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Volvo has been quietly building luxury sport utilities with Swedish flair, content to let its German neighbors go with aggressive grilles and big badges. The 2025 XC90 Plug-in Hybrid (officially the T8 Recharge AWD) exemplifies that professorial outlook.
Category: Automotive, Transport
Using the thermal equivalent of giving it a sharp whack, NASA repaired the camera of its Jupiter-orbiting Juno probe from 370 million miles (590 million km) away after the instrument was put out of commission by the gas giant's radiation belts.
We've all been there: You pull up the photos you just took on your computer or phone, only to notice dark blobs in the same place on every image. It can be confusing and alarming if you're unfamiliar with them. Luckily, those spots are typically nothing to be concerned about. They are even a rather inevitable part of photography. Here's what you need to know.
What causes those spots?See those tiny white specs on the sensor? Those are pieces of dust that are stuck, creating sensor spots.
Photo: Abby Ferguson
While your first thought may be that a smudge on the lens caused the spots, that's not the case. Smudges on the front or rear element don't appear as clearly defined dark spots. Instead, those dots or squiggles you see are sensor spots.
Sensor spots are caused by hair, fuzz, grease, dust or other debris landing on your camera's sensor. Dust takes the form of dark circles, while hair and other fibers show up as dark squiggles. If you use an interchangeable lens camera, you expose your sensor to dust and debris every time you change lenses. That's especially true if you change lenses outside or in dusty rooms.
There are ways to reduce the potential for sensor spots when changing lenses (which you can learn about in a separate article), but no matter what, you'll likely end up with sensor spots at some point.
Even compact cameras with fixed lenses can get spots, though. Dust has a way of working into places. So if you notice these types of spots on images taken with a compact, it doesn't mean that your camera is broken.
How to identify sensor spots Taking a photo of a white desk or plain blue sky can help you identify how dirty your sensor is. In this case, the sensor is in desperate need of a cleaning.If you suspect you have sensor spots, there is an easy way to confirm that is what you are seeing, and it wasn't just a bug flying past. All you need to do is take a photo of a cloudless sky or flat, white surface. Anything that is uniformly bright with little texture will do.
To clearly show any sensor spots, close down your aperture to a large aperture value, such as F16 or F22, and adjust shutter speed and ISO so that you end up with a roughly correct exposure (essentially not an overly dark image). Switch to manual focus and focus to infinity if using a perfectly smooth subject like the sky, or slightly defocus to smooth out the background if working indoors.
You can look at the photo on your camera's display, though it's helpful to transfer the image to a computer to get a good picture of what's going on. If you identify spots on your images, there's no need to panic. You can clean your sensor, provided you use the right tools and follow the right steps. We'll be sharing more on that soon, so be sure to stay tuned.
At the start of this week, 360 camera brand Insta360 announced it was entering the drone game, and now, drone giant DJI has announced a 360 camera. The Osmo 360 promises "the sharpest photos possible on the 360 camera market." It also claims a few firsts, including the first 360 camera to shoot 8K 50fps 360° video and the only 360 camera capable of recording continuously for 100 minutes in 8K 30fps.
DJI proudly boasts about the sensor found in the Osmo 360. It features two sensors that, when added together, result in around the same area as a Type 1 sensor. DJI says it is an "industry-first square HDR image sensor" that is specifically designed for 360° capture. It offers 13.5 stops of dynamic range, which, when combined with the F1.9 aperture, should help with capturing footage in low-light and high-contrast settings.
Image: DJIThe Osmo 360 supports up to 8K 50fps 360° video, as well as 4K 100fps for slow motion needs. The camera can also record at up to 5K 60fps with a single lens when 360° video isn't necessary, resulting in a 155° field of view. Or, the Boost Video mode offers a 170° field of view at up to 4K 120fps. On the photo side of things, the Osmo 360 can capture 120MP 360° photos.
Image: DJIBeyond image quality, DJI also promises plenty of other benefits, including long battery life. DJI says it is capable of recording continuously for 100 minutes, even at 8K 30fps resolution, or 180 minutes with the Osmo 360 Battery Extension Rod accessory. It can also handle cold conditions, with over 1.5 hours of recording possible in temperatures as low as -20°C (-4°F). Charging also promises to be fast, with 12 minutes of charging resulting in 50% battery.
The Osmo 360 also provides access to DJI's tracking and control features. Intelligent Tracking will lock onto and track people, vehicles, pets and more. It is compatible with gesture and voice control, and offers the company's RockSteady 3.0 stabilization to reduce shake and smooth out video while moving. Users also have access to its HorizonSteady mode to automatically keep footage level.
