ISSUE 122
34 / GEAR
One of the coolest new features is the Classic Display mode info around the screen. Of course, just hitting the Display button allows you to cycle through all the options. In other areas, the old-school control dials might add to the user experience for some, but mean menu- digging for settings that just didn’t exist when all cameras looked this way. There’s no quick button to toggle from stills to video, for example. There’s no obvious PASM, white balance or drive speed dials. And the knurled shutter speed ring only has full stops on it. So to set mid-speed settings or go higher, you need to use the thumb wheel on the back. This is the price you pay for a cool, retro look.
Also new is the front Control Lever, previously seen on X100 cameras. This is fully customisable, although by default it gives control over the digital teleconverter function. By pushing the lever towards the lens, the camera cycles between 1x, 1.4x and 2x crops of your image. Working with a wider-angle lens like the 23mm, this allows a fast way to punch in on details, and the camera has enough resolution that those cropped images are still very usable. Shooting in Raw + JPEG also retains the full sensor readout if you later decide you want to change the shot. One of the coolest new features is the Classic Display mode for the EVF, which simplifies the view, just reading out the exposure settings in an old- school LED style with a swing-needle exposure guide. It’s one area where retro controls really can help you focus on the image rather than all the usual
Second opinion by Ben Gawne
This is a very nice camera to look at. I was using the retro-inspired silver version on a couple of days shooting in Valencia, Spain, though an all-black option is available. These come with the same paracord strap as the GFX100RF, which underlines how Fujifilm are pushing the premium aspect of this design. Initially, I was hesitant to use the Film Simulation dial. I like to tinker, so I’ve never loved the idea of baking a colour profile into my images from the offset. However, as the trip went on, I found myself getting to know which profiles would bring out the best of each scene and would set up the camera for a particular shot as I was walking up to take it. The Raw files don’t have the baked-in look, so you can still change them in post. There’s an argument that the Film Sim dial is redundant, since you can assign Film Simulation to a command dial – but on this trip, that didn’t hold up. Just as I’d set aperture and shutter before switching the camera on, I began selecting a Film Simulation as I saw the composition I wanted to make, and the permanent, visual nature of this control became vital to this style of working. The X-E5 is rated for 310 frames in normal mode – or 400 in economy mode – and to be honest, I didn’t have any problems with the battery life whatsoever. I walked around for two days photographing almost non-stop – recharging overnight – and I didn’t run dry once. I am diligent in turning my camera off between shots though – and if you’re a prolific video user, your mileage might vary. In terms of performance, the X-E5 is standard-issue fifth-generation X Series, which is excellent. The image quality is brilliant and the AF works very well. The IBIS wasn’t hugely necessary for me, working in the bright sunshine, but it’s certainly nice to have at lower shutter speeds.
There’s something gratifying about using a camera this small that still packs so much resolution in. This is amplified by the EVF and LCD not being the best quality. So when you get the photos off the camera and look at them on a larger screen, the amount of detail you can uncover in post is incredible. With the new pancake lens attached, I found the set-up really easy to use when getting creative with my compositions – aided by the tilting rear monitor – and found it makes for a genuinely great travel camera. I had a blast using it.
FLAT TOP The styling is very much like a rangefinder, as there’s no top hump where a prism – real or fake – would sit. The new Film Simulation dial on the top-plate is a nice addition. A threaded shutter release is a throwback feature and we love it
The new Fujinon XF 23mm f/2.8 R WR is a wide-angle pancake lens (35mm full-frame equivalent), available in black and silver. It mimics the fixed lens of the X100VI but is a stop slower. For matching bokeh, the larger f/2 version costs £406. The new f/2.8 will be sold separately for £399. Weighing just 90g and measuring only 23mm in length it’s designed to resolve for the 40-megapixel sensor and the DC motor can happily keep up with the autofocus on the latest X Series cameras. A slightly wider field of view is the traditional photojournalist and street shooter’s lens of choice, but it’s also ideal for photographing buildings and skylines. The minimum focusing distance of 20cm comes in handy for things like food – so it’s a good pick as a travel lens. Visit the review section on photographynews.co.uk to see our test images. Pancake lens is so sweet
Powered by FlippingBook