- Construction and ergonomics
- Resistance to humidity and dust
- Sensor stabilisation
- Overall responsiveness
- Highly effective AF subject detection and tracking
- High-resolution mode
- Full video mode
- Image quality in video
- Autofocus tracking sometimes erratic
- Limited exposure latitude
2022 was a great year for Fujifilm
After having resurrected its X-H range with the sporty X-H2S with a stacked sensor and after its very defined counterpart X-H2 (40,2 Mpx), the Japanese firm renewed its flagship range with the X-T5.
The X-T5, all wheels
Worthy successor of the X-T series, with its vintage style made of manual controls and its more contained size, it targets a market that appreciates both technicality and retro curves.
An X-H2 with make-up
If, aesthetically, the X-T5 borrows a lot from the X-T4 – and even more from the X-T3 -under the cover, we find almost all the characteristics of the X-H2 launched a few months earlier. This little X-T5 keeps the new X-Processor 5 and, above all, the same X-Trans CMOS 5 HR sensor of 40.2 Mpx, which is, to date, the most defined on the APS-C market.
Since the launch of the X-mount in 2012, Fujifilm’s APS-C hybrids have been mostly synonymous with nostalgia. Indeed, from the outset, the bodies have adopted that ‘retro-chic’ look that appeals to those looking for a high-performance camera and a beautiful object they’ll enjoy sporting.
A retro range and an “urban” range
Some models, such as the X-H2 and X-H2S, were in contrast with the harder lines of medium format cameras like the GFX 100S. Wheel lovers who might have felt left out will be reassured by the X-T5.
The charm of notched controls
In keeping with the tradition of the X-T range, this version 5 has the same thumbwheel controls. There are two main knobs: for ISO and for exposure time. A third one is used for exposure adjustments. Fujifilm’s particularity, the aperture is controlled on the lens, except for a handful of lenses that use the small front or rear dials.
It doesn’t skimp on functions
The X-T5 also has clickable buttons to switch between functions. For example, using the Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD zoom lens for the X-mount, by clicking on the front mount, we alternated between aperture control. We extended the exposure adjustment (between -5 and +5 EV).
An X-T5 with an X-T3 look
The X-T5 (129.5 x 91 x 63.8 mm and 557 g) is smaller and lighter than the X-T4. It is pleasant to hold, especially after the more massive X-H2 and H2S. However, it still has a relatively deep grip. The relatively compact lenses like the Fujinon XF 33mm F1.4 R LM WR give an excellent balance to the whole. However, care should be taken with larger lenses.
Only some things are perfect too, and there are several complaints. Firstly, almost replicating the chassis of the other X-Ts, the X-T5 retains the hard plastic mini-joystick instead of the much nicer rubber-covered pad found on the X-H2, GFX 100S and 50S II. Similarly, the dual card support is only SD standard (UHS-II). That’s good enough, but when you’re shooting fast, heavy files, you’ll always have to wait a few moments before they’re properly recorded – and we’re not talking about the buffer.
The electronic viewfinder has a maximum resolution of 3.69 Mpts. The 0.8x magnification is better than that of the X-T4, but it still needs to be better than the 5.76 Mpts EVFs inserted in the X-H2, and it only sometimes does justice to the 40 Mpx images.
Electronic noise management
The Fujifilm X-T5 is equipped with the X-Trans CMOS 5 HR sensor of 40,2 Mpx. This is the highest resolution sensor on the APS-C market and was already present in the X-H2.
The best APS-C sensor
The default sensitivity range is ISO 125 to 12,800 and can be extended to ISO 64 to 51,200. Of course, our conclusions about the X-H2’s noise handling remain just as valid for the X-T5. The processing is quite successful.
Noise is detected only from 1600 ISO; an actual degradation can be observed from 3200 ISO and goes up. If we can still exploit the ISO 6400 value, we will have to be satisfied with ISO 12 800 as the ultimate limit. The higher values are too degraded.
We had already opposed the X-H2 to the Canon EOS R5 with a 45MP 35mm sensor. This time we’ll turn to the Nikon Z7 II, also equipped with a 45.7MP sensor.
As for the rival Canon, even if the sensor of the X-T5 is correct, the 35mm sensor of the Nikon Z7 II is still a step above. This is particularly noticeable at high ISO values. With the X-T5, where 12,800 ISO is the tolerable limit, with the Nikon, this remains an interesting option, and one can push up to 25,600 ISO or even 51,200 if necessary.
A good video mode
Fuji emphasizes that the X-T5 is mainly intended for photographers but still remembers video lovers. It is limited compared to the X-H2, which offered 8K at 30 fps in Apple ProRes HQ 4:2:2 and 10 bits.
The X-T5 is “content” with 6.2K, 30 fps and 4:2:2 10-bit with a maximum internal bit rate of 360 Mb/s. This should, however, satisfy many videographers.
Beware of crop
Via the micro-HDMI output, it is possible to switch to Apple ProRes Raw 12 Bits. However, you should know that this 6.2K format does not use the full surface of the sensor. You will have to make do with a cropping of 1.23x. This cropping is also done when opting for 4K HQ (UHD or DCI at 20 fps) resampled from 6.2K.
Even in “classic” 4K and 60 fps, you must make do with a 1.14x crop. Finally, to exploit the full frame, you need to switch to normal 4K and 30 fps at the most or to Full HD. Editors will be delighted to find at least 3 different logs and an HLG format.
Good AF tracking
As with the X-H2S and X-H2, the video quality is excellent, easily competing with the best video cameras in the business. Autofocus tracking is remarkably accurate and efficient. The X-T5 hits the nail on the head.
Fujifilm already had a very well-defined and successful camera with the X-H2. With the X-T5, the Japanese firm combines what made the X-H2 a success with the more traditional design dear to the company and some photographers. A more defined viewfinder and more precise AF tracking would have made it possible to bring it to the firmament. However, there are no false notes, and the compact and powerful camera has little to envy the 24×36 cameras.
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