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Fujifilm X-T5 Definitive Review | 40MP and More
Jul 16, 2023
Photographer Dustin Abbott shares a thorough review of the performance from the new 40MP Fujifilm X-T5 | This video is sponsored by Fantom Wallet. Visit https://store.fantomwallet.com and use code DUSTIN15 to get 15% off | Read the Text Review: https://bit.ly/FujiXT5da | Visit the Image Gallery: https://bit.ly/Xt5pics | Purchase the Fujifilm X-T5 @ B&H Photo https://bhpho.to/3uJsXFg | Amazon https://amzn.to/3WzxHsZ | Camera Canada https://shrsl.com/3un59 | Amazon Canada https://amzn.to/3v8IiiJ | Amazon UK https://amzn.to/3YEpLs6
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Table of Contents:
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0:00 - Intro and Concept
1:30 - Build and Features
Show More Show Less View Video Transcript
0:00
Hi, I'm Dustin Abbott, and I'm here today to give you my definitive review of the new
0:14
Fujifilm X-T5 APS-C camera. Of course, the headline feature here is that it has been upgraded in the X-T series, has
0:23
been upgraded in the X-T5 to the new 40.2 megapixel X-Trans sensor that was first seen in the X-H2
0:32
And so this is a serious powerhouse in terms of performance and a whole lot of different areas
0:37
that we will explore as a part of today's review. Part of that move to that sensor is another welcome
0:43
shift, and that is from moving from a base ISO sensitivity of 160 down to 125 here. And that
0:51
has a few really measurable payoffs that we're going to see a little bit later on in our image
0:56
quality section. Along with that, we have got improved video specs, we've got improved in-body
1:00
image stabilization, improved tracking, and a more compact size. So a lot of positives in the balance
1:07
sheet, and in today's review, we're going to take a deep dive into the features, into the autofocus
1:12
performance, the sensor performance, all of those things, and hopefully come to a conclusion that
1:17
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code DUSTIN15 for 15% off when you're ready to check out. So if you are familiar at all with the X-T4, then you are going to be pretty much instantly
2:13
familiar with the X-T5 because the only difference really that has happened there, there's a couple
2:19
of very, very minor differences, but in terms of the basic layout of the controls and the features
2:24
they are virtually identical. Although the X-T5 has been very slightly shrunken down in its
2:30
dimensions, moving back towards an earlier point in the series as, you know, it kind of subsequently
2:36
grew over several generations, they're wrapping that back a little bit. And I think what I have
2:41
noted in the X-T5 is that maybe there are a few areas where there is some intentional separating
2:46
between the X-T series and then the higher X-H series. And so I think that they're working to
2:53
create a little bit more market separation. And so part of that is a little bit of a downsizing
2:58
here of this particular model. And so now we have a camera that is 130 millimeters wide
3:03
91 millimeters tall, and 64 millimeters deep. And I noted that the only spec that is the same as the
3:09
X-T4 is the depth of that grip, the one area where I would say you certainly don't want to cut it back
3:14
any further. And so if you're thinking more in Imperial, that is 5.1 inches by 3.6 inches by 2.5
3:22
in depth. It weighs in at 557 grams or 16.8 ounces, meaning that we've shaved off about 50
3:28
grams of weight from the X-T4. Outside of that, as noted, the control scheme is the exact same. And so
3:35
as before, we have three primary dials across the top. Two of those dials are two-layer dials
3:41
and so the one on the far left is the dial that allows you to control ISO, but on the bottom half
3:46
it allows you to control your various drive settings, and so choosing if you're going to
3:51
do continuous high or low, HDR, things like that. On the other side of the viewfinder port
3:58
we have the shutter speed control dial, and on the bottom of that, you can choose between a stills
4:03
and a movie setup. And one thing that I will say that has become kind of the overall trending camera
4:08
design, but one that I really like is that you can have a fully individualized setup for both stills
4:14
and video. And so even assigning custom buttons and things like that to different functions
4:18
for the two different things. So that's always a welcome thing on that front. The final dial is the
4:23
one that I consider to be fairly indispensable. And that is an exposure compensation dial that is
4:29
very, very useful in a lot of different settings. Outside of that, control scheme comes around to
4:34
