In summary
Like previous models in the X-T series, the X-T5 is photo-centric – but with some advanced video capabilities. It’s designed for professional photographers engaged in photojournalism and event photography as well as serious enthusiasts who prefer the traditional styling and controls the series offers.
The new 40.2-megapixel sensor and X-Processor 5 could provide an incentive for owners of previous X-Series cameras to upgrade, as could the improvements in subject recognition autofocusing. Deep Learning technology improves subject detection to enable the system to detect and track animals, birds, cars, motorcycles, airplanes and trains automatically.
Since the X-T1 was launched in 2014, Fujifilm has developed an impressive range of lenses for its X-mount cameras to cater for just about any shooting opportunity. Many of them include integrated IS and weather-resistant sealing.
Full review
Announced at the beginning of November, Fujifilm’s X-T5 retains the classic styling of its predecessors but introduces the 40.2-megapixel fifth-generation backside-illuminated X-Trans CMOS 5 HR sensor and X-Processor 5 image processing engine that were launched with the X-H2 to the X-T series, which has smaller and lighter bodies. Five-axis, sensor-shift stabilisation can provide up to seven stops of shake correction while also enabling a new 160-megapixel Pixel Shift Multi-Shot mode. The X-T5 can also record 6.2K video movies internally at up to 30p in 4:2:2 10-bit colour and output 4K HQ video using 6.2K over-sampling. Support for F-Log2 delivers videos with an expanded dynamic range of 13+ stops.
Angled view of the Fujifilm X-T5 with the XF 18-55mm f/2.8-4 R LM OIS kit lens. (Source: Fujifilm.)
A new 10-bit HEIF recording option extends the regular 8-bit JPEG capabilities without requiring more storage space, while panorama images can be recorded in horizontal and vertical orientations, with a maximum resolution of 9600 x 2160 pixels. Compressed, losslessly compressed and uncompressed RAF.RAW recording is also possible.
Among the extended in-camera processing options, the new Smooth Skin Effect could provide time savings for portrait photographers. Similarly, there are 19 Film Simulation modes to choose from for those who like to replicate popular analogue films or special effects. (We didn’t bother testing either.)
Like other models in the series, the X-T5 is offered in all-black and black and silver versions. It carries an RRP of AU$3199 for the body alone and will be offered in two kit formats at AU$3949 for the body plus XF 18-55mm f/2.8-4 R LM OIS kit lens or AU$4099 for the body with the XF 16-80mm f/4 R OIS WR lens, which we haven’t yet reviewed.
Who’s it For?
Like previous models in the X-T series, the X-T5 is photo-centric – but with some advanced video capabilities. It’s designed for professional photographers engaged in photojournalism and event photography as well as serious enthusiasts who prefer the traditional styling and controls the series offers.
The new 40.2-megapixel sensor and X-Processor 5 could provide an incentive for owners of previous X-Series cameras to upgrade, as could the improvements in subject recognition autofocusing. Deep Learning technology improves subject detection to enable the system to detect and track animals, birds, cars, motorcycles, airplanes and trains automatically.
The new camera also provides some worthwhile improvements to its video capabilities, outlined below. The body of the X-T5 is also a bit smaller and lighter, which could appeal to some – although the actual differences between it and the X-T4 are pretty small. The use of dual SD cards means it’s easier and more affordable to buy memory cards, although it can’t match the high-data rate performance of the X-H2 (which shares the same sensor and processor).
Since the X-T1 was launched in 2014, Fujifilm has developed an impressive range of lenses for its X-mount cameras to cater for just about any shooting opportunity. Many of them include integrated IS and weather-resistant sealing.
Build and Ergonomics
Although it’s a bit smaller and about 50 grams lighter than the X-T4, the X-T5 retains the classic styling of the series with dedicated dials on its top panel for adjusting ISO, shutter speed and exposure compensation settings. The ISO dial sits atop a lever-adjusted drive selector, while the shutter speed dial is located over a similar Stills/Movie lever selector.
Top view of the X-T5 body (black version) with no lens fitted. (Source: Fujifilm.)
Also retained are the front and rear command dials, which can be rotated for selection or adjustment of a particular function or pushed in to act switch between settings or as programmable function buttons. The focus mode selector on the front panel carries across to the new camera.
Front view of the X-T5 body (silver version) with no lens fitted. (Source: Fujifilm.)
Disappointingly, the monitor on the rear panel returns to the three-way tilting design favoured by the X-T3, instead of having the full, vari-angle range of adjustments provided on the X-T4 and the larger and heavier X-H2. However, the resolution of the monitor is a little higher at 1.84 million dots (compared with 1.62 million dots on those cameras).
