Fujifilm has announced two new cameras: the GFX 100S medium format mirrorless camera, and the X-E4 an X series mirrorless APS-C sensor camera body. Both have an impressive specification seen in flagship models, squeezed into a smaller build. The full feature set of the GFX100 has been re-engineered to fit within the smaller, lighter body of the new GFX 100S. In a similar fashion the X-E4 has the same sensor and processor as the flagship X-Pro3, again in a more compact design.
Both camera bodies are more affordable then their flagship counterparts making them lighter on the wallet as well as lighter in your camera bag.
New Fujifilm camera bodies: GFX100S (left), X-E4 (right)
Fujifilm GFX100S Features
The GFX100S has at its heart a 102 megapixel medium format sensor. The sensors in the Fujifilm GFX series are 1.7x larger than the full-frame 35mm sensor seen in Canon, Sony and Nikon flagship bodies. Medium format digital sensors offer a different quality of image closer to that achieved with medium format analogue camera bodies such as the film cameras from Hasselblad, Mamiya and Fujifilm in the past. A large lens mount is needed for such a large sensor and the GFX100S has a reinforced chassis which is 1mm thicker around the mount while the camera is overall 500g lighter than the GFX100. The increased density at the lens mount gives greater support for larger GF lenses.
X-Processor 4 is the engine behind the impressive 102 megapixel sensor. It powers the on-sensor phase detection auto-focus making this camera versatile, accurate and very fast. The shutter unit has been re-designed and the in-body image stabilisation (IBIS) unit is a new design which is 20% smaller and 10% lighter than the IBIS in the GFX100 while delivering 6 stops of image stabilisation.
The large sensor is also capable of recording 4k30p video at 16:9 or 17:9 aspect ratios, and can record 10 bit F-Log to an internal SD card or output 12bit ProRes RAW via the HDMI port to an external recorder. 12 bit RAW footage can be output via HDMI to an Atomos Ninja V recorder to eliminate in-camera image processing and offer you freedom to make decision in post.
Fujifilm X-E4 Features
The Fujifilm X-E4 is a lightweight, rangefinder-styled camera built around the latest X-Trans 26.1MP CMOS 4 sensor and the X-Processor 4. With Fujifilm’s latest sensor and processor combined the X-E4 inherits features from the most recent Fujifilm cameras, including an updated AF system, 4K video recording and fast burst shooting rates. If you shoot to JPEG, there are now eighteen of Fujifilm’s film simulation modes to choose from.
The X-E4 has a tilting LCD screen which can be flipped to 180 degrees for forward facing monitoring. The AF system can achieve focus in 0.02 seconds and uses an advanced tracking algorithm to hold focus on moving subjects.
When recording video the X-E4 oversamples 6k footage to record 4k30p 4:2:0 8-bit in camera, or to output 4k30p 4:2:2 10-bit via HDMI.
What’s the best thing about being a Fujifilm photographer? Well, there’s the retro styling of all the chic mirrorless cameras, there’s the tactile control system that makes photography fun again, there’s the film simulation modes that harken back to the photography of yesteryear. But if we were pushed, we’d have to say it’s the lenses.
Fujifilm has a fantastic range of lenses in its X series. Pin-sharp and fast-focusing, its lenses cover a comprehensive range of focal lengths, ensuring all photographers and videographers are catered for. Fuji has done a terrific job of filling out both its high-quality professional end and its affordable entry-level end, so there really is something for everyone.
This does mean, of course, that there are quite a few lenses, and it can be tricky to know where to start. We’ve put together this guide to pick out the best optics at every focal length so you can easily find the lens that’s right for you. We’ve picked out our absolute favourites from the current crop, and where appropriate, we’ve identified alternatives you can also look at if the lens we’ve picked isn’t quite right for you.
XF or XC?
You may have seen that Fujifilm lenses mostly come with the designation XF, however there are a few that are denoted “XC”. What’s the difference? XF lenses are the flagships of the range, and almost certainly the ones that professional and enthusiast photographers will mostly be concerning themselves with. XC lenses are the smaller, lighter and more affordable lenses in the system, providing slimmed-down and cheaper alternatives for popular focal lengths. The XC range is still relatively young, and there are only a few optics in the series so far. We’ve dealt with XF lenses first in this guide, and included the XC lenses at the end for those who are looking for a budget option.
