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Tom's Guide
23-06-2025
- Automotive
- Tom's Guide
The Fujifilm X-E5 is coming soon — here are the first 5 lenses I would buy
The new Fujifilm X-E5 has caused quite an uproar. It's the latest addition to Fuji's X-E lineup and it succeeds the X-E4. Featuring a 40MP sensor, X-Trans CMOS 5 processor, a film simulation dial, a flip-up screen and more, it hopes to be the ultimate compact camera for travel and street photography. While I'm not fully convinced by the camera yet and much prefer the Fujifilm X-T50, that could change and who knows, I may want an X-E5 someday. And if that day does come, I ask myself, "Which lenses would I buy for it?" Like I said, it's a street camera so the lenses would need to be not too bulky. I like the look of the new XF 23mm F2.8 R WR pancake lens but I'd like a couple other lenses alongside it. Glass is, of course, very expensive so if I was buying the X-E5, I'd be picky and get these five lenses first. The best way I'd describe the Fujinon XF 16-50mm F2.8-4.8 R LM WR is by saying it's a do-anything lens. It originally launched as the Fujifilm X-T50's kit lens and it pairs extremely well with the camera. Considering the Fujifilm X-E5 has the same 40.2MP sensor as the X-T50, I'm certain it would do wonders when paired with Fuji's latest camera. It's a general purpose zoom lens suitable for landscapes, architecture, street, travel, thanks to its 16-50mm variable focal length. It's weather-sealed so it can be used in nearly any environment, it's built extremely well and it looks premium. Originally launched as the Fujifilm X-T50's kit lens, the XF 16-50mm is a lens that can do everything: landscapes, architecture, street, you name it. Its autofocus is quick and fantastic, and the photos come out sharp too. The f/2.8 aperture also means that the lens performs fairly well in dimly lit environments and can generate a pleasantly out of focus background. The lens is quick to focus and the photos it takes are extremely sharp. The one thing missing from it is Optical Image Stabilization (OIS) but most of Fuji's latest cameras come equipped with in-body image stabilization (IBIS) these days, including the X-E5, so you won't miss it as much. Above is a sample gallery of the photos I took on the X-T50 with the XF 16-50mm lens. These are also some of my favorite photos I've ever taken, and if the lens is paired with the X-E5, I'm sure I'd taken even more that I'd deem my favorites too. The Fujinon XF 16-50mm F2.8-4.8 R LM WR lens is available for $699 / £599 at Amazon. Fujifilm's new XF 23mm pancake lens is designed for street photography, yes, but if I had to pick another, I'd choose the XF 35mm F2 R WR to pair with the Fujifilm X-E5. 35mm is the ideal focal length for street photography on APS-C cameras, equating to a field of view equivalent to 52mm on a full frame camera — this is called a 'standard' field of view, and makes for a great all-purpose prime lens, not just street. Tom's Guide's senior cameras and reviews editor, Pete Wolinski, recommends this as the first prime lens any Fuji shooter should buy: "Sharp, small, lightweight, with a fairly wide f/2 maximum aperture, this 35mm should be top on every new Fuji shooter's buy list. It's a brilliant general purpose lens, which I use for everything, from street to architecture and even product photography. Make sure you get one of those crushed can lens hoods for it, too — for the classic Fuji look." The XF 35mm F2 R WR is a great alternative to Fuji's new 23mm pancake lens when it comes to shooting the streets. It's sharp and quick to focus (0.08s, according to Fujifilm), and its 35mm focal length makes it a great all-purpose prime lens, not just for street. Even at its widest f/2 aperture, the XF 35mm lens makes photos appear super sharp, and autofocus is quiet and fast, so I'll be able to quickly focus on passersby when I'm out and about. Fuji claims that the lens boasts the fastest autofocus of 0.08 sec, and boy would I love to try that out. What's more, the XF 35mm lens' compact size sells it to me. Also, being weather-sealed, this is the one for street photography. The Fujinon XF 35mm F2 R WR is available for $399 / £335 at Amazon. Next, I'd want a wide-angle lens to shoot landscapes. I frequently travel to the Peak District National Park up north in the U.K. and am often going on long walks with stunning vistas at the end. I'd like an ultra-wide-angle lens to