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The Tamron 50-400mm F4.5-6.3 Di III VC VXD boasts an impressive zoom range in a relatively compact package. How does it perform? We took a look.
In-body stabilization is the big news, but there are a host of improvements that make the X-T4 one of the most capable stills/video cameras in its price range.
Perhaps the biggest addition in the X-T4 compared to previous models is in-body stabilization. It's a newly-developed mechanism that's smaller, lighter and quieter than the one used in the X-H1, and is able to deliver up to a 6.5EV benefit, according to CIPA standard tests. We find we don't experience quite as large a benefit as CIPA figures suggest, but a 6.5EV rating represents impressive performance that we'd expect to equate to a major real-world advantage.
Fujifilm says this 6.5EV figure is maintained with 18 of its 29 X-series lenses and that 5EV of stabilization is the lowest figure for any of the remaining lenses.
Stabilization has an obvious benefit for stills photography, where it can help increase image sharpness and extend the range of shutter speeds over which the camera can produce steady images, but it also has a big impact on the camera's utility for video shooters, which we'll look into later in this article.
Fujifilm says its subject tracking system now considers color and shape as well as distance information, and the performance boost this brings is immediately noticeable. We're hoping it's possible to extend these capabilities to the X-T3 via firmware.
The X-T4 also inherits the face/eye detection interface behavior from the X-Pro3. It's pretty effective, letting you override face detection by moving the joystick, meaning you can fairly confidently leave face/eye detection mode on all the time. There's also the Face Selection option, which uses the joystick to choose between multiple faces in a scene and can be over-ridden by pressing the joystick inwards. Like the X-Pro3, you need to assign a button to engage Face Selection mode.
The X-T4 is built around a new shutter mechanism, which is one of the changes that allows it to shoot at 15 frames per second. The new mechanism features improved damping and is rated to last 300,000 cycles: twice the rating given the to X-T2 shutter and three times higher than the rating it gave the FinePix S5 Pro.
|The X-T4 has a new mechanical shutter capable of shooting at 15 fps|
As with previous models, the camera lets you choose whether to use the mechanical, electronic first curtain or fully electronic shutter. There's also a mode that switches between all three modes at appropriate shutter speeds, the only frustration being that you need to manually select electronic shutter mode to access the camera's fastest burst speeds.
It wouldn't be a new high-end Fujifilm camera if it didn't have a new Film Simulation mode. The X-T4 gains 'Eterna Bleach Bypass', which, as the name suggests, is a color mode designed to look like the subtle Eterna film profile subjected to bleach bypass processing.
Fujifilm says it will also provide an F-Log-to-Eterna Bleach Bypass LUT so that F-Log footage can be intercut with footage shot with the new film simulation.
The X-T4 has an updated version of the tone controls added in the X-Pro3. This combines the highlight and shadow controls into a single menu option with a graphic showing the shape of the modified tone curve.
On the X-T4 this has been updated to allow more subtle half-step adjustments, rather than that whole increments. As usual, there's the option to retrospectively apply these changes using in-camera Raw conversion, meaning you can precisely adjust the tone curve to match each image.
In addition to the combined tone controls, the X-T4 gains a handful of other processing options from the X-Pro3. These include the Color Chrome Effect Blue filter, which can be used to give richer blues and applied in conjunction with any Film Simulation mode.
There's also the addition of a 'Clarity' processing parameter, which emphasizes local contrast within the image to give it a bit more punch. The X-T4 also gets the Classic Neg film mode, introduced on the Pro3.
The X-T4 offers three options for Raw shooting: uncompressed, lossless compression and now 'compressed' Raw, which is a lossy option. This may sound like an odd addition, but in many situations, it may be the smart choice.
Based on the amount of space it saves, we suspect it's exploiting the characteristics of light and linear encoding. The way photon shot noise (the randomness of light) behaves means that the magnitude of noise is greatest in bright regions of the image. These are also the tones that are encoded with the greatest precision by cameras (the brightest stop of light in your image accounts for half of your available raw numbers).
Fujifilm says the quality is 'about the same as uncompressed' but there may rarely be a quality difference in the shadow regions of the image
This means the bright part of the image are encoded with more precision than necessary (there's no point in retaining very detailed information about a signal that inherently has a large variance), which means you can combine highlight data without any meaningful loss of information. Fujifilm says the quality is 'about the same as "Uncompressed"' but that 'users may, on rare occasions, see a quality difference in the shadow regions of the image.'
In addition to its Raw or JPEG options, the X-T4 gains the ability to output 8 or 16-bit TIFF files via its in-camera Raw conversion interface. These are images demosaiced by the camera but saved as large, minimally compressed 16-bit files, rather than lossy 8-bit compressed JPEGs. This would give more files that are more malleable than JPEG output, but less manipulable than Raws. A 16-bit TIFF is around three times the size of a Raw file.
