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This is the farthest back in time I have yet gone for one of these looks back. While I don't recall anything from this issue, it's likely it was still in the house when I began perusing Dad's SR magazines a year or so later. Several of the albums …
This is the farthest back in time I have yet gone for one of these looks back. While I don't recall anything from this issue, it's likely it was still in the house when I began perusing Dad's SR magazines a year or so later. Several of the albums under consideration here would certainly land in the collections of friends sooner or later.
Article Penelope Ross Profiles The Captain and Tennille We get a brief history of how Darryl and Toni rose to success, including their years with the Beach Boys and their initial trouble getting a recording contract (the 1973 vinyl shortage is cited as one reason for it); self-financing a recording of "The Way That I Want to Touch You," which became a regional hit in LA, led A&M to sign them. The contrast in personalities (she's the gregarious one, he's the quiet one, as we well know now) receives more than one mention.
This month's reviewers are Chris Albertson, Noel Coppage, Paul Kresh, Peter Reilly, and Joel Vance, though you'll soon see there's a guest review from a future regular.
Best of the Month --Steve Goodman, Words We Can Dance To (NC) "…you feel as if you've been set down in a department store of musical styles, and again you just know this is not one of your run-of-the-strip low-overhead marts…Goodman takes a style—country swing, Caribbean, whatever—and does it right, with jaunty clarity." --Sylvia Syms, Sylvia Syms, Lovingly (PK) "Most of the time Sylvia, who comes on slow and easy and is most at home with an old-fashioned torch song, seems out to break the listener's heart, and she is expert at it… --Warren Zevon, S/T (Steve Simels) "…I have to confess I am totally bonkers about it. Why? Because despite his style (deadpan humor) and his subject matter (pithy dissections of the seamy underbelly of California-America), he has made a rock-and-roll album that is as musically rich as anything I've heard in geological epochs."
Recordings of Special Merit --Toshiko Akiyoshi/Lew Tabackin Big Band, Long Yellow Road (CA) "Toshiko's arrangements are not always easy to play, but the band has caught her considerable spirit, and the music flows effortlessly…Tabackin has a steady job, buried in the Doc Severinsen orchestra on the Tonight Show, but his talent is considerably greater than that of his boss." --Captain & Tennille, Song of Joy (PR) "This is a good act getting slicker and better all the time…but (Tennille's) perhaps a little too earthy this time out; she seems to have been listening to too many Bessie Smith records, with the result that she sounds a bit forced and melodramatic." This is first album my sister and I ever purchased, secured I assume by pooling our allowances—I must have given up baseball cards for a few weeks? --Seals & Crofts, Get Closer (NC) "Seals and Crofts—well, I think we keep them around like pets…This latest album, while it is a little looser and considerably less puffed up about spirituality than most, does come right on over and lick your hand."
Featured Reviews --Louis Armstrong and Earl Hines, 1928 (JV) "Armstrong's grandeur and bravura are everywhere evident in the collection, though on certain tunes he doesn't seem quite comfortable…Hines, by contrast seems entirely at ease…Overall, the set is a treasure, and the civilized person will simply have to own a copy." --Neil Sedaka, Steppin' Out (PR) "Along with his contemporary and peer Paul Anka, he has the seemingly natural ability to seize upon whatever is the popular mood of the moment and then expand or define it in a very slick but often surprisingly graceful and apt way…The threat to me, of course, is that in twenty years I'll be writing this kind of piece about (ugh!) Tony Orlando and Dawn or (say it isn't so!!) the Osmonds." --Steely Dan, The Royal Scam (Stephen Holden) "From the beginning, the musical turf they staked out has been rather narrow—almost all of Becker and Fagen's tunes revolve around a single modal idea—and they have worked it over so intensively during the course of five albums that the strain is beginning to show."