Two views of the back of the X-T5 showing the tilting LCD monitor. (Source: Fujifilm.)
The half-inch OLED viewfinder has the same 3.69-million-dot resolution as the X-T4’s but its magnification is a little higher and it has better suppression of the parallax errors and distortion that can occur when the user’s eye is out of position. At 5.76 million dots, the X-H2’s EVF resolution is higher.
The dual SD card slots are the same as in the X-T4 and both cameras use the same NP-W235 battery pack, although the new camera has better power management and claims around 580- 590 shot/charge, while the X-T4 was rated at 540 shots/charge. The battery is charged in the camera via a supplied USB-C cable and power supply.
Sensor and Image Processing
The 40.2-megapixel sensor and X-Trans CMOS 5 HR sensor and X-Processor 5 image processing engine are the same as used in the X-H2 and covered in our review of that camera. Like the X-H2, the X-T5 supports the HEIF image format, which delivers 10-bit image quality in files up to 30% smaller than standard JPEGs from the camera.
The new sensor and processor also enable the auto ISO range to be extended to include ISO 125, which was formerly one of the extended range settings. Shutter speeds have also been pushed out to 1/180,000 second with the electronic shutter, making it easier to use fast, large aperture lenses wide-open for shallow depths of field without having to rely on ND filters for depth of field control.
Faster processing has also enabled a new Pixel Shift Multi-Shot mode, which was initially introduced in the GFX-100S camera. In the X-T5 this mode records a series of 20 shots, using in-body image stabilisation to move the image sensor by half a pixel with each shot. The resulting frames must be combined on a computer by using the dedicated Pixel Shift Combiner software, which is available as a free download.
Video
On the video front, the X-T5 sits between the X-T4 and the X-H2, offering the ability to record 6.2K movies at up to 30 fps internally in 4:2:2 10-bit colour, although sub-sampling is used for movies recorded with the full width of the image sensor. It also provides a 4K HQ mode, which uses 6.2K over-sampling to produce high quality video.
Movies shot with the MOV/H.264 LPCM or MP4/H,264 AAC formats are recorded to the memory card in 8-bit 4:2:0 depth but can be output to HDMI at 10-bit 4:2:2 depth. ALL-Intra compression is available in addition to the regular Long GOP setting and allows high-speed movies (up to 240 fps) to be recorded at Full HD resolution for slow-motion playback.
There’s also a 1.23x crop mode, which may suit some users a little better. Another plus is the new F-Log2, which records an expanded dynamic range of 13+ stops and is an improvement on the existing F-Log setting.
The X-T5 can output RAW video to an Atomos HDMI device for up to 160 minutes, using 12-bit Apple ProRes RAW at frame sizes up to 6.2K and frame rates up to 29.97 fps. When combined with Blackmagic Design Video Assist 12Gs, the RAW video output from the camera can be recorded as Blackmagic RAW at the same frame sizes and rates.
The X-T5 retains the Stills/Movie switch below the shutter speed dial to make swapping between stills and movie recording quick and easy. However, like the X-T4, the X-T5 lacks a headphone port so you can’t monitor audio as you’re recording.
As with the X-T4, you can ‘convert’ the USB connector to an audio jack with the supplied headphone adapter – but it remains a clumsy option. Use of external microphones is also limited to units that connect via a 3.5 mm plug to the camera’s port.
Like the previous model, movie recording in the X-T5 is initiated and stopped by pressing the camera’s shutter button. An indicator and remaining time are displayed while recordings are in progress and the rear panel indicator light embedded in the thumb rest can serve as a tally lamp to show recoding is happening.
Playback, Software and Accessories
In the main, all three areas are much the same as in the X-T4 and the X-T5 uses the same- NP-W235 battery, which is rated for approximately 600 shots/charge in Economy Mode or 500 frames ing Normal Mode. As usual, the software must be downloaded from the product’s support page on Fujifilm’s website.
Capture One Express for Fujifilm is available as a free download and provides a better raw file converter than either the Silkypix-based application or Fujifilm X RAW STUDIO for converting raw files into editable formats. It comes with customised camera profiles for each supported camera – but is limited to Fujifilm products.
Plug-ins are available for using the camera in tethered mode with Adobe’s Photoshop Lightroom. Existing users of Adobe Camera Raw, Capture One or the Elite version of DxO Photolab will find the X-T5 supported but it’s not supported in Affinity Photo.
