Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 – FRGMT B&W
A couple of weeks ago Fujifilm announced the GFX100RF Fragment Edition, a limited-edition version of the GFX100RF, which will only be available in Japan. The camera was modified by fashion designer, producer, and artist Hiroshi Fujiwara, the founder of Fragment. Interestingly, it comes preloaded with a Film Simulation Recipe by Hiroshi called FRGMT B&W, which is in the Film Simulation menu in lieu of the Monochrome Film Simulation. This is the first official Fujifilm Recipe, and the first (as far as I’m aware) by Hiroshi Fujiwara. Fujifilm published the details of this Recipe within the GFX100RF Fragment Edition announcement, which means that anyone can use it, and not just those in Japan who purchase the limited-edition camera.
When I saw this, I knew that some of you would want to try the FRGMT B&W Recipe, so I shared it. I wasn’t going to make it an “official” Fuji X Weekly Recipe or include it in the Fuji X Weekly App unless I had permission to do so from those involved. I reached out to Fujifilm and asked for permission, but I knew it was a long shot. My request was forwarded up the chain all the way to Japan. I didn’t think the odds were very good, but, perhaps as a Christmas miracle, the answer came back pretty quickly. To my shock, yes, I do have permission, both from Fujifilm and from Fragment, to publish this Recipe. Wow!
Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W
It’s such an honor to get this permission, not only because it’s the first Recipe included in any of Fujifilm’s cameras, but also because it was created by Hiroshi Fujiwara. For those unaware, that’s a really big deal. Hiroshi has collaborated with Eric Clapton twice. He appeared on the big screen in Lost in Translation. If someone like Pharrell Williams created a Film Simulation Recipe and then gave me permission to include it on this website and in the Fuji X Weekly App, that would be fairly equivalent to this (obviously, there is only one Hiroshi Fujiwara).
The FRGMT B&W Recipe produces a contrasty and grainy black-and-white aesthetic. It reminds me of Ilford Delta 400 pushed one stop. I didn’t study or research that; it’s more of a “memory color” (as Fujifilm puts it) of using Ilford Delta 400 and push-processing it 25 years ago or so. I don’t believe this Recipe was intended to resemble any specific film or process, but if you were to ask me what film this Recipe most closely mimics, it’s Ilford Delta 400 pushed one stop. Again, that’s not based on research, but just what I remember from way back in my film days.
Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II – FRGMT B&W
With the exception of the X-T3 and X-T30, this FRGMT B&W Recipe is compatible with all of the fourth and fifth generation models: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the GFX100S, GFX100 II, GFX100S II, and GFX100RF. Because this Recipe uses Clarity set to something other than 0, there is a short storing pause after capturing a photo, with a similar delay as advancing to the next frame on a film camera. I want to give a big shoutout to both Fujifilm and Fragment for allowing me to publish this, and also to Hiroshi Fujiwara for creating it. Thank you!
Film Simulation: Acros (including +Ye, +R, or +G) Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR-Auto Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, 0 Red & 0 Blue Highlight: +4 Shadow: +2 Sharpness: -4 High ISO NR: -4 Clarity: +5 ISO: Auto, up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically) — Hiroshi says +1/3
Example photographs, all camera-made JPEGs captured using this FRGMT B&W Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100S II:
Notice – Gatlinburg, TN – Fujifilm X-E5
Regular – Gatlinburg, TN – Fujifilm X-E5
Abandoned Gas Pumps – Gatlinburg, TN – Fujifilm X-E5
Mercedes-Benz – Sedona, AZ – Fujifilm X-E5
Broken Shelving – Sedona, AZ – Fujifilm X-E5
West Fork – Sedona, AZ – Fujifilm X-E5
Fujifilm Photographer – Sedona, AZ – Fujifilm X-E5
Monochrome Leaves – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5
Lost Creek, Found – Buckeye, AZ – Fujifilm GFX100S II
Creek in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Rural Water – Buckeye, AZ – Fujifilm GFX100S II
Supai – Sedona, AZ – Fujifilm GFX100S II
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II
Pirate – Sedona, AZ – Fujifilm GFX100S II
Classic Design – Buckeye, AZ – Fujifilm GFX100S II
The Man in Black & White – Phoenix, AZ – Fujifilm X-T5 – by Amanda Roesch
Tall Bank, Empty Lot – Phoenix, AZ – Fujifilm X-T5
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One item on my “bucket list” was to visit the Great Smoky Mountains in the fall. Two weeks ago I was able to check that one off; however, I was a little early for the peak autumn show. The trees were only just starting to show fall colors, with little pops here and there. I’ll have to try again sometime in the future, and hopefully time it just a little better. Even though I was a week or two early, it was still an amazing place to visit, and I’m so glad that I was able to go.
I created the Vivid Velvia Film Simulation Recipe in preparation for the trip, intending to use it on this adventure. My two favorite Velvia-based Recipes are The Rockwell and Velvia Film. The Rockwell Recipe, named after Ken Rockwell and designed to be similar to his aesthetic (he actually used it!), is very bold and a bit over-the-top, sometimes a smidge too much. The Velvia Film Recipe, which is a part of the Film Dial universal Recipe set, is very nice, but occasionally not bold enough. This Recipe is intended to bridge the gap between the two, sitting right in-between both of them. It’s a slightly less over-the-top alternative to The Rockwell, and a slightly more bold version of Velvia Film; overall, it’s similar to both.
After using this Vivid Velvia Recipe quite extensively on the trip, I’m very happy with the results. It does well in a variety of situations, including nighttime photography. Obviously, this is not a good choice for portraits, but it’s one of the best options for colorful landscape pictures. This Recipe is compatible with “newer” X-Trans IV cameras (Fujifilm X-T4, X-S10, X-E4, and X-T30 II), all fifth-generation X-Trans models (X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), and “newer” GFX cameras (GFX100S, GFX100S II, GFX100 II, and GFX100RF).
Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto Ambience Priority, +1 Red & -3 Blue Highlight: -1 Shadow: -1 Color: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Vivid Velvia Film Simulation Recipe on my Fujifilm X-E5:
Rotary Club – Gatlinburg, TN – Fujifilm X-E5
Lights Left On – Gatlinburg, TN – Fujifilm X-E5
Cold Drinks – Gatlinburg, TN – Fujifilm X-E5
White House – Canton, GA – Fujifilm X-E5
Abandoned Garage – Gatlinburg, TN – Fujifilm X-E5
Sky Tram – Gatlinburg, TN – Fujifilm X-E5
Compass Tower – Gatlinburg, TN – Fujifilm X-E5
Fall Colors – Gatlinburg, TN – Fujifilm X-E5
Fall Bridge – Gatlinburg, TN – Fujifilm X-E5
Fall Trees – Gatlinburg, TN – Fujifilm X-E5
Pine Trees – Canton, GA – Fujifilm X-E5
Sunlight through Tree Branches – Canton, GA – Fujifilm X-E5
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I just got back into town from an epic 10-day trip. I’ve been up since 1:30 AM, so I apologize for the typos that will inevitably be found in this article. This is a followup to my last post, which I wanted to write while traveling, but it just didn’t work out. The basic premise of this is simple: if I were to design the ultimate Film Dial for Fujifilm, what would that look like?
Fujifilm introduced the Film Dial on the X-T50 about a year-and-a-half ago. They included one on the X-M5. The upcoming X-T30 III will apparently have one, too. The Fujifilm X-E5 also has one, although implemented slightly differently. It’s safe to say that the Film Dial is sticking around for awhile, and for good reason: it places one of Fujifilm’s most important and beloved features in a highly visible and easily accessible position on the camera. The initial implementation of it is good, but certainly not perfect. There’s room for improvement, and I believe Fujifilm is working towards that. As they make it better, don’t be surprised to find it on more and more models in the future.
Going forward, I believe there will be two variations of the Film Dial: knob and wheel. The knob version is found on the X-T50, X-M5, and the upcoming X-T30 III; the wheel version is currently only on the X-E5, but it could be included on the eventual X-Pro3 successor, as well as the someday X100VII. They’re similar, but not identical—the knob version has eight Film Simulations (plus three custom slots, as well as “C” which is Off), while the wheel version has only six Film Sims. The wheel Film Dial has the ability to save Recipes into FS1/FS2/FS3, and hopefully that functionality comes to the knob version at some point.
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Velvia Film (Film Dial Recipe)
Whether we’re talking about the knob or wheel Film Dial, very simply it could be made much better. Perhaps this is something Fujifilm will consider for X-Trans VI, which will likely debut next year. The Film Dial should have the ability to save Film Simulation Recipes for each Film Simulation, and not just FS1/FS2/FS3. Undoubtedly, it can be done. It could even be done retroactively for the X-T50, X-M5, X-E5, and X-T30 III via a firmware update, probably somewhat easily.
For the most ideal setup, though, I would take it a step further. Each Film Simulation should have the ability to store up to three Recipes. You could program three different Velvia Recipes into the Velvia slot, for example. To select which one of the three you want would be via a switch, maybe around the knob (for the knob version) or on the back of the camera (for the wheel version). It would have Recipe 1, 2, 3, Off as the options. Recipe Off would simply mean that the Film Dial would function as it does now, where it changes the Film Simulation and nothing else. Whatever JPEG parameters are programmed into the IQ Menu set is what it would default to, aside from (of course) the Film Simulation. Recipe 1, 2, 3 would be which of the three Recipes you want to use. If a Recipe hasn’t been programmed into that slot, the camera would prompt you to add one. These Recipes should have the ability of a custom name, so you can remember which is which.
