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The Fujifilm X-T50 is a classically-styled mid-level APS-C mirrorless camera. It’s built around the 40MP X-Trans sensor used by the X-T5 and X-H2, and gains image stabilization.

It also gains the majority of the X-T5’s features in a smaller, less expensive body.

Key specifications

• 40MP X-Trans BSI CMOS sensor
• X-Processor 5 with majority of capabilities from X-T5
• Image stabilization rated at up to 7.0EV
• 20 Film Simulation modes, including Reala ACE
• Continuous shooting at up to 8fps (20 with E-shutter and crop)
• Subject recognition AF
• Tap to track AF in video mode
• Video capture up to 6.2K/30 in 10-bit up to 4:2:2
• Raw video out over HDMI
• 2.36M dot viewfinder with 0.62x magnification
• Tilting rear touchscreen with 3.0″ 1.84M dot LCD
• Battery life rated up to 305 shots per charge (390 in eco mode)
• UHS-II card slot

The X-T50 is available at a list price of $1399, representing a $500 increase over the X-T30 II and a $100 increase, relative to the 26MP, stabilized X-S20. It’s also available with the retractable 15-45mm power zoom for $1499 or with the new 16-50mm F2.8-4.8 for $1799.

Fujifilm highlights how many of the X-T5’s features it includes, for $300 less. The X-T50 will be available in Silver, Black or a darker silver color scheme called Charcoal.

Index:

• What’s new?
• How it compares
• Body and controls
• Kit lens options
• Image Quality
• Autofocus
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

What’s new:

Image stabilization

The X-T50 is still appreciably smaller than the X-T5 but finds room to add an image stabilization mechanism. This has the same rating (up to 7.0 stops of correction) as its more expensive big brother.

The X-T50 gains image stabilization: a first for this line of cameras. Until now you’ve had to choose between the X-Sx0 cameras, which had stabilization and DSLR-style command dials or the unstabilized X-Tx0 models with a shutter speed dial, whereas now you can simply base your decision on which control system you prefer.

The system is rated as delivering up to 7.0EV of correction, using a combination of gyro data and live-view image analysis to assess and correct movement.

40MP Sensor and X-Processor 5

The X-T50 gains the 40MP X-Trans sensor and latest X-Processor from the X-T5. This combination brings not just the same image quality as the X-T5 but the bulk of that camera’s features, too. This includes the latest AF algorithms, as included in the X-T5’s f/w 2.0, along with all the subject recognition modes that camera offers.

The X-T50 also includes the Camera-to-Cloud function that lets it upload directly to the Frame.io sharing platform over a Wi-Fi network, along with features such as tap-to-track autofocus in video, recently added to the X-T5.

Film Simulation dial

To make the camera’s Film Simulation color modes as accessible as possible (and to remind you to experiment with them), there’s now a dedicated dial. You can choose which modes are accessed with the FS1, 2 and 3 positions.

After the addition of image stabilization, the most significant update might be the addition of a Film Simulation dial on the camera’s left shoulder. This replaces the drive mode control that’s been present on previous X-Tx0 models.

It might seem like a small detail, given all Fujifilm models have a selection of Film Simulation color modes, but the addition of a direct control is a smart move for a camera such as this.

There’s a world of difference between knowing an option exists in a menu and having a constant reminder of its presence, every time you pick up the camera. A direct control point also significantly lowers the barrier to that feature’s use.

The X-T50 fits dedicated shutter speed and exposure comp dials onto its top plate, and even finds room for a customizable button.

Every camera on the market has a series of color modes, some more attractive than others, but Fujifilm’s selection of generally subtle, attractive and memorable (thanks to their invocation of film stock names) help deliver some of the best JPEGs out there. The front-of-mind prominence and simplicity of selecting them will undoubtedly prompt more X-T50 photographers to make use of them.

It’s not perfect, in that it’s a twelve-position dial for a camera that has fourteen film simulations, on which one position passes control off to the camera’s command dials. But it’s easy enough to customize the three custom positions on the dial, with the option to specify a simulated color filter for the mono modes, once you remember this option is in the main IQ menu, not the setup section.

