The Fujifilm X-E5 ($1,699.95, body only) is a significant update to the X-E4 rangefinder-style mirrorless camera, a 2021 release that didn't stay in the market for as long as it deserved. Like its predecessor, the X-E5 is as stylish as they come. The starting price is nearly double, but reflects an industry-wide uptick in camera costs and recent tariffs, as well as the addition of in-body image stabilization, and its premium 40MP X-Trans sensor. I am disappointed that Fuji left out weather sealing and stuck to an entry-level viewfinder, but the X-E5 still earns a strong recommendation because it's the perfect compact body to pair with Fujifilm's line of small XF prime lenses. I'll continue to recommend the Panasonic Lumix DC-G9 II as our Editors' Choice for creators who want a do-it-all crop sensor camera, but the X-E5 stands on its own as a rewarding, capable choice for photographers who prefer to carry a lighter kit.

Design: An X100VI With Changeable Lenses

Like previous entries in the X-E series, it's easy to liken the X-E5 to Fujifilm's critical darling fixed-lens camera, the X100VI. Both feature a retro chic aesthetic with a corner viewfinder, and include a modest handgrip that pairs well with lightweight prime lenses, but proves less than comfortable for zooms and telephotos. They are evocative of rangefinder cameras like the Leica M11-P, minus the cost and esoteric manual focus experience. The X-E5 does not include an optical viewfinder like a Leica M or X100VI, so if you want that feature in an X-mount mirrorless camera, you'll need to seek out a used X-Pro1, X-Pro2, or X-Pro3, but none are available new at this time.

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Not everyone uses big lenses, so the X-E5 fills an important role in Fujifilm's camera lineup: It's the ideal body to match with smaller lenses like the XF 23mm F2.8 that's available as a kitted option and others like the XF 35mm F2 R WR. By the numbers, the X-E5 measures 2.9 by 4.9 by 1.5 inches (HWD) and weighs 15.7 ounces without a lens attached, slight increases versus the X-E4 (2.9 by 4.8 by 1.3 inches, 12.8 ounces), but reasonable when you remember that the X-E4 does not include a sensor stabilization system, which is included in the X-E5.

The X-E5 is not the only small camera available in this class. Sony also uses a corner viewfinder for its compact a6700 (2.7 by 4.8 by 2.5 inches, 1.1 pounds), but matches it with a prominent handgrip for a camera that's somewhere between an SLR and rangefinder body style in concept and execution. Meanwhile, photographers who already own Fujifilm lenses can consider the X-T50 if they're after a compact SLR-style mirrorless camera. The X-T50 uses the same sensor and processor as the X-E5, and while there are some minor differences in features between them, their imaging and autofocus performance is equal.

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The X-E5 is one of the prettiest cameras on the market, and it feels solid in the hand too. I received the body in silver and love the two-tone look made by the aluminum top plate and black leatherette, though it's also available with an anodized black aluminum finish if you prefer a more discreet camera. As much as I love how good the camera looks, I'll lament Fujifilm's decision to skip out on dust and splash protection for this body, especially since it's included in the X100VI and almost every other interchangeable lens camera that costs this much. If you want a camera with similar style that works with compact lenses, consider the OM System OM-3 as an alternative, but understand that it's a bit larger than the X-E5 at 3.5 by 5.5 by 1.8 inches.

Fujifilm sells the X-E5 as a body only for $1,699.95, or in a kit with the XF 23mm F2.8 R WR for $1,899.95, a decent discount versus buying them separately, as the lens costs $499.95 a la carte. Since the XF 23mm F2.8 wasn't available for evaluation when I reviewed the camera, I opted to pair the X-E5 with the XF 30mm F2.8 R LM WR Macro instead. If you prefer a different angle of view, consider the XF 16mm F2.8 R WR for wide angle coverage, the XF 35mm F2 R WR for standard, or the XF 50mm F2 R WR for a short telephoto angle.

The increase in price versus the X-E4, which debuted at $899.95, is sure to induce some sticker shock, but follows a recent industry-wide uptick in camera costs, along with the upgraded sensor and in-body stabilization system. At press time, a gently used X-E4 costs upwards of $1,100 at KEH, the largest used camera dealer in the US, which should give you some context on where the camera market is these days.

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Controls and Handling: Pairs Perfectly With Prime Lenses

The X-E series was built for use with Fuji's slim XF prime lenses from the jump, and the X-E5 remains true to the core concept. The handgrip isn't anything more than a bump, so you don't get as much support with long, front-heavy zooms and telephoto lenses as with the larger X-H2 and X-H2S.