FS1/FS2/FS3 would no longer need to take up three positions on the Film Dial; instead, you’d have FS-C, and the Recipe 1, 2, 3 switch would determine which FS1/FS2/FS3 you have selected (Recipe Off with FS-C selected would default to whichever Film Simulation you have set it to be within the camera’s menu). Also, the C position would no longer be necessary, opening up three Film Dial positions for Film Simulations that were previously left out. For the knob version, that might be PRO Neg (selecting either Hi or Std from within the menu), Eterna Bleach Bypass, and Monochrome; for the wheel version, it would likely be PRO Neg (again, selecting either Hi or Std from within the menu), Classic Negative, and Nostalgic Neg..
Fujifilm X-E5 & 23mm f/2.8 – Great Smoky Mountains NP, TN – Kodak Pro 400
Since this setup would allow users to program up to 30 Recipes on the wheel Film Dial, and up to 36 Recipes on the knob Film Dial, Custom Settings presets (C1-C7 on most cameras, C1-C6 on some, and C1-C4 on others) would no longer be necessary for Recipes. In other words, Fujifilm should not include the IQ Menu options within Custom Settings presets. You’d still have C1-C7, for example, but it would be focus settings and sound settings and things like that, and not Recipe settings. This would solve an issue that a lot of people have vocalized about how Custom Presets currently work, while also greatly increasing the number of Recipes that can be programmed into the camera at any one time. It’s a big win-win.
There are a few other things that Fujifilm should do. First, when it comes to Acros and Monochrome, there needs to be a way to switch between the +Ye, +R, and +G filter options quickly and easily when using the Film Dial. Maybe a customizable Fn button? Second, the camera should come factory-default with Recipes programmed into the Recipe 1 position for all of the Film Simulations (except, perhaps, for FS1). It could be Recipes that Fujifilm themselves have created, or they could tap into the community for this (I’d be happy to help). Lastly, there should be a way to transfer Recipes directly from your phone to the camera (again, I’d be happy to help).
That’s how I believe the Film Dial should most ideally be implemented. It would greatly increase the number of potential Recipes available in-camera, and it would solve a menu problem that many have complained about. Not everyone will love it (particularly the anti-Film Sim, RAW-only, JPEG-never types), but I’m confident that most people will appreciate it, and it would certainly be a major selling point for whichever cameras have the Film Dial.
Me, at Create With Us, During Setup – Minneapolis, MN – Fujifilm X-E5 – 1970’s Summer
I returned home late last night from Fujifilm’s Create With Us event in Minneapolis, Minnesota. This was their third annual Create With Us—I was fortunate to be at the last one, too, which was in Austin, Texas. It was a very quick trip: I flew out Saturday evening, and the returning flight landed just before midnight on Sunday. It was a whirlwind, but I’m so glad that I got to be a part of it.
Fujifilm assigned me three jobs: assist with a Fujifilm X-E5 and X-T50 touch-and-try station, cohost a Tech Talk with Christopher Gilbert, and lead a photowalk. The topic of the Tech Talk was straight-out-of-camera photography. Christopher and I discussed the various Film Simulations, how to set up a Film Simulation Recipe in the camera, and how to reprocess a RAW file using the in-camera RAW converter. It was a fun experience, and hopefully educational for those in the audience (the next Tech Talk is on Wednesday, October 1st).
The photowalk was great. It was supposed to be limited to 15 attendees, plus myself and two assistants (someone from Fujifilm, and a local photographer), and two models. We ended up with over 25 people in total (including myself, the two assistants, and the two models). The new Fujifilm North America CEO Ryuichi “Richie” Matoba (forgive me if his official title is not exactly that) also attended. He was the CEO of Fujifilm Australia, but as of a month ago Richie was given the reins of the North America office. It was an incredible honor to have him join the photowalk! I didn’t get a chance to talk much with him, but I would love an opportunity for a longer conversation (I have a lot of feedback and ideas), should he happen to read this.
It was an honor to photograph with and meet in-person all those who attended the photowalk. The two models were great, too. I’m grateful for those who stopped by the touch-and-try booth to say hello. It was a really good event, and I’m sure all who attended can attest to that. If there’s ever a Create With Us event near you in the future, be sure to attend—it’s well worth whatever effort it takes to get there.
The only camera I brought with me was my Fujifilm X-E5. This is such a great travel camera, and for a quick there-and-back adventure, I really didn’t need anything else. I especially appreciate that you can program up to 11 Recipes into the X-E5. I attached the new Fujinon 23mm f/2.8 pancake lens to the camera, and also brought along a Pentax-110 50mm f/2.8 lens and adapter for a second option. One spare battery, which I didn’t even use, rounded out the kit.
Probably the most interesting thing that I learned at Create With Us was from a somewhat off-handed comment from a Fujifilm employee. It would have been really easy to overlook what was said. I don’t think it was intended to be interpreted as an official statement, but I was fascinated by it, so I want to share it with you: “Each sensor generation has its own unique charm. Some people like the Provia rendering of X-Trans I, some people like the Velvia rendering of X-Trans II—each one is different.” I might not have the quote 100% correct, but that’s the gist of it.
The insinuation was (at least as I understood it when it was said) is that the small differences in image rendering between sensor generations, and even the much more subtle differences camera-to-camera within the same sensor generation, is intentional and even a feature. It’s kind of like when an emulsion is updated, it looks slightly different than it used to; one person might prefer the “old” version of the film, while another might prefer the updated iteration. For example, when Kodak went from the second to third generation of Kodachome in 1974, some photographers liked the change, and some (like William Eggleston) didn’t. If you preferred the old version of Kodachrome, you were soon out of luck once it sold out. Fujifilm cameras are a different story because you can still buy the old models on the second-hand market. You can find and use the one with the charm that you most prefer. Maybe that’s the X-Pro1. Perhaps it’s the X-T1. It could be the X100F. Possibly it’s the X-E4. Maybe it’s the X-T50. Or some other camera. It’s up to you to find the one that you especially love, and the intention is that you’ll continue making photographs with it for a long time, and not just for a couple of years until the next iteration is released.
The specific hardware and software in the camera plays a role in the image rendering. It would be extraordinarily difficult to 100% match the output of various sensors and processors. You can get very, very close, though; however, 100% exactly matching is not quite possible. That’s certainly a part of it. Maybe you don’t want to perfectly match the output anyway, if it would require ignoring a benefit of the updated technology. It could be that the new technology allows the programmers to better achieve the intended results, which were less possible with the older technology. Perhaps the vision of what those results should be has been tweaked a little over time. All of that is a factor. But that’s not the point that was made: each Fujifilm camera generation has its own unique quality, which was purposefully crafted, and you might especially like the particular charm of one more than the others. Since they’re not all perfectly identical, you get to decide which is your favorite.
My personal favorite is the fourth generation. I think the JPEG output of the X100V, X-T4, and X-E4 (I own those specific models) is special. The fifth generation, which has the advantage of Nostalgic Neg. and Reala Ace, is a very close second-favorite for me. There’s an obvious difference in output between those two generations, most notable (but not limited to) how deeply blue is rendered on some film simulations. Whether you prefer either of those two generations—or a different one entirely—is up to you; I really like the output from the Fujifilm X-Pro2, for example.
We’re all unique. Each of us have our own unique styles. We all have our own tastes. As the saying goes: Different strokes for different folks. The beauty of Fujifilm’s approach is that no X-series camera generation is objectively better than another. Each one might be considered subjectively better, just depending on who you ask, but they each have their own charm. You might even prefer certain aspects of one and certain aspects of another, and use both.
When it comes to other brands, for the most part you really don’t hear people talk about the picture charm of various models. People don’t discuss the image quality magic of (say) the Canon Rebel T7i or debate which Sony A6000 series model has the best picture profile rendering. This seems more exclusive to Fujifilm, and it’s because Fujifilm intended each iteration to have a unique allure, which sparks the discussions and debates, but more importantly it provides an avenue to connect with and really love the gear you use.
Below are the photographs that I captured on the Create With Us photowalk in Minneapolis with my Fujifilm X-E5.
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This last Saturday I had a quick adventure to Los Angeles, and it was my first time using my brand-new Fujifilm X-E5. In fact, the picture below, Sky Harbor Tower, was frame 0001. I had plenty of experience with the X-E5 already because Fujifilm had loaned me one shortly after it was announced, but I had to give it back after a couple of weeks. While I’ve had my X-E5 for a week, I didn’t have an opportunity to use it until this trip.
I charged the battery the day before, and set the camera up, programming 11 Recipes into it. The ones I chose for C1-C7 are Kodak Portra 400 v2, Kodak Pro 400, Kodachrome 64, Kodak Tri-X 400, Superia Negative (Film Dial Recipe), Reala Ace, and 1970’s Summer. I set Xpro ’62 as the “Nothing Selected” Recipe in the IQ Menu. On the Film Dial, I programmed Pacific Blues into FS1, Kodak Vericolor VPS into FS2, and 1960 Chrome into FS3. I don’t know if I’ll keep those 11 for awhile or switch some of them out—I’m still deciding—but those are the ones I had available in the camera on this trip. I didn’t use all of them this time around, only five.