6.2K video

The X-T50 can shoot full-width (but sub-sampled) 4K, 6.2K video from a 1.23x cropped region, or ‘HQ’ 4K footage derived from this.

The X-T50 offers essentially all the capabilities of the X-T5 on the video side of things, with the ability to shoot 6.2K video at up to 30p (or ‘HQ’ 4K video derived from it), from a 1.23x cropped region of the sensor. Alternatively it can capture sub-sampled 4K from the full width of its sensor at up to 30p, or up to 60p with a 1.14x crop. As with the X-T5, there’s a direct choice to be made between how much detail you wish to capture and how well controlled the rolling shutter is.

Tap-to-track autofocus in video (only added to the X-T5 in late April), F-Log2, a self-timer options, red frame outline when you’re recording and control of front and rear tally lamps are also present. The X-T50 can output a data stream over HDMI that can be encoded by Atomos or Blackmagic external recorders as ProRes RAW or Blackmagic Raw, respectively.

How it compares

The X-T50 faces some impressive competition as a result of its price increase. Its price puts it directly in line with Sony’s very capable a6700 and much nearer to the cost of Canon’s image-stabilized EOS R7 than the less expensive R10 model. Nikon doesn’t really have a high-end APS-C camera in its lineup, so we’ve picked the Z fc, which doesn’t offer stabilization but comes closest to Fujifilm in terms of throw-back look and feel.

On paper the Sony is the camera to beat in this company, with its excellent autofocus, its strong video capabilities and impressive battery life making it an easy choice. But there’s a lot to be said for the well-honed usability of the Canon, especially now Sigma and Tamron have been allowed to flesh-out the selection of lenses available. This makes life tougher for the Fujifilm, especially in light of its significant price hike. The main area that the Fujifilm stands out is resolution, both for stills and video, and its selection of interesting and attractive ‘Film Simulation’ color modes.

It’s also worth noting that the X-T50 isn’t trying to be an enthusiast-focused camera, in the way the Canon and Sony are. As indicated by the Film Simulation dial, the X-T50 is aimed at more casual users growing into photography, rather than experienced camera users.

That said, we’ve not included the X-T5, one of our favorite APS-C cameras, in this table. Other than battery life, greater feeling of solidity and much nicer viewfinder, the X-T50 matches its specs in many regards. An extra axis of LCD tilt and the inclusion of a second card slot also set the more expensive camera apart though.

Body and handling

Part of the reason for the X-T50’s small viewfinder is that Fujifilm has left room for a small built-in flash.

Although it maintains the same family appearance as the X-T30 II, the X-T50 is a completely new body. Rather than being essentially a rectangle with rounded corners, when viewed straight down in the plan view, the new cameras has completely curved ends and a forward-jutting extension at the top of the front grip.

It’s a wider camera than its predecessor but less deep, despite the addition of in-body stabilization. The revised grip not only helps the camera more closely resemble the X-T5, but also makes it easier to get a firm grip on.

The camera’s AEL button has been moved around a little, with it now sitting at the top of three buttons running up the back of the camera, rather than sitting next to the rear command dial. The Q Menu button still sits out on the end of the rear thumb grip.

The X-T50 includes the same AF joystick as the X-T5, but placed a little further down the back of the body, which makes it a little more awkward to control. Its role is made a little less significant by the camera’s inclusion of subject recognition AF, though, as it means you don’t need to place the AF precisely over your chosen subject, as long as you’re trying to capture one of the subjects the camera can recognize.

As with Fujifilm’s other cameras, the Face Detection and Subject Recognition modes are completely separate. This is positive in the sense that you can set a button to toggle Eye AF on and off, but means you’ll need to configure two buttons if you find yourself wanting to switch from subject mode to face detection and back (engaging one and then disengaging it puts you back in standard AF mode, not with whichever detection mode was previously active).

The viewfinder hump still features a pop-up flash but, as before, this limits the size of the viewinder panel and optics, meaning the X-T50 continues to offer one of the smallest finders in its class.

