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Fujifilm’s New X-E5 Camera And Lens - A Closer Look

This week Fujifilm officially announced the X-E5, a perfect mashup of the beloved X100 series and the more recent GFX100RF, only this time, you can swap lenses. It keeps the classic rangefinder vibe but adds some seriously thoughtful upgrades, including a new Film Simulation dial that lets you save and switch between your own custom film looks right from the top of the camera.

The top plate is milled from a single piece of aluminum, so it should have a really solid, premium feel, but still only weighs about a pound (445g), small enough to carry every day. There are some nice little design details too, like a tapered edge on the back that’s both ergonomic and looks cool, clearly inspired by the X100VI and GFX lines.

The new Film Simulation dial is a big deal for this camera. You get the usual film presets, but also three slots to save your own recipes. It’s super handy if you’re into straight-out-of-camera JPEGs and want quick access to your favorite looks. The viewfinder got a nice update too. It has a new “Classic” display mode that mimics the look of old film cameras, complete with red overlay graphics and a retro-style exposure needle. There’s even a “Surround View” feature that shows a border around your frame in different styles, which is more useful than it sounds.

Fuji also added a Control Lever on the front—same one from the GFX100RF—which you can customize in four directions. It’s like a tiny joystick for quick access to whatever functions you want. Around back, the screen tilts up, so you can use it for selfies or vlogging, though it’s not a full flip-out screen.

Inside, the X-E5 packs the same 40MP sensor as the X-T5 and X-H2, so you’re getting high-res photos with great detail and dynamic range. It now supports native ISO 125 and insanely fast shutter speeds (up to 1/180,000s) thanks to an improved pixel structure and upgraded image processor. The IBIS system is also new and offers up to 7 stops of stabilization, which is wild for a camera this size.

Autofocus is the same AI-driven setup as the other latest Fujifilm cameras, with tracking for people, animals and vehicles. It’s fast, reliable, and works well in tricky lighting. And even though this isn’t a “video-first” camera, it still shoots 6.2K video at 30p with full AF tracking and all the usual Fuji color goodness baked in.

Alongside the camera, Fuji finally gave photographers what they’ve been asking for, a tiny pancake lens that mimics the X100’s fixed 23mm. The new XF23mm f/2.8 R WR is small, weather-sealed and sharp. It’s slower than the f/2 on the X100VI, but in return, you get a truly compact design that’s perfect for walkaround shooting. It focuses fast and close, thanks to a new full-group focus system, and it’s built to handle rough weather with nine sealing points and cold-weather resistance down to -10°C.

The X-E5 will come in silver and black, shipping late summer 2025. It’ll cost $1,699.95 body-only, or $1,899.95 if you grab it with the new XF23mm pancake lens. The lens will also be sold separately for $499.95.

Image credits: Fujifilm

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Interview with Ashraful Arefin

This week’s Interview with Ashraful Arefin, an incredible street photographer which I personally have been a big fan of for a long time. I am truly honoured to have had the opportunity to interview him!

You can find him on Instagram as: @ashrafularefin

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Ashraful Arefin, a street and travel photographer from Dhaka, Bangladesh. My journey with photography started over a decade ago, but creating visual stories has always been second nature to me. I’m drawn to quiet beauty, fleeting moments, and the magic hidden in everyday life. Whether I’m capturing the energy of a crowded street or the softness of a flower in golden light, my goal is to tell stories that feel honest, emotional, and timeless.

How did you first get into street photography? Was it love at first click?

Street photography came into my life gradually. I started with still life and conceptual work, creating controlled scenes. But I often felt a pull toward the unpredictability of the real world. One day, I went out with my camera and let the streets unfold before me. I was captivated, not just by the subjects, but by how light, emotion, and timing could align to tell a story in a split second. It wasn’t love at first click, but once it happened, it never left me.

How do you get that ‘’magic light’’ look your photos are famous for?