photograph them, and I can't think of one better than the Fujifilm Fujinon XF 14mm F2.8 R. The lens, with its 14mm focal length, would enable me to fit a lot into the frame. It can also focus down to as close as 0.18m, so I'd be able to get really close to subjects while retaining a lot of the frame behind them. I asked the Tom's Guide senior editor, Pete Wolinski, about this lens, as he owned it for architecture photography. Here's what he had to say: "This lens is kinda unbelievable. It's a wide angle lens, but absolutely dead straight, with very little barrel distortion. For stills shooters snapping architecture, landscapes or sweeping vistas, this is the best Fuji wide angle prime, in my opinion. It's old now, though, meaning it's slow focusing compared to Fuji's newer lenses, and it's a noisy one, so not great for video. For stills, though, that's no so important. This is a really lovable lens." The XF 14mm F2.8 R is an ultra-wide-angle lens for shooting landscapes and architecture and capturing a lot of the scene in frame. It's compact and lightweight too, perfect for pairing with the new Fujifilm X-E5. Despite its wide angle, this lens is outrageously straight with almost no barrel distortion and high levels of sharpness. I also like that the XF 14mm lens is compact and lightweight, so it wouldn't add too much bulk to the also-compact X-E5. And from what I've seen, it looks super easy to use, thanks to focusing distances and a depth-of-field scale etched on to the lens barrel. The latter should come in handy to pre-focus at a certain distance when capturing, say, street images. The Fujinon XF 14mm F2.8 R is available for $899 / £349 at Amazon. The Fujifilm X-E5 is equipped with vlogging and video capabilities as it can record 6.2K/30p video. I'm not usually a vlogger or videographer but if I can afford it, I may as well get a lens for some video work, right? How about the XF 16-80mm F4 R OIS WR? That's my choice, for now at least. Here's what our camera's editor Pete Wolinski had to say about this lens: "Ah, the Fujinon 16-80mm. Quite a divisive lens, and not one that I've owned personally, although this lens is often sent to us for testing Fuji cameras, so I've used it a lot. Now, the XF16-55mm f/2.8 lens is the better lens for video, given its wider constant f/2.8 maximum aperture and sharper optics. However, that lens costs a lot more. The 16-80mm F4 is still a decent lens for video, especially as a first video lens, with a wide focal range equating to 120mm full frame equivalent at the top end. The lens is relatively sharp and it features OIS, another boon for video, as combined with the X-E5's IBIS, you'll have lots of stabilization to keep handheld video stable." The XF 16-80mm F4 R OIS WR is a great first lens for video work, and it would pair extremely well with the Fujifilm X-E5. Although a little bulkier than the other two lenses on the list, I'd still like to have this lens in my gear bag. It's quite chunky, so may be a bit cumbersome when mounted on the X-E5, and I wouldn't think of going for a bigger lens than this. To me, it sounds like a great lens for video because of the constant f/4 aperture as it would let me maintain a consistent depth of field throughout the zoom range, allowing for more predictable and cinematic results. The lens is also equipped with OIS and autofocus is fast and silent. The Fujinon XF 16-80mm F4 R OIS WR is available for $799 / £539 at Amazon. I'm a sucker for a good portraiture lens. Every time I test a camera, I love taking photos of the people I love, which means I'm always bothering my partner (and she happily complies). This is why I'd get the Fujinon XF 50mm F1.0 R WR for portraits. The reason lies in its f/1.0 aperture, which is the widest available on any Fuji XF lens. With a very wide f/1.0 aperture, the Fujinon XF 50mm F1.0 R WR creates lovely, creamy background bokeh, making the subject stand out. It's also compact and lightweight enough to pair well with the Fujifilm X-E5. The wide aperture would allow me to create an extremely shallow depth of field, which would make the subject pop while creating a beautifully blurred background bokeh. While the edges of the frame may be slightly softer, I'd like my primary subject in the centre to be sharp, and that's what this lens would do. The lens is also weather-resistant, perfect for outdoor portraits. The Fujinon XF 50mm F1.0 R WR is available for $1,499 at Amazon U.S. / £1,499 at Fujifilm U.K.