a front and a back wheel that are clickable. And so that gives you one more kind of custom button
4:39
There's a custom button, a couple of, or should say two custom buttons on the front that can be
4:44
customized a different functionality. You do have kind of a Fuji unique feature in that you have a
4:49
dial that allows you to switch between manual focus, continuous autofocus, or single shot
4:54
autofocus. And then on the back, the control scheme is identical with the same placement of
4:59
buttons, all of which can be customized. There are, however, two differences that I do want to
5:04
highlight between the X-T5 and the X-T4. They may not be positive differences for many of you
5:11
First of all, we have on the X-T4, we move towards the fully articulating screen that allows you to
5:16
be able to view at more angles, even to front monitor the camera. That continues to be the
5:21
standard on the X-H2, but here we have reverted back to the tilting screen, which can tilt on two
5:27
axes, but to me is a much more restrictive screen option than the fully articulating, though there
5:32
is some difference on that, and some of you prefer the tilt screen, and I recognize that. One thing
5:37
that all of us can agree on is that it is an improvement when it comes to its resolution. It
5:42
is now up to 1.84 million dots, and so a little bit more resolution on the monitor. We always like
5:48
that. The other kind of unique difference here is that the X-T4 and bodies before that did offer
5:55
a battery grip, like a vertical battery grip integration. The X-T5 is designed to where it
6:01
doesn't even have the contacts for a battery grip. None is offered, and probably none will
6:05
be offered because of that. And I think that that has to do with the fact that there just wasn't
6:09
enough sales for it. And so we do have a grip extender option for those of you that want a
6:13
little bit more to grab. But if you want a integrated battery grip, again, you're going to
6:17
have to go back to the X-H2, which does offer that. We do have the same battery pack as before
6:24
the NP-W235. Now, because of improved efficiencies, you can get up to 740 max shots in
6:32
eco mode, and so a little bit more in terms of that. Actually, I found battery life to be really
6:37
really good in my tests at this point, and so I think that Fuji is doing a great job on that front
6:42
Also improved is the in-body image stabilization, which was new on the X-T4
6:46
and improved here from a rated 6.5 stops to a rated 7 stops
6:52
And so I did find that it worked very well either for providing good stability for handheld video work
6:58
which is always very welcome, and then of course a lot of stability for still shots as well
7:04
Though I will note that there is a practical limitation. You know, they say up to 7 stops with the 35mm f1.4
7:11
Well, if you do the math, that should allow you to handhold shots near the, almost to the four second range
7:18
I am very skeptical that anybody is going to pull that off. And so I think that there is a practical limit for some of these ratings
7:25
They're more useful, I think, not in those extreme scenarios, but more in just providing quality stabilization for any lens that you put in front of the camera in a wide variety of situations
7:36
And I think that Fuji is doing a great job with its stability. I think that that something that they done quite well all along whether it started with lens stabilization and then moving on to in stabilization We also have the same port setup as before which means that the primary things I should say that are missing is a dedicated headphone jack
7:57
You would have to use a USB-C dongle to allow for that
8:02
and then the other thing that is missing is a full size HDMI port for those of you that you know
8:07
really prefer that for video output and I will note that once again the X-H2 has both of those
8:14
features this is a thoroughly weather sealed body it has 56 different seal points these Fuji bodies
8:20
are really really nicely made there's kind of a retro vibe to them that you know either some
8:25
people will love all of the og type controls on here other people will would prefer things just
8:31
be done through the menu. And I think that again, Fuji has created some of that market separation
8:36
and that some other models have a simplified control scheme that you can choose. In this case
8:40
it's the retro vibe, retro look, and either you love it or you hate it, but it certainly is
8:45
something that is distinct too here. And I'm more on the end of loving it. I like having the physical
8:51
controls, though I will say I don't find that the actual control dial for shutter speed to be all
8:57