The X-T50 still uses a 2.36M dot [1024 x 768px] OLED viewfinder panel, which is competitive but not outstanding compared to its peers, but its 0.62x magnification marks it out as being unusually small.

The rear screen is also unchanged, with a tilt up/down read LCD that shares its 3.0″, with a very slight res increase to 1.84M-dots [960 x 640px].

Battery

The X-T50 uses the same NP-W126S battery as previous X-Tx0 models. This is Fujifilm’s smaller, 8.7Wh battery, which delivers up to 305 shots per charge.

These numbers tend to significantly under-represent how many photos you’ll actually be able to take (it’s not at all unusual to get twice the rated number of images or more) but they’re broadly comparable between cameras. A rating of 305 shots per charge (presumably using the rear screen: Fujifilm doesn’t specify), is low for this class, though.

A New Kit Lens

Like its predecessor, the X-T50 is available with Fujifilm’s XC 15-45mm f/3.5-5.6 lens, with the kit costing $100 more than the body alone. However, alongside, the X-T50 Fujifilm also announced the 16-50mm F2.8-4.8, which replaces one of the best kit zooms on the market. The previous version has been a key factor in our recommending the company’s cameras.

The slightly smaller, lighter and wider 16-50mm F2.8-4.8 R LM WR lens makes an impressively capable combination, but it comes at a price.

The new lens loses a little length and around half a stop of brightness at the long end, but it now extends to 24mm equiv, rather than 28mm equiv at the opposite extreme. Between this wideangle expansion and the promises of faster focus and improved optical performance, it’ll probably represent a net benefit overall for most uses. It loses optical stabilization just as the X-T50 gains in-body correction and promises weather sealing, but it also adds yet another $100 over the cost of previous kits.

The new 16-50mm F2.8-4.8 R LM WR reaches wider and fractionally less far than its predecessor, it’s also a little slower at the long end and omits optical stabilization but it moves to an internal zoom design and Fujifilm says it’ll be faster to focus and sharper.

Sigma’s 18-50mm F2.8 DC DN is a more expensive option, as there are no kit discounts to be had, but it offers over a-stop-and-half benefit at the long end and is smaller. It will soon be available for Canon and Sony, as well as Fujifilm’s mount, meaning it’s no longer just X-mount that offers an accessible premium zoom option.

Click here to see our Fujinon XF16-50mm F2.8-4.8 R LM WR sample gallery

Image Quality

Out-of-camera JPEG shot using the Velvia/Vivid profile. ISO 125 | 1/420 sec | F4.8 | Fujifilm 16-50mmF2.8-4.8 R LM WR Photo: Mitchell Clark

The X-T50 uses the same 40MP BSI CMOS sensor found in Fujifilm’s X-T5 and X-H2, which has historically beaten its competitors in detail performance. Like its older sibling, the X-T50 has a base ISO of 125.

Studio Scene

Our 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.

Given their shared tech, it’s no surprise that the X-T50 performs nearly identically to the larger and more expensive X-T5 in our studio tests. Comparing Raw images, the X-T50 captures more detail than its competitors with sub-30MP sensors when shooting at base ISO, though it doesn’t do much better than the Canon EOS R7, which has 33MP. It’s worth noting that part of this may be that Adobe Camera Raw doesn’t always get the best out of Fujifilm’s proprietary ‘X-Trans’ color filter design. In areas with fine detail, it displays less false color than its competition.

At higher ISOs, the X-T50 has roughly as much noise as its competitors, though it does fall slightly behind if you pixel-peep on images shot at a very high ISO.

As for JPEG performance, low ISOs the X-T50’s image sharpening doesn’t look quite as detailed as the EOS R7 and a6700’s, but it’s competent enough that most shooters likely won’t notice any issues. At higher ISOs, it slightly edges out the Nikon’s ability to retain details while smoothing out noise, though the Canon and Sony retain an advantage.

What the X-T50 does have is Fujifilm’s famed color profiles and a dedicated dial for controlling them. Advanced photographers using a tool like Adobe Camera Raw to convert Raws into JPEGs can expect pleasing results, but the profile dial lets people play around with different looks no matter how much experience they have.