Image: DJILike the Insta360 360° cameras, the Osmo 360 hides the selfie stick in footage with no editing necessary. Users can edit content from the Osmo 360 on either the DJI Mimo or DJI Studio apps, or using the Premiere plugin. Additionally, the Osmo 360 offers 105GB of built-in storage.
The camera offers an IP68 waterproof rating and can be used at depths up to 10 meters (32.8'). However, DJI says it is not recommended to use the camera body for long-term underwater shooting or with high water impact pressure. It also explained that the fisheye lens design will result in light refraction that may cause distortion and stitching errors when underwater.
Unfortunately for US customers, the DJI Osmo 360 will not be for sale in the US via official DJI channels. It added that it doesn't have a current timeline for when it will be available in the US.
For those outside of the US, the camera is available today. In Europe, the Standard Combo costs €480, while the Adventure Combo costs €630. In Canada, the Standard Combo is $430 while the Adventure Combo is $580 (the DJI Store can only accept USD, EUR and RMB).
Manufacturer sample images Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Press release:
DJI Revolutionizes 360 Camera Market with the Osmo 360New 360 Camera Offers Industry-first Features Including 1-inch 360° Imaging and Native 8K 360° Video
July 31, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo 360. As the company’s first foray into 360 cameras, the Osmo 360 delivers new imaging innovation to elevate existing industry standards, bringing creators the flexibility needed for any creative vision.
The Osmo 360 delivers the sharpest photos possible on the 360 camera market with 1-inch 360° imaging*. It is the first 360 camera to shoot ultra-high-spec 8K/50fps 360° video, and is the only 360 camera that can shoot continuously for 100 minutes in 8K/30fps*.
"With the Osmo 360, DJI is challenging the status quo of the 360 camera market," said Christina Zhang, Senior Director of Corporate Strategy at DJI. "We are revolutionizing panoramic innovation by leveraging DJI’s long history of innovation in creative camera technology. With each technological breakthrough, from 1-inch 360° imaging with industry-first square HDR sensor, to outstanding low-light performance, we aim to change what’s possible in a 360 camera."
Standout 1-inch 360° Image Quality and Native 8K 360° Video
Specially designed for 360° capture, the Osmo 360’s industry-first square HDR image sensor maintains the same 360° image field as a traditional 1-inch rectangular sensor, while eliminating the unused area of traditional rectangular sensors. This results in 25% more sensor utilization, as well as outstanding image quality and lower power consumption, all in an ultra-compact, lightweight camera body.
The Osmo 360 is also the first 360 camera to feature native 8K/30fps 360° panoramic video with large 2.4μm pixels, boasting an industry-best run time of 100 minutes at 8K/30fps. The large pixel size - double the industry standard size of 1.2μm - captures more picture details, less noise, better low-light performance, and higher dynamic range. Also supporting ultra-high-spec 8K/50fps 360° video, Osmo 360 sets a new standard for video resolution in 360 cameras.
With an impressive 13.5 stops of dynamic range, combined with the larger pixel size and f/1.9 aperture, which significantly increases the amount of light intake, the Osmo 360 captures crisp, vibrant footage - even in low light settings or high-contrast scenes like sunrise and sunset.
Additional Creative Features:
Performance as a Single Lens Action Camera
Effortlessly switch between the front and rear lenses without stopping recording - perfect for capturing travel vlogs in one seamless take. Osmo 360 can be used as a first-person action camera with single-lens mode, offering crisp 5K/60fps flat videos with a sweeping 155° ultra-wide angle. Boost Video mode provides an even broader 170° field of view and smooth 4K/120fps video.
Convenient to Carry, with Long Battery Life
For creators on the go, Osmo 360 prioritizes convenience with 105GB of built-in storage. Weighing just 183g, the advanced stacked design allows the camera to pack two large 1-inch 360 imaging lens modules into one, ultra-compact body. Moreover, the Osmo 360 is built to thrive in extreme conditions, capable of recording for over 1.5 hours in freezing conditions as low as -20° C (-4° F)1. The battery can record continuously for 100 minutes* at 8K/30fps resolution, which can be extended for another 180 minutes* with the Osmo 360 Battery Extension Rod. In just 12 minutes, Osmo 360 reaches 50% power to ensure creators are never without a camera for long.
The Benefits of the DJI Ecosystem
Osmo 360’s magnetic quick release design works with Osmo Action series accessories, while also featuring a 1/4" thread hole for easy compatibility with traditional gear.