that useful. It just allows you full stops. To me, it's just not the most logical way of
9:02
approaching that. But of course, again, your mileage may vary at that point. Unfortunately, another thing that is retained here, even though we have moved to a much higher
9:10
resolution point, is that we are still limited to two UHS-II rated SD slots. And so that means that
9:17
there is a bandwidth bottleneck when it comes to the memory storage. And we're going to see that
9:23
that shows up negatively when it comes to the buffer depth because we've got larger file sizes
9:29
we've still got the limiting principle of the SD cards, and as a byproduct of that, we are having
9:34
some severe limitations when it comes to the buffer depth. In fact, the buffer depth is as low as only
9:41
19 uncompressed RAW files, and so obviously there's going to be some variance whether you're
9:46
choosing uncompressed RAW or lossless compressed or compressed or JPEG or HEIF, all different
9:53
file formats that are available here. And so your, you know, buffer depth is going to depend
9:57
upon the file size that you are sending through the pipeline. But if you're wanting uncompressed
10:02
RAWs, your limit is 19 and your maximum is 119 when it comes to JPEG. So even if you're shooting
10:09
like lossless compressed RAW, which is kind of my preferred file format on cameras like this
10:14
you're talking about 22 frames before the buffer starts to fill and the camera slows down
10:20
So that's obviously going to be a limiting factor here. And again, if you compare to the X-H2, which now offers CFexpress Type-B
10:28
it can get up to 400 of those uncompressed RAWs compared to the 19 here
10:33
That's a pretty huge difference if you're looking to do action-type photography. Now, other things are really positive when it comes to the autofocus and the tracking capabilities
10:41
The shutter rate, you can do up to 15 frames per second with the mechanical shutter
10:45
and up to 20, though interestingly not 30 here with the electronic shutter
10:51
but that does come in that sports crop mode, which is an additional 1.29 times crop factor
10:56
And so it's a little bit smaller file and thus, you know, makes the file size smaller
11:00
which allows them to, you know, push that through a little bit more. With the mechanical shutter, you can get up to 1.8 thousandth of a second
11:06
but with the electronic shutter, you can now get up to a ridiculous 1.180 thousandth of a second shutter speed
11:13
though you have to have pretty ideal conditions to get up to a shutter speed that fast. So very
11:18
good chance it's probably not going to be a real world factor too many times for you at that point
11:23
The focus system is for the most part similar though with a few extra bells and whistles. It
11:29
is still kind of the basic hybrid focus system that is a combination of phase detect overlaid
11:34
over supporting contrast AF. We have 425 selectable AF points that cover most of the height of the
11:42
sensor, not quite all of the width of the sensor, as you can see here. But what we do have is the
11:47
newest focus algorithms. We have faster processing, and we also now have deep learning AI for predictive
11:53
tracking. And so that's going to help in a lot of tracking scenarios. And there's also a bigger
11:58
diversity of what can be tracked through the learning AI. And so it's not just human eyes now
12:04
but it is animals, birds, cars, motorcycles, bicycles, airplanes, and trains. So there's a
12:09
good chance that whatever action subject you want to track, the camera is going to be capable of
12:13
doing that. Now, unfortunately for this particular review, I not only reviewed in the dead of winter
12:18
but also in a series of winter storms. And so my tracking opportunities have been more limited in
12:25
this particular review. I did shoot some basketball in a gym, though I was using the 100 to 400
12:30
millimeter lens, which is not a fast lens in terms of aperture. By the way, this new 150 to 600
12:35
millimeter. It's an awesome lens in many ways, but once again, in terms of the aperture, it's not
12:40
particularly fast. It's a slow lens. And so that's not an ideal scenario for lenses like that in a
12:46
you know, not particularly well-lit indoor gym setting. But I was able to freeze action just
12:50
fine, though it means boosting the ISO to get the shutter speed necessary for that. But what I could
12:56
see just in kind of general use was the fact that there is a definite improvement to IAF detection
13:02
there's you know more confident focus in general there's more confident video performance which
13:08
includes smoother focus pools and I tested that using this new 30 millimeter f2.8 macro it does
13:14