The purpose of this trip was to lead a Fujifilm X half photowalk with Samy’s Camera and Fujifilm. If you follow me on Instagram, you’ve already seen the X half pictures. I flew in that morning from Phoenix and flew out of LA that night. It was a quick adventure. I had a lot of fun, and it was great to meet some of you in person and photograph with you.
A lot of times when I travel I take way too much gear with me. I go back-and-forth, actually. I’ll take a ton of gear and feel overwhelmed and burdened by it, so I’ll slim it back to a real minimal kit, but it will slowly get larger and larger and larger over time as I think I might need this or that, then the cycle repeats. I’m at the minimal kit spot right now. The only gear I brought along was the X half and the X-E5 with the 23mm f/2.8 pancake lens, plus one spare battery. Everything else stayed home. This seemed to work out quite well, but I’m sure pretty soon I’ll pack more gear into the bag before heading off on an outing somewhere, and it will once again begin to get bulkier and heavier. I have to remind myself: oftentimes, less is more.
Can – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
Marshaller – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
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I love the Fujifilm X-E5. In my opinion, it’s the greatest iteration of the X-E series—probably objectively so, and not just subjectively. This line is one of my favorites, and I have a special place in my heart for it—an X-E1 was my gateway into the X-Series. But there’s something a bit unusual going on within the Fujifilm community regarding this new camera—I noticed it, so I thought I should comment on it.
By “Fujifilm community” I mean online. Something that I realized over the last year, after meeting thousands of you, is that the in-person Fujifilm community is much different than the online community. Yes, some are in both worlds, but there are many trolls, haters, and constant complainers on the internet that simply don’t exist in real life. Maybe they’re hiding, but they don’t show up to photowalks, classes, and events. Thankfully, most of those people avoid this website, probably because I don’t put up with it (I would encourage other websites to crack down on the toxic behaviors found throughout the comments sections). You see them elsewhere in droves (although trolls can have multiple pseudonyms, appearing to be many people, when it’s actually only one). In real life, the Fujifilm community is kind, friendly, and respectful—basically, just normal people.
Prior to its announcement, the view I held of the Fujifilm X-E5 (and I wrote about it several times) is that the camera should be basically the same as the X-E4, with only small changes. Prioritize size, weight, and affordability. Add an M/C/S switch, a rear command dial, and the X Processor 5, and call it good. However, the feedback I got from the community is that most disagreed. My opinion was clearly a minority opinion. Folks wanted the next X-E camera to be an interchangeable-lens X100VI, are as close to that as practical. I was not surprised that Fujifilm listened to the community, and made that camera. With the X-E5, Fujifilm delivered on what most had asked for.
It’s not what I asked for, but that’s ok. I’m just one person. Besides, I’m not always right. The camera that Fujifilm made instead is quite excellent. It has the 40mp X-Trans V sensor, IBIS, very nice build quality, and a newly designed Film Dial. You can program up to 11 Film Simulation Recipes into it, more than any other Fujifilm camera. There’s a heck-of-a-lot to like. All of those upgrades add up. That, plus accounting for inflation and tariffs (in America), the X-E5 is the most expensive X-E iteration. It’s no longer an entry-level model, but clearly mid-tier.
For those who had requested the camera to be an interchangeable-lens X100VI, they should put their money where their mouth is. Years ago, there was a push within the community for a longer telephoto prime lens—at the time, the Fujinon 90mm f/2 was the longest. Fujifilm listened to the input from the community, who said the lens needed to be long and sharp and fast. “If it ain’t f/2,” some publicly stated, “I ain’t buying.” Well, Fujifilm made the lens that many had asked for—an extremely excellent lens, too. But few purchased it. Why? Because it was large, heavy, and really expensive ($6,000!). Be careful what you ask for, because you just might get it.
Once bitten, twice shy. If the community asks for something and Fujifilm delivers, but then not many buy, do you think that they’ll continue to listen? If you asked for something and it came to pass, I feel you are obligated to put some skin in the game. What I see online, though, is the opposite. “Nobody asked for this,” is a statement that I’ve read a number of times now in comments on articles and videos about the X-E5. People are pretending that this isn’t the camera they requested.
Buckeye Motor Hotel – Buckeye, AZ – Fujifilm X-E5 – Summer Sun
I’ve had a front row seat to all those who asked for it, and it was a lot of people. Not a few; it was a ton. I cannot tell you how many times I read, “No IBIS, no buy.” And, “It better have the 40mp sensor!” I cannot count the number of times someone said, “I just want an interchangeable-lens X100VI.” You probably read those same statements, too. Like the Fujinon 200mm f/2 lens, some of those who asked for it are now pretending they didn’t.
The X-E5 will prove to be a popular model, and likely will be the all-time best-selling X-E camera. Those folks who had asked for it but are now pretending that they didn’t because it costs more money than they expected, their purchase is unnecessary for the success of this camera. Still, I find it frustrating when people say one thing, but, when push comes to shove, they do the opposite. If you advocated for this camera, don’t complain that they made it; instead, appreciate that they listened to you—otherwise, you risk ruining that Fujifilm actually listens to the community.
I’m reminded of the Fujifilm GFX100RF. There were people, mostly trolls, haters, and constant complainers, who were never going to be happy. They created a damned-if-you-do, damned-if-you-don’t situation for Fujifilm. If the camera didn’t have this or that, it was garbage for not having it; however, if it did have this and that, it was too big, heavy, and expensive. In the case of the GFX100RF, it didn’t have IBIS or an f/2 lens, so it was garbage. In the case of the X-E5, it does have IBIS and 40mp, but it costs significantly more money, so Fujifilm has lost the plot. Fujifilm can’t win; only the trolls win.
Of course, the real winners are those who grab their cameras—whatever those cameras are—and head out to photograph. Whatever people say on the internet doesn’t actually matter; what does matter is what you do in real life—the people you meet, and the pictures you create. You don’t need the latest gear to do that, you don’t need the Fujifilm X-E5. Most likely, whatever you already have is sufficient. Sometimes you do need new gear, should something break or maybe what you have isn’t ideal for your needs. Sometimes new gear can inspire you to pick up your camera instead of letting it collect dust. But, for the most part, you already have what you need. The excessive negativity on the internet is just nonsense, and is safe to ignore. And those trying to create a revisionist history of the X-E5 are being dishonest—I was there, and I remember what was said.
I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.
The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!
We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!
Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.
Old Church – Tucson, AZ – Fujifilm X-E5 – Classic B&W
I love black-and-white photography. Kodak Tri-X 400 is my favorite monochromatic option, and (unsurprisingly) it’s by far the most popular B&W Recipe. For whatever reason, color Film Simulation Recipes tend to be a lot more popular than monochrome, so there are quite a few more of them; however, I really enjoy publishing a good B&W Recipe, and I’m quite excited about this one in particular. It’s really good, in my humble opinion.
The story behind this Classic B&W Recipe is unusual. While leading a photowalk in Manitou Springs, Colorado, with Mike’s Camera, someone asked me to explain the process of creating a Recipe. So I walked him through the process right there in Manitou Springs on a Fujifilm X-E5, and created this JPEG settings combo while doing so. I remember thinking that it looked nice, but pretty much forgot about it until after I returned home and reviewed the photos. After using it a little more, it quickly became one of my favorite B&W Recipes. Kodak Tri-X 400 still ranks a little higher in my book, but this one is easily a Top 5 for me.
Coffee – Tucson, AZ – Fujifilm X-E5 – Classic B&W
While I only used this Classic B&W Recipe on a Fujifilm X-E5 and X100VI, it is fully compatible with X-Trans IV (except the X-T3 and X-T30) and X-Trans V cameras. For those keeping score, that’s (as of this writing) the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. You can also use this on the latest GFX cameras, including the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the Fujifilm X-T3, X-T30, and X-Trans III models, consider trying the Analog Monochrome Recipe, which isn’t too dissimilar.
Film Simulation: Acros+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR200 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Incandescent, -9 Red & +9 Blue Highlight: +3 Shadow: +4 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Classic B&W Film Simulation Recipe on a Fujifilm X-E5 and X100VI:
Monochrome Umbrella – Buckeye, AZ – Fujifilm X100VI
Empty Chair in a Dark Room – Litchfield Park, AZ – Fujifilm X100VI
Lonely Chair – Buckeye, AZ – Fujifilm X-E5
Hanging Shadows – Buckeye, AZ – Fujifilm X-E5
Grey Odadiuc – Buckeye, AZ – Fujifilm X-E5
Shadow Abstract – Litchfield Park, AZ – Fujifilm X100VI
Suburban Palm Shadow – Buckeye, AZ – Fujifilm X100VI
Coffee Cups – Tucson, AZ – Fujifilm X-E5
In the Raw – Tucson, AZ – Fujifilm X-E5
Facing North – Tucson, AZ – Fujifilm X-E5
Horse on a Ledge – Buckeye, AZ – Fujifilm X-E5
Baldwin 2 – Manitou Springs, CO – Fujifilm X-E5
Mission Church – Tucson, AZ – Fujifilm X-E5
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Fujifilm recently loaned me an X-E5 to try out for a week or so. I also got to play with one at the B&H BILD Expo last month, so I was already a bit familiar with the camera before it arrived in the mail. Included with the X-E5 was the brand-new Fujinon 23mm f/2.8 pancake lens, so I’ll also be discussing that in this review, too. Let’s dive right in!
