Did I Buy the Fujifilm X-T5? Should You?

Just yesterday Fujifilm announced the brand-new X-T5, and I’ve been inundated with questions of whether I’ve preordered it or not. Before I give my answer to that, I want to share my opinion (and it’s just an opinion) on who should buy the X-T5 and why, and who should pass on it. I’m sure many of you are considering purchasing it and are on the fence, so hopefully this helps you.

I think it’s important to have some perspective. New cameras come out all of the time, and each time there’s a lot of hype, which causes FOMO (fear of missing out) and GAS (gear acquisition syndrome), neither of which are good things. I’ve often said that it’s better to invest in experiences than gear—what kind of epic journey could you embark on with $1,700?—and the gear you already have is more than good enough. “Better” gear will never make you a better photographer, but using your gear more often will, especially if you can make an honest evaluation of your photographs and really consider what lessons they have to offer—each exposure, whether failed or successful, is a learning opportunity if you are open to it. It’s always a good idea to take the new-camera hype with a large grain of salt by keeping a healthy perspective.

The Fujifilm X-T5 looks like and seems like a very wonderful camera. Fujifilm listened to those who complained about the X-T4, and made the X-T5 more like the X-T3. That’s good, unless you like the X-T4 more than the X-T3 (there are some who do), then you might not appreciate the X-T5; otherwise, you’re likely to consider the X-T5 to be a nice improvement. Are those nice improvements enough that you should consider purchasing it?

If you print your pictures poster-sized, the X-T5 is for you, because it has all that extra resolution. If you crop extensively, the X-T5 is for you, because—you know—40mp and all. If you find the autofocus on your current model to be insufficient, then the X-T5 is for you, because they improved that. Need to shoot 6K video? The X-T5 is for you. Need IBIS? The X-T5 has it. If your camera is too big and you’d prefer something smaller, depending on the camera you have and how small you want to go, the X-T5 might be for you. Just got to have Nostalgic Negative and “improved” Auto White Balance? Well, the X-T5 has it. None of those things apply to you? Then I would suggest passing on the X-T5.

A lot of times when a new camera is released, it takes two steps forward and one step backwards. I think this is so some future iteration of it can add it back in and call it a new feature or improvement. For the X-T5 it is the optional vertical battery grip, which isn’t an option for the new camera. For most people this is no big deal, but for some this is a dealbreaker, so it is worth pointing out. I have a feeling that once the X-T5 is released, we’re going to start getting reports of overheating issues, so keep that in mind, too.

Hummingbird Feeder Along a Wall – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome” – I captured this picture today

I started a new short-term project: I’m photographing exclusively with my Fujifilm X-T1 from the announcement date of the X-T5 (yesterday) until the release date (the 17th). The X-T1 started the X-T line and is such an important camera in Fujifilm’s X-series heritage. It’s eight-years-old now (almost nine), so it can’t be any good, right? Well, no surprise to me, it’s still a highly capable camera worthy of use in 2022. In fact, the X-T1 has one advantage over all other X-T cameras, including the X-T5: the file sizes are smaller. That means I can capture more pictures on an SD card, it takes less time to transfer the pictures from the camera to my phone, the pictures take up less space on my phone, the pictures upload more quickly to my cloud storage, the pictures use less cloud data, and the pictures download from cloud storage more quickly. Less is more sometimes. Even though the X-T5 is capable of saving in HEIF, which saves space, the files will still be significantly bigger than those from the X-T1. Certainly, though, the pictures from the X-T1 aren’t good enough for printing, though, right? Nonsense! Some of my favorite pictures that I’ve ever printed were captured on a Fujifilm X-E1, which is even older than the X-T1.

