But as part of my series looking at whether the Fujifilm XF 16-55mm f/2.8 R LM WR II is really a bag of primes, I wanted to shoot the 56mm f/1.2 WR the way I naturally use gear: in my local landscape, on walks, photographing mainly nature, or at least being out in nature.

So for the last week or so, I’ve had it glued to my Fujifilm X-T5 and have been shooting it whenever I go out.

This article contains affiliate links. If you make a purchase through these links, I may earn a small commission at no additional cost to you. This helps support the website and allows me to continue creating free content.

Seeing Differently with the 56mm

One of the things that surprised me during these walks was just how much I enjoyed using the 56mm focal length.

Like many photographers, I often gravitate towards wider lenses. They feel natural for landscapes, travel and documenting everyday life. But spending time with the 56mm reminded me just how differently a scene can be interpreted simply by changing focal length.

The additional compression allows you to pull elements in a scene closer together, making distant objects appear more connected and helping to simplify what can sometimes be a chaotic frame. Subjects can be isolated more effectively from their surroundings and images often feel less like you’re standing within a scene and more like you’re quietly observing it from a distance.

It’s something I’d encourage every photographer to experiment with. Using a focal length outside your comfort zone teaches you how different lenses see the world and helps you recognise opportunities that you might otherwise miss.

In many ways, that’s what I enjoyed most about taking the 56mm f/1.2 WR on these walks. Rather than trying to capture the entire landscape, I found myself drawn to smaller details and quieter moments. The texture of bark on a tree, the craftsmanship of a dry stone wall, repeating patterns in nature, or the way light fell across a particular part of the woodland.

These intimate landscapes are often some of the most rewarding photographs to make. They encourage viewers to slow down and notice things that might otherwise go unseen.

The ability to work with shallow depth of field adds another creative tool. You can direct attention towards specific parts of the frame, simplify distracting backgrounds, or create images with a softer, more atmospheric feel.

The same applies when photographing family. The extra reach allows you to focus on expressions, gestures and interactions from a comfortable distance. Rather than feeling like you’re standing in the middle of the moment, you’re able to observe it unfold naturally.

Of course, the 56mm f/1.2 WR is great for photographing your family, creating images with a more intimate feel than you would typically get from wider lenses. What I enjoyed most, however, was the way it encouraged me to look for pockets of light, small details, patterns, textures, and more intimate compositions.

It’s not a lens that would naturally come to mind for this type of photography, but it’s more than capable of the job should you decide to challenge yourself and use something a little different. In doing so, you’re likely to come away with a different perspective and a different kind of photograph than you would normally take, while also pushing yourself to think more creatively about composition and subject matter.

And because it’s a prime lens, you can’t simply zoom out and fall back into your usual way of working.

You can read more articles like this below:

When Life falls apart: Why the Fuji experience helps with my mental health.

If 2026 brings an X-T6 then I will happily test it out but if it doesn’t then I’m still more than happy to carry on using my X-T5 for another year. It has just featured highly in a recent article on the best cameras for family photography for 2026 and I have no doubt will get a lot of use over the coming year taking more photos of my children and as my main travel camera if I have the energy to travel this year. I recently compared the Fuji X-T5 vs Nikon Zf to see if the retro full frame camera is meaningfully better.

Even after using cameras as diverse as the Fujifilm X100VI, Ricoh GR III/IIIx, OM System and comparing the X-T5 vs the Nikon Z6III — the X-T5 still strikes the best balance I’ve found between performance and portability. It blends physical control dials with speed of use in a way that keeps me reaching for it whenever I want high-quality images without the weight or bulk of larger systems. It’s why it was highly featured in the best interchangeable cameras for travel article that I wrote and one of the reasons why I shoot Fujifilm cameras in the Philippines. It even made it into the best mirrorless cameras article.

I placed my X-T5 preorder back in late 2022, having owned every previous X-T model at one point or another. That doesn’t mean I’ve always loved them all. When the X-T1 was released, I actually chose the Olympus OM-D E-M1 over it. The X-T2, by contrast, really clicked with me — I used it extensively and still look back on it as one of Fuji’s best. I bought the X-T3 but ended up returning it; while many rave about that camera, I personally preferred other options at the time. I did own the X-T4, but more often reached for my X-Pro3 for photography, as I felt the X-T4 leaned too heavily into being a hybrid camera rather than the stills-focused tool I wanted.

That history is exactly why the X-T5 caught my attention so quickly. It felt like a return to Fuji’s photographic roots: a smaller, more refined body, a renewed focus on stills rather than video, and the introduction of the new 40-megapixel sensor — the same one found in the X-H2, but without the video-centric body design I didn’t want. Just as important was the inclusion of the three-way tilt LCD screen, which for me marked a deliberate move back toward photographer-first usability, rather than a fully articulated screen aimed at hybrid creators. With the added promise of faster autofocus and in-body image stabilization, I didn’t hesitate to hit the preorder button.

This is not a quick impressions piece. I’ve now owned the X-T5 for over two years, and in that time it has been my main and most-used camera. For context, I’ve owned and sold the Sony A7 IV in the same period, and I currently use cameras across Micro Four Thirds, full-frame, and medium format systems. Yet despite that breadth of gear, the X-T5 has remained the camera I instinctively reach for most often — a telling measure of just how well it fits both my photography and my life. And if you’re curious about which glass really makes the most of it, I’ve put together my best Fujifilm X-T5 lenses guide with simple 1-, 2-, and 3-lens setups that work in the real world. I also have various lens comparisons on the site like the Fuji 18mm 1.4 vs 23mm 1.4 one here and reviews such as this review of the Fuji 56mm 1.2WR lens and Fuji 23mm f2.

Design and Handling

The size of the X-T5 is one of the main reasons it works so well as my primary camera. Paired with one of Fuji’s compact f/2 primes, it feels like an addition to a trip rather than something that makes the trip revolve around photography. That’s important: it means I regularly bring it along on family days out and travel, where larger systems might stay at home. Yet once I add my SmallRig L grip extension and mount one of the premium f/1.2 or f/1.4 primes, the camera transforms into a lightweight pro body that can handle anything I throw at it. See the best accessories for the Fuji X-T5 here. Unfortunately Fuji don’t offer an official battery grip for the X-T5 and there are no connectors at the bottom of the camera, so the best option that I have found is the Smallrig Grip. The X-T5 is lighter than my OM-1 Mark II and substantially lighter than the Nikon Z6 III, and the difference is immediately noticeable. Just this morning I was shooting with the Nikon Z8 and 50mm f/1.8, then picked up the X-T5 straight after. It felt so featherweight that I actually checked the battery compartment to see if it was empty — it wasn’t. Even after all this time, the X-T5 continues to surprise and delight me. Only last night I was shooting for my Fuji XF 18mm f/1.4WR lens review and was blown away with the results.