Photographers looking for a grip extension can find one in the MHG-XT5 hand grip – which does not include an additional battery chamber. Selling for around AU$220-230, it is compatible with the Arca-Swiss quick release system and doesn’t have to be removed when you need to change the battery or an SD card.
Performance
Our Imatest tests were conducted with the XF 18-55mm f/2.8-4 R LM OIS kit lens, which is normally offered with the camera and is a good all-round performer. The best performance was at f/5 with the 28mm focal length, where JPEGs from near the centre of the frame fell just short of meeting expectations for the camera’s 40-megapixel sensor while RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw produced resolutions just above expectations.
Edge resolution was higher than expected for a kit lens at this aperture. Despite their differences in resolution, high ISO performance, shown in the graph below, was similar to the results we obtained with the X-T4 confirming the capability of the kit lens with the new camera.
Low light exposures were clean, sharp and noise-free up to ISO 12800, which is the highest sensitivity at which raw files can be recorded. From there on we found a progressive blocking up of shadows and increase in image softening and by ISO 51200, images had become noticeably ‘blocky’. This is very good performance from a camera with such high pixel density.
The auto white balance setting, which now uses ‘Deep Learning technology’, produced neutral colour rendition under fluorescent lighting, although the warm colour casts from incandescent and warm-toned LED lighting were not totally eliminated. Better correction, particularly with LED lighting was achieved when the AWB White Priority setting was used, although with fluorescent lighting it introduced a slight yellow cast
The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was barely visible. There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go. On location, the camera handled mixed lighting situations well and manual adjustment was seldom required.
Video quality was, if anything, a little better than the results we obtained from the X-T4 and up with the quality of the footage we recorded with the X-H2, which uses the same sensor. Recorded footage was very smooth, as you’d expect from a camera with built-in stabilisation. In contrasty lighting, the camera captured details in both highlights and shadows, providing good potential for post-capture editing, even when the Log recording format was not used.
The AF system performed very well and captured subjects within the focusing zone sharply almost all the time. Focus was also quick to lock on and most of the time when the camera was in movie mode and the system could track subjects faultlessly, keeping the main subject sharp even when people were entering and leaving the frame.
Soundtracks recorded through the on-board microphones were as clear as those we recorded with the X-T4 and the on-board microphones recorded a similar stereo ‘presence’. Even better results should be possible with an external microphone when higher standards are required.
Our timing tests were carried out with two 64GB Lexar Professional 1667x SDXC UHS-II / V60 memory cards with speed ratings of 250MB/s. One card slot was assigned to JPEGs, while the other received raw files.
The review camera powered up in roughly a quarter of a second and shut down almost instantly. We measured an average capture lag of 0.4 second when the lens was drastically out-of-focus, which reduced to an average of less than 0.01 seconds when the lens was close to correct focus and eliminated with pre-focusing. Shot-to shot times averaged 0.45 seconds.
Single-shot cycle times were difficult to measure because they are so brief, regardless of which shutter was used. However, we estimate that on average, it took approximately 1.3 seconds to process each JPEG file, 1.5 seconds for each RAF.RAW file and 1.7 seconds for each RAW+JPEG pair.
Using the electronic shutter with the high-speed continuous shooting mode and the 1.29x crop selected, the review camera recorded 186 JPEG images in 8 seconds before starting to hesitate. This is equivalent to a frame rate of 23.25 fps. Processing was completed within 12 seconds of the last frame recorded.
On swapping to uncompressed raw files, capture rates hesitate at 25 frames, which were recorded in 1.2 seconds. It took 14.2 seconds to process this burst.
When the camera was set for full-frame capture it recorded 136 JPEG images in 10 seconds without any sign of hesitation. This works out at 13.6 frames/second, which is just short of the 15 fps claimed for this mode. It took 12.2 seconds to process this burst.
When uncompressed raw file capture was selected with the electronic shutter, the buffer capacity was reduced capture rates slowed at around 26 frames, which were recorded in 1.9 seconds. This is equivalent to approximately 13.2 fps frame rate with an extended processing time of 15.7 seconds.
With the mechanical shutter selected in the high-speed continuous shooting mode, the review camera recorded 72 full-resolution JPEG images in 4.9 seconds before slowing. This works out at approximately 14.7 frames/second, which is close to the specifications. Processing this burst took 9.3 seconds.
Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 20 frames, which were recorded in 1.4 seconds, a frame rate of roughly 14.3 fps. Processing was completed in 15.1 seconds.
Note: The camera’s performance is governed by the speeds of the cards it uses. Slower cards will have slower clearing times and may also limit length of bursts in continuous mode. ISO sensitivity and noise reduction settings can also influence processing times and burst mode performance.