Osmo 360 offers the OsmoAudio™ Direct Microphone Connection*, allowing users to connect Osmo 360 directly to two DJI microphone transmitters without a receiver, capturing studio-quality sound.
For more information, please refer to: https://www.dji.com/360
1 When capturing 360° content, Osmo 360's CMOS sensor features an imaging area equivalent to that of a 1- inch CMOS sensor with a 4:3 aspect ratio.
2 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to https://www.dji.com/360.
3 Direct connection to the first-generation DJI Mic is not supported. DJI microphones are sold separately.
A lightning bolt stretching 515 miles (829 km) from eastern Texas to near Kansas City has set a terrifying new record as the longest single lightning flash ever recorded. There are only two places on the entire planet where this kind of "megaflash" is likely to occur.
Category: Environment, Science
Tags: Tropical Storms, Lightning, Severe Weather, Climate
Research out of the University of Toulouse, France, has revealed that we're probably harming our lungs a lot more than we knew. Every day, we're inhaling teeny tiny bits of plastic that are smaller than a speck of dust without even leaving the house – and the findings show the amount is 100 times greater than previously estimated.
Category: Environment, Science
Tags: Pollution, Air pollution, Microplastic, Plastics, Plastic waste
First manufactured in 1948, the original BSA Bantam was perhaps one of the most iconic two-wheelers that ushered in a new era of motorcycle culture. It was a pretty straightforward two-stroke single, coming in 125cc, 148cc, and 175cc capacities.
Category: Motorcycles, Transport
A model wasp species loved and well studied by scientists has another trick under its wings – the ability to pause development in response to the environment, leading to a slower rate of aging through adulthood. These new findings show that biological aging is not a fixed trajectory and opens up new avenues for aging research and epigenetic interventions.
Category: Aging Well, Wellness & Healthy Living, Body & Mind
Tags: University of Leicester, Insect, Age-Related, Healthy aging, anti-aging, DNA, Epigenetics
After debuting a number of new versions of its proprietary propeller in 2024, Sharrow Engineering has dedicated much of 2025 to expanding its US production base and operations. It moved into a new production headquarters this month and is also working to team up with external manufacturing partners. At the same time, it's putting resources into jumpstarting the next era of technological breakthroughs. The future of sleek, efficient propeller technology and beyond looks bright.
Tags: Marine Innovations, Boating, Outboard Motor, sharrow
In a bit of an oops, Australia's return to space after almost 54 years hasn't exactly gone to plan. On July 30, 2025 at the Bowen Orbital Spaceport in North Queensland, Gilmour Space Technologies' Eris rocket crashed just 14 seconds after launch.
All the buzz around electric vehicles paints them as the future of transportation, but we often overlook the most important aspect of mobility: it needs to be accessible and affordable. You can’t change the world with greener cars if only a small percentage of the global population can afford them.
Category: Automotive, Transport
Tags: BYD, Hot hatch, Electric Vehicles, China, indonesia, Toyota, Tesla, Affordable
If you don't have a Chubby already, you might just find yourself getting one soon – that is, if you want a tried-and-true pop-up truck topper with a little extra space inside. Arizona shop Ovrlnd Campers' latest launch isn't a product but an entire option category. The new "Chubby" package flares each topper out beyond the width of the pickup bed, making space for potential east-to-west sleeping and more interior elbow room. And while going Chubby adds weight over traditional Ovrlnd models, the line remains lighter than loads of alternatives.
Category: Pickup Campers, Adventure Vehicles, Outdoors
Tags: Camping, Outdoors and Camping, Off-road, RV, Pickup, Truck, Lightweight
Over the past two centuries, the construction of thousands of dams has done more than just tame rivers – it has shifted the Earth’s North Pole about a meter from its original position. By storing billions of liters of water, these reservoirs have fundamentally altered the globe's mass distribution, causing both a drop in global sea level and a drift in the planet’s axis.
Category: Science
Tags: Pole, Earth, Engineering, Water
The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusiast-friendly outlook of the original X-E models and gains image stabilization along the way.
Key specificationsThe Fujifilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside the US. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at, and in Canada it's CAD $2000: a 5% increase over the X-T50's launch price.
Simply put, in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches that of the X-T5.
Index:Buy now:
Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo What's new Film simulation dialSlightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...
Film simulation recipes You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.
Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.
Image stabilizationAnother thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.
'Self-timer' switchThe X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, 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.
Classic viewfinder mode The X-E5's classic viewfinder modeOne of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display. The image preview shows the effect of exposure comp and film suimulations, as usual.
In this mode, the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.
Other functionsIn most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.
How it compares:The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.
If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.