Other Disks Reviewed --America, Hideaway (NC) "Partly it's the problem of what to say after you've said 'Why both?' I don't think the group has improved all that much; it's just been accepted in some kind of default situation." --David Cassidy, Home Is Where the Heart Is (PR) "Still, this album should convince almost anyone that Cassidy does have talent and that with a lot more work and a lot less production gimmickry he's sure to make a very fine album one of these days." --The Eagles, Their Greatest Hits, 1971-1975 (NC) "A few other bands would have breathed more excitement into the better songs (say 'Take It Easy'), but then a lot of other bands would have sunk miserably with such mundane ones as 'Best of My Love.'" --Genesis, A Trick of the Tail (NC) "Trying to appear deep without actually being deep seems to make Genesis appear silly more often not…Still, the extremes have been lopped off, and this does have tuneful moments." --Golden Earring, To the Hilt (JV) "If you hear a group playing blues-rock patterns and moaning overblown lyrics, you can safely assume they are trying to be Significant; you can further assume, with the utmost safety, that they are not." --Kiss, Destroyer (NC) "This seems worth talking about only to the extent that it shows that not only can a 'successful' act be illiterate and silly, but it doesn't even have to keep its affectations up to date." --Nils Lofgren, Cry Tough (JV) "Maybe he's been hanging out with rock for too long and ought to look for other musical forms; his Prisoner-of-Rock-and-Roll stance is good on paper, but in many ways it's a trap…" --Bob Marley & the Wailers, Rastaman Vibration (NC) "I feel a definite pressure to fake liking reggae, of which Bob Marley and the Wailers are just about the epitome, more than I really do…There may have been a time when I could have faked it pretty well, but times change and they apparently change us…" --Olivia Newton-John, Come on Over (PR) "Olivia Newton-John looks improbably lovely and chaste in the cover photo on her newest album. On the record itself she still sounds as semure as she looks…all this album really does is bring out the Dirty Old Man in me." --Richard and Linda Thompson, Pour Down Like Silver (NC) "All the songs are good enough to be in albums—it's just that I question the judgment involved in putting them all in the same album." --Wing and a Prayer Fife and Drum Corps, Babyface (PR) "It is such disasters as this that make record reviewing a hazardous occupation for those of us with nervous conditions…it felt like being trapped in some demonic elevator…"
Introduction Every camera family has its hero models. For Fujifilm, the spotlight falls on the X-Pro with its rangefinder inspired looks, the X-T with its ergonomics, or the X100 series with its cult-like following. But tucked quietly in the lineup h…
Every camera family has its hero models. For Fujifilm, the spotlight falls on the X-Pro with its rangefinder inspired looks, the X-T with its ergonomics, or the X100 series with its cult-like following. But tucked quietly in the lineup has always been the X-E series, a rangefinder-style body that spoke softly, but meaningfully, to those who wanted portability and perhaps, a bit of the X-Pro essence without breaking the bank.
And 2025 feels like the moment when the quiet sibling named X-E finally steps into the light. There has been chatter about the approximately 50% to 70% price increase from the X-E4 to X-E5 but one thing is sure,
The X-E series is no longer "the budget entry" model into Fujifilm's system, it is now a mid-range option housing the current 40MP X-Trans 5 HR sensor with in-body image stabilization capabilities.
(not to forget we now have the revived X-M series as the new entry level)
Versus the 2021 X-E4, the X-E5 comes with an approximately 50% to 75% increase depending on region with US leading the increases. In Singapore, the price of the camera has gone from $1449 to $2099, a 45% increase.
Though the Fujifilm X-E5 is an interchangeable lens camera, I will focus on the kit XF 23mm ƒ2.8 R WR lens in this review.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Let us take a deeper look.
Technicalities: Fujifilm X-E5 - what matters
For spec sheet lovers, I welcome you to pop by Fujifilm's official site here as I find it a waste of your time copying stuff you can find elsewhere.
The Fujifilm X-E4 (my review here) was Fujifilm's attempt at going minimalist, and this round they have gone the other direction, packing inside the Fujifilm X-E5 the 40.2MP APS-C X-Trans 5 HR sensor and X-Processor 5 found in the flagship Fujifilm X-H2. This is not just incremental and transforms how the X-E line is perceived.
The X-E is not a "step down" series, but one that delivers flagship image quality with some features unique to it.
The addition of in-body image stabilization (IBIS) is equally significant. With 5-axis correction offering up to 7 stops (centre) and 6 stops (periphery), the X-E5 gains more usability while shooting handheld night scenes or low-light indoor shots. For a street shooter walking around city nights, this is liberating.
The Fujifilm X-E5 is the 1st model in the X-E series to include IBIS.
The body itself has also been reworked ergonomically wise. The top plate is machined from a single block of aluminium, giving it a much more solid, quality feel at 445g. A front grip bulge and rear thumb rest make it far more comfortable in the hand, giving confidence that was missing from the flat-slab ergonomics of the Fujifilm X-E4.
For anyone coming from another Fujifilm X-series camera, the layout of physical dials and buttons will feel very much at home, including the "Q" button that gives us quick access to menu options.