Classic Chrome	Reala Ace	Velvia	Pro Neg Hi	Classic Neg	Pro Neg Std	Nostalgic Neg

While using the camera, we found that the standard ‘Provia’ profile makes skin tones and colors pop without going completely over the top. Venturing further around the dial, there’s a decent variety of looks. Some won’t be for everybody (“Velvia” has colors so saturated they’d put many Instagram filters to shame), but most shooters should find at least a few they like.

The X-T50 can capture detail in highlights and shadows, even when they’re several stops apart. Edited to taste in ACR. ISO 125 | 1/25 sec | F2.8 | Fujifilm 16-55mm F2.8-4.8 @ 16mm. Photo: Mitchell Clark

Dynamic Range

Fujifilm’s recent cameras have boasted strong dynamic range performance, and the X-T50 is no exception. Its Dynamic Range modes, found in the image quality menu, will automatically adjust the camera’s exposure/amplification relationship to preserve detail in the highlights at the cost of some additional noise in the darkest parts of the image.

How aggressively it does this depends on whether you’re using DR 200 or 400, and advanced photographers can get similar results with even more control using Raw files and manually reduced exposure. Our in-studio dynamic range tests show that the X-T50’s dynamic range capabilities hold up well compared to its competition.

ISO invariance | Exposure latitude

Autofocus

The X-T50 has several autofocus selection modes: in AF-S mode, it has six sizes of single point and zone, as well as a wide mode that samples the entire frame. Switch to AF-C, and the wide selection is swapped out for a tracking mode that will stick to whatever you put it on.

The X-T50 also lets you decide how many AF points you can select from, depending on whether you need speed or precision.

These selection methods can be used in conjunction with Fujifilm’s subject detection modes, which are trained to recognize animals, birds, cars, motorcycles/bikes, airplanes or trains. When using one of those modes, the camera will try to select the subject closest to your zone or point.

The X-T50 also has separate settings for human face and eye detection, though using them will deactivate your subject detection if you’re using it. That in itself isn’t unusual, but once you’re done with face detection, you’ll have to go back and re-enable subject detection and vice versa. It’s a small bit of friction that can be annoying if you’re trying to quickly switch between taking pictures of humans and other subjects.

In our tests, the X-T50 did a good job not letting its subject detection get in the way of what we were trying to shoot, meaning we could leave it on even if we were taking pictures of something else. For example, having human eye detection wouldn’t stop you from focusing on a flower if there happened to be a person standing a ways behind it.

In terms of ergonomics, the joystick can be difficult to reach while using the EVF, depending on how you grip the camera. However, the ability to use the touchscreen as a trackpad for selecting focus points helps avoid that issue. You can also use the touchscreen to directly choose which subject to focus on.

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To test the X-T50’s autofocus performance, we used a single AF point and had a subject approach the camera at a consistent speed. Like pretty much all of its peers, it could easily predict where the subject would be and focus on that point.

However, when we tested shooting a subject moving around the frame and approaching at an inconsistent speed, we found that the X-T50’s standard tracking mode couldn’t keep up. As soon as the subject started slowing down and turning, it lost focus on him and instead focused on the background. In two of our runs it was able to catch back up with the subject and get him in focus for a few frames after the initial turn, but the vast majority of shots were out of focus.

We were able to somewhat improve its performance by choosing an autofocus settings preset meant for an accelerating and decelerating subject. With that change, the X-T50 could hold on to the subject through his first turn, but it would still typically lose focus as he went into the second turn.

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We got our best results using the X-T50’s subject detection modes. Both eye and bike tracking modes kept the subject in focus for the entire run, though there were still a few slightly soft shots where the camera appears to have slightly misjudged where he would be. We saw similar performance when using the animal subject detection mode on a fast-moving cat; occasionally, the photos would be focused on its ear rather than its eye.

During our other use, there were edge cases where the tracking would fail to track a far-away subject or wander away from a subject. While these scenarios were rare, they’re indicative of the fact that the X-T50’s tracking performance isn’t entirely up to par with competitors like Canon’s EOS R7 and Sony’s a6700, even though it shoots at a slower eight frames per second. (The a6700 manages 11, and the EOS R7 a whopping 15.) There were also a few times when it struggled to lock on to a subject in low light.