Simply put: in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches the X-T5.The high price (in the US, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9, but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outside the US, you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.
Fujifilm X-E5 Sony a6700 Nikon Z5 II Fujifilm X-T5MSRP US
/ RRP UK
40MP BSI CMOS
APS-C
*30fps in JPEG-only mode, from 12-bit readout
The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which, with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise as the tariff situation evolves.
There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.
It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned out by the noise of trade concerns.
Body and handlingThe X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.
Control pointsThe X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.
In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).
GripThe X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip, and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.
As with previous X-Es, this is a camera you're most likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.
ViewfinderThere's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.
It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.
The rear screen is a tilt up/down, 1.04M dot (720 x 480px) display, the same panel used by the X-M5's fully articulating screen.
BatteryThe X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm says it's rated to get 310 shots per charge, which is just a touch more than the X-T50, with which it shares the majority of its components.
CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.
Image QualityOur test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.As expected, the X-E5's Raw detail capture is identical to Fujifilm's other 40MP cameras, and it outperforms the 24MP Nikon Z5II and 26MP Sony a6700. Its images also have more detail than those from its 26MP predecessor, the X-E4.
Its base ISO noise performance is on par with the rest of the current-gen APS-C competition, and it's a bit cleaner than the X-E4; no surprise, given that its base ISO is 125 while its predecessor's was 160. The full-frame Z5II, however, provides around a stop improvement in noise, which follows its increased sensor area.
These trends continue at mid to high ISOs, and the X-E5's lead in detail slips away past around ISO 1600.
The camera's JPEG engine isn't quite as good as its competitors at emphasizing fine details, even at base ISOs, so its lead isn't as apparent as it is in Raw. However, it continues Fujifilm's tradition of offering pleasing colors and does a decent job of retaining details even while reducing noise at higher ISOs, though its performance does suffer a bit in low-contrast areas.
Dynamic RangeThis sensor has always offered excellent dynamic range with low read noise, and it's no different in the X-E5.
Exposure Latitude | ISO Invariance
This means it offers plenty of room to bring up shadows in post, so you can make the most of its maximum dynamic range at base ISO. Its design also lets you choose to extend dynamic range when shooting in low-light scenes, as long as you're willing to use a lower ISO to reduce blown highlights.
AutofocusThe X-E5 has the same autofocus system that Fujifilm's used in many of its recent cameras, which provides a lot of flexibility for your focus selector, with sizes that range from a single point to customizable zones and a wide area. In continuous autofocus mode, the wide area is replaced by the tracking mode, where you get a box that you can place over your subject, which the camera will try to follow. You can select your focus point using the joystick, by directly touching the area you want to focus on with the touchscreen or using a configurable section of the screen as a touchpad when the camera is to your eye.
All these modes can be used in conjunction with the camera's AI-derived subject recognition system, which has been trained to pick out humans, animals, birds, cars, motorcycles/bikes, planes and trains. The X-E5 will automatically jump to a recognized subject if your focus point is over or around it, though it does a good job of not jumping to a subject if your selected area is far enough away from it.
Humans and their faces/eyes are a separate function from the rest of the subject detection modes, which can make it more of a hassle to use; if you want to set a custom button to turn on subject detection, you'll have to decide whether you want it to be for humans or something else (or devote two buttons to switching between them). Other brands' systems side-step this issue by having humans listed as a subject alongside the others that the camera can recognize.
You choose between AF-S, AF-C and the manual focus modes using a switch on the side of the camera. Despite being placed on a part of the camera that you may touch frequently, it's stiff enough that we didn't find ourselves in an unexpected mode too often.
Autofocus Performance Fujifilm XF 33mm F1.4 | F1.4 | 1/950 sec | ISO 160The 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. The vast majority of the shots we took while testing it were perfectly in focus, with only a few coming out a touch soft.
Fujifilm's tracking system continues to be off the pace set by the likes of Canon, Nikon and Sony, but in most situations, it got the job done. It was occasionally distractible, wandering off the target or failing to lock onto it. It's at its best when using subject recognition, though even then, we've historically found that it can occasionally misjudge distance (especially for moving objects) or wind up focusing on someone's eyelashes rather than their pupils.
Those issues seem like bigger shortcomings on Fujifilm's higher-end cameras meant to take on sports and action cameras than they are for this style of body, though; for most use cases, its autofocus system should prove sufficient. That's especially true if you spend some time optimizing your settings.