The Fujifilm X-E5 is actually the sixth X-E camera. The X-E1, released in 2012, was the very first, and the third X-series model overall, with only the X100 and X-Pro1 predating it. The X-E2 came out only one year later, followed by the nearly identical X-E2s in 2016. A year after that, Fujifilm released the X-E3, which saw the first significant design change (although it was still pretty similar). The X-E4 came out in 2021, which was the most different, with an emphasis on minimalism, compactness, and affordability; however, it was still similar overall. We have another significant design change with the X-E5, yet it still retains the distinctive look of an X-E series model.
With the X-E5, Fujifilm quite noticeably improved the construction quality—for example, the top plate is a single piece of machined aluminum, and the camera seems less plasticky overall. It just feels more sturdy, more premium, more refined than the X-E4. With a pancake lens attached—like the new 23mm f/2.8—the camera closely resembles an X100VI, which was clearly intentional. The X-E5 is essentially an interchangeable-lens X100VI; for those who have asked for such a camera: here it is! The two models aren’t exactly the same, and they each have their advantages and disadvantages, but they’re certainly similar enough to justify the comparison.
I don’t want to dive too deeply into the specs, but some important notes are that the X-E5 has the same 40-megapixel X-Trans V sensor and processor as the X100VI, X-T50, and X-T5. Like those models, the X-E5 also has IBIS. This is a camera capable of capturing high quality photos and videos. Not surprising, the X-E5 is also much more expensive—plus a tad larger and heavier—than its predecessor.
Like the X-T50 and X-M5, the X-E5 has a Film Dial, although it’s implemented a bit differently. Instead of a knob, it’s a wheel on the back, with a little window on the top plate. This is a really cool design; however, there is a downside: it has fewer Film Simulations. The X-T50 and X-M5 have only eight of the 20 Film Sims on the knob, with three customizable slots for your favorites that were left out; the X-E5 has only six Film Simulations, with three customizable slots. The six Film Sims on the dial are Provia, Velvia, Astia, Classic Chrome, Reala Ace, and Acros. Somehow—shockingly and inexplicably—Classic Negative was left out, as was Nostalgic Negative. I know that not all of them could make the cut, but I definitely question why Classic Negative was not included—seems like a sin.
The three customizable slots—called FS1, FS2, and FS3—can be set to any Film Simulation. In addition to that, they can also be customized into Film Simulation Recipes (functionality that should be—and hopefully will be—brought to the X-T50 and X-M5 via a firmware update). This is the very first time that Fujifilm has used the term “Recipe” in a camera—amazing! You can have 11 different Recipes programmed into the X-E5: seven within the C1-C7 Custom Settings presets, one in the IQ Menu set, and three on the Film Dial. The Film Dial also works well with my Universal Negative and Film Dial Recipes, providing extra aesthetic versatility. Only the C1-C7 Recipes can be custom named, so you have to remember what the other four are.
While this is certainly a welcome evolution of this feature, it could be made even better. For example, all of the Film Simulations should have the option for Recipes, and not just FS1/FS2/FS3. One issue with this UI, though, is that Recipes are scattered: some in Custom Settings presets, some on the Film Dial, and one in the IQ Menu. I think, more ideally, you’d find them all in one place. A lot of Fujifilm users would appreciate a Custom Settings Dial instead of a Film Dial, with maybe C1-C9 or C1-C12 (more is better). There are a lot of different ways that this could be addressed, and it’s something that should be addressed for future models. Still, the opportunity to have three extra Recipes programmed into the camera at any one time is quite nice, and I’m thankful for it. This is the main reason why I preordered this camera, even though I own an X-E4 that I really like.
Included with the X-E5 was the new Fujinon XF 23mm f/2.8 R WR pancake. This lens is very similar to the Fujinon 27mm f/2.8 R WR, which happens to be one of my absolute favorite lenses. I’ve been saying for years that Fujifilm should have more pancake lenses in their lineup, since a major selling point of Fujifilm cameras are their compact size and minimal weight. A camera like the X-E5 paired with a handful of tiny pancakes is ideal for traveling. This particular camera and lens combo is especially great for everyday walk-around photography.
The lens is sharp with minimal flaws. It has great close-focus capabilities; it’s not a macro-lens by any means, but with 40mp to crop from, it’s possible to use it for near-macro photography. From a technical point-of-view (and mind you, I didn’t do any serious testing), it’s pretty darn good for what it is, a marvel of engineering; from an artistic point-of-view, it seems to lack a little of the magic (a.k.a. character) that the 27mm f/2.8 and 23mm f/2 lenses are known for. Like the 27mm, it isn’t the quietest Fujinon lens. If you are trying to decide between the 23mm f/2.8 and the 27mm f/2.8, that’s going to be a tough call—personally, I like the 27mm just a bit more; however, the close-focus capabilities of the 23mm is certainly a significant plus. If you are trying to decide between the 23mm f/2.8 and 23mm f/2, that’s also going to be difficult, and your decision might come down to just how small is small enough for you. If you are buying the Fujifilm X-E5, it seems like an easy choice to get it bundled with the 23mm f/2.8, since it’s only $200 more when the lens itself is $500—if you have no intentions of keeping it, just turn around and sell it for $450, which makes the camera more affordable.
Ants & Funyun – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodachrome 64
Getting back to the X-E5, the camera has a couple of really cool features, but you can only use one of them, and not both. The first, which is borrowed from the GFX100RF, is called Surround View Mode. It allows you to see outside of the frame when using an aspect ratio other than 3:2, giving a faux optical viewfinder experience (sort of). This is particularly nice when using the 1:1 aspect ratio. The XPan ratio would have been a great addition, but (sadly) it’s still missing on X-series models. The second feature is called Classic Display Mode, which turns the EVF into a really cool retro 1980’s-inspired display. I like both, but I couldn’t figure out how to activate the Classic Display Mode for some time—eventually I asked a Fujifilm tech rep for help. As it turns out, if Surround View Mode is activated, even when using the 3:2 aspect ratio, Classic Display Mode is disabled (and vice versa). Fujifilm: I suggest that Surround View Mode be automatically disabled when in the 3:2 aspect ratio, so that Classic Display Mode can be used; when changing aspect ratios to anything other than 3:2, if Surround View is activated, it would automatically disable Classic Display. This way, you don’t have to jump through hoops to use both of these cool new features.
While the X-E4 saw a lot of buttons removed in the name of minimalism, Fujifilm gave them to the X-E5 in spades. Just the new front control lever alone allows for five customizable functions. The inclusion of the rear command wheel and M/C/S switch means that you shouldn’t be short of camera controls, no matter how many functions you need quick access to. Those who disliked the direction of the X-E4 should especially appreciate its successor.
What else can I tell you about the Fujifilm X-E5? It isn’t weather-sealed (although it seems to have some level of weather resistance—I wouldn’t put it under a faucet, though). It uses the “old” NP-W126S battery. I expected that, as those things would have increased the size, weight, and cost even more. The X-E5 is definitely more premium than previous X-E cameras. I had suggested that Fujifilm prioritize size, weight, and cost by keeping it nearly the same as the X-E4; however, my opinion was clearly in the minority. Most people asked for an interchangeable-lens X100VI, and the X-E5 is as close to that as you’re likely ever going to get. It’s a very nice camera.
It comes with a “nice” price tag, too. In America, it’s $1,700 for the body-only, and $1,900 when bundled with the new 23mm pancake lens. That’s pretty shocking, especially when it’s double the price of the X-E4; however, keep in mind that inflation and tariffs have impacted the price in addition to the more expensive components that Fujifilm used in the camera. Interestingly enough, the X-E1 was $999 in 2012, which is about $1,400 in today’s dollars; add to that tariffs, and you’ve pretty much got the X-E5 price tag, never mind the 40mp sensor, IBIS, and better build quality. While it seems expensive, it is not an entry-level model. And with Fujifilm raising the price (in America) of the X100VI to $1,800, the X-T50 to $1,600, the X-T5 to $1,900, the MSRP of the X-E5 makes a little more sense. I do think it’s worthwhile to buy at $1,700, which is why I have it preordered bundled with the 23mm f/2.8 lens.
Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 & 23mm f/2.8 – Kodak Vericolor VPS
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Right now, people are talking about Fujifilm Recipes. Thanks to models like the new Fujifilm X-E5, which is the first camera to use the term “Recipe” inside the menu, more and more people are discovering the joys of Film Simulation Recipes. Interestingly enough, not only are camera-made JPEGs no longer stigmatized, they’re actually “in” right now—they’re cool.
Yesterday, DPReview posted an article by Mitchell Clark entitled Why the Fujifilm X-E5 turned me into a film recipes fan. The article specifically mentions two Fuji X Weekly Recipes: Ilford HP5 Plus 400 that Anders Lindborg created and 1976 Kodak that I created. Interestingly, it’s written from the perspective of someone who’s always dismissed camera-made JPEGs and Recipes. But, after trying some while preparing for an upcoming Fujifilm X-E5 review, not only did the author have a change of heart, but it also affected how he thought about the scene he was photographing (in a positive way). This article makes it ok for those who have never tried Recipes to do so, and explains that you might not realize what you’re missing out on.