Light is very important to me. I usually shoot during the golden hour or late afternoon when the light feels soft and painterly. But beyond the time of day, it’s about how light interacts with the environment and the subjects, how it falls on textures, reflects off surfaces, or silhouettes a figure. In post-processing, I enhance what was already there to bring out emotion and a sense of timelessness. My aim is always to make the viewer feel the warmth or drama of that moment.

How do you decide where to go and shoot?

It’s often intuitive. Sometimes I plan based on places I’ve scouted or stories I want to tell, but many times I simply wander. I let my curiosity lead. I believe every corner of a city has its own rhythm and mood. I look for spaces with interesting light, human presence, or textures that tell a deeper story. Often, it’s not the grand locations, but the quiet, overlooked places that speak the loudest.

Do you have a favourite city or spot for street photography? Why?

Dhaka will always be special to me because it's home, it’s chaotic, soulful, and layered with stories. But I also have a deep connection to places like Cairo or Kathmandu. Cities with a strong cultural identity, aged architecture, and a sense of poetry in their streets really speak to me. I love it when a place feels timeless, where you can imagine hundreds of stories unfolding at once.

What’s your go-to gear setup when you hit the streets?

I usually shoot with my Nikon D850, and an 85mm, 50mm, and 105mm prime lens is my go-to. They allow me to get close without being intrusive, and they match how I naturally see the world.

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

Both offer something unique. The chaos brings energy, movement, and unexpected moments, it’s like visual jazz! But I often find myself drawn to quieter scenes, where there’s space for emotion to breathe. I love photographing solitary figures in soft light, or fleeting moments of calm in the middle of urban noise. There’s something poetic about stillness within movement.

What are your favourite shooting conditions?

I absolutely love shooting in soft golden light, especially in the late afternoon. But I also enjoy the mystery of rainy days, the reflections, the umbrellas, the textures that come alive when everything is wet. Fog, overcast skies, even night-time neon lights can all become part of the story. Every condition has a mood, and I love the different opportunities. 

What’s your take on the ethics of street photography—like shooting strangers without asking?

It’s a delicate balance. Street photography often captures candid, unposed moments that reflect life authentically. I always try to approach it with empathy, respect, and a smiling face. If someone looks uncomfortable, I don’t take the shot. In some situations, especially portraits, I ask for permission or interact with the person afterward. At the end of the day, it’s about storytelling without exploitation. The dignity of the subject matters just as much as the photo.

How do you approach the difference of ‘’fine art’’ and ‘’normal’’ photography? When is a photo ‘’fine art’’ in your opinion?

To me, fine art photography is about intention. It’s not just about documenting what’s in front of you, it’s about expressing something deeper. A fine art image usually carries emotion, mood, and meaning that reflect the artist’s personal vision. It’s not just what you saw, but how you felt and how you want the viewer to feel. When an image evokes emotion, tells a quiet story, and feels timeless, that’s when it moves into the realm of fine art.

How did you find your unique photography style?

It took time. I experimented a lot in the beginning, from still life to portraits to street scenes. But slowly, I started noticing patterns: a love for soft light, a quiet, almost cinematic mood, and storytelling that leaned toward the love for simple moments in life. My style really came together when I started listening to what moved me emotionally. It’s still evolving, but the more honest I am with my work, the more it feels like “me.”

What role does storytelling play in your work?

Storytelling is at the heart of everything I do. I’m not just capturing a scene, I’m trying to capture a feeling, a fragment of a story that leaves room for the viewer to fill in the blanks. Whether it’s a moment on the street or a still object in soft light, I want each image to speak quietly but powerfully.

If you could travel anywhere in the world (for street photography) where would that be and why?

There are so many places, but Morocco has always fascinated me. The colors, textures, culture, and history, everything feels rich with stories waiting to be told. I’m drawn to places where time seems layered, where every face and building holds a sense of memory.

What’s the most challenging thing about street photography for you?

Letting go of control. Unlike studio or still life work, you can’t plan or predict the perfect moment on the street. You have to trust your instincts and be open to the unexpected. It’s both thrilling and humbling, and sometimes frustrating. But I’ve learned that the best moments happen when you stop chasing and just observe.

