’ve never been in love with the idea of baking a colour profile into my images from the offset. However, as the trip went on, I found myself getting to know which profiles would bring out the best of each scene and would set up the camera for a particular shot as I was walking up to take it.

There’s an argument that the Film Sim dial is made redundant by the fact you can assign Film Simulation control to one of the command dials – but that stopped holding water for me on this trip. Just like I’ll set my aperture and shutter speed up for a particular subject before switching the camera on, I got into the habit of selecting a Film Simulation as I saw the composition I wanted to make, and the permanent, visual nature of this control became vital to this style of working. I shot in RAW + JPEG for the whole trip, but almost all of the photos included in this article are the SOOC (straight out of camera) JPEGs.

Also new to the X-E range is the front Control Lever, previously seen on X100 cameras. This is fully customisable but by default it gives control (among other things) over the digital teleconverter function.

This was another feature I didn’t think I’d get much mileage out of, but it turned out to be exceedingly handy. By pushing the lever towards the lens, the camera cycles between 1x, 1.4x and 2x crops of your image. Working with a wider-angle lens like the new XF23mm, I often found myself wanting to punch in on details, and the camera has enough resolution that those cropped images are still very usable. Shooting in RAW + JPEG also retains the full sensor readout if you later decide you want to change things.

My favourite niche feature on the X-E5 is the Classic Display mode for the EVF. Activated by holding your eye up to the viewfinder and pressing the BACK/DISPLAY button, this setting simplifies the UI, just reading out the exposure settings in an old-school analogue style. Once I found this, I didn’t stop using it – and it’s definitely something I want to see on future Fujifilm models.

XF23mmF2.8 R WR pancake lens

Brand new with the X-E5 is the Fujinon XF23mmF2.8 R WR, a wide-angle pancake lens that offers a full-frame equivalent focal length of 35mm. Just like the camera, it’s available in both black and silver variants, and it’s designed to emulate the fixed lens found on the X100VI.

Weighing just 90g and measuring only 23mm in length, this is a tiny optic, but I was very impressed with its optical fidelity. It’s designed to resolve for the 40-megapixel sensor on the X-E5, and the DC motor can happily keep up with the autofocus on the latest X Series cameras.

The slightly wider field of view was ideal for photographing buildings and skylines, while the minimum focusing distance of 20cm came in handy for things like food – as a travel lens, it’s a really good choice. I brought a couple of extra XF lenses to use in order to see how the camera worked with optics I was more familiar with, but I honestly found myself not wanting to take the 23mm off.

FUJIFILM X-E5 pricing

The Fujifilm X-E5 will be available to buy from August 2025 in silver and black variants. The body only price will be £1299, while the XF23mmF2.8 R WR kit will cost £1549.

If you just want the new lens, it won’t be available separately until later in the year. Once released, the price will be £399.

X-E5 specs

Price: £1299 body only, £1549 XF23mmF2.8 R WR kit

Resolution: 40.2 megapixels

Sensor: APS-C format, X-Trans CMOS 5 HR sensor, 7728×5152 pixels

Image processor: X-Processor 5

Image formats: 14-bit Raw, JPEG, 10-bit HEIF, 8/16-bit TIFF (via in-camera Raw conversion only)

Storage media: Single SD/SDHC/SDXC card, UHS-II compatible

ISO range: Stills: 125-12,800, expansion to 64-51,200. Movie: 125-12,800, expansion to 25,600

Shutter: Mechanical: 15 min to 1/4000 sec. Electronic: 15 min to 1/180,000 sec. Bulb mode up to 60 min. Flash sync 1/180 sec or slower

Exposure system: PASM modes, TTL 256-zone metering. Multi, spot, average and centre-weighted

Monitor: 3in tilt-type 3:2 LCD touchscreen, 1.04m dots

Viewfinder: 0.39in OLED, 2.36m dots

Focusing: Single point 13×9, 25×17 zones; 3×3, 5×5, 7×7 zones from 117 areas on a 13×9 grid. Face/eye detection, subject detection: animal/bird/automobile/motorcycle and bike/aeroplane/train

Drive modes: Mechanical shutter continuous shooting at 8fps, electronic shutter 20fps (1.29x crop). Pre-shot 8/10fps, 10/13/20fps (1.29x crop)

Video: HEVC/H.265, MPEG-4 AVC/H.264, 6.2K (16:9) 6240×3510, DCI4K (17:9) 4096×2160, 4K (16:9) 3840×2160, Full HD and Full HD High Speed (17:9) 2048×1080, Full HD and Full HD High Speed (16:9)

Film Simulation modes: Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg Hi, Pro Neg Std, Classic Neg, Nostalgic Neg, Eterna/Cinema, Eterna Bleach Bypass, Acros with no filter and yellow/red/green filters, Monochrome with no filter and yellow/red/green filters, Sepia

Battery: One NP-W126S; 400 frames in economy mode, 310 frames in normal

Connectivity: HDMI Type D, USB-C, 3.5mm stereo mini connector, Wi-Fi, Bluetooth, hotshoe mount

Dimensions: 124.9×72.9×39.1mm

Weight: 445g (with card and battery)

Contact: fujifilm-x.com