Fujifilm X-T50 in-depth review

Fujifilm, like other brands, has models at various price points with feature sets aimed at different users. Its line-up of double-digit X-T models was conceived to entice a broad range of users looking for a great user experience, pro-level results, and entry into Fujifilm’s ecosystem without breaking the bank.

Fujifilm X-T50 colour options and pricing

The X-T50 comes in black, silver, and a very attractive charcoal grey with a body price of £1299. Two kit options are also on offer: the X-T50 with the XC15-45mm f/3.5-5.6 OIS PZ at £1399 – or with Fujifilm’s new standard zoom, the XF16-50mm f/2.8-4.8 R LM WR at £1649.

New features in the X-T50

The camera also boasts a couple of notable firsts. Namely, that it’s the first Fujifilm double-digit X-T model to feature its X-Trans CMOS 5 HR sensor – a back-side illuminated unit providing 40.2 megapixels of resolution. This is the same sensor, coupled with the X-Processor 5, found in the top-of-the-line X-T5, X-H2, and X100IV compact.

The X-T50’s other first is the dedicated Film Simulation dial – a feature not seen on any Fujifilm camera to date – so it is genuinely new and unique. It gives direct access to the brand’s popular Film Simulation modes, of which there are 20 in this camera, including its most recent arrival, Reala Ace. More on this innovative feature soon, but first let’s cover off other aspects of the camera’s design and body layout.

Design, ergonomics and controls of the X-T50

Despite its rich list of features, which includes a five-axis in-body image stabiliser with 7EV benefit, the X-T50 is very compact. Partner it with the XF27mm f/2.8 pancake lens, and it’s not too much bigger than Fujifilm’s headline-making compact: the X100VI. The rounded body, protruding thumb grip, and ergonomic design mean getting a good grip and adjusting key features is a breeze. The short body did mean my third and fourth fingers sat under the body, but it wasn’t uncomfortable.

Having the on/off collar around the base of the threaded shutter button means readying the camera for action is fast, simple, and can be done with one hand. Two command dials – found at the front and rear of the body – make adjusting settings simple; both are push-in, therefore more features can be altered.

The auto/shutter speed dial has no lock, so it is possible to inadvertently find yourself on a fast shutter speed, while around its base is a lever which takes you into fully auto mode for point-and-shoot simplicity. The final two controls on the top-plate right-side are the exposure compensation dial and a near-flush unmarked function button. As there is no dedicated movie record button, assigning this button to perform that function makes handling sense.

The camera’s back is home to the usual line-up of menu, playback, and function buttons. The Q quick menu button is a bit more awkward to reach, as it sits on the protruding thumb ledge, and the focus joystick is too low for my taste. Using both does mean you need your left hand to take the camera’s weight while you make the quick grip rearrangement. The same can’t be said for the AF-ON button, which is excellent, prominent, and easy to use.

With many camera makers taking the fully articulating route with their monitors, the X-T50’s screen folds out for low- and high-level shooting, but it can’t be set to face forwards for convenient vlogging and selfies.

Film simulation dial

Now, back to the Film Simulation dial. This features eight pre-assigned berths; three are customisable (FS1, 2, 3), while C allows you to choose the Film Simulation mode in the menu. The Acros setting can be set to one of the four looks on offer: Std, Ye, R, and G. In total, this means you have 12 looks at your disposal – but only in C can you individually fine-tune, for example, the Grain, Clarity, and two Chrome effects. Bring these extras into play and the effects are across the board – unless you delve into the menu each time you change style. Perhaps a future firmware update will enable the three FS settings to store individual recipes.

Use the physical dial and a virtual dial appears on the monitor and EVF – a nice touch – so it is extra clear which film mode has been selected. There is also the option of pressing the Q button to learn more about the style’s characteristics.

The Film Simulations apply to the JPEG/HEIF output, but Raw shooters can enjoy them too. Set HEIF/JPEG and Raw to capture an image with the selected colour style. Shoot Raw only and you still get the appropriate colour style during shooting. If you are a fan of the look, the style can be applied in Capture One and Adobe Lightroom – with 16 simulations offered in Lightroom v13.3.1.