Now I’ll answer the opening question: did I preorder the Fujifilm X-T5? Yes, I did. The silver one. Why? One reason, and one reason alone: Nostalgic Negative. I don’t think this new film simulation is going to be my favorite. I don’t think I’ll like it as much as Classic Negative, Classic Chrome, Eterna, or Acros. But I really want to try it and see what Film Simulation Recipes I can create with it. I think it will be fun to do that. Which brings me to another point: if some new gear will bring you joy, even if it isn’t meeting any other need, then it might be worth it. Maybe. It could be short term joy, and later you’re asking yourself why you didn’t use the money to visit a National Park or something instead, so you better be sure that you’ll really enjoy it for some time to come. The X-T5 doesn’t meet any other need for me. I don’t need the extra resolution, and, in fact, I’m not looking forward to that aspect of it. I don’t need the improved autofocus, as I find the autofocus of the X-T1 to be good enough for me, and the X-H1, X-T30, X100V, and X-E4 that I own are even better. I don’t shoot video (my wife does on her X-T4), and I have no need for 6K. I don’t consider IBIS to be important for any of my photography, but if for some reason I do need it (such as a long telephoto lens in dim light), I use my X-H1, which has IBIS. I have a lot of smaller camera bodies already, so I don’t need another—in fact, I suspect that bigger and heavier lenses will balance better on the X-T3 and (especially) X-T4 than the X-T5. The new and improved Auto White Balance is intriguing, and I’m curious how that affects recipes, but that’s definitely not a selling point for me. The only thing about the X-T5 that makes me want to buy it is Nostalgic Negative, which I’m really uncertain if that’s a good reason to spend so much money (my brain says no, my heart says yes), but I really look forward to using Nostalgic Negative and experimenting with it—I’m quite excited for that!

Should you buy the X-T5? That’s a question only you can answer. I can offer my best advice, but you should take it with a grain of salt, because everyone’s wants and needs are different. I can offer my perspective, but I would recommend getting advice from others, and go with whichever one makes the most sense to you.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Preorder your Fujifilm X-T5 in black:  Amazon  B&H
Preorder your Fujifilm X-T5 in silver:  Amazon  B&H

Which Film Simulation Recipes, When? — Part 2 (X-T3 & X-T30)

Sunset Cyclists – Farmington, UT – Fujifilm X-T30 – “Velvia v2

Part 1 Part 3

When should you use which Film Simulation Recipes on your Fujifilm X-T3 or X-T30 camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is important to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.

What makes Part 2 more challenging than the first article is that the X-T3 and X-T30 cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipe at the same time, which is the one downside to doing this. What I set out to do with this article is recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type, or, if they do, share the same shift. It turned out to be a somewhat impossible task, but I think I came up with a good set for you.

Also, if you have a newer X-Trans IV camera (or X-Trans V), you can use these recipes, too, by simply setting Color Chrome FX Blue to Off, Clarity to 0, and choosing a Grain size (either Small or Large). While Part III will cover X-Trans III, some of these recipes are compatible with X-Trans III cameras; the key is to look for whether they call for Color Chrome Effect or not—if not, it’s compatible with X-Trans III. Also, X-Trans III recipes are fully compatible with the X-T3 and X-T30 (just set Color Chrome Effect to Off), but I avoided those recipes for this article because I wanted to save them for Part 3.

Let’s dive in!

C1 — Fujichrome Sensia 100 — Golden Hour

Sunrise Lamp – Buckeye, AZ – Fujifilm X-T30 – “Fujichrome Sensia 100”

Fujichrome Sensia 100 is one of my favorite recipes for sunrise and sunset colors. It does pretty well throughout the entirety of “golden hour” but when the sky is pink and purple and red it does especially well. This recipe is an excellent option for shade, and does pretty well in many situations, including natural light portraits, so it has some good versatility. It uses the Fluorescent 2 (sometimes called Neon 2) white balance type; if I wasn’t concerned about white balance type, I would strongly consider Kodak Portra 400 v2 instead of this one, but I do think Fujichrome Sensia 100 is a solid choice for “golden hour” photography.

Alternatives for “golden hour” photography:

Kodak Portra 400 v2
Velvia
Velvia v2

Kodacolor
Vintage Kodacolor

C2 — Kodak Vision3 250D — Midday

Working – Salt Lake City, UT – Fujifilm X-E4 – “Kodak Vision3 250D

This was actually a really touch decision because there are so many great options for “midday”—which simply is daylight outside of “golden hour”—and I had to choose one, so I went with Kodak Vision3 250D. This is such a good (and underutilized) recipe, and does well in a number of situations, including “golden hour” and shade and portraits and (of course) midday. It uses the Fluorescent 1 (sometimes called Neon 1) white balance type; if I wasn’t concerned about white balance type, I could go with Kodachrome 64 or Kodak Portra 160 or Kodak Gold 200 or (of course) Kodak Vision3 250D and be very happy with any of them, they’re all good.

Alternatives for “midday” photography:

Kodachrome 64
Kodak Portra 160
Kodak Gold 200
Fujicolor 100 Industrial
Urban Vintage Chrome

C3 — Classic Slide — Overcast

Winter Reeds – Farmington, UT – Fujifilm X-T30 – “Classic Slide”

The Classic Slide recipe is one of my top choices for heavy overcast, rainy, dreary days. It’s also good for shade or midday or even “golden hour” photography—it’s another recipe with some good versatility. It uses the Daylight white balance type; if I wasn’t concerned about white balance type, I’d still choose this one, but Negative Print is a good runner up.