Everyone talks about Fuji’s physical control dials, and for the type of shooting I do — travel, family, documentary — I genuinely appreciate them. The X-T5 retains the physical ISO and shutter speed dials with the drive dial sat on a separate ring below the ISO dial. It is not lockable and can very occassionally get moved. A push to move mechanism would be a small and subtle improvement here. Below the shutter speed dial is a separate switch to move between stills and movie mode. That’s about as much information as i’ll go into on the video features of the X-T5 in this review. The ISO and shutter dials have proper locking mechanisms that can be clicked in or out, which I prefer to the push-and-hold style used by some other brands. With 1/3-stop increments on the ISO dial and full-stop increments on the shutter speed dial, I can quickly set exposure and see my settings at a glance. Let’s be honest though: they also look fantastic, and they deliver a shooting experience that feels different from the PASM dials found on most modern mirrorless cameras. That’s part of the X-T5’s charm. If absolute efficiency and speed are your only concern, PASM is quicker in my experience. But for me, the tactile control dials add real value to the experience.

After more than two years of heavy use, I’ve found the build quality excellent. The X-T5 may no longer be made in Japan, but I’ve noticed no drop in quality compared to previous generations. It feels light in the hand but avoids the hollow feeling that put me off the X-T1 years ago — instead it’s dense and solid. The ISO and shutter speed dials are fairly easy to move, but thanks to the locks it’s a non-issue. The shutter button doesn’t protrude much, which takes getting used to, but a SmallRig soft shutter release has lived on mine since early on and solved that instantly. The exposure compensation dial, though not lockable, is stiffer and recessed enough to avoid frequent knocks, though I do double-check it when pulling the camera out of a bag. The memory card door is secured with a positive latch, and the port covers are hinged doors rather than flimsy rubber flaps — a small but meaningful detail. Buttons protrude just enough to find by feel, and overall the camera feels well thought-out and built to last.

The EVF is the same 3.69M-dot OLED unit from the X-T4 but with a slightly improved 0.8x magnification. I can’t tell any difference. Yes, competitors like OM System and Nikon have moved on to higher resolutions, but I still find the X-T5’s viewfinder sharp and clear enough for my needs, including manual focus. There is a little graininess in very low light but it’s acceptable. If you want a better viewfinder then you will have to move up to the X-H2 and X-H2s. A few years ago this EVF was considered one of the best, and while the bar has been raised, that doesn’t suddenly make it bad.

The rear LCD is bright and crisp, but the real story is the return of the three-way tilt screen, replacing the fully articulating version from the X-T4. For stills shooters, this is a win. The tilt design allows discreet hip-level shots, easy high- and low-angle work, and flexibility in portrait orientation, all without the awkwardness of a side-hinged screen. For me, it’s the perfect balance of versatility and photography-first usability.

Perhaps the strongest point of the X-T5 is balance. With the small “Fujicron” primes (23mm, 35mm, 50mm f/2), it feels like a stealthy little powerhouse — light, discreet, and capable. Add the premium primes or small zooms, and with the L-grip it turns into an all-day comfortable setup that feels at home in professional use. Even without the grip, it’s fine with heavier lenses, but the extra depth makes a noticeable difference over long shooting days. In many ways the X-T5 feels modular: a compact, travel-ready body when stripped down, or a flexible workhorse with just a couple of thoughtful accessories. Combined with the APS-C format — offering slightly better image quality than Micro Four Thirds while keeping weight below a full-frame setup — it hits a sweet spot that few other systems manage. If you are considering which lenses to get for your X-T5, these are the best Fuji lenses available.

Image Quality

A headline upgrade with the X-T5 is its new X-Trans 5 processor and 40MP APS-C sensor. On paper, the jump from the older 26MP sensors is one of the most significant reasons to consider upgrading. But does it really make a difference in practice?

Here’s my honest take, as someone who owns and prints large on a 44″ Canon Pro 4100 printer. The extra resolution does give more detail and flexibility. It allows more cropping headroom while still retaining enough quality to make a meaningful difference. Personally, I try to get my framing right in-camera and don’t crop heavily, but for those who do, the X-T5 is a real step up.

What impressed me even more, though, is that this increase in resolution hasn’t come at the cost of high ISO performance in any meaningful way. I’ve seen plenty of complaints online about the X-T5’s low-light results — and I’ve even had readers comment on it here — but in my real-world use, the camera can produce printable results up to ISO 12,800. ISO 6400 looks very good, and ISO 3200 is so clean that it’s not even a question mark anymore. Do I think 40MP is essential or worth upgrading for on its own? Absolutely not. I’d have been perfectly happy with 26MP, but I also won’t complain about the excellent quality this new sensor delivers.

Before / After (hover or tap)

Unedited image

Quick edit: pulled highlights down, warmed WB slightly

Dynamic range is solid, if not class-leading. Compared to my GFX100S and Nikon Z-series cameras, the X-T5 falls a little short, but unless your exposure is three or more stops off, there’s plenty of room to recover shadows without excessive noise, and enough highlight recovery to cover most situations.

For landscape shooters, bracketing is still the best solution when the scene demands more range. Where the X-T5 shines for me is in the tonality of its files. Compared to something like my OM-1 Mark II, the images from the X-T5 look less digital, less clinical. They’re sharp and clean, but they have a quality that feels less sterile and more natural. The color and tonal rendering is among the best of any camera I’ve used, rivaled only by the GFX and Nikon Z systems, which deliver a slightly different but equally appealing look.

Fuji’s JPEG engine is famously strong, and early on I shot a lot of RAW + JPEG, often finding little reason to improve on the straight-out-of-camera files. The X-T5 includes Reala Ace which is a nice film simulation but after an initial play with it, I’ve stuck with my standard Classic Chrome for most shots. Over time, I’ve gone back to shooting mostly RAW for the flexibility of future editing. Lightroom now handles X-Trans files well, and with the built-in film simulations, masking tools, and white balance controls, I get the best of both worlds.

After two years of use, I’ve never once felt the image quality of the X-T5 held me back. Like any format, it comes with its compromises — image quality vs speed vs size — but the X-T5 finds a balance that works exceptionally well. In good light, paired with a quality lens, it can easily produce professional-grade images. In poor light, it won’t match full-frame options, but with a fast prime it still holds its own.

Autofocus Performance

Let’s get one thing straight right away: I don’t shoot sports, nor use the X-T5 for wildlife photography, and I don’t spend time running back and forth in front of cameras trying to force autofocus systems to fail. I’ve never once set up a test of someone sprinting toward me in zigzags as if I were sighting them through a rifle scope. That’s just not how I use a camera, and it’s not how I evaluate them.

What I do shoot is far more typical of how most people will use the X-T5. I photograph my family — from my youngest daughter, Isabelle, now 13 months old, to her older sister and cousins ranging from nine through to their teenage years. I photograph people on the street, street dogs, everyday travel moments, and anything else that naturally comes up when I’m out in the world. In short, I don’t shoot to find fault with the autofocus — I shoot to see how well the camera performs in the situations that matter to me.