have a linear motor and so I saw basically as good as what I've ever seen on Fuji I used to see a lot
13:21
of visible stepping in video focus pools particularly with lenses without the linear motors
13:25
and so it is just it's good to see Fuji continuing to improve in that point I saw better IAF stickiness
13:31
and better overall accuracy results, though I would still say that I slightly favor Canon and Sony in that regard
13:39
The tech just seems to be just a little bit more refined in that point. One thing I will say about the Focus system
13:44
is I still don't necessarily love the whole frame tracking scenario in terms of the visibility there
13:52
Even if you select the whole frame, you're still left with that green box that you kind of need to start getting that on your subject
13:57
which almost feels like a Focus and Recompose type scenario, though while you're on the subject, it'll start to move around and track with the subject
14:04
I just, I don't love that. And unless, you know, the system has an eye to grab
14:09
it's going to, you know, require you to do a little bit of kind of manually moving that around
14:14
And I do prefer both Canon and Sony's ability to just kind of intuitively grab the most logical
14:19
focus subject. And then you can override if necessary. And so in this case, it's kind of
14:24
the reverse. And again, if you, if you, once you get accustomed to it, it works just fine
14:29
but it's just not my preferred process. Overall, however, some solid moves forward when it comes to
14:35
the overall autofocus performance and I definitely saw that when it came to video as well. Now
14:41
on the video front, we can now record up to 6.2K at 30 frames per second. Again, the X-H2 can record
14:48
up to 8K, but here we're capped out at 6.2K, 30 frames per second. In 4K, you can do up to 60
14:54
frames per second. In full HD, you can get as fast as 240 frames per second. A lot of different bit
15:01
rates are available, and so there's a lot of flexibility built into the system. Also important
15:05
you now have access to F-Log 2 as a profile, not just F-Log, but F-Log 2, which increases the headroom
15:12
of the dynamic range. Over 13 stops of dynamic range available for editing in F-Log 2. Also
15:18
you can now output ProRes and Blackmagic RAW video over HDMI which you know all of those are going to be more upscale video features that are going to be welcome And I will also note that the improved in image stabilization means that it easier than ever to get run video performance
15:36
And footage just looks generally great. Good color science, very good detail
15:40
All of those things that I think are important. So let's talk about this new sensor
15:45
This is the headline, obviously. And in my opinion, it is a great move by Fuji
15:51
They've developed a great sensor here that adds a lot of the flexibility of improved resolution
15:57
but without a whole lot of liabilities attached to it. And so let's dive into a deep dive of that and just see what they've accomplished here
16:04
So first of all, we have a new base ISO here for this 40 megapixel sensor
16:09
So rather than 160 being the base ISO, we now can go as low as 125 in the native range
16:15
Now that does give us a bit of advantage because it does expand the native ISO range
16:19
Now if we compare ISO 125 with ISO 160, there's not really necessarily any difference to see here
16:29
other than the fact that it does give us a little more shutter flexibility, and also it's going to allow in certain lighting conditions just a little bit more flexibility when it comes to that base ISO performance
16:41
But as I kind of pan around and have looked at this, it's not like I can really tell a difference between the two
16:46
Now, as we start to move up the ISO range, I am going to skip over a few stops in between in that I find that these days anything ISO 800 and below, you really don't see any difference
16:59
And so I'll start here at ISO 1600, I should say. And frankly, as I have come to expect from modern cameras, there really isn't much of anything to see even at ISO 1600
17:10
You can see that there is the very faintest beginnings of a little bit of pattern noise, but the blacks are still very inky
17:18
You can see that our contrast is largely the same. Performance is very, very similar, and in terms of our color swatches, they all look basically identical
17:28
Now, at ISO 3200 is really where I feel like I start to see just the beginnings of the kind of image quality degradation that's going to come as you continue to climb up the ISO range
17:39
And so that takes the form here, and you can just see there's a little bit more pattern noise along this area, whereas at the base ISO, this is all really, really clean
17:49