A note on sensor size
Remember, Fujifilm X cameras come with APS-C sensors. This means that the focal lengths printed on the box of each lens aren’t precisely what you get – there’s a crop factor involved. While we’ve detailed many of the equivalent focal lengths throughout the guide, a handy thing to remember is the “1.5 Rule” – when mounted on a Fujifilm X camera, every one of these lenses will provide an effective focal length roughly 1.5x larger than its official designation.
So, a 50mm lens mounted on, say, the X-T30, will behave like 75mm. A 23mm lens will behave like a 35mm, and a 100-400mm zoom will act like a 152-600mm lens. It’s pretty easy to get used to – just worth remembering when you’re calculating what kind of lens you need.
Right, let’s get to the lenses!
XF prime lenses
XF 16mm F1.4 R WR
Fujifilm’s professional wide-angle prime, the XF 16mm F1.4 R WR is a rugged and versatile lens designed to provide a wide field of view in all situations. It’s weather-resistant and light, weighing just 375g, and also sports a 15cm close-focusing distance. This means it’s as useful for getting close-up images as it is for wide-expansive views.
The maximum aperture of f/1.4 makes it easy to produce images in low light, or with a shallow depth of field and vivid bokeh. Constructed of 13 elements in 11 groups, the XF 16mm F1.4 R WR also uses elements with Nano GI Coatings for faultless light transmission and superior edge-to-edge performance.
Also consider: For the same wide-angle prime on a tighter budget, try the XF 16mm F2.8 R WR, which has a smaller maximum aperture but retains the weather-resistant build. Alternatively, for a wider perspective, there’s the XF 14mm F2.8 R, which comes at a similar price point to the f/1.4.
XF 23mm F1.4 R
Another of the type of fast and wide prime that Fujifilm makes so well, the XF 23mm F1.4 R bears an equivalent focal length of 35mm (remember the 1.5 rule), which makes it an ideal choice for general-purpose documentary shooting. It’s designed to make it easier to compose sublime images on the fly, with a camera-to-subject distance indicator and depth-of-field scale on its barrel.
Great for shooting stills and movies alike, the XF 23mm F1.4 R focuses quickly and is great for low light thanks to its large f/1.4 aperture. The metal fittings and finish give it a real premium feel and improve the torque, making this a perfect lens for the kind of shooting where you never know what to expect next.
Also consider: Fujifilm makes some high-quality and affordable f/2 primes in similar focal lengths – the XF 18mm F2 R and XF 23mm F2 R WR. Both are a great choice for the more budget-conscious photographer.
XF 35mm F1.4 R
The APS-C factor puts this 35mm lens into equivalent territory of about 53mm, making it a great all-around lens for those who want to produce a naturalistic perspective. Fast with an f/1.4 maximum aperture, this lens is just about long enough to be used for portraiture as well as other types of shooting. It’s an ideal choice for weddings and events, where you sometimes want to get wide and at other times want to get close and personal, all without sacrificing the quality of a prime.
Durably built, the XF 35mm F1.4 R is immensely satisfying to handle and use. It produces sharp images with beautiful bokeh – the perfect choice for ultimate artistic expression.
Also consider: The XF 35mm F2 R WR provides the same focal length in a cheaper package, with the trade-off being a narrower maximum aperture. Or, for a slightly wider perspective, try the XF 27mm F2.8, a pancake lens that weighs an unbelievably slender 78g!
XF 50mm F1.0 R WR
Also known as “the one” due to its shallower-than-ever maximum aperture of f/1.0, the XF 50mm F1.0 R WR is an astounding feat of optical engineering. Providing an equivalent focal length of about 75mm, it’s a perfect lens for portraits, able to produce beautifully striking images with delicious bokeh.
Manual focus on this lens has been improved compared to previous similar primes, making it ideal for getting your images sharper than sharp. Though, of course, there’s also the DC autofocus motor for those who like their focusing fast and automated, Weather-sealed in 11 places, the XF 50mm F1.0 R WR is a great choice for outdoor work even in difficult conditions. Experience the ultimate in depth of field control.
Also consider: Fujifilm makes other lenses around this focal length, including the seriously impressive XF 56mm F1.2 R and XF 56mm F1.2 R APD – two virtually identical lenses whose key difference is that the latter includes an apodisation filter, which smooths out lines in out-of-focus areas for incredibly smooth bokeh. As a budget option, there’s also the XF 50mm F2 R WR, which as well as being cheaper is also much lighter than its large-aperture cousin.