With that context in mind — and having also spent time with the Sony A7 IV, OM System OM-1 Mark II, Nikon Z8, and others — here’s how I’ve found the Fuji X-T5’s autofocus performance. In a word: stellar. I know this goes against the grain of what you often hear on YouTube, but after two years of daily use with a wide variety of lenses and in all kinds of conditions, that’s been my experience. My camera is currently on firmware 4.31 and I have upgraded my camera through the Fuji X-App regularly throughout the two years I have owned it and never had an issue, so I can only assume I am either very lucky or the people who have had issues have been unlucky. At no point has my X-T5 suddenly become junk because of a firmware update.

There is a small learning curve to getting the best out of the Fuji AF system, but once you know how to set it up properly, it’s consistent and reliable. To make that easier, I’ve made my X-T5 setup file available for free download here. Personally, I shoot the majority of the time in C-AF with Zone AF selected, adjusting the box size depending on the subject. Set up this way, the autofocus is confident and reassuringly accurate. With Eye AF enabled, it will pick up faces and then lock onto eyes quickly, tracking them reliably as the subject moves. The only time I’ve noticed hesitation is when the closer eye is partially obscured by hair or another element, which can cause the camera to momentarily jump to the other eye. A small adjustment in shooting position fixes it, and you can also specify eye preference in the menus or assign a custom button to force a switch if you really want to.

For real-world subjects — kids, travel, street photography — the X-T5 keeps up just about as well as anything I’ve used, with the exception of Sony’s A7 IV, which I would still place out in front of every other brand when it comes to pure autofocus performance. But that doesn’t make the Fuji lacking. It’s a confident, dependable system that has never once held me back in the kinds of shooting I care about. If I want to accurately focus on one particular area then I quickly switch in to single point AF mode via the Q menu. Will it track fast moving subjects as well as some other cameras, no. But will it let you down for general photography, in my experience, equally, it’s a no.

The X-T5 also includes various subject detection modes, covering animals, birds, cars, motorbikes/bikes, airplanes, and trains. Of these, I’ve casually used the animal option and found it to be just as reliable as human detection. Even with my black dog, the system quickly picked up the shape, face, and eyes and tracked them confidently.

Fuji also gives you the option of AF+MF, which allows you to fine-tune focus manually while the shutter button is half-pressed and autofocus is active. It’s a subtle feature but genuinely useful in tricky situations where you want autofocus to do the heavy lifting but still need that last bit of control. On top of this, the camera provides a solid set of manual focus aids — including peaking, a digital split-image, and a digital microprism. I find focus peaking works particularly well, and with the ability to change color and strength (red, white, blue, low, high), it’s easy to tailor to personal preference or the subject you’re shooting.

You can also interlock spot metering with the active AF point, which I find especially helpful for portraits to quickly get accurate exposure where it matters most. For those who prefer zone focusing, Fuji even lets you change the depth-of-field scale between a “pixel level” calculation or a more traditional “film format basis,” which is a thoughtful touch.

Finally, the X-T5 offers six AF-C custom presets, designed to fine-tune continuous AF behaviour for different types of movement, with one slot fully customizable. This, to me, highlights something Fuji consistently gets right: their cameras are logical, customisable, and flexible in ways that actually matter when you’re using them day in and day out. Once a camera reaches the point of being “good enough” at pure AF speed and accuracy, it’s these quality-of-life refinements — and Fuji’s willingness to give photographers control — that make the difference in long-term use.

A Note on Video

The X-T5 is a stills-first camera, and that’s exactly how I use it. Yes, on paper it has impressive video specs — 6.2K recording, 4K/60p, F-Log2, and even RAW output over HDMI — but I won’t be covering those here. I’m a stills photographer, and that’s the perspective of this review.

If video is your priority, there are better places to go for detailed testing, and within Fuji’s own lineup the X-H2 and X-H2S are far better choices for serious filmmakers. For me, the X-T5’s strength lies in its stills performance, and that’s what I’ll focus on in this review.

I have shot a little bit of video on the X-T5 and from my perspective, it looked great for casual use.

Battery Life & Usability

Battery life on the X-T5 has been consistently solid thanks to the NP-W235. In my real-world use, one battery is usually enough to last through most of a full day’s shooting — a sunrise session (an hour either side), casual shooting during the day, and then a sunset session. Before the evening, I’ll usually swap to a fresh battery, not because the first one is dead, but because my cautious side prefers to change when it dips to around 10–20%. On trips I carry two or three spares, though on any individual shoot I normally just keep one spare with me.

For storage, I use 256GB SanDisk Extreme Pro 170/200 MB/s cards , which provide well over 5,000 shots when shooting lossless compressed RAW. For normal use, they’re fast and reliable, but if you shoot a lot of bursts you’ll eventually hit the limitations of SD and the X-T5’s buffer. In my own tests, shooting RAW at 10 fps, the buffer filled after about three seconds, at which point the camera slowed to ~2 fps until I stopped. Clearing that buffer took about 12 seconds. At 15 fps, the slowdown came after just two seconds. For short bursts this is manageable, but if continuous shooting is your primary use case, the CFexpress cards used in the X-H2 and X-H2S will be a much better fit. I generally use my cards in sequential mode for the extra capacity, but for critical, non-repeatable shoots I’ll switch to backup mode. You also have the option to split RAW and JPEG across slots if that suits your workflow.

Usability is, for me, where the X-T5 really shines. Once the camera is set up, I rarely need to dive into menus beyond the options I’ve assigned to the Quick Menu. You can customise two dedicated function buttons, as well as the AF-On and AEL buttons, plus the D-pad, giving you plenty of flexibility to set it up however feels natural. You can also customise screens swipes for various functions but in all honesty, I never use this as everything I need is covered with Fn buttons. On top of that, Fuji allows you to create and save up to seven custom modes, covering all major settings, and crucially you can rename them. That might sound like a small thing, but it makes a big difference in long-term use. On other brands I’ve lost track of whether a particular custom slot was set for portrait, landscape, or something else. On the X-T5, simple touches like being able to rename custom modes mean that once it’s set up the way I want, I can forget about it and just shoot.

Charging is equally flexible. The camera supports USB-C charging, which is great in a pinch — I’ve topped it up in my bag using a power bank more than once — though day-to-day I prefer a dedicated charger. I don’t use Fuji’s official dual charger, which is overpriced in my view, but instead rely on third-party options from SmallRig and K&F Concepts . For the cost of Fuji’s charger, I can pick up three or four dual chargers plus multiple batteries, and in my experience they’ve been reliable.