“Photos look great right out of the camera,” Ben wrote. “Strange as it may sound to seasoned photo nerds, I went into my trip with the GFX100RF with the intention of shooting JPEGs—essentially using this $5,000 camera the way my parents documented family vacations with their film point-and-shoots. And guess what? It worked spectacularly well.” He went on to specifically mention my Kodachrome 64 and Kodak Portra 400 v2 Recipes.
Above, clockwise from top-left: Kodachrome 64, Kodak Portra 400 v2, 1976 Kodak, and Ilford HP5 Plus 400 Recipes
Of course, it’s not just large photography sites or major newspapers that are talking about Fujifilm Recipes. I’ve had the privilege of visiting many camera stores recently, from the small but up-and-coming Nuzira that’s local to me in Arizona, to B&H in Manhattan, and a whole bunch of others in-between. I was even interviewed recently by Mike’s Camera. No matter the store, the story is the same: people are interested in Recipes, and they’re being talked about by both customers and employees. As one sales representative told me at a major store, “Half of my sales of Fujifilm cameras are a direct result of your App.”
I didn’t make Film Simulation Recipes to sell cameras, but nonetheless it has become a major selling point, and now even an official feature. I made Recipes to help people—including myself—more quickly and easily achieve desired picture aesthetics, in a way that’s often more fun and authentic. It’s simply a way to help others, and be a positive part of the photography continuum. As I wrote last week: Shoot more, edit less, and let your camera become your darkroom.
Savannah Central 7069 – Savannah, GA – Fujifilm X100VI – Retro Color
When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.
The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.
Above: Retro Filter on the Fujifilm X half
While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.
I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.
Above: Retro Style Smart Filter on a Samsung ST76
You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.
This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.
Triton – Tonopah, AZ – Fujifilm X100VI – Retro Color
This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.
This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.
Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:
7 Eleven – Phoenix, AZ – Fujifilm X100VI
Dusty Steering Wheel – Buckeye, AZ – Fujifilm X-E5
Sparkless Plug – Buckeye, AZ – Fujifilm X-E5
Eye Closed – Buckeye, AZ – Fujifilm X-E5
Inspection – Arlington National Cemetery, VA – Fujifilm X100VI
The Porter Machine – Savannah, GA – Fujifilm X100VI
2715 – Savannah, GA – Fujifilm X100VI
Mission Arch – Tucson, AZ – Fujifilm X-E5
Storm over Mission San Xavier – Tucson, AZ – Fujifilm X-E5
Treasury Department – Washington, DC – Fujifilm X100VI
Big Flag – Phoenix, AZ – Fujifilm X100VI
Bashas on Main Street – Buckeye, AZ – Fujifilm X-E5
Vacancy at the Motor Hotel – Buckeye, AZ – Fujifilm X-E5
Afternoon Palm – Buckeye, AZ – Fujifilm X-E5
Craftsman – Buckeye, AZ – Fujifilm X-E5
Bougainvillea Sunset – Buckeye, AZ – Fujifilm X-E5
Tire Pile – Waddell, AZ – Fujifilm X-E5
Fireplace – Scottsdale, AZ – Fujifilm X100VI
Fading Sunset – Somewhere over Arizona (I think) – Fujifilm X100VI
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Mission San Xavier del Bac – Tucson, AZ – Fujifilm X-E5 – Kodak Vericolor VPS
Kodak introduced Vericolor color negative film in 1974. It was their professional emulsion for portrait, wedding, and studio photography, and was designed to work well with flashes. Vericolor was a predecessor of Portra, intended to produce pleasing skin tones. There were a handful of different versions produced in the 1970’s and 1980’s, and the line was discontinued in the late-1990’s with the introduction of Portra.
While this Film Simulation Recipe is called Kodak Vericolor VPS, which was an ISO 160 version released in 1979, I think it’s actually more similar to Vericolor II, released in 1977. I had a difficult time finding examples to model this after, and a couple of old photography magazines were my best source. This Recipe definitely has the right vibe for late-1970’s Vericolor, particularly printed pictures from the film. I found it to be quite versatile—excellent for sunny daylight, golden hour, overcast, natural light indoors, and even certain nighttime situations. This could definitely be the go-to Recipe for some of you, especially if you appreciate a late-1970’s or early ’80’s aesthetic.
Manitou & Pike’s Peak – Manitou Springs, CO – Fujifilm X-E5 – Kodak Vericolor VPS
Because this Kodak Vericolor VPS Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models: GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4500K, +2 Red & -5 Blue Highlight: -1 Shadow: +2 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vericolor VPS Film Simulation Recipe on a Fujifilm X-E5:
Pick Here – Manitou Springs, CO – Fujifilm X-E5
Tree Ghost – Manitou Springs, CO – Fujifilm X-E5
North Pole – Manitou Springs, CO – Fujifilm X-E5
Alleyway Photography – Manitou Springs, CO – Fujifilm X-E5
Handheld Camera – Manitou Springs, CO – Fujifilm X-E5
Fujifilm Photographer – Manitou Springs, CO – Fujifilm X-E5
Mission – Tucson, AZ – Fujifilm X-E5
Pikes Peak Inn – Manitou Springs, CO – Fujifilm X-E5
Gas Tanks – Buckeye, AZ – Fujifilm X-E5
Suburban Home – Buckeye, AZ – Fujifilm X-E5
Yellow Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-E5
Potted Leaves – Buckeye, AZ – Fujifilm X-E5
Cactus & Wall – Tucson, AZ – Fujifilm X-E5
Sunlit Leaves – Buckeye, AZ – Fujifilm X-E5
Odadiuc – Buckeye, AZ – Fujifilm X-E5
Indoor Flag – Buckeye, AZ – Fujifilm X-E5
Superguard – Waddell, AZ – Fujifilm X-E5
Moon over Sedona – Sedona, AZ – Fujifilm X-E5
In-N-Out – Surprise, AZ – Fujifilm X-E5
Neighborhood Fireworks – Buckeye, AZ – Fujifilm X-E5
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Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
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This new Recipe, which I’m calling Summer Sun, is bright and warm. If a hot summer day was a picture aesthetic, it’s this. It has a vintage film-like charm, maybe along the lines of Kodak Ultra Color 100UC used with a warming filter (maybe 81C). It’s not specifically modeled after that, but has some similarities nonetheless.
Death of a Chevy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe
This Summer Sun Recipe is very warm, so it’s definitely not for every subject or light situation. It’s best on a bright sunny day, but can still be okay in partly-sunny situations. It’s compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models, specifically the GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7200K, -2 Red & +2 Blue Highlight: -1 Shadow: -2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Summer Sun Film Simulation Recipe on a Fujifilm X-E5, X100VI & X-S20:
Manhattan from Hotel Window – NYC, NY – Fujifilm X100VI
Fruits & Vegetables – NYC, NY – Fujifilm X100VI
Building Backsides – Buckeye, AZ – Fujifilm X-E5
Spirits of the Past – Buckeye, AZ – Fujifilm X-E5
Green Mack – Buckeye, AZ – Fujifilm X-E5
It’s Corn – Buckeye, AZ – Fujifilm X-E5
Newly Planted Palms – Buckeye, AZ – Fujifilm X-E5
Evening Palm Tree – Buckeye, AZ – Fujifilm X-E5
Suburban Palm – Buckeye, AZ – Fujifilm X-E5
Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Brooklyn Bridge between Trees – NYC, NY – Fujifilm X100VI
Bridge, Runner – NYC, NY – Fujifilm X100VI
It’s All Greek to Me – Washington, D.C. – Fujifilm X100VI
Red Dumpster – Washington, D.C. – Fujifilm X100VI
Summer Joy – Buckeye, AZ – Fujifilm X-E5
Hidden Tower – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Fireworks Stop – Buckeye, AZ – Fujifilm X-E5
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I just got back from the B&H BILD Expo in New York City late last night. I’ve been traveling almost the entire month of June. Today is only the third day so far that I’m actually home. There’s a lot that I need to get caught up on, and I apologize for being slow to respond. If you’ve sent me an email and I haven’t yet answered back, I’ll try to do so before the end of next week.
This was my first BILD Expo. Last year I led some photowalks at the NAB Show in New York, which was held in the same building (Javits Center). While both events were large, BILD was bigger and had a larger attendance in my estimation. I don’t know how many came out, but I heard it was over 10,000! It seemed like a huge success.
Fujifilm brought me out to help with their Fujifilm X-E5 touch-and-try station; specifically, I was in charge of the Recipe podium. My purpose was to talk about Film Simulation Recipes, and how those can be used with the X-E5. It was an honor to have my photo (created with the Classic Color Recipe) printed on the top of the Classic Chrome podium. There were five podiums—each with an X-E5 on top—and a Lego display in the middle. The Legos were just as big of an attraction as the new camera, so kudos to whoever had the idea to do that.
It was so great to meet lots of you in person. I have no idea how many stopped by to say hello, but it was a large number. I shook a lot of hands. I wish I could have talked longer with each of you, but it wasn’t an ideal situation for that, unfortunately. I spoke with Omar Gonzalez, Jason Vong and Vivienne (she showed me an incredible picture that she captured of the cherry blossoms in Japan using a Fujifilm X100VI and Recipe), Cam Mackey, Jared Polin (Fro Knows), and more. I have a lot of stories that I could tell, but my favorite is stumbling across someone from Ohio who was on my photowalk in Scottsdale last year at a chicken restaurant in Manhattan.
