Two years with the Fujifilm X-T5 - Photography First?

I wrote an article at the end of 2023, at the time I was getting issues left right and centre with my Fujifilm equipment, and in truth things haven’t gotten a whole lot smoother since (despite that I still purchased a second X-T5 mid 2024) and I wrote an article (or started writing, would be more accurate). Obviously since then there have been no takers for a voice of dissent regarding our brand of choice, but I feel this criticism comes well deserved. I love Fujifilm and I have contributed in no small part to the Fujifilm community at large and whilst YouTuber’s call for abandoning the system - my thoughts are quite the opposite. I would like to say that our equipment is no less than it was before but with autofocus crippling updates, no support for older systems and insane cost of repair for legacy models that became the exact problem. By catering to a fickle new audience Fujifilm have hamstrung their entire userbase pre “influencer-fame” and I can confidently speak for us all when I say we are not happy. Here is that article.

As a long time Fujifilm user who’s stuck with the X-Mount for that gorgeous, gorgeous glass I would be lying to say I did not miss the megapixel count of my old Sony A7R’s. It took a little while to see the X-T5 bodies pop up for sale here in Thailand, and at the time I saw no real need to upgrade from my deadly X-Pro3 / X100V combo. However, around six months back tragedy struck and my X-Pro3 came down with the fatal ribbon cable issue rendering my screen unusable. Not being able to wait for a fix from Fujifilm (life sans camera not being an option) I decided now would be a good time to invest in redundancy for my X-Mount system, that gorgeous, gorgeous glass remember? A new body was on the books. The X-T5 was not initially my first choice, rather wanting another X-Pro3 but after a few rounds of the local camera stores it became apparent that was not going to be the way forward. Body-Only the XT-5 made its way home with me.

Having drove 200km’s to Khon Kaen (to find a camera in stock), I wanted to test it’s abilities before hitting the road back. Primed with my original 56mm F1.2, I was ready to see how a big piece of glass performed on such a pixel dense sensor. My immediate impression was how much faster and confident it was at grabbing the eye, my second was how clear that EVF was compared to the X-Pro3.

My main issue that I feared was that such a pixel dense sensor would be extremely slow to operate and was surprised that in most areas, it was actually faster than the 26mp counterparts I have grown used to. There are times at night where shooting single point wide open I found the X-Pro3 to be much more immediate (not to say more accurate) but aside from that it was a landslide victory for the X-T5. I will probably ruffle some feathers here but I don’t see the 40mp APS-C as a “cropping beast” like so many claim, I find the density to increase that 3D pop and give a liveliness to the image without that artificial sharpness you see from Sony and Canon (glass helps). Coupled with the XF 16-55 F2.8 this lens has become my main workhorse, and therein lies the rub.

A mere month after purchase my EVF developed coating peel which hit me especially hard being in Thailand, the Sun is my number one enemy as it is, with my EVF no longer accurate this almost crippled my use of the camera. Whilst Fujifilm were aware of the issue and assured me it was a batch fault this did not help the 3 month wait time for a replacement EVF. Once the replacement was available the turnaround was speedy, just over a week for it to be back in my hands and back as my workhorse. Fast forward to my next event where it copped a gnarly chip in the body. Aside from OCD triggering it makes me wonder how durable these cameras really are. This, after all, was the third Fujifilm issue in a short span. My first three issues since shooting on the system, my X-Pro2 survived being caught a tropical rainstorm as though it was nothing. None of my other bodies even had a noticeable mark after years of use. Three years in and my X100V leatherette was wearing at the edges, my Leica M2 from 1960 still had perfect vulcanite.

Fujifilm lead the field in useability and ergonomics (by a long shot), value, and image-quality-to-size ratio. They make some of the best lenses on the market; the 35 1.4, 56 1.2, 90 2.0 and 16 1.4 are all class leading optics. Whilst they do have downsides (the X-Trans is a double-edged sword, but still second only to CCD). The amazing glass and the fact that they make cameras and not a box with a sensor inside has kept me with the brand. whilst Sony, Panasonic, Canon and Leica have all came and gone. However, I do wonder if the X-T5 will be my last Fujifilm.