Finally, I’ve seen many complaints online about the Fuji X-App, but in my experience it’s probably the best of any camera brand I’ve used. I’ve never had connection issues, and unlike OM System, I can sync more than one camera. Unlike Nikon’s app, which gave me pairing headaches during setup, the Fuji app has been seamless. It allows you to download and install firmware updates directly — something that always makes me nervous with OM System after once bricking a two-week-old E-M1X. With Fuji, updates have been smooth and trouble-free. The app also lets you add GPS data to your photos and control the camera remotely if needed (though I rarely use that feature). For me, the most important thing is reliability, and the X-App delivers.

Conclusion

My overall assessment of the Fujifilm X-T5 is that it’s a jack of all trades and a master of none — except when it comes to the shooting experience. And that, for me, is what sets it apart.

Compared to the Nikon Zf, Fuji’s implementation of physical control dials feels more mature and refined. The autofocus isn’t as good as the Sony A7 IV, but it’s good enough for the way most photographers will use it. Low-light performance doesn’t quite match the Nikon Z6 III, but again, in real-world shooting it’s more than capable. It doesn’t have the sheer speed of the Nikon Z8, but for general photography, the X-T5 is more than fast enough.

It also lacks the advanced computational modes, extreme weather sealing, and industry-leading IBIS of the OM System OM-1 Mark II. But the X-T5 counters with pixel shift, Fuji’s excellent film simulations, and enough weather resistance that I’ve never had an issue shooting in the rain. It can’t match the sheer detail and print size of Fujifilm’s GFX medium format system, but it will comfortably produce gallery-quality 30×20″ prints. It’s not as compact as the X100VI, but paired with Fuji’s “Fujicron” lenses it remains discreet enough for travel and street use.

The point is that the X-T5 may not be the absolute best at any one thing, but it’s good enough across the board — and in combination with its size, lens ecosystem, and handling, that makes it a uniquely compelling camera. If you held a gun to my head today and told me to get rid of all my cameras except one, the X-T5 would very likely be the last man standing.

Field-tested through 2024–2026: This article is based on years of real-world use of the Fujifilm X-T5 across travel, street, and family/documentary shooting in the Philippines and the UK. Every accessory below is something I’ve personally used (or tested against a credible alternative) and would happily recommend. If you’re choosing between bodies, here’s my X-T5 vs X100VI for street photography comparison. Here’s an article I wrote if you’re looking for the best lenses for your X-T5.

The Fujifilm X-T5 is a brilliant do-it-all body — light, tough, with gorgeous files and great IBIS — and it doesn’t need much to shine. But a few smart accessories transform comfort, uptime, and reliability on long shoot days. Below are the add-ons that genuinely improved my experience without turning the X-T5 into a brick.

Don’t want another pair of novelty socks this Christmas? Share my Best Gifts for Photographers guide with friends and family — it’s full of gear photographers actually love.

Want to get even more out of your X-T5?
I’ve made my Fuji X-T5 setup files downloadable so that you can load them straight onto your camera. They’re completely free, and I’ll never email you after you download them. I just thought they might be helpful if you’re starting out.

1. Must-Have Accessories for the Fujifilm X-T5

This isn’t a spec-sheet roundup — it’s what I actually use. Each item improves the X-T5 in a meaningful way. If you’re looking for better comfort, protection, reliable power, and the right cards for speed, these are the pieces I’d start with.

Affiliate Disclosure: Some of the links below are affiliate links, which means I may earn a small commission if you purchase through them — at no additional cost to you. I only recommend products I’ve personally tested and genuinely find useful.

SmallRig X-T5 L-Shape Grip — All-Day Comfort Without the Bulk

Why I Use It
The X-T5 is compact, which is great — until you’re hours into a shoot and your fingers want more purchase. The SmallRig L-shape grip deepens the handhold and improves stability without turning the camera into a monster. It also makes shooting strap-free much more comfortable and gives a better base for tripod/Arca mounting.

It screws securely into the tripod mount and adds a reasonably sized front grip while giving the base of the camera more depth. It makes the X-T5 genuinely comfortable for all-day carry and shooting, especially with lenses like the Fuji 56mm 1.2WR — easily as comfortable as any camera I own. It is made of metal with a silicone handle for added grip, and there’s also a silicone layer between the base and camera body to prevent scratching.

It weighs only 75 grams and comes with a soft shutter release button — which I used to think was just a fashion accessory. But after trying it, mine now lives on the camera. I stand corrected.

Since buying this grip, I haven’t taken it off. The extra comfort makes the X-T5 so much nicer to hold, and when I’m walking with it in my hand I can carry it securely and comfortably — without fatigue or any worry about dropping it.

If you prefer a minimalist setup or like me also have the X100VI, then see my X100VI accessories that mirror this approach.

Here’s the exact product I use:

Get the SmallRig X-T5 L-Grip Now:
Buy on Amazon

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

Key Benefits
– More secure hold and less hand fatigue
– Better balance with heavier lenses
– Quick Arca-style mounting
– Keeps access to battery/card doors

Alternative for Content Creators
If you’re rigging mics, lights, or want more mounting points, go for the SmallRig X-T5 Full Cage. It adds weight but gives you flexibility for hybrid work. I have around half a dozen of these cages in my cupboard as I always used them when shooting video on any of my cameras because I know the quality and fit are excellent and the array of accessories making rigging up your camera simple.

Expert Shield Tempered Glass — Protect the X-T5 Screen

Why I Use It
I’m not precious about gear, but I do like to look after it. I’ve literally just flown back from the UK, and thanks to limited luggage space I had to throw out some of my camera and lens boxes — hopefully some of you understand how painful that was .

Expert Shield’s tempered glass adds a clean, tough layer with no weird colour cast or soft touch. It fits perfectly and hasn’t lifted at the edges in heat or humidity. I first used Expert Shield back in 2010 when they sent me a sample for my Canon 5D Mark II while I was working professionally in Scotland. I’ve never looked back — they’re still the best screen protectors I’ve found. (And no, I haven’t had any freebies since then — these days I buy them with my own money.)

If you’re setting up both bodies, I also covered the best X100VI accessories to get in my X100VI accessories guide. You can also see how I set up my X100VI, a lot of which is also the applicable to the XT5. If you want to save time then simply download the setup files which are available for both cameras here.

Here’s the exact product I use:

Get the Expert Shield for X-T5 Now:
Buy on Amazon

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

SmallRig NP-W235 Charger + Battery Set — Reliable Power (With OEM Alternative)

Why I Use It
The X-T5 is efficient, but serious days need spare batteries and I prefer using a proper charger over the supplied phone type USB plug supplied with the X-T5. I also only charge in camera if I’m on the go as I don’t like to pass all that current through the camera to charge batteries unless I have no choice. The SmallRig set is great value with built in USB-A charging wire as well as the ability to plug in USB-C for faster charging and with clear charging status LEDs you always know how much power your batteries have. I’ve found they last about 80% as long as the original batteries and at half the price of one original battery, you get two Smallrig batteries plus a charger. If you prefer to stick to Fuji originals for critical jobs, that’s totally valid — I keep a mix of both.