You can also see that the black here, it is not quite as inky black, so you are starting to lose some dynamic range by this point
17:56
There's a little bit of pattern noise inside there on the mirror inside the SLR, and if we look up in this area, you can see that just kind of this black area isn't quite as smooth, some visible noise there
18:07
and there's a little bit of pattern noise over the color swatches, and the colors aren't quite as intense
18:14
Still, however, looking at the image globally, ISO 3200 looks really, really clean
18:18
So let's compare it as we continue to climb up, starting at ISO 6400
18:22
You can see that kind of the things, the patterns that we saw beginning at ISO 3200
18:27
are carried a step further. At 6400, there's definitely some more visible noise
18:32
If we go down into this area on the table, we can just see that the noise pattern is rougher
18:37
and we can see that the black of the completely dark area is not quite as inky black at 6,400 as it was at 3,200
18:47
This pattern is repeated over here on this side, and also I would say that because of the rising noise level and less dynamic range
18:55
colors are a little bit less intense. Still, however, I would say for many settings, a usable image at 6,400
19:01
If we compare that same 3,200 to 12,800, though, we see that things are starting to change more dramatically here
19:08
Noise pattern is much rougher. And then we can also see here we have got just kind of those indiscriminately brightly lit pixels
19:15
that start to really raise the black levels and make them not nearly as inky
19:20
You can see it in here where the pattern noise is much rougher. And if we look up in this area here, we can see in the color swatches that, you know
19:28
there's much more, you know, pattern noise. Also, the colors aren't as intense. What I am not necessarily seeing is a banding of color or a color shift towards something discolored
19:39
So overall, I would say color fidelity is pretty decent. It's just that color levels aren't as saturated due to the rising noise
19:47
Now, 12,800 is the end of the native ISO range. However, there are two expanded settings at 25,600 and ISO 52,200
19:58
And we can see here that as we go into that expanded range, basically all the symptoms we saw at the peak of the native performance are just exaggerated at 25,600
20:09
Image quality definitely starting to really fall apart. And that's even worse if we move on up to 51,200, which I would consider unusable
20:19
Just the, you know, you've lost your contrast basically altogether. There's a very, very slight magenta shift here, but that's not really the problem
20:27
The biggest problem is that the noise now is quite visible, even at a global level
20:32
Contrast levels aren't nearly as good. Whereas at 12,800, I wouldn't consider it necessarily usable at a pixel level
20:39
But at a global level, it's still quite usable. 6,400, easily usable
20:45
And ISO 3200, you can use it without too much of a penalty. So in our next series, we'll start to look at dynamic range
20:51
And we'll start with shadow recovery. So this is going to be our base exposure here
20:55
And on the right, you can see it is now underexposed by one stop
20:59
And so what we'll show is the underexposure and then the recovery and how cleanly it's happening
21:05
So obviously with just this one stop of underexposure, kind of recovering all of that is effortless
21:11
Everything looks very, very clean. And as you start to pull back those shadows, you're able to do it without any kind of apparent noise
21:18
It all looks really, really clean. Two stops recovery. You can see the underexposure is more pronounced, but you can also see that just adding those two stops of exposure back in post, you're able to do that without any kind of issue
21:30
Dynamic range looks good. Detail looks good. We're not really introducing any kind of visible noise here
21:36
Everything is nice and clean. At three stops, the story remains the same
21:40
We're able to recover the colors without issue. We're able to recover the information that had been crushed and lost before
21:47
Now we're to the place where the pattern of the checkerboard is almost completely lost
21:52
We're able to recover that with only the tiniest bit of additional noise as a part of the recovery
21:57
Now at four stops of underexposure, you can see that a lot of information here on the left has been lost
22:02
And so if we take a look, for example, at the grip on the SLR, you can see it's recovered nicely
22:07
I don't see any color shift there. And down here, there's just a little tiny bit of noise, but we're recovering information that was completely crushed and lost
22:15
and recovering it quite cleanly. And even if we look up here on the divider portion