I fell in love with Fujifilm as the underdog Japanese company that punched above their weight, both designing and manufacturing domestically, products that skimped nowhere, full metal builds and rugged bodies. Beautiful coatings that gave superb contrast. I want to love Fujifilm, I want to be excited for their X-Summits. But I think those days may finally be over, that they may finally have earned the nomenclature of a “poor man’s Leica.”

This is where my article ended. It’s worth noting that it is now March 2025 and since then I have gone on to sell my X100V and purchase a second X-T5. My X-Pro3 ribbon cable failed for a second time in October 2024 but it’s bandaged up and limping along. I toned down the amount of client work I have brought in because these cameras just can’t handle it. On my personal work side, I have opted to go back to shooting manual focus lenses after disappointment after disappointment with bugged updates, giving focus conformation at the point the shutter is released yet when reviewed the images would be either slightly front or back focused. Despite being far better on Single Shot it was enough to knock my confidence in the X-T5’s capabilities but luckily this now seems to be fixed (touch wood). Over the past two years I have come up against the limitations of the X-T5 more times than I am happy with. It has certainly stopped me from progressing with client work, not wanting to deal with the ramifications of missed focus shots or deal with manual focus (not to mention overheating) in an already stress inducing environment of a wedding etc. as that is not (and will never be) the main focus of DRobertsPhoto. The trade-off between what I would get and what I would lose should I switch systems still falls in favour of Fujifilm.

Despite my concerns over Fujifilm’s corporate direction, it is my belief that Fujifilm is as much mine (if not more so) as it is theirs. For the creator can never be its creation, the way a child is not their parent. As such we as independent Fujifilm photographers have as much duty to the community as anyone to instigate changes where we are able to. Fujifilm has a burgeoning aftermarket and passionate community that I am proud to be a part of.

Addendum:

It is now December 2025, all obligations for Fujifilm related sponsorships are complete, my relationship with Fuji X Passion has been dissolved due to irreconcilable differences. My relationship with FUJILOVE Magazine is stronger than ever, but ultimately complete. Over 2024/2025 I produced ten articles for Fuji X Passion (including a monthly column) and ten for FUJILOVE Magazine (including a six-part serialisation). I have collaborated with Thypoch, TTArtisan, Meike, Brightin Star, Viltrox, Geekster and most importantly with ArtraLab and Venus Laowa whom supported my work beyond editorial. I have partnered with ZEISS, and the opportunity cost of doing so was ending all prior relationships — which ultimately ended due to a similar set of irreconcilable differences. I continue to work with Angelbird Technologies, Dehancer Film Emulation (for motion only), and as a product validator for F-Stop Gear. In September of 2025, I returned to shooting Sony, and in December of 2025 implementing first-party optics.

With FUJILOVE Magazine’s own words (on my final article’s issue) being “December’s stories remind us that gear matters, but what we choose to do with it matters more.” reminds me that what I said above is as true today, as it was when written. I will leave you with my own quote from that article “I have endeavoured to champion photographic heritage over nostalgia. I have been fighting hard to preserve both technical and ethical work within the Fujifilm community, where new voices are often enthusiastic and loud, yet more often than not, uninformed and inexperienced.” It’s up to us to make the community better. I’ve opened the gates, shown it can be done. Make an interesting article, an interesting project, brands and editorial will take notice. Perhaps after long enough Fujifilm will too. But I’m clocking out, it’s your turn now…

My work within the Fujifilm community (and with any optics manufacturer regardless of platform) is on hold until relevant non-competes have cleared, in that time I will be producing pedagogical and retrospective works with self-funded equipment. Fujifilm leadership are aware of my standing — having produced twenty articles in eighteen months for their leading independent publications along with major recognition of my work in the form of recent TASCHEN review — and continue refusal to interact with either David Roberts or DRobertsPhoto in a professional capacity. I also urge all reading to research the events regarding Tatsuo Suzuki-san (accomplished student of Daido Moriyama-sensei) and the X100V fiasco. There is a clear and recurring pattern of distancing (which I consider a professional disrespect) to high-level artists that use the Fujifilm system.