These are what I use:

Power Options for the X-T5:
SmallRig Charger + Batteries (NP-W235)
Fujifilm Original NP-W235 Batteries

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

The Right SD Cards — UHS-II for Stills, Faster Options for Hybrid

Why I Use It
To keep the X-T5 feeling snappy with bursts and large Raw files, you want good quality cards but you don’t want to pay for the highest speeds as you don’t need them. What you do want is reliability. For pure photography, these are my go-to. If you’re doing heavier video/hybrid work, step up to faster cards on your primary slot. The reason that I always use Sandisk cards is because in nearly 2 decades of use, I’ve never had one fail me, I can’t say that about any other brand of cards that I’ve used.

These are what I use:

My Picks for the X-T5:
Best SD Cards for Photography (UHS-II)
Alternative for Content Creators / Video

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

Tip: If you want to save some money, use a faster card in Slot 1 and set Slot 2 to backup or overflow using a slower card, depending on the job.

Peak Design Slide Lite — Comfortable, Quick-Adjust Strap

Why I Use It
I often like to just sling the X-T5 around me and head out. I’m not a fan of the OEM camera straps for long shooting sessions — I find the strap width uncomfortable and the difficult-to-adjust length limiting. It’s also impossible to quickly detach the OEM straps when you need to. After a lot of research, I went for the Peak Design Slide Lite — because I wanted something strong enough to carry my system cameras like the X-T5 but light enough to not feel like overkill for my X100VI. Yes, it’s a bit pricey for a strap, but after using it regularly for nearly a year, I’m a convert.

The materials feel high-end, with a strap that’s wide enough for comfort but still lightweight enough for smaller cameras. It’s also double-sided — one side is smooth for sliding, the other has small rubber-like grip strips to keep the strap in place when worn on the shoulder. You can wear it as a sling (my preferred style), neck strap, or shoulder strap. Adjustments are fast thanks to the built-in pull tabs (though despite their claims, I wouldn’t call it truly one-handed).

But what I really love is the anchor system. It’s the most efficient way I know to attach or detach a strap without the hassle of threading fiddly OEM lugs or unscrewing anything. I’ve added Peak Design anchors to all my cameras so I can swap the Slide Lite between them in seconds. It’s light enough to suit my X100VI, but easily strong enough for my X-T5 and largest lenses without feeling bulky. Pretty much perfect.

Are there any downsides? It’s not cheap at around $70, and the strap ends near the anchor points can sometimes get a little stiff or feel in the way while shooting on smaller cameras, but on the X-T5 it feels better than anything else I have used.

Here’s the one I use:

Peak Design Slide Lite:
See it on Amazon

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

Peak Design Everyday Sling 10L — Compact Carry That Fits an X-T5 Kit

Why I Use It
The Everyday Sling 10L has become my default carry for the X-T5 — and honestly, for most of my kits. The outer material strikes the perfect balance: strong and durable without that overly stiff, “armour-plated” feel you get from a lot of camera bags. I’ve used it in all-day drizzle with no water making its way inside, and even in torrential Southeast Asian downpours it kept everything dry.

The design is sleek and minimal, so it doesn’t immediately scream “camera bag” to everyone on the street. That’s a big plus when you’re working in busy areas or travelling. The strap is comfortable enough for all-day wear, even when the bag is fully loaded. And it will take a lot more than you’d expect: I can fit my X-T5 with a pro-grade lens attached, two more of Fuji’s 1.4/1.2 primes, and my X100VI — all at once.

Inside, Peak Design’s clever divider system really shines. The little “ledge” dividers let you safely stack one lens on top of another without them touching, and there are dedicated slots for batteries plus a zippered compartment for smaller items like spare memory cards and a lens cloth. Against the rear panel is a padded sleeve that fits my iPad Pro 13″ M4 with Magic Keyboard and Pencil attached — snug but secure.

On the outside, you get another zippered compartment that’s perfect for cables, chargers, and other accessories you want to keep separate from your camera gear. There are also a couple of attachment points where you can secure a Peak Design Capture Clip if you want instant, external access to your camera.

I’ve tried a lot of messenger-style bags over the years — Amazon Basics, Lowepro, Vanguard, Billingham — and right now, this is my favourite. It’s so good I’m seriously considering buying another size variant for flexibility when I’m carrying different kits. That said, even the 10L never feels unwieldy, even when I’m packing light for the day. I just love a good bag — though I may need to rehearse my justification speech for the next time my wife sees another one being delivered .

Here’s the best messenger bag I’ve ever used:

Peak Design Everyday Sling 10L:
Check stock on Amazon

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

Peak Design Capture Clip — The Best Way to Carry the X-T5 When Hiking

Why I Use It

Since I’ve started exploring the Scottish Highlands, I’ve found myself carrying a traditional walking backpack of around 30 litres. In this environment they’re simply more comfortable than most photography-specific backpacks. The downside, of course, is camera access.

I know from experience that if I have to keep taking my bag off, unpacking the camera, shooting, and then packing everything away again, I will absolutely skip shots. The friction adds up quickly.

The Peak Design Capture Clip solves that.

It allows you to attach a small metal baseplate to the bottom of your camera and then slide it securely into the Capture Clip itself. The clip mounts onto the shoulder strap of your backpack (or onto dedicated attachment points on some Peak Design bags). Once fitted, you can walk hands-free with the X-T5 locked in place against your chest — secure, stable, and instantly accessible.

There’s also a quick-release mechanism, so when you see a shot, you simply press the button and slide the camera out. No removing your bag. No unpacking. No hesitation.

Honestly, it probably increases the number of outdoor shots I take by around 50% simply because it removes the hassle.

It’s extremely well made — solid metal, very secure — and I’ve had no concerns about durability. That said, I wouldn’t recommend using it with very heavy lenses such as the 50-140mm f/2.8 or anything larger, as that would put significant leverage on the mount. But with any of the 1.4 primes, the 16-55mm f/2.8 II, or smaller lenses, it works incredibly well.

Are there any issues? Nothing major. Occasionally it can feel slightly awkward pressing the release button, and once or twice I haven’t slid the camera back in perfectly on the first attempt — but that’s more down to me not concentrating than a fault of the clip itself.

For anyone who walks or hikes with their X-T5, this is one of the cleanest, most fuss-free ways to carry it while keeping it always ready.

Here’s the one I use:

Peak Design Capture Clip:
See it on Amazon

These are affiliate links — using them helps support the site at no extra cost to you. Thanks!

Full Kits I Actually Use (everything in one place).

Rather than list every lens and accessory, here are simple, proven kits that cover most of my X-T5 shooting. I’ll link these to Amazon lists so you can see current pricing at a glance.

• Lightweight Flexible Kit
• Professional Fuji X-T5 Prime Kit

Pairing the L-grip with the Slide Lite has been my most comfortable everyday combo. On long days out with my family, that extra depth makes a surprising difference — letting me carry the camera securely while also juggling the usual family gear (including the not-so-cool-looking diaper bags ).