You can buy an add-on grip if you want more of a handhold; SmallRig makes both a front grip and rear thumb rest to go with the camera. I didn't get to try either, but I've tried other SmallRig accessories in the past and they've all been good. I used the X-E5 with a different third-party accessory, the Peak Design Cuff wrist strap, and found it to be a good match for the small mirrorless body. If you prefer to let the camera hang by your side, the included braided shoulder strap is a nice touch, as most cameras ship with ugly straps.

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I'm a fan of the X-E5's control interface, featuring discrete dials to adjust shutter speed and EV compensation, which work in tandem with the on-lens aperture control. It makes it easy to switch between manual settings so you can take command of exposure when you want, or use the automatic (A) setting to let the camera make those decisions. I like leaving ISO to automatic and using EV compensation to brighten or darken an exposure, but you can set ISO manually via the front dial if you prefer. The dial approach may intimidate photographers who are used to a PASM mode dial; if you prefer this style, look to the Sony a6700 or Fujifilm X-S20 for a more familiar interface.

A shutter release, on/off switch, and a configurable function button are also on the top plate. The shutter button is threaded to support a soft release button or mechanical release cable. By default, the function button toggles human face and eye detection autofocus, but is configurable via the camera menu, as are most of the buttons and dials.

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The X-E5 has a new control lever on the front, right next to the aforementioned dial. It's a small addition, but supports five different actions: a button press, and both short and long pulls to the left or the right. By default, the lever allows you to set a digital zoom, change aspect ratios, and switch between the LCD, EVF, and eye sensor control. You can set the lever to do other things, but its crop options are handy, and since the images are 40MP to start, details still shine through, even with a crop.

I especially like that the digital crop has three Surround View framing modes. The Black setting zooms in the viewfinder to show the tighter view, essentially blacking out the cropped-out area. Line shows the full angle of the lens with a white frame marker indicating the crop setting, and Semitransparent uses a dimmed overlay to indicate the cropped-out area. Many street photographers prefer rangefinders because their viewfinders show more than what an attached lens captures, which is handy for anticipating subjects entering or exiting the frame.

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The X-E5 gets another new control, at least for this series, in the form of a Film Simulation dial. I like that the dial provides direct access to the most popular looks (Acros/B&W, Classic Chrome, Reala Ace, Soft/Astia, Standard/Provia, and Vivid/Velvia), plus has three custom (FS1, FS2, FS3) slots, as well as a C setting to cede control to camera menus. I also like that each FS option allows you to configure color chrome, contrast, film grain, and other processing options discretely, though that level of granular control is restricted to the three FS slots. The other dial settings and the additional Film Simulations you can access via the menu system are adjusted globally.

The X-E5's rear controls are spartan in comparison, but adequate. It includes Drive/Delete, Play, and AFL/AEL buttons toward the top, and puts Menu/OK, Display/Back, and an eight-way joystick to the right of the LCD. The Quick Menu (Q) button is further to the right—it's part of the rear thumb rest and is pretty easy to find by touch. A Manual/Continuous/Single focus toggle switch on the left side of the body rounds out the physical controls.

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The Quick Menu panel gives you direct access to up to 16 functions. Its default set includes panels to set Film Simulation and processing options, ISO, autofocus, aspect ratio, and file format, among others. The menu is configurable to taste, and the X-E5 lets you create different Quick Menus for stills and video too. I recommend taking time to populate Q with the settings you expect to adjust most often, as Fujifilm's full, multi-page menu is dense enough that it's sometimes difficult to locate the specific setting you want to change. The full menu includes a configurable My Menu page to ease the pain, but I'm of the opinion that it's beyond time for Fujifilm to rework its menus with the aim to make them easier to navigate.

EVF and Display: Small Body Trade-Offs

The X-E5 uses the same 0.62x-magnification, 2.4-million-dot viewfinder from the X-E4, which is undersized versus similarly priced cameras like the Fujifilm X-T5 and Panasonic G9 II (both 0.80x, 3.7 million dots). I don't mind a smaller viewfinder in a smaller camera, as higher magnification EVFs require a little more space after all, but I'm disappointed that the X-E5's EVF lags slightly behind the X100VI (0.66x, 3.7 million dots) in size and sharpness.

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Fuji does make an effort to service photographers with less than perfect eyesight. The X-E5 includes an option to use oversized icons to show exposure information in the viewfinder. The big icons obscure parts of your frame, but it just takes a press of the rear Disp/Back button to cycle over to a clutter-free view of just your image and focus box. The camera also has a third view mode that uses an analog needle animation to show positive or negative exposure compensation, mimicking what you'd see in a 1970s film camera and the shutter, aperture, ISO, and battery life in red LED-style text. This retro view is only available in the Black or Line Surround View modes, not with Semitransparent. I mention this because I spent a good half hour paging through menus trying to find the feature, only to realize I couldn't find it because I had my X-E5 set to the Semitransparent crop framing mode.