Tom's Guide
20-06-2025
- Tom's Guide
If I had to start my camera setup from scratch, I'd pick these 5 cameras and drones — here's why
I'm a reviews writer here at Tom's Guide, which means I get to test the latest and greatest in tech — and that includes the best mirrorless cameras and the best drones. While it fills me with joy to test these über-cool gadgets, I'm always sad when the loan units get sent back. So this morning I woke up and asked myself, "If money weren't an object, which three cameras and drones would be part of my setup?" It didn't take a lot of time for five names to pop up in my head. It all came down to which cameras I was saddest to see being picked up by the courier — almost like the 'ex-rule' for cleaning, in a way. The five cameras I thought of — the Sony A1 II, the Fujifilm X-T50, the DJI Neo, the DJI Mavic 4 Pro, and the Fujifilm Instax mini 12 — would fulfil all of my shooting needs for different genres. So, without further ado, look into my mind for a second and see my vision. It's so funny that I'm including the Fujifilm X-T50 on this list because I literally bought it for myself last week — yes, around the same time the X-E5 was announced and I do not regret it. The X-T50 is a stunning camera, and even if I started my kit setup from scratch, I'd keep it in my arsenal. Its autofocus system is mighty fast, its 5-axis IBIS (up to 7 stops) works extremely well, and it takes stunning photos with its 40.2MP sensor. The Fujifilm X-T50 succeeds and improves on the X-T30 II, and it packs a punch with a huge 40.2MP sensor, excellent in-body image stabilization and reliable autofocus. Its biggest selling point is the new film simulation dial for maximum creativity. One of the things I love most about my latest possession is its film simulation dial, which lets you quickly swap between tailored color profiles for any and all shooting situations. The X-T50 packs other goodies too. It's got a 1.84M-dot touchscreen, which is very bright and detailed, there's a built-in flash for low-light, and it can shoot RAW photos. For portraits, landscapes, casual wildlife, street, travel, what-have-you, the X-T50 would be (and is) my go-to. The DJI Neo is one of my favorite drones — it's the first drone I reviewed from Tom's Guide, so I have a soft spot for it. I would, of course, keep the DJI Mavic 4 Pro in my backpack, and I'll talk about that in a second, but I'd also like a no-frills drone that I can just whip out to take some quick, short-form videos. A lightweight, compact, and minimalist drone, the DJI Neo is a fantastic option that can shoot 4K footage at 30fps, capture detailed stills, and remain stable in challenging conditions. Easy to control with the new RC-N3 controller or the DJI Fly app on a smartphone, the Neo makes drone photography more accessible thanks to its low price point. That's because the Neo doesn't really require a controller for flying. You can toggle QuickShot intelligent flight modes via the button on its body, and the drone will record short videos and return to its takeoff position. It can follow, circle, spotlight, and lots more. The Neo also captures 4K/30fps footage and 12MP photos, which is great for a drone this small (and cheap). While I'd use the Mavic 4 Pro for serious shooting, I'd use the Neo for fun when I'm out and about with my friends and family. It weighs next to nothing, too, at 4.76 ounces, so it's not like it would ever weigh me down. If money were no object (I wish), I'd break out the big guns. The DJI Mavic 4 Pro is the "big guns" in question here. I haven't stopped thinking of this mighty powerful drone ever since I tested it. It's the only drone (and one of four products) I've