Because I was tethered to the Recipe podium, I didn’t get a chance to see very much of the BILD Expo. Even though I was there from before the doors opened until after the doors closed, I only experienced a tiny bit of it, so I cannot say much. Omar Gonzalez and Cam Mackey both have good recaps (I’m in Cam’s video, actually). Unfortunately, I didn’t take very many photos of the event because I was so busy. Now that I’m back home, I wish that I had made a bigger effort to use my camera more.
What I can say is that the Fujifilm X-E5 got a lot of attention—there was constantly a crowd. Thousands of people gave it a try, and the feedback was mostly positive. For every “it’s too expensive” there were ten “it’s priced right” or “that’s a bargain,” which I think is because of the build quality. There’s a notable difference in how the X-E5 looks and feels compared to the X-E4. Holding the X-E5 is more like holding the X100VI. There’s no denying that the X-E5 isn’t cheap, though. Because my podium was right next to the X half station, I got a close look at the interest in that camera, which was massive. I had nearly as many questions about the X half as I did the X-E5, and at least a handful of people told me that it’s the only Fujifilm camera they have an interest in. There were a few lulls in X half crowds on Day 2, while the X-E5 station remained consistently busy on both days. I also got to see the new GFX Eterna camera in person, which was cool. I think it will be a pretty unique cinematic tool.
That’s it for BILD. My wife and I walked around New York City a few times (the photos above were captured on my Fujifilm X100VI using the Kodak Tri-X 400 Recipe). Photographically, it’s probably the best city in America, just because there are picture opportunities literally everywhere. You can’t help but be a great photographer. Just walk around with your camera and you’ll find something incredible. I would have loved to have stayed longer, but I’m also so glad to be home—it was amazing to sleep in my own bed for a change.
I’m hoping to finish my review of the Fujifilm X half in the next few days, and right after that I’ll have a writeup on the Fujifilm X-E5. I actually have an X-E5 right in front of me, but I only get to use it for a few days (I better hurry this up!). Then, next week, on Saturday, June 28th, I’ll be in Colorado Springs for a photowalk (click here to register). I hope to see you there!
On Thursday in the early morning hours, Fujifilm announced the brand-new X-E5. I’ve been traveling in an RV up the east side of America, and just got home late last night. Preferably, I would have posted something about it on announcement day, but aside from being on the road, it was also my wife’s birthday. Because of that, I’m just now getting this typed out—I’m pretty much the last to the Fujifilm X-E5 party.
This upcoming Tuesday and Wednesday I will be at the B&H BILD Expo in New York City. A few weeks back Fujifilm invited me to be a part of their booth—specifically, to help with a “Film Simulation Station” (without any details of what that would be)—which, of course, I am honored to be a part of. Fast forward to a few days ago, just before the announcement of the X-E5, I had a conference call (while in the RV stopped in the middle of nowhere in Pennsylvania) that explained what my specific role was going to be: Fujifilm will have X-E5 cameras to touch-and-try, and I’m there to talk about Film Simulation Recipes with anyone who wants to. It’s going to be a great time, so I hope some of you can stop by. It was on that call that I first learned the camera not only has the ability to save three Recipes in the Film Simulation Dial, but that Fujifilm is using the term “Recipe” in the camera and manual.
Back in early 2017 (before I had even started Fuji X Weekly), I published two Film Simulation Recipes on a blog that I used to have prior to this one. When I showed my wife, she thought the term “Recipe” was a bit cringe, but I liked it, so I continued to use it, including when I launched Fuji X Weekly in August of 2017. Mostly by word of mouth, this website grew and grew (10 million page views two years in a row, and still growing), largely because people had an interest in my JPEG Recipes for Fujifilm cameras. Even though Fuji X Weekly began as a Fujifilm X100F journal, very quickly it became most known for Film Simulation Recipes.
In the summer of 2020, I received a message from a talented cinematographer, who had a funny conversation with Fujifilm North America that he wanted to share with me. They had loaned him an X100V for a few weeks; when he returned it, they asked for his feedback. He told them, “I really like shooting with Portra 400 and Tri-X.” They replied, “What do you mean? It’s a digital camera.” He was very surprised that Fujifilm had no idea about Fuji X Weekly, so he informed them.
Shortly after this, Fujifilm North America reached out to me. They were more curious about what I was doing than anything else. They wanted to know what a Recipe is. It was a very positive phone call, and I was thrilled to talk with someone at Fujifilm for the first time. A few emails went back-and-forth, and I was asked to write an article for them. Excitedly, I got it typed out and over to them quickly. They said it was great, and they would forward it up the chain. When it came back down, I was told that they liked my article, but they had to reject it because I had used competing brand names (like Kodak, Portra, Ilford, etc.). There wasn’t much communication after that, except that they wanted to use one of my pictures in an article. In December, Fujifilm sent me a coffee mug for Christmas.
A year later I was invited to be a guest on a Fujifilm tech webinar (did you know that Fujifilm does regular webinars?). The tech team is great. They’re all very knowledgable and helpful, and otherwise good people. They are big fans of Film Simulation Recipes, too. I enjoyed that experience. It was my last interaction with the brand until January of 2024, when Fujifilm North America called out of the blue, stating that they’d like to start working with me.
Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe
Last year was epic. Fujifilm invited me to be a part of various things, including a release event for the X-T50 and GFX100S II, a creator retreat, and their annual Create With Us event. I traveled across the country from coast-to-coast, leading photowalks. Incredible! It was such an honor. I will always remember 2024 fondly.
During that time I noticed Fujifilm began to use the term “Recipe” occasionally on their website and social media accounts. A certain X-Photographer noted to me that after years of promoting Recipes with pretty much zero interest or help from Fujifilm, suddenly Recipes were “the thing” within the company. Now, in 2025, “Recipe” is an official Fujifilm feature, and the term is found within the camera menu.
Nikon beat Fujifilm to the punch when they began using the term Recipe a year ago for their JPEG settings. I’m not sure if it will catch on within that community or not (it will be interesting to see), but it is noteworthy that they are trying to capitalize on it. This whole Recipe concept—whether by name or not—is certainly growing and spreading across photography. I think we will see it more and more in the coming years.
I didn’t invent the word “recipe” and I certainly wasn’t the first to use it within the photo world. Apparently, user-created Capture One presets have been called recipes for some time now (I became aware of this last year, I had no idea). Specific darkroom chemicals and development times have been called recipes for many decades. I discovered that a couple people had used the word when describing their Fujifilm JPEG settings before I ever published my first Film Simulation Recipe. I’m not sure if I coined the term Recipe for JPEG camera setting combinations (I might have, but it doesn’t matter if I did or didn’t). What is certain is that if not for this website and the wonderful community that formed around using Recipes (which is the best community in all of photography, IMHO), the word would not be found in the Fujifilm X-E5 today (and it probably wouldn’t be used by Nikon, either). I’m still in disbelief at where we’re at today, I never imagined it would go this far. Some people will read that and think I’m bragging and taking too much credit, but believe me that I’m writing this in all humbleness.
I won’t get to see the Fujifilm X-E5 until Tuesday morning, about two hours before the BILD Expo doors open. Fujifilm tried to get me a loaner camera a little earlier, but due to travel, it just didn’t work out (it’s not their fault—they really did try). Right now I know as much about the X-E5 as the next person (maybe less), so I don’t have any real insights. I’m going to spend this weekend learning more so that I don’t sound completely ignorant at BILD. Once I’ve had a chance to touch it, and maybe even capture a couple of pictures (hopefully I’ll get an opportunity to do that), I’ll be able to speak more about it, so look for a more thorough article in a couple weeks.
What I can say is that the Fujifilm X-E5 is basically an interchangeable-lens X100VI. It’s not exactly that, but it’s as close as you’re going to get. There are advantages and disadvantages to both. The X100VI has an optical viewfinder, shutter/ISO combo dial, leaf shutter, flash, built-in ND-filter, and can be weather-sealed; the X-E5 has a Film Dial, selfie-capable LCD, and you can change lenses. Otherwise, the two cameras are a lot alike. For those that have asked for an interchangeable-lens X100VI, here it is! You are unlikely to get closer to that wish than this camera.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
As a more premium iteration of the X-E line, it obviously has seen a price increase. Add to that inflation and tariffs, and you get a $1,700 price tag. That seems like a lot of money (because it is), but remember 1) every major camera maker has indicated that they will be raising their prices soon (Fujifilm is just the first, beginning with the X half and X-E5), and 2) cameras used to be a lot more expensive—for example, the Canon A-1 was $625 in 1978, which is over $3,000 when adjusted for inflation; the Pentax K-5 was $1,750 in 2010, which is nearly $2,600 in today’s money. The X-E1 was $1,000 in 2012, which is $1,400 today when accounting for inflation—add tariffs on top of that, and it’s the same cost as the X-E5. So maybe the price isn’t so unreasonable after all. People will say, “But I can get an X-T5 for the same money!” Or, “For just a few hundred dollars more, I can get [insert camera name here]!” That’s true, for now. Either the prices of those models will increase shortly, or something will happen with the tariffs, and Fujifilm will be able to reduce the price of the X-E5 to what it was intended to be. Those who wanted 40mp and IBIS and the camera to be more premium but didn’t want the cost to go up were not being realistic. Even the X-E4, when accounting for inflation would be over $1,000 today.