The workings of the electronic viewfinder has been improved, with Fujifilm's new 'Classic Display' and Surround View modes that mimic a traditional rangefinder's awareness of the scene around your frame lines. The rear 3-inch tilt touch-LCD display works well for low- and high-angle shots, though vloggers will miss a vari-angle option.
The manual switch at the side allowing one to select AF-S, AF-C or manual focusing makes a come-back, with the EVF diopter adjustment flush on the same side of the camera.
You might not have noticed it, but the front control dial which switches between the hybrid OVF/EVF on the X100 series is actually a 5 button setup which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.
And then there's the new physical Film Simulation Dial. It may seem like a small detail, but it fundamentally changes how you shoot. Three custom recipe slots (FS1–FS3) alongside Fujifilm's built-in classics mean that your favourite looks are just a dial-turn away. This dial alone makes the camera more playful, more tactile, more Fujifilm-spirited.
General performance wise, it is quite expected the Fujifilm X-E5 will perform similar to its siblings (Fujifilm X-H2, X-T5, X-T50) which houses the same 40MP X-Trans 5 HR sensor and X Processor 5 combination.
Technicalities: XF23mm F2.8 - what matters
The XF 23mm ƒ2.8 R WR* was announced and released together with the X-E5, providing users with a pancake lens option similar to how the XF27mm F2.8 was paired with the X-E4 in 2021. The full specifications can be found here.
(*Fujifilm XF 23mm ƒ2.8 onwards for short)
A pancake-style, weather-sealed prime lens tailored for Fujifilm's X-series, this 35mm equivalent lens comes in at a light 90 g, making the Fujifilm XF 23mm ƒ2.8 the most compact and portable XF prime to date.
The Fujifilm XF 23mm ƒ2.8 design comprises an eight elements in six-group optical construction with two aspherical elements. There are a total of 11 aperture blades with a minimum focus distance of 20cm.
The lens comes with a 39mm filter thread and very compact Φ61.8mm x 23mm dimensions.
Despite its featherweight design, the lens sports thoughtful ergonomics: a knurled grip, a snappy aperture ring (with a handy "A" lock) for easy manual control, and a slim focus ring, though some may find it a bit cramped for precise manual focus.
With the supplied hood installed
One can adjust the aperture in 1/3 steps, complete with full aperture markings running from ƒ2.8 to ƒ16. A tiny metal dome-shaped lens hood (LH-XF27) is included as part of the package.
Handling and Performance
This pairing feels like it was meant to be. The Fujifilm XF 23mm ƒ2.8 is small and discreet, making it an ideal match for the Fujifilm X-E5's design ethos.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Together, the X-E5 and XF23mm ƒ2.8 duo echoes the simplicity of the X100VI, but with the freedom to switch to a 35mm, 50mm, or even a vintage adapted lens when the mood strikes.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Optically, the lens impresses with clean sharpness, particularly when stopped down, delivering crisp detail across the frame. Its control over distortion and chromatic aberrations is excellent. As seen in the first sample all the way up, you can achieve pleasing sunstars at ƒ16.
Nonetheless, there is some light vignetting at ƒ2.8 which dissipates with stopping down by two stops.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Close focus sharpness can be a tad soft when shot wide-open but yet surprisingly, can be quite characterful in terms of output.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
More on this later, but overall the internal focusing mechanism powered by a DC motor delivers quick and generally accurate autofocus, though it will be good to note there is audible noise that may be noticeable in video recording, making the XF 23mm ƒ2.8 better suited for stills.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
This is a set-up which while not truly pocketable, is as snugly compact as it gets within the Fujifilm X-system. If one is open to third-party lenses, there are even more compact lens choices such as the Viltrox AF 28mm ƒ4.5 (my review linked)
5 key points where Fujifilm has done right and could do better:
1. Power in a Small Frame
The 40MP APS-C X-Trans 5 HR sensor and X Processor 5 alone in the X-E5 makes the value proposition strong, and this was correct of Fujifilm to do so. Given the price point, there will have been little point with this camera If Fujifilm had gone with the 26.1MP X-Trans IV sensor instead.
For street, travel, and documentary shooters, it means the freedom to crop more aggressively while retaining resolution. Pairing it with the XF 23mm ƒ2.8 is particularly sweet, wide enough for context, yet sharp enough that you can comfortably crop into a tighter framing later without regrets.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
2. Creative design touches, the Fujifilm Way
And then there's the Film Simulation Dial. It may seem like a small detail, but it fundamentally changes how you shoot. Of course one can still change the film simulations in menu or using the Q button but this dial makes the camera more playful, more tactile, more Fujifilm and will change the way you shoot.