22:20
which was, again, almost completely crushed, we can see that that information has been recovered cleanly
22:25
I don't see any kind of banding and no discoloration. A very nice performance
22:30
So even if we push that to five stops of recovery, I don't think that the recovery is
22:35
as far as the colors here, is quite as smooth. There's a little bit of discoloration
22:38
and more visible noise that is there. But in general, you're getting most of that information back
22:44
And here in the battery grip and inside the SLR, there's just a slight bit of discoloration and a little bit more visible noise
22:52
But by and large, it is recovered quite nicely. So a good strong performance there for shadow recovery
22:57
Now, typically, cameras don't do as well with highlight recovery. And so we'll test to see how the X-T5 does on that
23:04
So first of all at one stop of overexposure and again we drawing that exposure back on the right side we can see that you know kind of the blown out areas on the timer face it very consistently recovered no issues there you know kind of blown out areas on the right side we can see that you know kind of the blown out areas on the timer face it very consistently recovered no issues there You know kind of blown out areas on the camera
23:18
face recovered nicely. And then in our color swatches already, you know, some of these colors
23:22
have started to be lost, kind of the peaches there, but we can see that they've been pulled
23:27
back and recovered just fine with the highlight recovery. Now at two stops of recovery, we can
23:33
see a lot of information was blown out. And so as far as the timer face goes, no problems. They're
23:38
doing a good job there. I would say just a tiny bit of texture information has been lost on the
23:43
Honeywell Pentax area. And we can also see looking up here, we have lost for the most part some of
23:48
that peach color, but by and large, the other colors that were starting to disappear have been
23:53
pulled back pretty nicely there on the right side and here on the far left as well. So still a fairly
23:59
decent performance at two stops. Now at three stops of overexposure, you can see that even at
24:04
a global level, there's some information that has been lost here. And so we can see that on the
24:09
timer face, it's not an even coloration. Looking here on the SLR, we can see that, you know
24:16
there's a lot of information, texture information that has been lost and not recovered. And we can
24:20
also see, for example, here that, you know, only the frame is left. Some of this color has been
24:25
lost and is not fully recovered. And so we can see that things are starting to fall apart there
24:32
at three stops of overexposure. And at four stops of overexposure, you can basically forget about it
24:38
I mean, what has been lost here, it just is not going to be recovered in any kind of natural way
24:43
at all. That being said, Fuji does have a couple of tricks up its sleeve. The first of those is if
24:48
If you move up to ISO 250, you have the ability to go into DR200
24:54
And so basically, as you can see here, we have had the ability to now pull the highlights from a one-stop lower
25:02
And so basically, while this is a three-stop overexposure here, the highlights are basically like a two-stop overexposure
25:10
And so as a byproduct, as we saw before, you're able to recover that information quite well
25:15
And so it gives you a little bit more headroom there. Likewise, if you move up to ISO 500, as we have here, you're getting even more of that headroom
25:24
And so now, again, three-stop exposure or overexposure. But because the highlights are now sampled from the base ISO, that's actually two stops more
25:32
And so now we see something that is as clean as basically like the one-stop of overexposure when it comes to the highlights
25:40
And as a byproduct of that, everything is just perfectly natural. We even got that peach color that we saw was lost at two stops of overexposure typically
25:50
And so with Fuji cameras, I almost always utilize this if I'm in a setting where I'm getting higher
25:56
you know, needing to shoot at slightly higher ISOs anyway, because it gives you that advantage of just having more dynamic range in a single shot
26:04
Now, also extremely useful, obviously, is the added resolution here. And so if we zoom into a pixel level on this, we can see that there is some deep cropping capabilities available at this 40 plus megapixels of resolution
26:18
And so can you imagine, you know, for again, looking at this for macro type work that, you know, how much additional, you know, cropping and kind of thus zooming capability is available in that because of the resolution