Conclusion
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SPECS
Image sensor: 23.5 x 15.6 mm X-Trans CMOS 5 sensor with 40.2 megapixels effective, primary colour filter
Image processor: X-Processor 5
Lens mount: Fujfilm X
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.32), HEIF (4:2:2 10-BIT) RAF.RAW (14-bit), TIFF (8-/16-bit in-camera conversion only); Movies: HEVC/H.265 and MP4 (H.264/MPEG-4 AVC) with All-intra and Long GOP compression
Audio: Linear PCM and AAC
Image Sizes: Stills – L: 7728 x 5152, 7728 x 4344, 5152 x 5152; M: 5472 x 3648, 5472 x 3080, 3648 x 3648; S: 3888 x 2592, 3888 x 2184, 2592 x 2592; Panorama 9600 x 2160, 9600 x 1440, 6400 x 2160, 6400 x 1440Movies: 6.2K (6240×3150) at 29.97p/ 25p/ 24p/ 23.98p, DCI 4K (4096×2160) and 4K (3840×2160) at 59.94p/ 50p/ 29.97p/ 25p/ 24p/ 23.98p, Full HD (2048×1080 and 1920×1080) at 59.94p/ 50p/ 29.97p/ 25p/24p/ 23.98p plus high-speed recording at 240p/200p/120p/100p
Aspect ratios: 4:3, 3:2, 16:9, 1:1, 65:24. 5:4. 7:6
Image Stabilisation: Image sensor shift mechanism with 5-axis compensation, up to 7 stops of shake compensation (CIPA standard with XF 35mm f/1.4 R lens); Digital IS and IS Mode Boost in movie mode only
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal plane shutter (Mechanical 30-1/8000 seconds; Electronic: 30 to 1/180,000 second); up to 15 minute exposures in S and M modes; Bulb up to 60 minutes with mechanical shutter
Exposure Compensation: +/-3EV in 1/3EV steps (+/-EV for movies)
Exposure bracketing: 2, 3, 5, 7 or 9 frames in 1/3EV steps up to +/-3EV
Other bracketing options: Film Simulation, Dynamic Range, ISO, WB, focus, multiple exposures (max. 9 frames with additive, average, bright or dark compositing
Self-timer: Stills:2 or 10 seconds delay; movies: 3, 5 or 10 seconds delay
Interval recording: Yes, for time-lapse
Focus system: Intelligent Hybrid AF (TTL contrast AF [-4.0EV]/ TTL phase detection AF [-7.0EV])
AF selection: single point (13×9 / 25×17 frame size), Zone (3×3, 5×5, 7×7 from 117 areas), Wide/Tracking AF, Subject detection (Face/Eye/ Animal/Bird/Automobile/Motorcycle & Bike/Airplane/Train)
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: TTL 256-zone multi-pattern sensing system with Multi, Centre-weighted, Average and Spot metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure
HDR modes: Auto, 200%, 400%, 800%, 800%+
Film Simulation modes: PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg.Hi, PRO Neg.Std, Classic Neg., Nostalgic Neg., ETERNA Cinema, ETERNA BLEACH BYPASS, ACROS, ACROS + Ye Filter, ACROS + R Filter, ACROS + G Filter, Black & White, Black & White + Ye Filter, Black & White + R Filter, Black & White + G Filter, Sepia
Filter modes: Toy camera, Miniature, Pop color, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
In-camera processing: Digital tele-converter – 1.4x and 2.0x; Pixel Shift Multi Shot; Grain Effect, Colour Chrome Effect, Colour Chrome Blue, Smooth Skin Effect
Colour space options: sRGB and Adobe RGB
ISO range: Auto ISO 125 to 12800 (1/3EV steps) plus extensions to ISO 64, ISO 80, ISO 100, ISO 25600, ISO 51200
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
Flash: Hot shoe (dedicated TTL flash compatible)
Flash modes: TTL lock, commander settings, flash function settings via external flash
Flash exposure adjustment: +/- EV in 1/3EV steps
Sequence shooting: Max.20 frames/sec. with electronic shutter and 1.29x crop; up to 15 fps with mechanical shutter (full frame)
Buffer capacity: Max. 168 Large/Fine JPEGs, 72 compressed RAW files, 41 lossless compressed RAW, 23 uncompressed RAW
Pre-shot mode: Max. 20 frames at 20 fps with 1.29x crop during half-press, 140 frames after full-press; 13 uncropped frames at 13 fps during half-press, 70 frames after full-press
Storage Media: SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 & V90 standards compatible)
Viewfinder: 0.5 inch OLED colour EVF with approx. 3.69 million dots, approx. 100% FOV coverage, 24 mm eyepoint, -5 to +3 dpt adjustment, 0.80x magnification, built-in eye sensor
LCD monitor: 3.0-inch Tilt-type (3 direction) touch screen colour LCD with 1.84 million dots, 3:2 aspect ratio
Interface terminals: USB Type-C (USB3.2 Gen2x1), HDMI Micro connector (Type D), 3.5mm microphone port, 2.5mm remote control connector
Wi-Fi function: Built-in Wi-Fi (IEEE802.11a/b/g/n/ac (standard wireless protocol); Bluetooth v4.2 (Bluetooth Low Energy)
Power supply: NP-W235 rechargeable Li-ion battery; CIPA rated for approx.580 frames/charge normal mode, 740 frames with economy mode, 80-90 minutes of video
Dimensions (wxhxd): Approx.129.5 x 91.0 x 63.8 mm (excluding protrusions)
Weight: Approx.557 grams with battery and card
Distributor: Fujifilm Australia, 1800 226 355
TESTS
Based on JPEGs recorded with the XF 56mm f/1.2 R WR lens.