Conclusion

The X-T5 doesn’t need a mountain of add-ons — just the right ones. For me, a better grip, clean screen, dependable power, and the correct cards cover 95% of real-world needs. Add a comfortable strap and a bag, and you’ve got a setup that’s ready for anything without killing what makes the X-T5 so good: its size and balance.

Sofia’s just turned nine, and for her birthday she invited quite a few friends from school as well as some of her cousins to a pool party we hosted. As usual, I brought my camera. It’s become something of a role I’ve taken on the last few years — documenting her birthdays and building a catalogue of these times before they pass by for good.

If you’re trying to decide which Fuji lens to buy, take a look at my guide to the best Fujifilm lenses in 2026.

But this year, I had a second goal. I wanted to compare the Fujifilm 50mm f/2 and the 56mm f/1.2 WR on my X-T5 — not in controlled conditions, but in the chaos of a kids’ pool party.

This wasn’t meant to be a clinical test. I wanted to see how they performed in a real situation where moments happen fast, light changes constantly, and you don’t get a second chance.

The question was simple: could the smaller, more affordable 50mm f/2 hold its own, or does the 56mm f/1.2 WR really give you something more meaningful in your photos?

50mm f/2 vs 56mm f/1.2 WR – Specification Comparison

The adults at the party were mostly sitting around chatting. The party itself — as it should be — was all about the kids. I’d shoot for a while, watching over them and enjoying the atmosphere, then nip off to my studio to switch lenses before heading back into the mayhem. It let me get the shots I wanted while still being part of the day. And, to be honest, I’m not especially sociable, so having a camera in my hand gives me an excuse to step away from small talk. Photography is my way of being present while doing something useful — and enjoyable.

If you are looking for lens recommendations I put together this post of the best lens kits for the Fuji X-T5 but they apply equally to all Fuji X-series cameras. If you haven’t settled on the X-T5 yet then these are the best cameras for family photography.

From previous experience, I know that longer focal lengths are incredibly useful at these kinds of events. With so much going on, a tighter frame lets you cut through the background noise and isolate specific moments. That’s exactly why I chose these two lenses. Both let me hone in on the little interactions happening around the pool, but in different ways. I hadn’t shot either of them this extensively in such a chaotic, fast-moving scene before, so this was a good chance to see how they really performed.

Handling & Feel

In real use, the size difference matters far less than you’d expect.

I started with the 56mm 1.2 WR because I assumed it would give me the best images — and I wanted to get a few solid shots early before the party got too wild. I used it for 30–60 minutes before switching to the 50mm f/2. I didn’t switch because I wanted to — I was enjoying the results from the 56mm — but because I needed the comparison to be fair.

Looking for the best Fuji gear for storytelling and portraits? Check out my real-world Fuji kit.

People love to talk about the size and weight difference between these lenses. But in this setting, it just didn’t matter. The 56mm 1.2 WR is clearly larger and heavier, but not in any way that was an issue during use. I’m 43, and I could comfortably use either lens all day. This isn’t like comparing the 50mm f/2 to a GF 110mm f/2. The 56mm balances beautifully on my XT5, especially with the Smallrig L-grip, and I actually preferred the way it felt in the hand. It’s wide but not too long — I find that more stable and comfortable than narrow, longer designs like the Nikon Z 85mm 1.8. The aperture ring on the 56mm was easy to find without looking, and well damped. The 50mm f/2, while compact and lightweight, felt a little too small in comparison. The aperture ring was harder to locate and adjust by feel. Not difficult, just not as natural to me. Both lenses are built well and weather sealed.

Autofocus

Autofocus performance between these two lenses is closer than you’d expect.

Autofocus was something I was curious about. I expected the 50mm f/2 to be noticeably faster — it’s a compact design, and I figured it would easily outpace the 56mm. After all, the older version of the 56mm 1.2 had a reputation for being hesitant, often racking back and forth before locking on. But in reality, the WR version of the 56mm didn’t suffer in the same way. Despite having the same older-style AF motor with that familiar sound, it didn’t feel slow. I had initial doubts when I heard the noise, but in use, those concerns faded.

Neither lens was perfect in terms of autofocus. Both missed occasionally, especially when there was a lot of movement in the frame. Fuji’s AF still isn’t on par with Sony’s newer bodies. But I still got a solid number of keepers from both lenses. I’d say their success rate was pretty equal. The 23mm and 33mm f/1.4 WR lenses definitely focus faster than the 56mm 1.2WR, but that’s also because they’re wider and have deeper depth of field — it’s simply easier for those lenses to lock on in motion-heavy scenes. When you’re shooting at 56mm wide open, depth of field is razor thin, so you need to be more deliberate.

When I reviewed the images later, the differences between the two lenses became more obvious.

Hover over the below image to see how the 50mm f/2 performs with and without corrections.

Image Quality

This is where the 56mm f/1.2 WR clearly pulls ahead.

The 50mm f/2 performed well — it gave me nice photos that tell the story of the day. But the images lacked that certain something. The bokeh, while smooth, wasn’t deep or soft enough to separate my subjects as much as I wanted. Too much background stayed in focus at f/2, especially in a chaotic scene where I couldn’t control where people stood or how far they were from walls, foliage, or other kids. The rendering was clinical — competent, but uninspiring. I never got the feeling from any of the photos that I’d captured a truly great shot. Just a set of decent ones.

Hover over the below 50mm f/2 image to see the photo with CA corrections applied. It is very subtle but pay attention to the forehead down to the eyelid where the sky and face meet.

I also noticed a few technical flaws. There was visible purple fringing in some highlights — especially where water reflected off skin or where bright sun hit foliage in the background. It wasn’t always easy to remove in Lightroom. There was also some slight chromatic aberration and more vignetting than I expected, though that’s not something I consider critical anymore as it can be fixed instantly in post.

In contrast, the 56mm 1.2 WR delivered images that felt more special. The shallow depth of field and creamier bokeh helped simplify the scenes and focus the eye exactly where I wanted. It gave the photos a polished, professional quality that was simply missing from the 50mm files. I didn’t see any chromatic aberration at all. The rendering had more clarity, more microcontrast, and more presence. It was subtle, but when I compared photos from both lenses side by side, the ones from the 56mm stood out immediately.

Hover over the below image to see how the 56mm 1.2 looks with Lightroom corrections applied.

Conclusion

Final Thoughts: Which One Should You Choose?

I’ve always liked trying to make the most out of budget gear. I enjoy finding lenses that punch above their weight. I still really like the 35mm f/2 from the same WR series — it suits my style. But in this case, even I have to admit: the 56mm 1.2 WR is in a completely different league. The images just had more depth, more life, and more impact.

That doesn’t mean the 50mm f/2 is a bad lens. It’s not. I’d happily take it travelling when size and weight matter, or use it for stopped-down street photography where depth of field isn’t a concern. It’s weather-sealed, discreet, and sharp. But if I’m shooting anything meaningful — portraits, family gatherings, special occasions — I wouldn’t reach for it. I’d use the 56mm every single time.