Alternatives for “overcast” photography:

Negative Print
Eterna

Eterna v3
Fujicolor Pro 160NS
Lomography Color 100

C4 — Cinematic Negative — Indoor

Scrabble – Buckeye, AZ – Fujifilm X-T30 – “Cinematic Negative

Cinematic Negative is a very versatile recipe, and I like it for all of the situations we’ve talked about above, but I also like it for indoor photography, both natural light and (to an extent) artificial light (although I would consider a “Nighttime” recipe below as a first choice for artificial light). It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, Analog Color would be my top choice for indoor natural light photography, but Cinematic Negative is a close second, so I’d be happy to have it in C4, where it could also be used for a number of other situations.

Alternatives for “indoor” photography:

Analog Color
Color Negative
Fujicolor Pro 400H
Warm Contrast
Polaroid II

C5 — Jeff Davenport Night — Nighttime

Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – “Jeff Davenport Night”

If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use. Period. It uses a Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this recipe, no questions asked.

Alternatives for “nighttime” photography:

Kodacolor VR
Porto 200
Fujicolor Pro 400H Overexposed
Eterna Low Contrast

Polaroid

C6 — Expired Eterna — Alternative Process

Bloom Purple – South Weber, UT – Fujifilm X-T30 – “Expired Eterna”

The “Alternative Process” category is a fun one. These are recipes you probably wouldn’t use all of the time, only occasionally just for the joy of it. I chose “Expired Eterna” because of the white balance type—Auto—but if I wasn’t concerned about white balance type, I would choose Redscale, Cross Process Film, or Kodak Elite Chrome 200 Color Fade—any of them, they’re all fun. Vintage Color Fade also uses Auto white balance, but I didn’t choose it because it requires double-exposures, which can be tricky, but if you’re up for the challenge, go with that one instead.

Alternatives for “alternative process” photography:

Redscale
Cross Process Film
Kodak Elite Chrome 200 Color Fade
Vintage Color Fade
Cyanotype

C7 — Dramatic Monochrome — B&W

The Obscurity of Light – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”

Last but not least is B&W, and for that I chose Dramatic Monochrome, which is a good recipe that I really like. It uses Auto white balance without a shift; however, the other Auto white balance recipe (Expired Eterna above) does use a shift. How I would handle this is I wouldn’t worry about the shift for this recipe, just use the shift of Expired Eterna, because, while white balance shift does affect black-and-white pictures, it’s not as big of an impact as color images, and it won’t significantly change the aesthetic of Dramatic Monochrome—only subtly—and you’re not likely to notice, so I just wouldn’t worry about it. If I wasn’t concerned about white balance type, I would choose Kodak Tri-X 400 (read the article for that recipe to see how to make it compatible with the X-T3 and X-T30), because it is my favorite Film Simulation Recipe.

Alternatives for “B&W” photography:

Kodak Tri-X 400
Agfa APX 400

Monochrome Kodachrome
Ilford Delta Push-Process
Ilford HP5 Plus 400 Push-Process

Part III

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Just Announced: Fujinon 30mm f/2.8 Macro

Fujifilm just announced a new lens: Fujinon 30mm f/2.8 Macro. This is a “standard” prime lens with a 45mm (equivalent) focal-length. It’s a macro, and its closest focus distance is about 4″ from the sensor, which is great. While the f/2.8 maximum aperture may not sound especially exciting, it’s important to know that impressive maximum apertures aren’t a big deal on macros. The 30mm f/2.8 macro has a linear motor and is weather-sealed. Overall it seems like a high quality Fujinon lens.

I love macro lenses because they’re often very sharp and quite versatile. The one downside is that there’s a lot of range to scroll through when focusing, and because of this they’re not quite as quick as non-macro lenses. In Fujifilm’s lineup, you have two other macro options: the 60mm f/2.4 and 80mm f/2.8. The 60mm is old, slow, and optically inferior, although still a good lens. The 80mm is excellent optically (one of the absolute best, actually), but is bulky and expensive. At $600, this new lens is not overly costly, yet seemingly quite capable and pretty compact. This new 30mm option will be an appealing choice for those interested in macro photography, or those wanting a good walk-around lens with extra versatility.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Preorder your Fujinon 30mm f/2.8 Macro: Amazon B&H

Orders will apparently ship on November 17.