Video The X-E5 has a microphone jack, but no headphone jack aside from the ability to use a USB-C to headphone adapter.The X-E5 isn't designed to be an ultra-capable hybrid shooter, but it essentially has the same mix of resolutions and features as the X-T50, with the ability to shoot 6.2K footage and oversampled 4K derived from it. Like that camera, the X-E5 has a microphone socket but no port for headphones, though it does come with a USB-C to 3.5mm adapter in the box if you really need to monitor audio.
It has some provisions for those who want to take video of themselves: the display has a second articulation point so you can flip it up for a selfie view (though pretty much any microphone will block it).The X-E5 also has Fujifilm's classic Movie Optimized Control setting, which does a good job of keeping your settings for stills and video separate; it ignores the settings on your shutter speed, exposure compensation, and aperture dials. While this setting makes it easier to switch between modes, it unfortunately also makes it so you can't use the film simulation dial either.
That's a bit of a shame, since the video mode actually supports recipes too. Your settings won't carry over from your stills recipes, and there are far fewer parameters to tweak, but you can make at least some changes to the underlying simulations.
Video performanceThe carryover from the X-T50 means it provides solid levels of detail, especially in its 6.2K and HQ modes, though they have a relatively slow 24.9ms rolling shutter rate, which can result in a jello-like effect when shooting fast-moving subjects or panning the camera quickly. The standard 4K mode still provides a fair amount of detail, but with only 15.3ms of rolling shutter, which is quite decent.
Unlike some of Fujifilm's more video-focused cameras, the X-E5 isn't compatible with the company's fan accessory, which can extend video record times. However, it doesn't seem particularly eager to overheat, especially if you're only trying to shoot short clips.
In UseThe X-E5 takes the series back up-market, and it definitely feels the part. Fujifilm says the aluminum top plate is made using the same process as the GFX100RF, which allows for a beveled edge that the dials are inlaid into. The knurling on those makes them easy to locate and operate, and the camera has a solid feel overall.
Speaking of the GFX100RF, the X-E5 comes with the same rope-style shoulder strap. While it certainly looks fancier than the traditional pack-in strap, it's an absolute pain to install, even with the plastic tool Fujifilm packs in the box. The tiny eyelets on the camera are low-profile, sure, but that does mean you'll have a far from premium experience as you struggle to get the included strap's snap-rings onto them.
The X-E5 will be very familiar to anyone who's picked up a Fujifilm recentlyOnce you've got past the strap or installed your own (Peak Design includes a similar tool and snap rings with its ever-popular anchor straps, and the installation is way easier), the camera will be very familiar to anyone who's picked up a Fujifilm recently. The menus are largely unchanged, for better or worse, depending on your level of familiarity with them. Of course, there is the inclusion of a new trick: the recipes system.
We've written a more in-depth piece about those here, but if you find that you're not satisfied by the built-in (and, likely, more subtle) Film Simulation color modes, they'll be lots of fun to play around with. They also make a more compelling case for the Film Simulation dial than previous iterations by giving it an extra layer of control. And while editing a Raw will always give you more flexibility, seeing the style as you're shooting may change how you compose your scene, or what you decide to take pictures of.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The system won't be for everyone, and it has its flaws: you add the recipes by setting up to a dozen parameters, while other camera systems let you download community-made looks through their app, and they aren't available everywhere that you might use a Film Simulation. But for those that are interested, it provides easy access to the ability to put your own mark on your JPEGs.
Like with the X100VI, it can feel like the X-E5 has more controls than necessary. While we're happy to see the second command dial return, having both be the clicking variety and adding a front toggle switch* with an extra button on the front and a bluetooth button on the bottom risks making it feel a little unfocused and unclear how you're expected to operate the camera. For some, that won't be an issue, especially on an ILC, but those concerned with the purest photo experience may need to learn to ignore some of the buttons, dials and functions.
* with four functions: two for a press in either direction, and two for long presses that take just a little too long.
ConclusionBy Mitchell Clark
What we like What we don'tLet's address the elephant in the room first: the value proposition of the X-E5 will be substantially different depending on where you live. In the US, it costs as much as the higher-end X-T5, where in other places it costs as much as the lower-end X-T50. Compared against the latter, its single card slot, relatively small viewfinder and lack of weather sealing are par for the course, but they're starkly contrasted by the former's capabilities.
While that's certainly something potential buyers will have to consider, it's almost beside the point. The main reason to get an X-E5 isn't necessarily for its capabilities, but because it's one of the few cameras with a high-resolution sensor and up-to-date processor to come in a rangefinder-shaped package.
Is the X-E5 a substitute for an X100? It very well could be, depending on your needs.That styling is very 'in' right now. Even 18 months after its announcement, the popular X100VI is still hard to get at list price, and the X-E5 comes very close to replicating the experience of using one, apart from the appeal of a fixed lens and the compelling hybrid optical viewfinder.