Some unkind reviewers might consider the Film Simulation dial to be a gimmick. After all, the film modes on any Fujifilm camera can be accessed via the menu or a function button, so accessing them was never too arduous. But having spent some time with the X-T50, the film modes being in front of you is a constant reminder that they are available. I was regularly trying different settings in a way I wouldn’t do if I had to dig into a menu.

In that context, the Film Simulation dial did its job brilliantly. By shooting Raw and HEIF together, I achieved the best of both worlds. It was pleasant to produce out-of-camera shots in modes like Classic Chrome or Nostalgic Neg. By using HEIF, I saved space compared with JPEGs and, in theory, 10-bit capture is better than 8-bit.

Whether the novelty of the new control will wear off in time, who’s to say. But certainly in this test, when there was time, I regularly tried four or more settings to inspect the effect. Like other cameras from Fujifilm, the X-T50 features Film Simulation bracketing, which offers a quick way to apply three colour styles. It would be interesting to see the brand expand the bracketing feature so any number of the 20 simulation modes can be applied to shots.

Autofocus and IBIS performance on the X-T50

I tested the X-T50 with the new standard zoom as well as the XF23mm f/2, XF18mm f/2, XF35mm f/1.4, and XF55-200mm f/4-5.6 lenses. The last three are not on Fujifilm’s list of optics to get the most from the 40.2-megapixel sensor. To be honest, though, the results I received looked great; the lenses consistently autofocused accurately and speedily.

The X-T50 has an updated AF algorithm for better tracking, especially in zone AF mode and low-contrast situations. The camera did well in stills and video modes during testing. There’s the option of creating your own zone AF configurations – for example, to handle prominently upright and thin subjects, perhaps runners. There is also face as well as subject detection AF with the choice of animals, birds, cars, motorcycles/bikes, aeroplanes, and trains.

Testing the camera’s IBIS with the non-OIS 16-50mm zoom, I took test shots from 1/30sec down to 1sec. The five-axis IBIS claims a 7EV benefit. I was consistently getting highly acceptable shots at 0.9sec with the handheld standard zoom using the electronic front shutter. What’s even more noteworthy is that, with the XF55-200mm, I was shooting handheld as low as 1/8sec with a good degree of success.

X-T50 Shutter options and burst rates

The X-T50 has three shutter options: mechanical, electronic and electronic front shutter. The electronic shutter has a top speed of 1/180,000sec, so there is the potential for shooting with superfast-aperture lenses in bright light without having to fit an ND filter.

For the fastest burst rates, the electronic shutter is required, which offers 20fps but with a drawback in the form of a 1.29x crop. The fastest rate for full-format shooting is 13fps, dropping to 8fps when you use the mechanical shutter.

In my tests, shooting in Raw only with a 300x Lexar SD card, the mechanical shutter achieved 7fps and 28 frames before the camera slowed down. With JPEG and Raw, I managed to get the same continuous rate and 20 shots before the camera inevitably slowed.

X-T50 video performance and image quality

The X-T50 showed itself to be a fine camera with ample potential for producing great stills and video. I shot test video footage at 4K/60p with a 1.14x crop and 4K/30p without any crop; the footage looks crisp and clear – and the AF system handled itself well.

However, I spent more time shooting stills and was pleased with the Raw files as well as the out-of-camera HEIF/JPEG shots. The Raws – shot at a wide range of ISOs – had plenty of headroom to pull back highlights and push shadows. Plus, ISO performance proved impressive.

And finally, just another shout-out for the Film Simulation dial, which I thought proved its worth. On this camera’s big brother (the X-T5), the same dial controls ISO. While it is nice being able to see the set ISO at a glance, I didn’t miss it – especially as I use auto ISO a lot now. Having the option to switch colour styles in a moment was both fun and useful.