In other (but related) news, AstrHori has released a 28mm f/13 Micro Probe lens that has 2x magnification! If you want to get really close, and do some crazy closeup pictures of bugs or flowers, this is a lens to strongly consider. I don’t think you’d put this unusual lens on your camera for street photography or portraits—you might poke someone’s eye out—but for true macro photography, this is one you’ll want to take a good look at. If you are a dedicated macro shooter, this is a lens to get excited for; however, with that said, I’ve never used it and cannot attest to the image quality—I don’t doubt that it’s decent, I just have no firsthand experience. If you only occasionally dabble in macro photography, then the Fujinon 30mm is probably a better choice for you. The good news for macro photographers is that you have two new options. Yea!

The AstrHori 28mm f/13 Micro Probe is available for $739 on Amazon.

Just Announced: Fujifilm X-T5!!!

Fujifilm just announced the brand-new X-T5!

What makes this camera special? Who should buy it?

To understand the X-T5, one has to go back in time a few years. The X-H1 was Fujifilm’s original flagship, but due to poor timing on its release and an overly aggressive initial MSRP, it didn’t sell well. Fujifilm thought this camera was going to be a huge hit, but instead it flopped… at least until it was heavily discounted. Those who own an X-H1 love the camera, and regard it as one of Fujifilm’s best, a true workhorse. The X-T3, which was announced just months after the X-H1 was released, more or less killed the X-H1, just because it was the first X-Trans IV camera while the X-H1 was the last X-Trans III model. The X-T3 would become Fujifilm’s top selling camera of all time, and was only recently discontinued. The X-T4 came out when the X-T3 was just over a year old, and Fujifilm sold them both at the same time because the X-T4 wasn’t really the X-T3’s successor, but instead was another attempt at a flagship model, kind of a cross between the X-H1 and X-T3 (but with compromises that both X-T and X-H users weren’t thrilled about). Now that Fujifilm has released the X-H2 and X-H2s cameras, there isn’t a “need” for the X-T4, and it’s being discontinued. That brings us to the X-T5, which is the successor to both the X-T3 and X-T4, but is more like the X-T3 than the X-T4, yet sharing a legacy with both models. Make sense?

What makes the X-T5 special is that it walks back some of the unwanted “improvements” of the X-T4—yet improves upon the appreciated features of the X-T4—while in a package more similar to the X-T3, and with the new sensor and processor of the X-H2. So is it better than the X-T3? In many regards yes, in some regards it is a wash (not better or worse), and in a couple of regards no. Is it better than the X-T4? This depends on your definition of better, because the X-T4 was actually a more premium model, but with curious design choices that some don’t appreciate—if that’s you, then, yes, the X-T5 is better, but if you really like the X-T4, the X-T5 might be seen as a step backwards in some ways. I will say this: my wife has an X-T4 that she really loves, but she would prefer the screen of the X-T3/X-T5, so that makes it potentially a better camera for her. I say “potentially” because the screen is just one factor. If the X-T4 handles heat better—say, if the X-T5 has overheating issues when recording video—then that wouldn’t work out well, because she uses it more for for video than stills. “Better” is a subjective term, anyway, that’s perceived much differently depending on the person and how they use their gear. What’s “better” for one person might not be “better” for another—at all depends on your point-of-view.

But isn’t X-Trans V better than X-Trans IV? X-Trans IV was such an outdated sensor and overall technology, while X-Trans V is the pinnacle of APS-C camera technology advancements—doesn’t that mean it’s unquestionably better? That’s tough to say. I’m reminded of when Syndrome, in the movie The Incredibles, describes his new-and-improved superhero-destroying robot. “It’s bigger, it’s badder, ladies and gentleman,” Syndrome announces, “and it’s too much for Mr. Incredible!” Similarly, there’s no doubt that the X-T5 is metaphorically “bigger and badder” than the X-T3 and X-T4 (physically, it’s smaller than the X-T4), but perhaps “it’s too much for” most photographers. While some have decried the X-T3 and X-T4 as disappointments or not “good enough” for some reason, for the vast majority of photographers, both of those models are well above and beyond anything that they actually need. And, of course, with more megapixels come additional challenges—sometimes less is more. The point of this paragraph is that, yes, the technology of X-Trans V is surely an improvement, but, at a point of diminishing returns, do you really need those improvements? Some of you do, many of you don’t—and for those who don’t, the improvements of the X-T5 are really paper improvements and not something that will likely affect your photography in any practical way.

What I just stated is important because some of you right now are trying to decide if you should upgrade, and everyone’s telling you that you should. There’s a whole lot of hype—some FOMO and GAS even—and you’re not sure what to do. I will give you my advice as someone who has never touched or seen in-person an X-T5. Take it for what it’s worth, which is probably not a lot.