To be completely honest, the 50mm f/2 underwhelmed me in this environment. It wasn’t the right tool for the job. The slightly shorter focal length and smaller aperture just didn’t give me the subject separation I needed. The images are fine — they serve their purpose — but they lacked a wow factor.

And for that reason, if you’re someone who wants to make meaningful, memorable photos of people — especially your own family — I’d suggest skipping the 50mm f/2. Even if it means saving up a little longer, the 56mm 1.2 WR is worth it. It’s not just about sharpness or specs. It’s about the feeling the photos give you afterwards.

If I had to pick one of these lenses for a special occasion, it’s the 56mm. Every time.

Last Updated March 2026: A few months on from when I first wrote this article, and I still find myself splitting my time evenly between the sleek, beautiful, and compact X100VI and the premium, high-quality 23mm f/1.4 WR on the X-T5. Read on to see why that’s still the case even in 2026.

After years of shooting the Fuji X system, I’ve put together a guide to the best Fujifilm lenses and which ones are actually worth buying.

I’ve used both setups extensively for photographing my kids, daily life, and travel — often side by side. One is compact and elegant. The other is more flexible and, in some ways, more powerful. But which one’s better? If you’re interested in seeing the best options for 50mm equivalent lenses on fuji then this article compares the 35mm f2 and 33mm 1.4WR.

Let’s break it down — from autofocus and image quality to usability, emotion, and price. Because as similar as they seem, these two setups actually feel very different in the real world.

Jump to the quick comparison table

As a dad of two daughters, one of the most important things I can do with my cameras is capture the moments of them growing up — the experiences and trips that we share together as a family. Here are the best Fujifilm travel photography cameras and lenses if you want to make your own memories. My eldest, Sofia, is going to be 10 this year, and it’s a good reminder of just how quickly time passes. My youngest, Isabelle, will be two in a few months time (July is an expensive month for me — it’s also my mum’s birthday). Over the years, I’ve made a habit of photographing Sofia regularly, but there have been times when I’ve missed out on moments. I don’t want that to happen with Isabelle. I want to create a lifetime of memories of the two of them growing up together. I’ve put together an article discussing the best portrait lenses for Fujifilm which will help you capture those special moments but if you’re still undecided which camera to get then these are the best cameras for family photography.

This post contains affiliate links. If you buy something through these links, I may earn a small commission — at no extra cost to you. It helps me keep this site running and allows me to spend more time creating free content like this. Thanks for your support!

For me, the 23mm focal length is perfect for family photos. It’s wide enough to provide context and capture the places we visit, but not so wide that you can’t also take compelling portraits. There are three 23mm options for Fuji: the more affordable Fuji 23mm f2 , the premium 23mm 1.4 WR , and the X100VI . Today, I’m focusing on the 23mm 1.4 WR paired with my XT5 and the X100VI.

If you’re looking for a camera to record your family’s special moments, and you’re drawn to the 23mm focal length, then like me, you’re going to have to make a choice. If you already have a Fuji system camera, it’s a choice between the 23mm f/2 and the 23mm 1.4 WR, or do you go with the X100VI — a smaller, lighter option with its own set of benefits and limitations? I’ve also written a full X100VI vs X100V comparison that might help if you’re deciding between fixed-lens models.

If you haven’t seen my 23mm f/2 vs X100VI comparison, you may want to check that out as well. But if you’re wondering whether the 23mm 1.4 WR and XT5 combo offers the best image quality for capturing your family’s precious memories — but you’re concerned about the size and weight making it less likely you’ll bring it along — then keep reading.

Handling

The Fuji XT5 paired with the 23mm f/1.4 WR weighs in at (960 g with lens hood) — significantly heavier than the X100VI at 521g. I still find it comfortable enough to carry, but the X100VI is noticeably lighter, so it’s a bit easier to grab for quick shots. Both cameras perform well with fast-moving children, but the difference is in how they feel when you’re shooting with one hand. Picture this: baby bag in one hand, camera in the other, trying to get that quick shot. The balance between the two setups makes a noticeable difference here. The 23mm f/1.4 WR on the XT5 sticks out quite a bit, making it front-heavy and more difficult to manage when shooting one-handed.

For those moments, the X100VI’s smaller, better-balanced form might make it the better choice for some parents. I combat this with a Smallrig handgrip on my XT5, which improves handling, though it does add a little more weight.

Autofocus Performance

Both the XT5 and X100VI offer very good autofocus for fast-moving subjects, though neither quite reaches the latest Sony levels of performance. Eye AF works well and is accurate on both cameras, with the 23mm f/1.4 WR having a slight edge thanks to its linear motor, which helps it grab focus faster and hold it better on moving kids.

The X100VI does make a bit of noise when focusing, while the 23mm f/1.4 WR is silent. This is a small but useful difference when you’re trying not to distract your kids or others around you.

Lens Performance

So, which setup gives the best image quality for those once-in-a-lifetime memories? In my previous article, I found that the lens in the X100VI is better than the 23mm f/2, with better sharpness and silky smooth bokeh. The 23mm 1.4 WR brings something extra to the table. It’s sharper across the frame, has more micro contrast, and offers a bit more “pop” in your images. It’s sharp from the center to the edges and free from chromatic aberration in the situations I’ve tested. It does have a small amount of distortion, but it’s easily corrected in Lightroom.

Below you can see an example of the distortion found in the 23mm 1.4WR lens. If you hover over the image, the automatically corrected in Lightroom image will show. This is very minor issue that is really easy to fix in Lightroom with the click of a button.

The big advantage of the 23mm 1.4 WR is its larger maximum aperture of f/1.4. This gives you a full stop more light than the X100VI’s f/2, which can make a real difference in lower-light situations, like evenings out with the kids or those twilight beach walks. Plus, the extra aperture size allows for more creamy, blurred backgrounds if that’s your style.

Which One Should You Choose?

The 23mm 1.4 WR paired with the XT5 is an excellent combination and gives superior performance, but is it the right choice for you? That depends on what you want from your camera.

If you want the best image quality in all kinds of situations — low light, creating smooth background blur — then the 23mm 1.4 WR is the clear winner. It’s a fantastic lens for family photographers who want to create beautiful images. It’s also marginally faster than the X100Vi to focus.

However, if your goal is to have a small, lightweight camera that you can always carry with you, the X100VI is hard to beat. It’s discreet, light, and self-contained. You don’t have to worry about lens changes, and it’s small enough to slip into a bag or carry around your neck without thinking about it. Plus, that built-in flash can help you capture moments when the light is less than ideal.

If you already own an XT5 or any other Fuji inter-changeable lens camera, the X100VI may not make sense unless you’re looking for something more compact. In that case, the 23mm f/2 offers a similar experience at a lower price. Alternatively, for a bit more, you can get the 23mm 1.4 WR for better performance.