Given that we now have 20 film simulations, the dial gives access to a limited number of film simulations which is fine since we can assign any film simulation (and our personal recipes) to the FS1/FS2/FS3 options.
I very much like Fujifilm's clever new Classic Display and Surround View modes in the EVF display that mimic a traditional rangefinder's awareness of the scene around your frame lines, it does an excellent job in simplifying the frame one looks at.
And the sum of these creative little additions often translates into more frames, and ultimately, more frames, more moments captured.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
3. Autofocus system - very good but still with room for growth
The Fujifilm X-E5 has the same autofocus system that Fujifilm has used in many of its recent cameras, I am glad that these modes can be used in conjunction with the camera's AI-derived subject recognition system.
However a slightly frustrating point is for some reason, humans and their faces/eyes are separate from the rest of the subject detection modes (if subject detection is switched on, face/eye detection must be switched off).
The autofocus system can still hunt while trying to capture low contrast surfaces and this was a surprise to me given the plenty depth of field on the XF23mm ƒ2.8, but I am sure that Fujifilm will improve on the autofocusing capabilities with firmware updates.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
The X-E5's autofocus system is generally quick and reliable, doing a good job of focusing on whatever you've put your focus point over. While most shots were on point, I had a few coming out out of focus despite the focus box showing green over the subject.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
4. Weather Sealing
For a body of such compact portability, the lack of weather sealing is undoubtedly a tad sad. I found it quite hard to accept that Fujifilm made a conscious choice to build the XF 23mm ƒ2.8 lens to be weather resistant, but not the X-E5 body.
Even if the lack of weather resistance was an attempt to differentiate between the X-E5 and the X-H2 and X-T5 models, this decision was undoubtedly a disappointment.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
5. The EVF & LCD that could have been better
The Fujifilm X-E5 comes with a relatively small 0.62x finder with the same 2.36M dot resolution as the X-E4, while the back LCD comes in at a 1.04M dot resolution. Comparatively the Nikon Zf is weather resistant, equipped with a 3.68M dots EVF, a 2.1M dots LCD and a full frame sensor at a slightly higher price point.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
My opinion is that while the EVF and LCD are there working well at functional level, they certainly could have been improved for a better user experience, especially given that the Fujifilm X-E5 has now crossed the SGD2000 (USD1500) mark in terms of pricing.
The Fujifilm X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Rated to 310 shots per charge, this is pretty good for a camera of this size. On camera USB-C charging now a norm is also supported with the Fujifilm X-E5.
Conclusions
To start, I am going to reiterate that the Fujifilm X-E5 is now a tad different in its design philosophy and ready to step out of the shadows of its older reference as the cheaper and lesser-built 'X-Pro" model. The Fujifilm X-E5 with XF 23mm ƒ2.8 duo encourages exploration and allows one to treat photography as more than just "capturing the shots", all the while moving towards a more premium build and product placement in the hierarchy.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
It lacks weather sealing and costs more, but it makes up for these in terms by providing the best of image quality and autofocus capabilities Fujifilm can provide at this moment, all in a size that one can easily slip into any bag or a large pocket.
It is not perfect, but the Fujifilm X-E5 is the hands down the best iteration out of the whole X-E line, maturing into its own character of a power packed compact.
Fujifilm X-E5, XF 23mm ƒ2.8 R WR
On the streets or for the daily candid moment, the Fujifilm X-E5 and XF 23mm ƒ2.8 combination balances well. The 35mm equivalent view is perfect for storytelling, wide enough to capture environment, yet intimate enough for portraits and lastly, the IBIS means even more versatility.
This is the X-E line maturing into its own identity, and the Fujifilm X-E5 in its own way feels like a X100VI unlocked, giving one the valuable possibility of a change of lens, making this imo an excellent camera worth one's consideration.
In fact, instead of the usual loaned review set, I have bought and am using my personal set for this review.
Thank you for reading.
Disclaimers:
All product photos and samples here were photographed by me. I believe any reviewer with pride should produce their own product photos.
2. All images were shot with my personal set of the Fujifilm X-E5 and XF 23mm ƒ2.8 R WR.
3. This review is not sponsored.
4. I write as a passion and a hobby, and I appreciate that photography brands are kind enough to respect and work with me.
5. The best way to support me is to share the review, or you can always help support me by contributing to my fees to WordPress for the domain using the Paypal button at the bottom of the page.