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I like that Fujifilm uses a simple tilt screen for this camera as it allows for low or high angle framing while keeping the display centered behind the lens. The screen also flips up above the top plate and faces forward for selfies. On the downside, the rear display isn't as crisp as competitors. Its 3-inch size is adequate, but it's backed by just 1.04 million dots. Again, the X-T5 and G9 II use sharper screens, both at 3.0 inches with 1.8 million dots. You're not likely to notice a difference when taking photos with autofocus, but a sharper screen is useful for checking focus when using a manual lens or during playback.

Power and Connectivity: Good Battery Life for Its Size

The X-E5 uses Fujifilm's NP-W126S battery, the same one that powers the X-T50, X100VI, X-M5, and other smaller entries in the line. The camera is rated for around 310 exposures per charge using the CIPA standard battery test. CIPA figures are typically conservative, for instance I took more than 100 pictures with the X-E5 during the course of a couple mornings and dropped the battery down to 75%, a pace that's closer to 400 exposures, but if you mix in more video, use wireless features, or in-camera editing tools the battery drains more quickly. 

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I don't anticipate creators running out of juice during half-day outings, but it's worthwhile to buy a spare NP-W126S ($59.95) to get through a long day. For longer battery life in a small camera, turn to the Sony a6700 as its CIPA rating is an impressive 570 photos per charge, or the Fujifilm X-T5, which gets 580 pictures from its larger NP-W235 cell.

On-the-go charging works too. The X-E5 has a standard USB-C port to top off the battery and transfer data to computer. Its USB port supports the UVC/UAC protocol so it works as a webcam without the need for additional drivers or software; it simply shows up as a camera option in your web browser or Zoom app.

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In addition to USB-C, the X-E5 includes a 3.5mm microphone/remote control jack, micro HDMI video output, and a single UHS-II SDXC memory card slot. Because of the high-resolution sensor, it's worthwhile to pick up a fast memory card for the X-E5. Fujifilm recommends using one rated for V90 speeds.

The X-E5 has a built-in LED that works as a focus assist beam and self-timer lamp, but not as a flash. The camera works with external flashes and wireless transmitters via its hot shoe and supports sync speeds as fast as 1/180-second. Most serious mirrorless cameras omit an in-body flash, but the Fujifilm X100VI compact includes one, plus supports external strobes, along with a leaf shutter lens for 1/4,000-second sync.

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The camera pairs with the Fujifilm X App, a free download for Android and iOS, via Bluetooth and Bluetooth. The app supports file transfers, remote control, and includes tools to help you keep track of your most-used lenses and Film Simulation profiles. For creators who edit on a desktop, the X Raw Studio app for Mac and Windows is there as a free Raw processing alternative to paying for an Adobe Lightroom or Capture One subscription, with the caveat that you must keep the X-E5 plugged into your computer for X Raw Studio to work.

Autofocus: Even Speedier Than Needed

The X-E5's hybrid phase-contrast detection autofocus system proves capable and competent. Focus is available across the entirety of the frame, with just the outer edges out of scope. The focus area can be set from a small flexible spot (adjusted via the rear joystick) to the full image area with plenty of intermediary options. The X-E5 also supports face and eye detection for people, as well as discrete subject detection for airplanes, birds, cars, motorcycles, pets and animals, and trains, all of which work in conjunction with tracking focus.

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Using the right detection mode can help to more accurately track moving subjects, and eases portrait and pet photography by jumping to a person's or animal's eyes, even if you don't have your focus box directly over the subject. It's a very useful feature, but the interface to change between different subject types is a little kludgy. Fujifilm puts human face and eye detection in a completely different menu from all other subject modes, which makes changing between them a little more cumbersome than with other brands. It's not unmanageable since you can assign hot keys to switch between humans and the other subject types, or turn off the feature entirely, but I'd like to see Fujifilm streamline the interface.

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The X-E5 supports burst rates up to 8fps with its mechanical shutter and 13fps with its silent electronic shutter. The 40MP chip can introduce some motion distortion when photographing subjects moving laterally across the frame with the e-shutter, which can be a concern when photographing athletes, wildlife, or motorsports, but shouldn't interfere with day-to-day photography.

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The body style is less than ideal for pairing with the telephoto lenses often used for action photography, so I don't count rolling shutter as a serious issue for photography, especially since you can use the mechanical shutter to reliably freeze motion without distortion, or switch to a 1.29x crop (24MP capture) to better control motion distortion and enjoy capture speeds up to 20fps.

Imaging: Leverages 40MP Resolution for In-Camera Crops

Fujifilm decided to use its 40MP X-Trans BSI CMOS chip with the X-E5, giving it a huge bump in resolution versus the 26MP X-E4. The X-E5 also adds sensor stabilization, a necessary feature if you want to get the best detail from handheld images. This is especially important with the X-E5 as in-camera crop modes are one of its headline features—as mentioned earlier the camera includes a 1.29x crop for high-speed capture, plus 1.4x and 2.0x options in standard drive modes.