That's good news for enthusiasts who are, ultimately, the ones who will most likely be interested in this camera. Its predecessor, the X-E4, had stripped-back controls which made it less engaging to use and an unstabilized sensor. The X-E5 no longer asks you to make those compromises to get a classically-styled body that's easy to pack with you, depending on your lens choice. It comes with the full suite of tech that you'd get from many of Fujifilm's other current-generation cameras.
That means it inherits some of the parts of Fujifilm's formula that would benefit from an update in the next generation, such as its autofocus system and complex, non-touch-friendly menus. However, the company is also clearly continuing to make improvements. The recipe feature, in particular, does a good job of putting control over one of Fujifilm's greatest strengths: its JPEG colors, right at your fingertips.
Of course, that's not to say it's perfect. We would've liked to see a higher resolution and magnification viewfinder, though that likely would've made the camera larger. More focused controls and an autofocus system with performance closer to its competitors' would've also been nice. And while Fujifilm isn't entirely to blame for the US pricing, a camera coming in at double what its predecessor cost will always be a bit hard to swallow, even with the move back up-market.
Still, we're happy that move has happened, and that the X-E5 remains a photography focused tool. If you're not into rangefinder styling, there are certainly more capable options, especially if you're paying the price demanded in the US market. But if that's important to you, Fujifilm has done a great job with this camera, and it's one of your best options in the absence of any updated X Pro. For that reason, we feel it handily earns our Silver award.
Buy now:
Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Fujifilm X-E5Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe X-E5 is an excellent option if you want rangefinder styling, but other cameras offer more substance.Good forStreet and travel photography People who want an X100 but can't get oneNot so good forSports/action photography Serious video shooters85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_xe5","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peersIn most countries, the Fujifilm X-T50 is the more direct comparison in terms of price and specifications. Its SLR styling allows for the inclusion of a built-in pop-up flash and it has a higher-resolution screen, but otherwise the two cameras have very similar capabilities, though the X-T50 build quality and controls are aimed more towards beginners, while the X-E5 feels built for enthusiasts. At time of writing, the recipes system hasn't made its way to the X-T50, despite it also having a Film Simulation dial.
Sony's a6700 is a very technically capable camera, with an autofocus system that's more reliable than Fujifilm's and a chunky grip that should make it comfortable to use with a wider array of lenses... though Sony remains a runner-up to Fujifilm when it comes to the expansiveness of its APS-C lens ecosystem. Interestingly, the a6700 uses the same sensor as Fujifilm's budget model, the X-M5, though it adds stabilization, which that camera lacks. Its headphone jack and fully articulated screen make it a much better choice for video, though we suspect some photographers will struggle to find joy shooting with it.
The full-frame Nikon Z5 II is, in many ways, a more capable camera: its full-frame sensor provides better image quality, and it comes equipped with dual card slots, a larger, brighter viewfinder, weather sealing and a more reliable autofocus system. However, the boost in image quality also comes at the cost of larger, more expensive lenses, and its styling is more conventional.
In the US, Fujifilm's X-T5 is similarly priced to the X-E5, but it has a very different focus. Its much larger and higher resolution EVF, weather sealing and dual card slots mark it as a camera that could happily act as a professional workhorse. Its focus is less on size and looks, and more on giving you an incredible amount of control at your fingertips. It trades the film simulation dial for an ISO one, which may have more appeal to some photographers.
Sample GalleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Pre-production sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Viltrox is expanding its Air series of compact and lightweight lenses with the newly released AF 15mm F1.7 Air APS-C lens. The latest Viltrox lens features a large F1.7 aperture and promises quiet autofocus and "rich bokeh" with a focal length ideal for street scenes, landscapes and architecture.
The lens, offering a 22.5 mm equivalent focal length, is available for Fujifilm X, Nikon Z and Sony E-mount APS-C cameras. It weighs just 180g (6.3oz) and is only 56.4mm (2.2") long. The compact size makes it ideal for smaller APS-C cameras and travel.
Image: ViltroxThe AF 15mm F1.7 Air is comprised of 12 elements in 10 groups, which includes 3 ED lenses, 3 HRI lenses and 2 aspherical lenses. Viltrox says that it will maintain clarity and contrast even in difficult lighting conditions. It features nine aperture blades that Viltrox says will produce smooth and "impressive" bokeh and a 58mm filter thread. The front lens is splash-resistant and has a coating to resist oils and liquids.