given a full 5-star rating to so far, as it's the most powerful consumer drone yet. The DJI Mavic 4 Pro improves on its predecessor by introducing 6K/60fps video, 100MP stills powered by a Hasselblad camera, and a brand new RC Pro 2 controller that makes flying a breeze. With a long flight time and 5-star performance across the board, it's the ideal drone for commercial and personal use, as long as you don't mind the weight restrictions. The Mavic 4 Pro doesn't give you much to complain about. With 6K/60fps video capabilities and a 100MP Hasselblad camera that takes extremely detailed photos, it's the only drone you need for capturing ridiculously stunning footage. I don't mind its heavy weight either, I'll go to the gym five days a week just so I can carry this drone and all the other cameras in my backpack. The RC Pro 2 controller, which is super bright and detailed with a 2000-nits touchscreen, also makes the Mavic 4 Pro a breeze to fly. Unfortunately, the Mavic 4 Pro isn't currently available in the U.S., but if you're in the U.K. and are a drone pilot, I'd highly recommend investing in one. If you know me or have kept up with my camera coverage at Tom's Guide, you'll know I love animals, and I often photograph birds of all kinds when I'm testing a camera. I consider myself a fairly decent wildlife photographer, which is why I'd pick the Sony A1 II with its stupidly intelligent autofocus system and sharp image quality. The A1 II has a very intelligent auto focusing system with new Auto subject-detection, and 8.5 stops of IBIS. It takes stunning 50.1MP photos, clear 4K and 8K videos, and boasts a long battery life. It's built really well and feels great to handle with a detailed viewfinder that ensures you don't miss any action-packed moment in sports or wildlife photography. When it comes to tracking fast-moving subjects, the A1 II never lets you down. That's thanks to its rapid autofocus system, which uses Real-time Recognition AF and Real-time Tracking to reliably follow humans. There's also a new Auto subject-detection mode at play here, which removes the need to switch between AF detection modes. The A1 II's massive 50.1MP sensor captures plenty of detail for extreme cropping, and when combined with the 30fps burst shooting (for up to 153 raw images and with pre-capture), the camera becomes an absolute beast. I love this camera, and if the opportunity arises, I wouldn't hesitate to buy it. Here's another fun one I would have in my kitbag: the Fujifilm Instax mini 12. I love testing the best instant cameras and eagerly waiting for the photos to develop. The Instax mini 12 is one of the best cameras I've tested, as it's extremely easy to use and takes great photos with plenty of detail. The Fujifilm Instax mini 12 is an extremely easy-to-use instant camera that takes bright and detailed photos, even in low light. It comes with a handy app to scan and share your prints, a selfie mirror and a close-up mode for more versatile shots. There's a lot to love about this camera, aside from the print quality. The battery life is great, the aesthetic is cute and fun, and there's a useful app for scanning prints too. There's also a selfie mirror and a dedicated close-up mode that lets you, say, focus on a flower. In my imaginary kitbag, I'd love to have the Instax mini 12 as it's a fun camera that, like the DJI Neo, I can just take out of my backpack, take a photo and put it back in — no complicated processes here. And there you have it! If money were no object, the five aforementioned cameras and drones are what I would include in my kitbag. What camera gear, big or small, would you have in yours? Let me know in the comments!