The final thing I’ll say about the Fujifilm X-E5 is that, with C1-C7, plus the “bonus 8th Recipe” that you can program into the IQ Menu, plus the three Recipe slots on the Film Dial, it’s possible to have up to 11 Film Simulation Recipes loaded into the camera at any given time. You can only name seven of them, so you’ll have to remember what the other four are. If you use one or both of my “universal” Recipes (here and here), that adds even more flexibility. Awesome! We’ll see if Fujifilm brings that functionality to the X-T50 and X-M5 via a firmware update—I hope they do.
If you are in New York City on Tuesday and Wednesday, be sure to stop by the Fujifilm booth and touch-and-try the X-E5. I’d love to chat Recipes with you, so be sure to look for me. If you are in Colorado Springs on June 28th, I’ll be leading a photowalk with Mike’s Camera (click here for the details and to register); while I won’t have an X-E5 with me, I’d still love to chat with you about it, or any other Fujifilm or photography related topics. I hope to see you soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-E5 in black: B&H, Nuzira Fujifilm X-E5 in silver: B&H, Nuzira
One of Fujifilm’s most beloved lines is the X-E series. While never the most popular, X-E cameras have a passionate cult-like following. My first Fujifilm camera was an X-E1, so I have a special place in my heart for the line. The X-E4 is currently my favorite for travel photography, especially when paired with pancake lenses. At this time, Fujifilm doesn’t offer an X-E camera—the last one was the X-E4, but it was discontinued over two years ago.
The X-E1, which was announced in the fall of 2012, was a striking camera that caught a lot of people’s attention with its retro styling and compact design; however, there were some initial issues (later rectified via firmware updates) that hindered the perception of it. One year later, Fujifilm released the X-E2, which had a new sensor and was largely free of the problems that had given its predecessor bad press. This was a successful model for Fujifilm, but the X-series was still pretty new, with a small (but quickly growing) market share. The X-E2s was released three years later; it was almost just a firmware update disguised as a new camera, and Fujifilm later gave that same firmware to the X-E2. A lot of people consider the X-E2 and the X-E2s (which had a pretty short run) to be the same camera, because they basically are (although not 100%). In the fall of 2017, Fujifilm announced the X-E3, at a time when the X-series seemed to be hitting its stride, with several commercially successful models coming before (X-Pro2, X100F, X-T2, X-T20). I think there were some high sales expectations for the X-E3; however, demand turned out to be sluggish, and the camera had to be discounted in order to move the inventory. Because it was considered a bit of a “flop” (too many copies were manufactured for the actual demand), there were some rumblings that the X-E3 might be the last model in that series. Thankfully it wasn’t.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues Recipe
In March of 2021, Fujifilm released the X-E4. I preordered my copy the moment it was announced; if I hadn’t, I might not own one today. Fujifilm used the sales figures of the X-E3 to estimate the demand for its successor, which was a fair assumption, but what they didn’t know is that the X100V was about to go viral, and it was going to take the X-E4 with it. Demand for the X-E4 turned out to be much greater than it had been for the X-E3; however, as luck would have it, this was during the Covid global parts shortage, and Fujifilm had trouble securing materials to manufacture more copies. Two years after it was released, and with a very long backorder list, the camera was discontinued.
Because there was so much unfulfilled demand, the second-hand market for the X-E4 went nuts. It was pretty common to find a used X-E4 selling for 50% more than the MSRP of a new model, and sometimes double. Crazy! If sales had been slow, it very well might have been the final nail in the X-E coffin; however, sales were good, except that Fujifilm discontinued the camera at the peak of its popularity because they ran out of parts. Now, a little over two years later, apparently a new model is forthcoming. Interestingly, in 2023 I predicted that the X-E5 might come in the spring of 2025… not a bad guess, only slightly off. Let me quickly discuss what I hope for with the X-E5.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
A lot of people wanted to buy the X-E4 but just couldn’t find one in stock, so I wouldn’t change much. If it ain’t broke, don’t fix it. There are five things I would do different, and otherwise I’d leave it alone. I don’t think Fujifilm needs to reinvent the wheel here.
The five things that I would change, which would make the X-E5 pretty much perfect in my eyes, are simple: use the Shutter/ISO combo dial of the X100/X-Pro series, include an M/C/S switch, include a rear command dial, improve the EVF resolution, and use the X-Processor 5. That’s it. Keep the design the same, keep the sensor the same, use the same battery—keep almost all of it the same. Do this, and it will be a very successful camera.
Some people will demand IBIS and claim that the X-E5 must have it or the camera’s a dud. I don’t care if it does or doesn’t have IBIS, I’m fine either way. For still photography, IBIS is nice, but is oftentimes very overstated. It’s not a critical feature whatsoever for most people and circumstances. It does add weight (and probably size), cost, and battery life—in other words, there are tradeoffs. I’m ok with either choice, but I definitely lean towards its exclusion.
Will it have a small grip like the X-E3? It could, but if it doesn’t have IBIS, it’s lightweight enough that the omission is not a problem (it’s not a problem on the X-E4); personally, I’d welcome it for times when a larger lens is attached to the camera. They could include a built-in flash (the X-E1 and X-E2 had a flash), but it doesn’t bother me even slightly that the X-E4 doesn’t have one. I’d be a little surprised if the X-E5 has the 40mp X-Trans V sensor, but it certainly could. I’m more inclined to believe that it will have the 26mp X-Trans IV sensor like the X-S20 and X-M5, if for no other reason than to keep the cost down. The Film Dial? I like it personally, and I’d be curious to see how it might be implemented, but it doesn’t seem like an easy addition (the EVF is in the way), so I’m guessing no, the camera won’t have it.
One final point I’d like to make in this article is in regards to timing. The X-E1 was the second-to-last X-Trans I camera (X-M1 was last), the X-E2s was the second-to-last X-Trans II camera (X70 was last), the X-E3 was the second-to-last X-Trans III camera (X-H1 was last), and the X-E4 was the second-to-last X-Processor 4 model (X-T30 II was last). Fujifilm has used the X-E series to mark the sunset of each generation, with one camera model to follow. It’s reasonable to assume that we’re nearing the end of the fifth-generation. My prediction, which is merely a guess and nothing more, is that an X-T30 III (an X-T30 II but with X-Processor 5) will be announced in the fall, and the X-Pro4 (maybe called X-Pro5), which will be the first sixth-generation camera, will be announced in January or February of 2026. I’ve guessed wrong many times before, so take this with a massive grain of salt.
Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.
Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.
There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.
The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.
While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?
It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.
The Fujifilm X-E4 is one of my absolute favorite Fujifilm cameras. There was a lot of demand for it, then, inexplicably, Fujifilm discontinued the X-E4 while there was still a fairly lengthy backorder list. According to Fujirumors, Fujifilm is working on the X-E5 right now, possibly to be released sometime in 2025. There’s a reasonable chance that Fujifilm will read this, so I thought I’d take the opportunity to express my wish-list for the camera.
The Fujifilm X-E1 was my gateway into the Fujifilm system. The camera, which was released in 2012 and was Fujifilm’s second interchangeable-lens X-series camera (only preceded by the X-Pro1), was praised for its beautiful retro rangefinder design (nicknamed “Sexy One”), but also criticized for its sluggish performance (some of which was rectified in firmware updates). The X-E1 was fairly quickly replaced by the X-E2, and a minor updated version called the X-E2s was released at the end of the X-Trans II lifecycle (beginning the pattern of X-E cameras released near the end of a sensor generation). While the X-E series has a history of somewhat slow sales, the cameras tend to be much beloved by those who own them. The X-E4 did not experience sluggish sales (in fact, Fujifilm was unable to meet the strong demand); however, it was discontinued anyway, presumably because Fujifilm did not secure enough parts to produce more.
I love the Fujifilm X-E4 because it is small and lightweight, which makes it more pleasant to carry around as an everyday camera. When traveling, there’s limited space for gear in the bag, and tough choices must be made; the X-E4 takes up less room than other bodies, so it’s more likely to be chosen over larger and heavier cameras. In fact, the X-E4 and X100V (and now X100VI) have been my go-to travel cameras since 2021. I also appreciate its clean minimalistic design of the camera.
Fujifilm could simply engrave “X-E5” on the new camera and include the X-Processor 5, but keep everything else completely identical to the X-E4, and it would sell. If it ain’t broke, don’t fix it. People wanted the X-E4 but simply couldn’t get it. An X-E5 that is just an X-E4 with the new processor and the new film simulations would do quite well, I’m certain of it. The less Fujifilm changes, the better.
With that said, there are some things that would make the X-E5 even better than the X-E4. I do feel the minimalistic approach was perhaps a bit too minimalistic. The five key changes that I would make if I were one of the designers are: 1) bring back the M/C/S switch, 2) add an ISO Ring around the Shutter Knob like the X100 and X-Pro series have, 3) add back the rear command dial, 4) improve the EVF resolution, and 5) add a small grip to the front like the X-E3 has.