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Fuji has already used the 40MP sensor in other cameras, starting with the X-H2, and it has proven to deliver photos with sharp detail, wide dynamic range, and excellent color through much of its ISO range. The camera supports ISO 125-12800 with automatic control and expands the range to ISO 64-51200 in manual. Pictures are clean and show very little noise up through ISO 1600, and lose some clarity to grain at ISO 3200-12800. Pictures at ISO 25600-51200 don't look as good as noise cuts into detail for a soft, grainy output. If low-light, high-ISO photography is your passion, it's worth getting a full-frame camera instead, and there are several good options available in this price range, including the Nikon Z5II and Canon EOS R8.

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The X-E5 supports 8-bit JPG, 10-bit HEIF, and 14-bit Raw formats. JPGs are the most convenient to use and share, but don't hold up well to edits. HEIF uses a wider color space and more efficient compression, but isn't as broadly supported, while Raw photos handle color and exposure edits well, but require some expertise and the right software to process. I use Adobe Lightroom Classic as our standard Raw processor for reviews, but there are alternatives to consider, including Capture One Pro and Skylum Luminar Neo.

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Adobe hasn't yet updated Lightroom to work with the X-E5, but I know from using other Fujifilm cameras with the same sensor and processor that its photos handle edits with as much flexibility as others that use APS-C format sensors. It's up to you if Raw capture is right for your workflow, but I'm very positive about the X-E5's out-of-camera JPGs, as the Film Simulation engine delivers good-looking, tastefully toned pictures with artistic flair. If you're unsure as to which look you want to use for a scene, you may want to enable Raw capture and use in-camera editing tools to create different versions using Fuji's profiles, or edit later on a desktop or tablet to tone the image to match your creative aesthetic.

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All and all, I have very little, if anything, negative to say about the X-E5's imaging engine. The JPG profiles are pleasant and tastefully done, and in-camera Raw processing means you can experiment with different takes on the same image after capture. The addition of in-body stabilization is a boon for the series because it makes it possible to get the most out of the 40MP sensor, plus gives you more freedom to experiment with longer shutter speeds without having to drag around a tripod. The X-E5 is one heck of a stills camera.

Video: Its Best Quality Comes With Cropping

The X-E5 is a video camera too, though I won't blame you if you missed its movie features. Video is hidden in the Drive mode menu, the same place you go to turn on burst capture for photos. To further reinforce its position as a still camera, the X-E5 doesn't include a dedicated Record button. Fujifilm has several cameras in its lineup that are better suited as dedicated video or hybrid photo-video cameras, including the X-M5, X-S20, X-H2, and X-H2S, but at the same time does not leave out any major recording features from the X-E5.

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The body style is the main reason I'm down on the X-E5 for movies and vlogs. Its forward-facing screen is a mark against it for vlogging, for instance, because it requires the top plate to be free of obstructions to use properly. This makes it problematic to mount a microphone as the screen interferes with the accessory shoe.

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The 40MP sensor is another limiting factor for video. Since its readout speed is relatively slow, the frame is cropped noticeably (1.23x) in order to reduce instances of rolling shutter motion distortion. The same crop applies to its best 4K mode (4K30 HQ), which takes the 6.2K picture and downsizes it to 4K using an oversampling technique. The X-E5 also has a subsampled 4K option with 60fps (with a 1.14x crop) or full-width 24fps and 30fps modes, but because this uses a line skipping method to downsample to 4K (8MP) resolution, it appears softer than 4K video captured with 26MP cameras like the Fujifilm X-S20 and Sony a6700.

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On more positive notes, if the X-E5's body style is suitable for your movie recording and if you don't mind working around a crop, the oversampled footage holds up well on large displays. You can choose between 10-bit 4:2:2 (HEVC) or 8-bit 4:2:0 (H.264) compression with up to 200Mbps encoding. You can use any Film Simulation look for video, or switch the flat F-Log profile for a neutral starting point for editors who prefer to color correct footage after capture.

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Like many other cameras that put photo features first, the X-E5 is capable, but not ideal, for movies, so it's more of a camera for photographers who take the occasional video clip than for videographers who sometimes take photos. I don't count this as a bad thing, some cameras are do-it-alls, some prioritize video, and others like the X-E5 are built to cater to photographers. To quote a homespun idiom, there are different horses for different courses.

Among Fuji X system models, the X-H2S is easily the best choice for a video-first workflow because of its fast-reading Stacked CMOS sensor and 6.2K30 ProRes encoding, with the X-H2 a good second choice if 8K capture is a priority. Among other brands, the Lumix G9 II is easily the best hybrid camera in this class, and the Lumix GH7 stands out for video.