You also have a travel photography account, what are the best countries a photographer should visit in your opinion? And why?

From the countries I’ve visited so far, I’d say Egypt is incredible if you're looking for a rich blend of history, vibrant street life, and deep-rooted culture. Nepal stands out for its breathtaking landscapes and some of the kindest people I’ve ever met. And India is truly remarkable for its dynamic streets and incredible cultural diversity.

What is your favourite subject to shoot?

People in moments of solitude or reflection. There’s something very powerful about a single figure in a vast space, or a quiet face caught in natural light. It invites the viewer to pause, to imagine a story.

Who are some street photographers or other artists that inspire you?

I’ve always admired Fan Ho for his poetic use of light and geometry and he's been a huge inspiration. Saul Leiter’s color work feels like painting, and Alex Webb’s layering is masterful. Outside of photography, I’m deeply inspired by painters like Rembrandt and Johannes Vermeer. 

How do you know when you’ve nailed the shot? Is it instinct or something else?

It’s instinct, but also a feeling. Sometimes I just know in the moment, the alignment of light, expression, and mood feels right. Other times, it hits me later while editing. The best photos have a kind of quiet weight to them, you feel it before you even analyze it.

How important is composition in photography?

Composition is essential. It’s how you guide the viewer’s eye and create harmony within the frame. But it shouldn’t feel forced. I think the best compositions are ones you feel intuitively, not ones you overthink. That’s when the photograph breathes.

What’s your advice for someone who wants to start exploring street photography?

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Leica’s Vario-Elmarit-SL 28–70mm f/2.8 Lens

Leica just dropped a new zoom lens, the Vario-Elmarit-SL 28–70mm f/2.8 ASPH. and they’re calling it the most compact and lightweight constant-aperture zoom made for their L-mount SL system so far. It’s designed to be more accessible and versatile than Leica’s usual high-end glass, and it’s launching as a kit option with the SL3-S, making it a more affordable way into the Leica full-frame mirrorless ecosystem (by Leica standards, anyway (so affordable…yeah no)).

The big appeal here is that you’re getting a constant f/2.8 aperture throughout the zoom range in a body that’s smaller and lighter than expected—about 570 grams (just over 20 ounces) and only 4 inches long. It also takes a standard 67mm front filter, which is handy if you already have filters lying around.

Inside, the lens is built with 16 elements in 12 groups, including two FLD, two SLD, and three aspherical elements, all wrapped in Leica’s signature metal housing. They’ve added special coatings to boost contrast, improve color rendition, and cut down on unwanted reflections. Leica says the autofocus is fast and reliable, which is crucial for a lens that’s meant to be your go-to, everyday zoom.

It’s not weather-sealed with a formal IP rating, but Leica says it’s built to resist dust and moisture, so it should hold up fine in most conditions.

Now, if this lens feels a little familiar, it might be because it looks nearly identical to Sigma’s 28-70mm f/2.8 DG DN Contemporary, which came out in 2021. Leica hasn’t confirmed anything, but it’s likely they’ve partnered with Sigma (again) to bring this lens to market under the Leica name with their finishing touches. That’s not necessarily a bad thing, it means you're getting solid optics with the Leica build and branding.

A few sample images:

The Leica Vario-Elmarit-SL 28–70mm f/2.8 ASPH. is available for $1,890 on its own or as part of a kit with the SL3-S for $6,495, starting June 12.

Image credits: Leica

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @patrick.noack

Light & Atmosphere

What works well:

• The light is what makes this shot. That soft, early morning glow casting those long shadows across the street gives the whole image a cinematic look.

• You can feel the coolness of the air and the warmth of the rising sun at the same time. That hazy golden transition in the distance is very effective.

• The long, stretched shadows from the poles and the cyclist are gorgeous and guide the eye through the scene in a really natural way.