The TIFFs are created from the camera's 14-bit Raw data, which makes sense, give the marginal gain of running the sensor in 16-bit mode (there's a barely measurable difference between 14 and 16-bit output on the Fujifilm GFX 100, which uses the same pixel design). But if you want high-quality, ready-to-edit files that correctly reflect the camera's Film Simulation modes and detail reproduction, rather than trusting of a third-party Raw converter, it gives you options.
Like many previous Fujifilm cameras, the X-T4 has an interval timer system but it now gains the system from the GFX 100 that ensures there aren't dramatic jumps in exposure, shot-to-shot.
The X-T4's core video spec is very similar to that of the X-T3, offering 8 or 10-bit full-width oversampled UHD or DCI 4K at up to 30p, and 60p with a crop. It gains the ability to shoot 1080 at up to 240 frame per second, that can then be output at anywhere from 23.98 to 59.97p to give anywhere between a 1/10 and 1/4 slow-down.
But there are a host of changes to the camera's interface on the video side, as well as the significant benefit of the camera's stabilization. Again, we'll cover these in more depth later in the article.
Neither Canon nor Nikon offers image-stabilized APS-C cameras, and, given this is essentially a stabilized variant of the X-T3, we think it makes most sense to compare it to other models with built-in shake reduction.
Another option to consider in this part of the market it the recently-announced Olympus OM-D E-M1 Mark III. It stacks up pretty well in this company but we selected the Panasonic Lumix DC-G9 ahead of it as the G9 comes closer to matching the X-T4's 4K 60p shooting.
|Four Thirds (225)|
|Stabilization||Up to 6.5EV||In-lens only||Up to 5.0EV||Up to 5.0EV||Up to 6.5EV
(Maintained at long FL on Dual IS lenses)
Max frame rate with AF (mech-shutter)
|15 fps||11 fps||11 fps||9 fps (12 fps in
|Max frame rate with AF (e-shutter)||20 fps||20 fps||11 fps||8 fps (12 fps in 12-bit mode)||20 fps|
|Card slots||Dual UHS-II||Dual UHS-II||Single UHS-I||Single XQD||Dual UHS-II|
|Viewfinder resolution||3.68M-dot OLED||3.68M-dot OLED||2.36M-dot OLED||3.69M-dot OLED||3.68M-dot OLED|
|Video||UHD/DCI up to 60p||UHD/DCI up to 60p||UHD up to 30p||UHD up to 30p||UHD up to 60p|
|Max bit-depth||10 bit
F-Log / HLG
F-Log / HLG
(10-bit NLog over HDMI)
|Mic / Headphone||Mic or Line-level input / Via dongle||Yes / Yes||Yes / Yes||Yes / Yes||Yes / Yes|
|Battery life (CIPA)
The Panasonic G9 was launched at $1699 in Nov 2017, its MSRP has subsequently been re-stated as $1499
As you can see, the X-T4 offers a competitive all-round spec. It promises the fastest shooting, a very durable shutter and video spec that tops even the updated G9 to the best-in-class title. The new battery gives it around a 25% advantage over most of its peers, with the notable exception being the Sony. The Olympus (not shown) is still the only camera in the class to offer a formal rating for its weather sealing.
A list price of $1699 puts it close to the likes of Nikon's Z6 and Sony's a7 III (not included here as the a6600 is a more direct competitor). Those two cameras have significantly larger sensors, which generally means there'll be situations in which they can capture more light and give better image quality. But to do so they'll tend to need larger lenses than the Fujifilm. Notably, neither of them can match the Fujifilm for its video spec.
Aug 26, 2020
Oct 27, 2020
Dec 18, 2019
Nov 27, 2019
As Fujifilm's latest flagship heaves into view, it re-opens the mystery of just what the X-H line represents, and what it means for the X-T series.
This week, Chris and Jordan compare four flagship APS-C mirrorless cameras: the Sony a6600, Fujifilm X-T4, Canon M6 Mark II and Nikon Z50. See how these great models stack up against each other.
This week we sat down (virtually) with senior executives of Fujifilm to learn more about the development of the new GFX 100S, plans for future lenses and what kind of a company they want Fujifilm to be.
The Sony a7 III and Fujifilm X-T4 aren't cameras we would normally compare head-to-head. Yet, they're two of the most popular enthusiast models available today. Watch Chris and Jordan duke it out over which one is best.