XF 80mm F2.8 R LM OIS WR Macro
Fujifilm has catered well to those who enjoy close-up shooting, and one of its finest optics is the XF 80mm F2.8 R LM OIS WR Macro. With a 1:1 reproduction ratio, this is a “true” macro lens, and it also has a built-in optical stabiliser that provides up to five stops of effective compensation. This means that, unlike many macro lenses, it can be taken out and used hand-held in the field with ease! No need for a complex tripod setup – just search and shoot.
With an equivalent focal length of about 120mm, this is also a solid general-purpose telephoto, producing pin-sharp images thanks to its sophisticated optical construction of nine elements in six groups. The lens is also weatherr-resistant – perfect for roaming outdoors to look for macro subjects!
Also consider: The XF 60mm F2.4 R Macro, a more affordable telephoto macro with a 1:2 image reproduction ratio.
XF 200mm F2 R LM OIS WR
The pro-level telephoto of the Fujifilm stable, the XF 200mm F2 R LM OIS WR provides the kind of image quality demanded by professional photographers. With a focal length equivalent to about 305mm in full-frame equivalent terms, it’s the best lens to choose if you plan to shoot sports or wildlife with Fujifilm X-series cameras.
The magnesium-alloy barrel of the lens is resistant to dust and moisture, making it solidly suited for outdoor work, and it also sports an Arca-Swiss tripod mount for added stability. The five-stop image stabiliser also improves the latitude for handheld shooting, and the autofocusing is fast, smooth and highly accurate. This is a seriously capable lens designed for those who want to get the utmost out of flagship Fujifilm cameras like the X-T4.
XF Zoom lenses
XF 8-16mm f2.8 R LM WR Lens
The widest lens in Fujifilm’s stable, the XF 8-16mm f2.8 R LM WR Lens is perfect for getting out there and producing some amazing, unforgettable landscapes. That constant f/2.8 aperture also puts nightscapes in play, and thanks to its sophisticated construction, the lens produces images that are pin-sharp right the way across the frame. Aspherical elements control for distortion and spherical aberration, while the ED and Super ED elements take care of chromatic aberration. There’s also a double Nano-GI coating to eliminate ghosting and flare, and while you may not be chasing too many speedy subjects with this optic, having linear motors for the focusing system is no bad thing
XF 10-24mm F4 R OIS WR
One of the newer lenses in the Fujifilm stable, the XF 10-24mm F4 R OIS WR provides a useful wide focal range that’s great for landscapes, architecture and street shooting. The weather-resistance of this lens has been improved compared to previous Fujifilm optics, allowing you to have greater confidence when out and about even in difficult conditions. The optical image stabilisation is a 3.5-stop version; however, when it’s paired with certain sophisticated Fujifilm bodies like the X-T4, this gets bumped up to 6.5 stops.
Constructed from 14 glass lens elements in 10 groups, the XF 10-24mm F4 R OIS WR features a number of aspherical and low-dispersion glass elements to help improve sharpness and remove distortion.
XF 16-55mm F2.8 R LM WR
Kit lens, but make it fancy. The XF 16-55mm F2.8 R LM WR is a premium version of the do-it-all focal range that everyone gets with their first camera. As such, it’s a great choice for general-purpose, documentary-style shooting, with a constant aperture of f/2.8 that makes it super-versatile. The nine-bladed aperture gives you the option to create smooth bokeh, putting portraiture in play, and images are sharp from edge to edge, right the way through the zoom range.
Also consider: The XF 18-55mm F2.8-4 R LM OIS is a more affordable version of this lens, sacrificing the constant aperture. Alternatively, if you need a similar range with more latitude at the telephoto end, try the XF 16-80mm F4 R OIS WR.
XF 50-140mm F2.8 R LM OIS WR
With incredible versatility, the XF 50-140mm F2.8 R LM OIS WR is a high-performance telephoto zoom designed for action photographers. Its inner focusing system allows for high-speed autofocus that keeps up with fast subjects, using a Triple Linear Motor for speed, silence and precision.
The lens also employs an optical stabilisation system, giving you more latitude when shooting handheld, and the internal optical construction is highly sophisticated. Twenty-three glass elements in 16 groups combine to deliver corner-to-corner sharpness, with five ED lens elements and one Super ED lens element to effectively minimise aberration and distortion. Dependable quality in a tough, weather-resistant body – this is a lens you can rely on.