If you have an X-T2 and have been thinking of upgrading for awhile, but the X-T3 was too similar to the X-T2 (not enough of an upgrade), and the X-T4 had that darn flippy screen you didn’t like, then you’ll likely really appreciate the X-T5. If you have the money and desire, just do it and get it—I feel like this is the group that the X-T5 makes the most sense for. Those with an X-T3? I have a hard time with this one, because it might be a big difference for you, or it might be pretty much the same thing that you already have, depending on how you use the camera. Those who shoot JPEGs will likely find it significantly different with the new film simulations and JPEG options (although it doesn’t appear to be a whole lot different than the X-T4 in this regard). If you print your pictures poster-sized, those extra megapixels will come in handy. If you somehow find the autofocus lacking, that’s been improved. Use it for video? There’s some improvements there, too. Need IBIS? It has it. But if those things don’t matter that much to you, the X-T5 isn’t all that much different than the X-T3, and won’t necessarily be an improvement for you. So my suggestion to those considering upgrading from the X-T3 to the X-T5 is to think long and hard about how you use your camera and where you find it lacking, if you find it lacking at all. Those with an X-T4, the X-T5 is only an upgrade for you if you hate the flippy screen, if you somehow find the autofocus lacking, print posters, or need a slightly smaller body (apparently the X-T5 is just larger than an X-T1); otherwise, the X-T5 isn’t really an upgrade for you, and I don’t recommend getting the new camera. Still using an X-T1? Buy a used X-T2 or X-T3—there’s about to be a whole bunch of them. So to summarize, the X-T5 makes the most sense as an upgrade for those who currently have an X-T2; it’s 50-50 for those with an X-T3, depending on how you use your camera; many of those with an X-T4 will likely not trade in for the new model, although some will, obviously.

We’ve talked about upgrading from a like-model, but what about those who have some other camera? If you’ve been using an X-T20 or X-T30 and wanting a more premium model, the X-T5 might be just that for you. I don’t think it should be underestimated how many will be moving up from one of those models to an X-T5, or perhaps a used X-T3 or X-T4. I suspect that a used X-T3 will be pretty easily found for $700-$800 in the coming months—they’re still exceptional cameras, and that will be very tempting for those who don’t have $1,700 to drop on an X-T5. For those with an X-H1, I think the X-T4 is just as much (if not more so) of an “upgrade” as the X-T5 (for those who don’t consider the X-H2 and X-H2s to be the “real” successors), and obviously neither are really upgrades, so I don’t see the X-T5 as particularly appealing to the X-H1 owners, although I’m sure some will take the bait. I do believe that those who own an X100V as their only Fujifilm camera (and that’s a significant group… it really is a gateway into the Fujifilm system) will take a long look at the X-T5, as they should, and some will buy.

You might think, reading all of this, that I’m not especially excited for this camera, but you couldn’t be more wrong. I believe that Fujifilm is trying to do the right thing with the X-T5. Fujifilm walked back a lot of the changes that they made to the line with the X-T4, because those changes weren’t appreciated by the majority of X-T users. They did what they should have done (and what I previously suggested that they should do) and make the X-T5 more like the X-T3 and less like the X-T4. Bravo! I think the X-T5 is an important camera for Fujifilm, and a lot hinges on its success. I truly hope it’s a smashing success for Fujifilm, and I think it will be. With that said, I don’t work for Fujifilm, and I want to give good advice—honest advice—to my community, and the best advice I have is this: you shouldn’t upgrade with every new model release, experiences are more valuable than gear, and new gear will not make you a better photographer. On the flip side, if you have the money, and the X-T5 will help your photography in some way or make it more fun, then it definitely might be worth the expense. Only you can decide that for yourself. Trust your gut, and either go for it or pass, and feel good about that decision, whatever it is.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Preorder your Fujifilm X-T5 in black: Amazon B&H
Preorder your Fujifilm X-T5 in silver: Amazon B&H

Orders will apparently ship on November 17.

Creative Collective 033: FXW Zine — Issue 12 — November 2022

The 12th (yes, 12th!) issue of FXW Zine is out, and if you are a Fuji X Weekly Creative Collective subscriber, you can download it now!

What’s in the November issue? The cover story is about embracing blur! Have you noticed the recent blurry picture trend? In this issue we dive into the what, how, and why of it all. There are 22 pictures, including the cover, across 16 page.

If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first eleven issues, too!