Quick Conclusion – If you value size and portability, get the X100VI (if you can find stock). If you want the best quality and most flexibility then the 23mm f/1.4WR is worth the money and it’s not that heavy, especially compared to full frame options.

This article is based on side-by-side testing carried out in the Philippines and using real-world scenarios. I travel all the time and put together a great article showing the best Fujifilm cameras and lenses for travel photography here.

Even after having used a number of different camera brands lately, I still find that both the X-T5 and X100VI are the cameras that I reach for the most. Both of them offer the kind of user experience that I find very important and is crucial as to whether I get out and shoot. This article is now a few months old and yet it still shows the difference between these two setups well. If you’re trying to decide which Fuji lens to buy, take a look at my guide to the best Fujifilm lenses in 2026.

I recently put both the XT5 with the 23mm f/2 and the X100VI through their paces trying to keep the comparison as useful as possible by shooting standard scenes for both setups. I have also put the Fuji 23mm 1.4WR up against the X100VI and done a full review of the 23mm 1.4WR. My methodology for the sharpness tests was to shoot from a tripod using the same settings to avoid any differences in postition, angle or settings. I’ve owned both cameras for a while now, and this isn’t just a spec-sheet comparison—it’s also based on field use, image review, and practical insight.

Some links on this page are affiliate links. If you buy through them, I may earn a small commission at no extra cost to you. Thanks for supporting the site.

Introduction

Trying to choose between the Fujifilm X100VI and the XT5 with the XF 23mm f/2 isn’t easy—both are compelling street and travel cameras. Do you buy with your head or your heart, Is the X100VI (see my review) worth spending the extra money on if you already have an XT5 (more details in this post) or other Fuji camera? Is it really worth the hype? Does the 23mm f/2 lens give you what the X100VI does? Having used both extensively, I’ve come to some very clear conclusions. This isn’t just about what’s theoretically better. It’s about what works and how they perform — and as I explored in my X100VI vs X100V comparison, it also highlights what each camera brings to the table in terms of the experience.

Field of View: Not the same

Although both setups aim for a 35mm equivalent field of view, the 23mm f/2 on the XT5 is slightly wider. It’s not dramatic, but if you’re used to 23mm (35mm equivalent), you’ll notice the extra sliver of space in the frame. Here’s why 23mm focal length is one of my favourites.

Sharpness: X100VI Has the Edge

Across multiple aperture settings, the X100VI’s lens is sharper in most real-world scenarios:

At f/8, the 23mm f/2 just pulls ahead—and only if you’re pixel peeping.

Bokeh & Rendering

At large apertures, the X100VI produces smoother, less nervous bokeh, while the 23mm f/2 sometimes shows onion-ring patterns and harsher transitions.

For candid portraits or background separation on the street, the X100VI looks more refined. . Looking for accessories to enhance the X100VI? Here’s my tested list of what works

Close Focus Performance

Here’s where the difference is really noticeable: the X100VI beats the XT5 + 23mm combo in close-up performance.

• The X100VI can focus significantly closer then the 23mm f2 lens.
• At f/2 and f/5.6, the X100VI remains sharper and more detailed.
• The 23mm f/2 feels softer in these conditions..

If you enjoy shooting textures, signage, or tight environmental portraits, the Fuji’s fixed lens is the better tool.

Distance & Microcontrast

Even at distance, the X100VI offers more microcontrast and perceptible sharpness, especially when comparing foliage, details, or distant faces.

This isn’t pixel peeping—it’s a visible improvement even when not zoomed in.

X-T5 + 23mm vs X100VI: Size, build and handling

X-T5 + 23mm f/2: The Full X-Series Experience

• Larger body gives you a deeper grip and more physical controls — great for those coming from DSLRs or needing a beefier feel
• 3-axis tilt screen is ideal for waist-level shooting and also allows flexibility to shoot in portrait orientation.
• Twin card slots offer real redundancy for pro or travel use
• Weather-sealed body and lens combo — no need for filters or workarounds
• Custom function buttons everywhere — highly configurable for serious users
• Lens flexibility — swap the 23mm f/2 for a 56mm for portraits or a zoom for travel
• Best for photographers who like full control, lens flexibility, and don’t mind carrying a slightly bulkier body.

• X100VI: Minimal, Balanced, and Immersive
• Fixed lens means no decision fatigue — just pick up and shoot
• Extremely compact and balanced — Fits into a (large) jacket pocket
• Hybrid viewfinder (OVF/EVF) offers a unique, immersive experience — especially for street
• Leaf shutter is nearly silent and enables flash sync at fast shutter speeds
• Built-in 4-stop ND filter lets you shoot wide open in bright tropical light without adding filters
• Built-in flash is surprisingly usable for subtle fill in harsh light
• Best for shooters who value stealth, simplicity, and staying in the moment.
• Here is how I set up the X100VI.

Verdict:

If you want versatility, lens options, better and faster auto-focus and pro-level control, the X-T5 + 23mm is the obvious choice. But if you value better image quality, simplicity, compactness, and lighter weight, the X100VI is hard to beat.

Portability & Discreet Shooting

• Weight: XT5 + lens is heavier and bulkier.
• Size: X100VI is pocketable in a jacket (just about) and less conspicuous.
• Shutter noise: X100VI is nearly silent thanks to the leaf shutter.

In street environments where subtlety matters, the X100VI feels like a ninja. If you’re planning to travel light, here’s how I set up my X100VI for travel

Price & Availability

• XT5 + 23mm f/2: Often easier to find and flexible for future lens swaps.
• X100VI: Hard to find and typically overpriced due to demand.

If you’re on a budget or already have X-mount lenses, the XT5 makes more financial sense.

Final Thoughts

If you’re choosing a dedicated travel or street camera, and sharpness, beautiful rendering, and portability matter the most to you, the X100VI is the clear winner. While I really enjoy using both setups, the X100VI does offer a better experience at this focal length. It feels more compact, more balanced and for me at least, due to its fixed focal length it removes any lingering doubts in my mind about which lens I should be shooting with. With the XT5, there is always a little part of my brain saying, should I quickly slip the 35mm lens on and see how that looks.

You can see my full Fuji travel kit here, including the lenses I use with the XT5.

But if you need a more versatile system, already own Fuji lenses, or plan to shoot in demanding conditions, the XT5 + 23mm f/2 remains a solid, dependable choice—especially if you value the flexibility of interchangeable lenses. This setup gets you 90% of the X100VI experience while being more practical, allowing upgrades to even better lenses and lets not forget, in stock. Coming soon I will also be putting the 23mm f/1.4 WR lens up against the X100VI and seeing wheter the extra size, weight and price are worth it? Still can’t decide which camera to get? I go into more detail in this comparison.

See how the Fuji X-T5 fits in among the best system cameras and the X100VI fares against the best compact cameras.