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Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform. In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media.
|IMG_750-16662-2 Dusty drive by Jill Hancock|
from Daylight Pictures of Modern Trucks in Action
|2019_0720_163302AA by old shutter bugger|
from In The Style Of EDWARD WESTON's Sitll Lifes
|Winter Days by DaveN01|
|Annas Hummingbird over Mexican Sunflower by Fishchris|
from A Big Year - Birds 2022
|Please. Don't Shoot! by Stevie Boy Blue|
from People Photography - Any Year
Sony's new 320GB and 640GB 'Tough' CFexpress Type A cards are due out next month and while the 640GB card will offer the most storage of any Type A card to date, it doesn't come cheap.
Adobe's Photoshop and Premiere Elements apps make editing photos and videos easy for users of all skill levels. The latest versions add more editing tools, more AI features and improved performance.
The Sony FX30 is an explicitly video-focused camera, but could its technology herald a refresh of the company's APS-C stills line-up? We have a look at what that might mean.
The lens offers a constant F2.8 aperture through a rather unique focal length range for full-frame camera systems. It’s expected to be available starting October 27, 2022 for $699.
Can AI overcome the physical limitations of smartphone sensors and lenses? A Qualcomm executive thinks so, thanks in large part to improvements in processing power, hardware and artificial intelligence.
We're starting to see cameras offering 'open gate' video recording, so what is this tool and when is it useful?
The Sony FX30 is a 4K/120p-capable Super35 / APS-C cinema camera that wants to take the battle to the likes of Panasonic's GH series.
Sony's new FX30 Super35/APS-C Cinema Line camera is effectively a crop-sensor version of the company's full-frame FX3 camera with sensor-based image stabilization, oversampled 4K/60p capture and '16-bit' Raw output and more.
If you've ever wanted to become an action figure, Hasbro is providing you the opportunity with its new 3D-printed Selfie Series action figures.
When you store photos on the cloud, you expect them to remain safe for a long time. However, some Google Photos users were scared over the weekend when they realized that their photo libraries had become corrupted.
DALL-E's Outpainting feature uses AI to expand existing images and artwork. Ad agency Ogilvy Paris has used Outpainting to expand Johannes Vermeer's famous painting, 'The Milkmaid.'
iOS 16.0.2 addresses, amongst other bug fixes, a problem wherein the second-generation sensor-shift image stabilization tech was causing camera shake issues in some third-party apps.
For the past eight years, the Library of Congress has been working on figuring out the subjects in a large collection of film, TV and music photos. Many of the mysteries have been solved. However, 17 photos have eluded the LC's best efforts, and the public's help is needed to help put names to the final unknown faces.
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Sigma's latest wide Art-badged prime for full frame is capable of some stunning landscapes. Check out a new batch of sample photos in the gallery.
Winners for this year's annual Comedy Pet Photo Awards have been announced.
While visiting the team in Seattle, Chris and Jordan attempt to eat some chowder. It's difficult. Also, this week they are puppets.
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The Canon 5D Mark II was released in November 2008. Since then, a photographer used theirs to capture nearly 2.3 million images, which is an average of about 450 photos per day if they shot every single day. The camera is still going strong for its new owner.
Capture One for iPad users cvan now connect their camera, wired or wirelessly, to their iPad for quick image transfers without the need for memory cards and readers.
Digital film scanners can be pricey, so Lomo's latest scanners let shooters do it themselves. Whether you have a digital camera, or simply a smartphone, there's a DigitaLIZA that'll work with your kit. But are the results any good? Let's find out.
The Leica Q2 'Dawn' is the same camera on the inside, but features an all-black paint job and a special Japanese-woven fabric wrap produced by Japanese brand, Hosoo.
It's been a while since we've a lens with a normal to super-telephoto range, how do the photos from the Tamron 50-400mm F4.5-6.3 look? Take a gander.
Also new is a built-in screen for checking the battery and shooting mode, as well as a Quick Launch feature for iPhone devices.
Venus Optics' Laowa 58mm F2.8 2x Ultra-Macro APO is available for Canon R, Leica L, Nikon Z and Sony E mount camera systems.
Kubrick had three of the ten Zeiss Planar 50mm F0.7 lenses Zeiss produced re-engineered to work as cinema lenses. Kubrick is most known for using these lenses in a candlelit scene in his Oscar-winning film, Barry Lyndon.
As part of our review of the Canon EOS R10, we've shot our standard studio scene to let you see how the new camera compares to its peers and predecessors.
The ultra-telephoto zoom offers a 225-750mm full-frame equivalent focal length.
In addition to a forthcoming 70-180mm F2.8 lens (which looks like it could be another reworked Tamron lens), Nikon revealed it's working on a 12-28mm PZ lens for APS-C Z-mount cameras as well as a pair of fast primes: a 35mm and a 135mm.