26:30
Likewise, here in this portrait shot, this is at F1.2 and it's from my Viltrox 75 millimeter F1.2 review
26:37
And so here I was very easily able to take it into this crop that I really, really liked with tons of resolution for printing left
26:46
And even if I cropped right in tight to show off how well focused it was, you can see that even on my 4K monitor that I'm sampling right now, there's enough resolution that this isn't falling apart here
26:57
And so obviously that deep cropping capability is going to be extremely useful
27:02
Likewise here, if we take a look at this landscape type shot, the ability to deeply crop into images like this is going to be really, really useful
27:09
So let's say, for example, I take this crop right here. Well, there's still a lot of resolution, enough for printing here at this point
27:16
but what we can see also is that I'm able to really, really alter from the original
27:22
how much information is on display there. And, you know, I could even crop over on this side to kind of get a sense of the draw into the distance
27:30
And again, I've got a beautiful end result here simply because there is a lot of extra flexibility there for the cropping
27:37
That's obviously going to be useful for a lot of things up to including pulling distant wildlife closer and having the ability to crop in and still have usable resolution
27:47
So in conclusion, this is a camera that has a great sensor and obviously it has a fairly mature feature set at this point through the years of evolution, five generations now in the X-T series
27:57
and I think that it shows in the overall polish of the camera. You know, it's not to say that it's a home run
28:05
in the sense of when I look across the market. Ergonomically, I still prefer the Canon R7
28:09
and its overall tracking capabilities, but it has the, you know, the Canon RF has almost no APS-C lenses
28:16
And so as a system, it's not nearly as desirable as what Fuji has to offer at this point
28:20
I still prefer the overall autofocus performance of Sony bodies, but at this stage, their bodies are outdated and are in desperate need of an update
28:30
So I think that Fuji, in many ways, has the best all-round APS-C ecosystem
28:34
that is, I think, tremendously helped by the fact that they have opened it up to third-party development
28:39
And in 2022, we have seen a lot of new lenses that have been previously released on other systems
28:46
that are now coming over to Fuji. You know, lenses from Tamron, from Sigma, from Samyang
28:52
The Viltrox 75mm f1.2, a fantastic lens that I just recently reviewed on this camera
28:58
You know, and so I think that that helps to make the whole system more attractive, and it removes one of the built-in advantages that, say, Sony had previously
29:06
and certainly gives Fuji an advantage over, a further advantage over Canon
29:10
and their recent delving into, you know, mirrorless APS-C with the RF mount
29:15
And so there is a lot of good things going on. The Fuji X-T5 has a great retro vibe, and if you like manual controls, it's got a great assortment of that
29:26
I think, as you've probably noticed in my references throughout this review, the greatest competition may come from Fuji itself in the form of the X-H2
29:34
which costs about $300 more, but it has more upscale video features, it has much deeper buffers
29:41
has the fully articulating LCD screen that was lost off the X-T5
29:44
And so in many ways, I think that if you are looking to do either sports, you should consider the X-H2
29:50
And if you're serious about video, you probably also should consider the X-H2 for a variety of reasons
29:56
And so, you know, for about $300 more, that's not a huge difference when you're talking about the difference between $1,700 and $2,000
30:04
I think that it should give at least some photographers a serious pause considering what is going to work best for their purposes
30:11
At the end of the day, however, the X-T5 is a very solid camera and an improvement upon the X-T4 in a number of ways, most notably in that incredible new sensor, which offers the current highest resolution that I think you can find on the APS-C format
30:26
I'm Dustin Abbott, and if you look in the description down below, you can find linkage there to my full text review, also to my image gallery
30:33
There are buying links there. And beyond that, link is to follow myself or Craig on social media
30:37
to become a patron or to support this channel by purchasing channel merchandise
30:42
And of course, as always, please like and subscribe. Thanks for watching. Have a great day, and let the light in
30:55
Thank you
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