Also consider: The XF 18-135mm F3.5-5.6 R LM OIS WR, which gives you more wide-angle to play with, and is available at a lower price. If you can do without that constant f/2.8 aperture, this is a bargain. Alternatively, if you want more telephoto to play with, there’s the XF 55-200mm F3.5-4.8 R LM OIS, which packs a reasonable amount of tech into a lens with a low price tag.
XF 100-400mm F4.5-5.6 R LM OIS WR
We love a 100-400mm, and the Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR (well, all right, it’s a 152-600mm lens in equivalent terms) is one of the finer examples of the genre. Able to cope in harsh shooting conditions, it features 13 weather seals at 12 points, and sports a fluorine coating on its front element that repels dust and water. It’s also equipped with a five-stop image stabiliser for easier handheld shooting; if this stabiliser detects that the user is panning, it’ll switch to correcting on the vertical plane only.
The optical construction consists of 21 elements in 14 groups, with five ED lenses and one Super ED lens. This, according to Fujifilm, delivers results comparable to a fluorite lens, and reduces axial chromatic aberration to produce vivid images that are sharp across the frame. Despite all this, the weight of the lens is just 1.4kg, which is lighter than many lenses of comparable focal length.
XC lenses
XC 35mm F2
A no-fuss prime that delivers an equivalent focal length of 52mm for less than £200. This is a fantastic budget addition to a kit bag, that’s also light to carry and highly portable.
XC 16-50mm F3.5-5.6 OIS II
Surprisingly sophisticated for a lens at this price point, the XC 16-50mm F3.5-5.6 OIS II boasts a construction of 12 all-glass elements in 10 groups. Images look fantastic, and having 1/3-step exposure control enables you to get pleasingly precise.
XC 15-45mm F3.5-5.6 OIS PZ
At 135g, this is the lightest zoom lens across the entire X series. The zoom mechanism is electric, producing a smoother action that’s great for video as well as stills. Light on the back and light on the wallet.
XC 50-230mm F4.5-6.7 OIS II
Though the maximum aperture drops off pretty sharply towards the tele end, this is still a very impressive lens for its price. Giving you enormous zoom latitude, the XC 50-230mm F4.5-6.7 OIS II also incorporates a stepping motor and optical image stabilisation.
Now that optical technology is improving and lenses like the 100-400mm are getting lighter and lighter, carrying a broad-range telephoto zoom lens is starting to make more sense than carrying around multiple lenses.
Many news and sports photographers swear by their 100-400mm lenses – we recently spoke to Times photographer Richard Pohle to get the lowdown on why he loves his so much – which is why we’ve put together this guide to the various 100-400mm lenses that are available for different systems.
Each lens has its own characteristics and strengths, which are worth being aware of before you jump in with both feet. In our guide, we’ve included the best of the best for all the major pro systems – Canon EF, Nikon F, Sony FE, Fujifilm X and Canon RF – as well as a few third-party options for those who are looking to pick up a great lens on a budget.
Canon EF
Canon EF 100-400mm f/4.5-5.6L IS II USM
Canon EF 100-400mm f4.5-5.6 L IS II USM
Construction: 21 elements in 16 groups Image stabilisation: 4-stop Optical Stabiliser Minimum focusing distance: 0.98m Weather-sealing: Yes Weight: 1,640g
Refining and perfecting a formula that was already pretty darn great to begin with, the Canon EF 100-400mm f/4.5-5.6L IS II USM is the second version of the firm’s 100-400mm lens for EF mount, and it’s a professional-grade optic for the working photographer.
Exceptionally sharp thanks to its sophisticated optical construction, the EF 100-400mm f/4.5-5.6L IS II USM uses a rotating zoom mechanism, rather than the push-pull design of previous models, making it easier and more intuitive to operate. This rotation incorporates a Zoom Touch Adjustment Ring, which can be customised to suit the user’s preferred feel of zoom control. Image quality is outstanding, autofocus is zip-fast thanks to the USM motor, and Canon also includes its 4-stop Optical Stabiliser, making the lens even more useful when shooting handheld.
Weather-sealed for outdoor shooting, the Canon EF 100-400mm f/4.5-5.6L IS II USM is an exceptional tool for any Canon-shooting pro who needs reach, quality and flexibility.