An STM motor powers autofocus, which will work with eye and face tracking. Viltrox says there is minimal focus breathing, making it ideal for video use as well. The lens has a minimum focusing distance of 22.9cm (9"). It supports EXIF information and features a USB-C port for firmware updates.
As expected for a Viltrox lens, it is also affordable, with an MSRP of $239. It's available for purchase now.
Buy now:
Buy at Amazon.comBuy at B&H PhotoPress release:
Viltrox AF 15mm F1.7 Air: Compact Wide-angle Lens With Cinematic FlairFirst wide-angle lens in Air series, E/Z/XF mounts available
Shenzhen, China, July 30th, 2025 - Viltrox is pleased to announce the AF 15mm F1.7 Air, a compact wide-angle lens that offers creative freedom in an ultra-portable format. This pocket-sized, lightweight lens (180g to 195g), designed for APS-C format cameras, offers a wide 84.9° field of view (equivalent to 22.5mm in full-frame terms) along with reliable, silent autofocus performance. The Viltrox AF 15mm F1.7 Air is ideal for capturing expansive street scenes, sweeping landscapes, dramatic architecture, lively vlogging, and atmospheric interior spaces.
Download high-resolution images and MS Word version
The wide F1.7 aperture (adjustable down to F16) can deliver clean, bright images in low-light scenes such as dim cafés, nighttime street action, and indoor gatherings. It also creates smooth, natural background blur, making it ideal for portraits and close-ups with subject separation from the background, sharp, vibrant results, and a cinematic feel.
Viltrox Air Series: A complete photographic toolbox
The new AF 15mm F1.7 lens has the same compact format as other Viltrox Air series lenses. The Air series now offers a complete lightweight lens toolkit – from wide perspectives to mid-telephoto detailed shots, making a bag of these lenses perfect for creators who need efficiency, portability, and consistent results.
Advanced optics for high-quality images
The AF 15mm F1.7 Air comprises 12 elements in 10 groups. The lens’s three extra-low dispersion (ED) elements control chromatic aberration, to ensure clean, high-contrast images. Three high-refractive index (HR) elements enhance edge-to-edge sharpness, while two aspherical elements suppress distortion. Together, these optics provide accurate rendering across the frame. Viltrox’s advanced lens coatings reduce flare and ghosting, and capture clarity and contrast – even in challenging lighting.
Easy to use: Great performance out of the box
Affordable and stylish, the Viltrox AF 15mm F1.7 makes wide-angle photography accessible and enjoyable for all: from beginners to experienced creators. It is perfectly suited for everyday shooting and for creative exploration.
More details and how to buy
For more information, please visit: https://geni.us/15air_pr
Specs Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length15 mmImage stabilizationNoLens mountFujifilm X, Nikon Z, Sony EApertureMaximum apertureF1.7Minimum apertureF16Aperture ringNoNumber of diaphragm blades9OpticsElements12Groups10Special elements / coatings3 ED, 3 HRI, and 2 ASPHFocusMinimum focus0.23 m (9.06″)Maximum magnification0.1×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight180 g (0.40 lb)Diameter65 mm (2.56″)Length56 mm (2.22″)MaterialsMetalColourBlackFilter thread58 mmHood suppliedYesTripod collarNoThough some cameras have flip-out monitors for taking selfies, compact shooters probably don't. Such is the case with the Powerflex X8 from Rollei, but you can still easily snap a selfie thanks to a teeny second lens above the rear screen.
Category: Photography, Consumer Tech, Technology
If you're like most enthusiast photographers, your camera equipment represents a sizable investment. It's natural to want to protect that gear, but just how careful do you need to be?
There's no single answer. Everyone has their own risk tolerance. What's acceptable to one might be reckless to another. Of course, it also depends on your gear; professional-grade equipment tolerates more extreme use than entry-level. However, in my experience as a professional photographer, workshop leader, and over a decade of reviewing gear, most people are more careful than they need to be.
I'm not suggesting you throw caution to the wind, but let's look at common dangers to your camera equipment and how careful you truly need to be.
Impact damageYou're right to be concerned about drops, bumps, or other impact damage. Cameras and lenses are well-made, but they're not military grade. You don't want to scuff, bend, or break things.
I often hike with a pack designed for minimal camera gear. If I need to take more, I'll sometimes wrap a lens in a fleece jacket and stuff it in the top of the pack.
Photo: Dale Baskin
It makes sense to protect your gear, but you don't need to baby it. I've seen people who won't go anywhere without a padded bag or protective case. Those are great, but often unnecessary. Wrapping your camera in a t-shirt in a daypack for a hike, or rolling it up in a towel for travel, will likely suffice.