If you’re a budding photographer, you’re probably right within Fujifilm’s target market for this camera, and you may care more about nailing down an aesthetic than high-performance autofocus. However, it’s still a factor worth considering for the X-T50. It makes it easy to try out a bunch of looks and produces beautiful images, but you may have to work harder to get pictures in focus or to figure out the settings that will get it to do what you want. Whether that tradeoff is worth it to you will depend on your goals as a photographer and how much you value Fujifilm’s built-in looks.

Video

The X-T50 has a surprising number of video features despite not having a single button dedicated to movies.

The X-T50 is unusual in having no movie [REC] button: movie mode is accessed via the ‘Drive’ button on the camera’s left shoulder. The camera defaults to a mode called ‘Movie Optimized Control’ which ignores what your dials are set to, and has you control exposure settings, exposure comp, white balance and color profile using an on-screen display. This lets you have entirely separate settings for your video and photo modes, which is handy when you’re switching between the two; you won’t have to keep bumping your shutter speed up from 1/48 when you go back to shooting stills.

The downside of overriding the dials is that it makes it harder to select a Film Simulation. You can turn Movie Optimized Control off, but you’ll then have to pay attention to your exposure settings when switching between taking stills and videos. But if you do have the option off, you can customize the FS1, 2 and 3 positions on the Film Simulation dial just for movie mode. The camera’s clever enough to not change the profile if you bump the dial while recording.

No matter what mode you’re in, the autofocus settings are also separate from the stills ones, so you can be set up to take video of humans, and pictures of birds. We found that the tracking in video mode was less reliable and more prone to wander than it was in photo mode.

The X-T50’s subject recognition modes are available in video, but don’t work as well.

There are some other nice video features included on the X-T50: it has F-Log, a flat profile that gives you more flexibility while color-grading, and includes an F-Log Assist option that will apply a bit of color correction to what you see on screen to keep your preview from looking washed out. It also has the ability to set your shutter speed to 1/48, which is precisely what you want when shooting at 24 FPS.

You will want to keep crop factors and the camera’s rolling shutter performance in mind when shooting video. The 6K and HQ 4K modes punch in on your image by 1.23x, which can make getting everything in frame more difficult if you’re not using a wide lens and will also result in more noise since you’re using less of the sensor. (The 16mm end of the kit lens should still be wide enough for all but the biggest, closest subjects, but any more than that and it could start being an issue).

The higher rolling shutter in these modes also means that fast-moving subjects or quick camera movements may produce a jello-like effect where straight lines turn into diagonals.

If you want to scrutinize the differences between the X-T50’s various resolution options, you can check out the comparison tool here. The quick summary is that although the 4K HQ mode is more detailed and the 6.2K mode gives room for cropping in post, we found the sub-sampled 4K mode gave decent levels of detail with much less rolling shutter, no crop and longer recording times. It’s probably worth using that most of the time unless you have a specific reason not to.

We’ve also shot some sample footage, which you can watch below. All settings will be noted on a clip-by-clip basis.

Conclusion

By Mitchell Clark

There are a lot of things about the X-T50 that make it good for someone just starting (or re-starting) their photography journey. The Film Simulation dial will help you play around with aesthetics just as easily as you can on your phone, while still getting substantially better image quality.

There’s also the centrally-located Auto lever, which acts as an escape hatch if you can’t figure out how to get something exposed the way you want it, or if you’re just tired about thinking about aperture, shutter speed, and/or ISO. The X-T50 will still let you change the Film Simulation mode and use the exposure compensation dial to adjust brightness if its metering isn’t quite right, but you won’t have to make any other choices. It’ll also still record Raw files alongside the JPEGs (which hasn’t always been a given with Fujifilm’s entry-level cameras or cameras in general).

The X-T50’s controls, including the Film Simulation dial (which my colleague Richard Butler discusses in-depth here) and Auto lever help make it a good option for photographers graduating from a smartphone.