These might be unpopular opinions, but I would use the “old” 26mp X-Trans IV sensor in combination with the X-Trans V processor (like the X-S20); IBIS is unnecessary, and should be avoided for weight and cost reasons; the camera doesn’t need to be weather-sealed. Keep the X-E5 as similar to the X-E4 as possible, just refine it a little with a handful of small improvements.
There’s a massive opportunity that I believe Fujifilm has largely ignored. One of the biggest advantages of APS-C over full-frame is size/weight. There are tradeoffs with anything, and APS-C seems to strike a near perfect balance of size/weight, performance, image quality, and value. While full-frame cameras have been shrinking lately, APS-C has not; instead, the APS-C advantage has been shrinking. This is easily rectified, though, and the X-E5 is one step towards that, but it needs to be kept small, light, and affordable. The other key piece that’s missing are pancake lenses.
Yes, there’s the exceptional Fujinon XF 27mm f/2.8 R WR; however, it’s not often readily available for purchase. Likely, you have to add yourself to a backorder list and wait awhile. There’s also the sort-of pancake (Japanese pancake?) Fujinon XF 18mm f/2 R, but it is old, overpriced, and in desperate need of an update. Otherwise, there aren’t many options—at least not natively; however, there are some 3rd-party pancake lenses that have recently appeared, which is good. Fujifilm needs to add a few more pancakes to the Fujinon lineup, and not be satisfied with just two.
I think a total of five pancake lenses would do the trick. The 27mm f/2.8 already exists, but simply needs to be made available. The 18mm f/2 also already exists, although I would strongly encourage Fujifilm to update it. The three lenses that, in my opinion, Fujifilm should add to the pancake lens lineup are 15mm f/3.5, 23mm f/2.8, and 40mm f/2.8. That gives a good variety, and all five would together make for a fantastic kit.
Since Fujifilm already has two 23mm lenses—the 23mm f/2 and 23mm f/1.4—they might consider something else that they don’t have, perhaps 20mm or 25mm, but definitely something in-between 18mm and 27mm. Instead of 40mm, a longer focal-length could alternatively be chosen, such as 45mm f/3.5 or 55mm f/4. The point is to have something wider than 18mm, something more telephoto than 27mm, and an option in-between the 18mm and 27mm.
A small and lightweight camera—such as the X-E5—combined with a handful of small lenses would make an ideal kit for travel and walk-around photography. It would clearly illustrate a significant advantage of APS-C over full-frame—imagine a camera and five-lens kit that could all fit into a small camera bag! I have no doubt that it would be successful, but it would require that Fujifilm clearly articulate why a small camera with small lenses should be desirable.
I don’t know if the “right” people at Fujifilm will read this, or, if they do, if they’ll listen. But, just in case, I wanted to make sure to get my opinions out there. Now it’s your turn! What would you like to see in a Fujifilm X-E5? What pancake lenses do you think that Fujifilm should make? Let me know in the comments!
What should a Fujifilm X-E5 look like? What features would I like it to have?
I’m not convinced that Fujifilm will ever make an X-E5, as they’ve indicated that they might not, but if they do, it’s likely that they will begin working on it soon, at least preliminarily. If Fujifilm does make an X-E5, I think spring 2025 is a likely timeframe for its release. Just to be clear, I have zero inside information, and can only speculate. Just in case Fujifilm does begin to work on an X-E5 soon, I thought it would be worthwhile to tell them what I’d like it to be like. Of course, there’s a pretty good chance that they’ll never read this—I don’t believe that Fuji X Weekly is on their list of websites to regularly visit—so this might be for nothing. Optimistically, let’s assume that Fujifilm will read this article, and maybe they’ll even take my ideas into consideration.
Before I get into it, I want to argue why Fujifilm should make an X-E5. I understand why they don’t want to: Fujifilm believes that the market segment that the X-E line is in is shrinking, and will soon be dried up. Fujifilm made a decision to pivot, focusing more on higher-end gear, and less on lower-end gear. While the X-E line has never been considered an “entry-level” product by users, as the tier below it disappeared, it became the default entry-level camera for Fujifilm, since it is the cheapest model. Historically, the X-E line has had somewhat sluggish sales, and often comes out at the tail end of a sensor generation. The X-E3, for example, could still be purchased brand-new at a discount just two years ago; however, the X-E4 sold surprisingly well during its short time, especially towards the end.
Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe
Inexplicably, Fujifilm discontinued the X-E4 while demand was high—so high, it exceeding Fujifilm’s ability to manufacture them, which caused a backorder list that was months long. Because Fujifilm discontinued the X-E4 while demand was high but supply was low, used models are now selling for ridiculous prices. I’m sure Fujifilm had a good reason for axing the camera—GxAce would say that it was a casualty of the global chip shortage of the early ’20’s—but it left a pretty significant market void. I’m surprised that Fujifilm let it slip through their fingers, but I’m sure it was simply a case of limited resources, and making more X-E4 bodies was less of a priority than other things.
The reason why Fujifilm should make an X-E5 and not let the X-E line die is because there is market demand for it right now. Three years ago, you could buy an X-T30, X-E3, X-T200, or X-A7. If you had a smaller budget or wanted a compact body for travel, you had those four options. Now, there’s only two: the often-out-of-stock X-T30 II or the X-S10. The X-S series is kind of in a different category with a divergent design from most of Fujifilm’s past models; while Fujifilm has marketed the X-S20 as their ideal travel camera, it is a bit on the heavy side for that, plus is more expensive, and not really in the entry-level price range. Currently, for those wanting something under $1,000, or something that’s especially compact and lightweight, you don’t have much to choose from. This is by design, and mainly because the bottom-end market isn’t as big as it was five years ago.
If Fujifilm made an X-E5, there would be demand for it, but (as they say) time is of the essence. The longer Fujifilm dillydallies, the less excitement their might be. You have to strike while the iron is hot, and the iron is hot right now. Will it still be hot two years from now? I have no idea. The safer move would be to simply un-retire the X-E4 and manufacture more copies of it. I don’t think that will happen, so let’s focus on the X-E5.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe
My ideal X-E camera wouldn’t be all that much different from the X-E4. I love my Fujifilm X-E4, but I know not everyone was excited about it. Some say that it was a step backwards from the X-E3 because Fujifilm went minimalistic with it—a little too minimalistic. For the X-E5, a few simply changes and improvements would make it better. Some people will say that it must have IBIS, but that would make it bigger, heavier, and more expensive. Fujifilm would have to carefully consider if it would be worthwhile to do that. If they added IBIS plus weather-sealing, they could increase the cost and make the line more mid-tier. That’s one option, but that’s not what I would suggest, personally. I would only make a handful of changes to the X-E4, and engrave a 5 on the front instead of a 4. Here are my X-E5 suggestions:
Reinstate the M/C/S switch.
Put an ISO ring around the Shutter knob like the X100V has.
Reinstate a rear command dial.
Make the rear screen three-way-tilting like the X-T5.
Improve the OVF, perhaps a little bigger and higher resolution.
Use the current sensor with the new X-Trans V processor like the X-S20.
Add a small grip to the front similar to the X100V.
Consider using rounded strap eyelets instead of rectangular.
That’s it! Super simple. There’s no need to reinvent the wheel. That would be a really nice refresh that I think a lot of people would appreciate. That would keep the cost low and the camera small and lightweight.
Reflection of a Broken Door – Litchfield Park, AZ – Fujifilm X-E4 – Fujicolor 100 Gold Recipe
It would be really smart for Fujifilm to update the 18mm f/2 lens, which is long-overdue for a refresh, and introduce a new pancake option: perhaps a 23mm f/2.8 or 40mm f/2.8. They could offer a few different bundle options: the upcoming 16-50mm f/2.8-4.8, the updated 18mm f/2, a new pancake (whatever they decide to go with), the 27mm f/2.8, or all three pancake lenses. The X-E line just begs to be used with pancake lenses, which really illustrates the benefit of APS-C, but sadly Fujifilm only has two. I bet that three pancake lenses bundled with the X-E5 would be a popular option, especially if a few influencers were to demonstrate just how great that would be for a travel photography kit.
Which brings me to the marketing angle. What makes Fujifilm cameras great? What is the essence of shooting with the X series? Hint: it’s what makes the X100V so popular. In my opinion, Fujifilm has done a rather poor job of expressing this and particularly communicating why it should be desirable (maybe they don’t understand it themselves?). Largely, it has come from outside sources—TikTokers, Instagramers, YouTubers… heck, I’ll take a little credit for it myself—who have done Fujifilm’s marketing job for them. The X-E5 (as I suggest the camera should be) would be the quintessence of many aspects of this: cool-yet-functional vintage styling, great implementation of exposure-triangle controls, small and lightweight, and of course out-of-camera JPEGs that look great. Fujifilm needs to focus on that. They need to communicate why the X-E5 fulfills (in many ways) the essence of shooting with the X series, and why that essence is desirable for photographers. Yes, social media influencers and bloggers will do some of that for Fujifilm, and that’s great organic promotion, but Fujifilm themselves needs to do a much better job than they have in the past. If done right, the X-E5 could be a smashing success in spite of shrinking market segments.
Will Fujifilm make an X-E5? Maybe, maybe not. I’d lean towards no if I had to pick one over the other. Should they? Absolutely yes! It would be a real shame for Fujifilm to kill the line when there is so much demand for it. I love the X-E series—the X-E1 was my introduction to Fujifilm—and it deserves to continue. I hope that it does.