In my experience, most impact damage happens when cameras are outside their bags, often due to a lapse of attention. For example, I've seen people trip over their own tripod leg, knocking the camera to the ground, or bend over, forgetting a camera around their neck, only to have it swing wildly and hit something. Sometimes, the best protection is old-fashioned situational awareness.
Rain or inclement weatherOne of the most common fears I encounter is concern about water or moisture. Water is a danger to electronics and optics, but many camera users are more concerned than they need to be.
I've seen people travel thousands of miles for a workshop, only to pack up their camera at the first sign of a minor drizzle. They don't want the camera to get wet, but in most cases, they're not giving their camera enough credit.
Don't put your camera away just because it starts raining. Most cameras, particularly models with weather sealing, handle rain pretty well. Just be reasonable about it.
Photo: Dale Baskin
Many modern cameras include some level of weather protection, often with ambiguous descriptions like "splash-proof" or "dust-resistant." Even without these claims, your camera will almost certainly be fine for a little while in a light drizzle. My advice? If your camera advertises any weather protection, you're probably fine using it in the rain, and even if it doesn't, your camera isn't going to melt if it gets a few raindrops on it. Just be reasonable about it.
One luxury I've had as a DPReview editor is the opportunity to use many mid-range cameras in absolutely terrible, wet conditions, sometimes with water dripping off them for extended periods. Every single camera I've done this to kept working. I'm not suggesting carelessness, or that water will never cause a problem – just that gear may tolerate more than many imagine.
Sensor damageWe all agree on the need to keep a camera's sensor clean. But what if you're out shooting and notice a dust speck? What do you do?
I've seen it too many times: a workshop participant discovers a horrendous dust spot but is afraid to do anything in the field for fear of damaging the sensor. They end up with hundreds of photos, all with the same dust spot.
We've all been taught to treat camera sensors very carefully, but don't let sensor dust ruin your day.
Photo: Mitchell Clark
Conventional wisdom says to be cautious when cleaning sensors, and I won't argue that. But they're not made of unobtanium. I know the user manual probably recommends removing dust in a clean room with a specialized swab, but be pragmatic. In most cases, it's okay to use your Rocket Blower to shoot some air on the sensor to remove it.
Just don't use compressed air in a can, which might spray chemicals onto the sensor.
Extreme temperaturesExtreme temperatures are worthy of caution. If you're shooting in cold conditions, there's not much to worry about other than getting cold yourself. I've worked outside for extended periods at -20°C (-4°F), usually giving up before the camera. However, if something feels stiff or frozen, don't force it.
Graphic: CDCHot weather is another matter. Heat can damage sensors, electronics, and warp plastics. While it's unlikely you'll be shooting in conditions hot enough to vaporize lens lubricants, the most common heat damage is storing or transporting gear in places that get extremely hot, like a car trunk. Take precautions to protect your gear in extreme heat.
Dust, sand or other debrisSmall particles like dust and sand can be a nightmare. Beyond sensor dust, sand can get into lens mounts and gears, or scratch surfaces like viewfinders and lenses. You'll obviously want to avoid this, but don't let it prevent you from enjoying your camera.
Occasional use in sandy or dusty environments is OK as long as you're careful and clean your equipment at the end of the day.
Photo: Dale Baskin
Using your camera at the beach or in sand dunes is fine, but use common sense: don't change lenses on a windy, sandy beach, and wipe down your gear at the end of the day with a damp microfiber cloth. With a little precaution, occasionally using your gear in dusty, sandy environments is generally not a problem for most gear.
The take-home messageI'm never going to judge anyone for taking care of expensive gear. We all have our own risk tolerances, and I appreciate that people have different motivations for owning gear – sometimes it's a tool; other times, it's just something they enjoy using.
However, my observation over the years is that many camera owners don't trust their gear enough, and many are more protective than necessary. And if you're so protective of your gear that you can't enjoy using it, what's the point?
Air-mobility startup FlyNow Aviation has removed the tethers from its stacked dual-rotor electric helicopter pod thing, and recorded the eCopter's first free flight at a test facility in Eastern Austria.
Tags: eVTOL, Helicopters, Electric Aircraft, Air Taxis
Carbon dioxide doesn't normally get a good rap in terms of eco-friendly energy production. But a new partnership forged by Google will see the greenhouse gas used inside a giant battery to manage and stabilize grid energy produced by renewable sources.
Category: Energy, Technology
Tags: Clean Energy, Renewable Energy, Carbon Dioxide, Grid-Level Energy Storage, Google