It’s also just a lovely camera to take out for a day of shooting, with its relatively lightweight and compact form factor. And while the viewfinder’s size has definitely been sacrificed to achieve those dimensions and to make room for the built-in flash, I never had any issues using it, despite wearing glasses.

There are a few things to consider before pulling the trigger on this camera, though. The film simulation dial can be a lot of fun if you’re going to constantly be playing around with the 14-ish color profiles that this camera offers, but if you want to find a look or two that you like and stick to them, it’ll be far less useful.

There’s also the matter of kit lenses; you can get the X-T50 with Fujifilm’s 16-50mm F2.8-4.8, which is a standout option. Most other cameras’ kit lenses are similar to the alternative 15-45mm F3.5-5.6 in that they’re not particularly fast or sharp. If you’re going to buy a camera, it’s absolutely worth considering going with a lens that won’t limit it right out of the box. With the 16-50mm, Fujifilm’s giving you the option of getting a high-quality lens at a bit of a discount if you buy it with the body.

Unfortunately, that brings us to the biggest downside of the X-T50: its price. The kit lens setup I mentioned will run you $1,800, and just the body by itself is $1,400. That lens is absolutely superior to the $100 models that you’ll find bundled with many competitor’s cameras, but it’s also hard to ignore that I’m asking you to take a big leap of faith here.

If you have the money and are looking to get into photography, I think this setup will serve you well and give you room to grow, even if your use of the film simulation dial falls by the wayside. But I also acknowledge that it’s rough being asked to spend so much to get into a hobby, especially if you’re not sure you’ll stick with it yet.

Still, if you’re shopping for a camera in this price range, the X-T50 should definitely be on your radar. Even though we’ve focused on beginners for this review, I’m a seasoned photographer and still thoroughly enjoyed my time with it. Its autofocus performance and price are enough to keep it from getting a Gold award, but its versatility as an entry point into photography and the lens ecosystem Fujifilm’s built make the Silver well-deserved.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

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Compared to its peers

If you think you may wind up caring deeply about having one of the most technically adept cameras, you may want to consider Canon’s EOS R7. It’s built like a serious piece of equipment, with a deep hand grip that’ll help you keep it steady if you’re using bigger and heavier lenses. In our tests, the EOS R7 had similar image quality to the X-T50 but had autofocus that’s a few steps ahead. It can also shoot at double the frame rate as the X-T50 if you’re the type to shoot fast-moving subjects or sports. While the lineup of lenses available for the EOS R7 is slowly becoming more reasonable, Fujifilm’s X-mount offers a much wider variety of lenses for most shooting styles and budgets.

The Sony a6700 definitely looks the part of being a serious camera, though in our tests it didn’t quite match the X-T50 when it came to image quality. It beat it when it came to autofocus performance, but your aesthetic tastes will play a big part in how you feel about the images it produces (and, yes, how you’ll look while you’re out shooting those images). Its design is decidedly more utilitarian than the X-T50s, its color profiles aren’t as easy to change, and are less exciting to most viewers. If you’re into video, though, the a6700 will let you shoot in 40K 60p without a crop, though it does struggle with overheating. Sony’s lens selection is decent, but if you start looking for some photography classics (a set of fast, relatively inexpensive primes, an ultrawide, or something similar to the Fujifilm 16-50mm), you may have to turn to third-party options.

The Nikon Z fc is spiritually the closest match to the X-T50 and comes in a wide variety of colors to boot. However, it didn’t quite match up to the Fujifilm in our image quality tests, and its autofocus is right with the X-T50’s at the back of the pack, especially in video. And while the Nikon may look a bit more like a film camera, it doesn’t have that film simulation dial; in its place is an ISO dial that, without an Auto setting, can end up being less useful than you might expect. It also lacks a joystick for selecting focus points and navigating menus. Nikon also falls short in terms of its APS-C-friendly lens lineup, and its third-party support is worse than Canons, as it currently lacks options like Sigma’s 18-50mm F2.8.

Sample galleries

Please 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.

The review gallery is mainly shot using the standard Provia profile. Images shot in other color profiles will have it noted in the description.

Pre-production sample gallery

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