What could be better:

• The bright patch of sky on the far left is a little overpowering, it pulls the eye out of the frame and thus away from our subjects (the cyclists). Slightly pulling down the highlights could keep the focus more grounded.

• Midtones feel just a tiny bit flat in places (especially in the buildings on the right). Adding a touch of contrast or clarity might help bring a bit more punch back into those areas (however I would also treat carefully in order not to ruin the initial look).

Colour & Tone

What works well:

• The warm/cool contrast between the golden light on the road and the cooler tones in the buildings and sky is really pleasing. It feels natural and unforced.

• The image has a nice restrained edit, nothing feels overdone. That subtlety helps keep the mood intact and the viewer can connect with the image better.

• The colors of the storefronts and signage bring just the right amount of visual interest without becoming distracting.

What could be better:

• There’s a very slight green-ish shift in some of the darker tones (especially the shadows on the pavement). On certain screens, it can skew a little muddy. Slightly correcting that with a touch of magenta in the shadows would help.

• While the edit is pleasantly subtle, increasing the overall saturation just a bit, or targeting specific areas like the sky and cyclists, could add a little extra life to the image without losing its natural feel.

Framing & Perspective

What works well:

• The scene is super well timed. The cyclists are nicely spaced and placed in a way that leads the eye through the image without any visual clutter.

• The perspective works really well too, you feel like you’re right there, watching the city slowly wake up.

• The shadows and clean lines of the street markings all contribute to a tidy, visually satisfying composition.

What could be better:

• The orange building on the far left is a little dominant. It pulls a bit of attention away from the rest of the frame, especially since it’s so close to the edge. Cropping a bit tighter or reframing slightly could help rebalance that.

• The bottom right corner feels just a tiny bit awkward with the way the crosswalk lines (or maybe those are bicycle lanes I dont know haha) are cut off. A slight step back or a more intentional crop might’ve helped give the frame a cleaner edge. It is always tricky to work with such patterns, because they lead the eye. Right now it just feels like the lines want to lead us further to the right (outside of the image). As the photographer you can’t of course do too much, except for reframing/repositioning and thinking ahead.

• A slightly lower angle might’ve given the shadows even more impact and placed a little more emphasis on our cyclists.

Emotion & Storytelling

What works well:

• The photo captures a really quiet, in-between kind of moment. You can almost feel the warm light of the sun.

• It’s understated, but in a good way. There’s a peacefulness in how the cyclists are just going about their day.

• The image feels relatable. You don’t need to know the place to feel like you’ve been there at some point in your life.

What could be better:

• There’s no single clear emotional focus—no particularly strong gesture, expression, or interaction. That’s not necessarily a bad thing, but ‘‘adding’’ (waiting for) a subject with more visual or emotional weight (like a parent with a child, or someone pausing in the light) could elevate the story.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Luca Tedone

You can find him on Instagram as: @ted_one_digitalart

A funny story:

As all of you know I normally feature photographers in this magazine through the advertisements. But last week I was scrolling through instagram and one profile in particular caught my eye: @ted_one_digitalart. With just over 1,000 followers, this photographer is still somewhat underrated, but his work clearly speaks for itself. He has a great eye, a strong sense of atmosphere, and a real passion for what he does.

Curious, I decided to message him, mainly to ask about his latest photos (from the Azores). To my surprise, he replied quickly and we got talking. I told him about my magazine and that I would actually love to feature him and his latest photos. He liked the idea and even wanted to share some tips about visiting/photographing the Azores with my readers. Luca explained the unique weather patterns of the island and gave valuable advice, like visiting the rainforest during rainfall. When the sun breaks through the mist, it creates an atmosphere that is hard to describe, but easy to feel in his photos. He also suggested enjoying the coastline on clear days to spot whales and dolphins, which are almost guaranteed there.

I’d like to take this opportunity to thank Luca once again for his kindness, passion, and inspiring work. A truly genuine and talented photographer. I highly recommend checking out his profile, I’m sure there’s a lot more to come from him.

A few of his photos from the Azores:

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The Rest of this Issue is for Premium Subscribers

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