Based on RAF.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All shots taken with Fujinon XF 18-55mm f/2.8-4 R LM OIS kit lens.
Auto white balance with incandescent lighting.
Auto white balance with incandescent lighting, white priority.
Auto white balance with incandescent lighting, ambience priority.
Auto white balance with fluorescent lighting.
Auto white balance with fluorescent lighting, white priority.
Auto white balance with fluorescent lighting, ambience priority.
Auto white balance with warm-toned LED lighting.
Auto white balance with warm-toned LED lighting, white priority.
Auto white balance with warm-toned LED lighting, ambience priority.
37mm focal length, 30-second exposure at ISO 125, f/3.6.
37mm focal length, 20-second exposure at ISO 400, f/3.6.
37mm focal length, 6-second exposure at ISO 1600, f/3.6.
37mm focal length, 6.5-second exposure at ISO 6400, f/7.1.
37mm focal length, 5.3-second exposure at ISO 12800, f/8.
37mm focal length, 1.9-second exposure at ISO 25600, f/6.4.
37mm focal length, 1.1-second exposure at ISO 51200, f/7.1.
Strong backlighting; 18mm focal length, ISO 125, 1/3200 second at f/8.
55mm focal length; ISO 160, 1/350 second at f/8.
Strong backlighting; 55mm focal length, ISO 160, 1/400 second at f/6.4.
18mm focal length, ISO 800, 1/180 second at f/9.
Strong backlighting; 34mm focal length, ISO 800, 1/640 second at f/5.6.
Close-up under fluorescent lighting; 32mm focal length, ISO 1600, 1/100 second at f/5.6.
28mm focal length; ISO 800, 1/300 second at f/85.
34mm focal length; ISO 12800, 1/850 second at f/8.
25mm focal length ISO 6400, 1/60 second at f/8.
25mm focal length ISO 12800, 1/50 second at f/9.
18mm focal length ISO 12800, 1/180 second at f/7.1.
18mm focal length; ISO 6400, 1/80 second at f/8.
18mm focal length; ISO 6400, 1/80 second at f/5.6.
36mm focal length; ISO 400, 1/1000 second at f/8.
55mm focal length; ISO 125, 1/110 second at f/8.
33mm focal length; ISO 125, 1/120 second at f/8. Top image regular P mode; lower image HDR multi-frame recording.
Still frame from 6.2K 16:9 (6240 x 3510 pixels) video clip recorded at 25p.
Still frame from 6.2K 16:9 (6240 x 3510 pixels) video clip recorded at 25p.
Still frame from 4K 16:9 (3840 x 2160 pixels) video clip recorded at 50p.
Still frame from 4K 16:9 (3840 x 2160 pixels) video clip recorded at 25p.
Still frame from C4K 17:9 (4096 x 2160 pixels) video clip recorded at 50p.
Still frame from C4K 17:9 (4096 x 2160 pixels) video clip recorded at 25p.
Still frame from Full HD 17:9 (2048 x 1080 pixels) video clip recorded at 50p.
Still frame from Full HD 16:9 (1920 x 1080 pixels) video clip recorded at 50p.
Additional image samples can be found with our review of the XF 30mm f/2.8 R LM WR lens.
Rating
RRP: AU$3199 (body only); $3949 (with XF 18-55mm f/2.8-4 R LM OIS kit lens)
- Build: 9.0
- Features: 9.0
- Ease of use: 8.9
- Autofocusing: 9.0
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 9.0
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