Tom's Guide
16-06-2025
- Tom's Guide
I think the new Fujifilm X-E5 is overrated — and I'm so glad I bought this camera instead
I'm no stranger to Fujifilm cameras. The Japanese giant has made some of the best mirrorless cameras and the best instant cameras I've had the pleasure of using and reviewing. Having tested cameras from the likes of Canon, Sony, Nikon and Panasonic, I keep coming back to Fujifilm. To me, Fuji cameras feel magical with film simulation recipes that are just way too delicious. So, of course, when Fujifilm announced the brand new X-E5, I was intrigued, and why wouldn't I be? It features a 40MP sensor, utilizes the X-Trans CMOS 5 processor, and has a film simulation dial... wait, that sounds an awful lot like the X-T50. And the X100VI. The Fujifilm X-T50 succeeds and improves on the X-T30 II, and it packs a punch with a huge 40.2MP sensor, excellent in-body image stabilization and reliable autofocus. It's also the first Fuji camera to sport a dedicated film simulation dial on its body for maximum (and easy-to-reach) creativity. As soon as the X-E5's product page went live, I quickly compared its specs against the X-T50 — a camera that had been sitting in my online cart for nearly a month. Nothing jumped at me (except for the price), and nothing made me go, "Okay, I'm waiting until August now." So what did I do? I paid for the X-T50 and within three days, it was in my hands. Do I regret it? No. Should you buy the X-T50 instead of the X-E5? That depends. Let me show you why I pulled the trigger when I should have done so a month ago. I have a soft spot for the Fujifilm X-T50: it's the first mirrorless camera I reviewed for Tom's Guide, and I immediately fell in love with its design. The charcoal gray colorway is stunning, and the metal alloy used in the construction of its top plate lends the X-T50 a premium edge. One of the X-E5's most significant selling points is its compact design, with a body measuring 4.9 x 2.8 x 1.5 inches. Even when combined with the new 23mm pancake lens, the size change is negligible, allowing you to slip the camera into your pocket and go about your day. However, it's not as if the X-T50 isn't portable either, measuring 4.8 x 3.3 x 1.9 inches. Its current kit lenses are bulkier than the pancake lens, but even then, a handbag is more than enough for transport. No, scratch that, I'm hanging the X-T50 around my neck because it's such a gorgeous camera — why wouldn't I want to show it off? It's not heavy either, weighing 15.5 ounces (0.2 ounces lighter than the X-E5, actually). When I tested the Fujifilm X-T50 back in May 2024, I took some lovely photos (if I can toot my own horn for a second, thank you), and you can scroll through the sample gallery above. The X-T50, like I mentioned up top, boasts a 40.2MP sensor with Fuji's latest X-Trans CMOS 5 processor, just like the X-E5. Having that many megapixels at your disposal gives you some room for tight crops. Both cameras' autofocus systems remain the same, too, utilizing 425 AF points to lock onto animals and humans. Fuji's color science is mindblowing, as always, and both cameras sport dedicated film simulation dials. You can quickly swap between recipes and assign custom ones too. The X-T50 is a year old — which isn't old at all, in camera terms — and I think it's severely underrated. I get the appeal of the X-E5. It's a shiny new thing that online forums have quickly dubbed the savior of the X-E lineup. But the X-T50 shouldn't be underestimated. I believe it's the camera for those who don't want to spend too much money but still achieve beautiful colors and be able to change lenses. Let's talk about the elephant in the room: the price difference between the Fujifilm X-E5 and the Fujifilm X-T50. The X-T50's body retails for $1,399 / £1,299, and if you're in the U.K., it's currently down to £1,039 at Amazon. On the other hand, the X-E5's body (currently available to pre-order) retails for $1,699 / £1,299. Both cameras are the same price in the U.K., but the X-E5 is pricier in the U.S. — and attaching the new 23mm pancake lens to the camera drives its price up by $200. Or you could get the X-T50 with a 15-45mm lens for $1,499 / £1,399, which isn't shabby at all. Specs-wise, the X-T50 one-ups the X-E5 in a few ways. Its 1.84 M-dot touchscreen is better than the X-E5's 1.04 M-dot one. It features a built-in flash for low-light shooting. It can shoot RAW video, which the X-E5 cannot. Both cameras' electronic shutters can shoot 20fps bursts. If you can afford it without thinking twice about the money leaving your account, I can't think of any reason to stop you from buying the X-E5. But personally, for me, the X-E5 didn't offer anything enticing enough to tempt me away from the X-T50. Sure, the flip-up screen for taking selfies is a thoughtful addition, but I'm not a chronic selfie-taker, so it's not useful enough for me. There's also a new front control lever to toggle the Surround View function, which I didn't use much even when testing the Fujifilm GFX100RF. It's simple, really: the X-E5 isn't the camera for me, but the X-T50 was always the camera for me, from the moment I first held it in my hands.