Nikon F
Nikon AF-S 80-400mm f/4.5-5.6G ED VR
Nikon 80-400mm AF-S Nikkor f4.5-5.6G ED VR
Construction: 20 elements in 12 groups Image stabilisation: 4-stop Vibration Reduction Minimum focusing distance: 1.5m Weather-sealing: No Weight: 1,570g
The Nikon AF-S 80-400mm f/4.5-5.6G ED VR gives you slightly more latitude to play with, with a focal range that starts at 80mm rather than the more common 100mm. Designed for use with the firm’s FX-format SLRs, it’s very much a professional lens for the serious user, boasting such features as Vibration Reduction (VR) system for minimising camera-shake, and the Silent Wave Motor (SWM) that enables fast and accurate autofocus.
Nikon has included 4 ED (Extra-low Dispersion) glass elements and one Super ED glass element in the optical construction of the lens in order to ensure top-notch sharpness, while the inclusion of Nano Crystal Coat helps to minimise flare and ghosting, even when you’re shooting into the light.
Sony E
Sony FE 100-400mm f/4.5-5.6 G Master OSS
Sony FE 100-400mm f4.5-5.6 G Master OSS
Construction: 22 elements in 16 groups Image stabilisation: Optical SteadyShot Minimum focusing distance: 0.98m Weather-sealing: Yes Weight: 1,395g
Sony’s G Master lenses are some of the finest optics around, and the FE 100-400mm f/4.5-5.6 G Master OSS is an exceptionally good lens for anyone lucky enough to be using a full-frame Sony E-mount camera. Its impressively innovative autofocusing system combines floating focus with a double linear motor and a Direct Drive SSM system, making for super-fast and accurate autofocus.
The inclusion of Sony Nano AR coating eliminates flare and ghosting in images, while the lightweight magnesium-alloy construction means it’s lighter to carry than both the Canon and Nikon optics above. Creating super-silky background bokeh is a cinch thanks to the nine-bladed aperture and ED glass elements, making it an ideal lens for wildlife portraiture or sports shooting.
Professional grade, powerful and portable, the Sony FE 100-400mm f/4.5-5.6 G Master OSS really is one of the best 100-400mm lenses around.
Fujifilm X
Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR
Fujifilm XF 100-400mm f4.5-5.6 R LM OIS
Construction: 21 elements in 14 groups Image stabilisation: 5-stop image stabilisation Minimum focusing distance: 1.75m Weather-sealing: Yes Weight: 1,375g
As the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR works with Fujifilm X cameras, which have APS-C sensors, its “true” focal length is actually 152-609mm, giving you a little extra telephoto reach that’s useful for wildlife photography. The lens is thoroughly kitted out for outdoor photography, with a construction that features 13 water- and dust-resistant seals at 12 points, and can operate in temperatures as low as -10°C.
Lightweight and speedy, with a five-stop stabilisation system, the lens is great for picking out fast-moving targets and producing images full of vibrant details and contrast. Also, thanks to the maximum magnification of 0.19x, the lens can be used as a telephoto macro, opening up plenty of interesting possibilities.
A super-telephoto made with the attention to detail and quality that Fujifilm are known for, the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR lets you push the X system even further.
Canon RF
Canon RF 100-500mm f4.5-7.1 L IS USM Lens
Canon RF 100-500mm f4.5-7.1 L IS USM
Construction: 20 elements in 14 groups Image stabilisation: 5-stop image stabiliser Minimum focusing distance: 0.9m Weather-sealing: Yes Weight: 1,530g
The first super-telephoto zoom for the RF system, Canon actually gives range-hungry shooters an extra bit of focal length to play with, as this lens runs from 100mm to an impressive 500mm.
If you’re planning to shoot sports of wildlife images then you’re pretty much set for life here. The Canon RF 100-500mm f4.5-7.1 L IS USM’s construction incorporates Super UD and UD elements for a superior image free from distortion, while ASC coatings control for unwanted reflections. It’s easy to control functions with the customisable control ring, while the body is also sealed to dust and water, with an additional heat shield coating. If you need to push the focal length still further, it’s also compatible with Canon’s RF 1.4x and 2x extenders.
The next generation of optics looks to be in good hands, with the Canon RF 100-500mm f4.5-7.1 L IS USM Lens representing an exciting new frontier of imaging.
Third-party 100-400mm lenses
Tamron 100-400mm f/4.5-6.3 Di VC USD
Tamron 100-400mm F4.5-6.3 Di VC USD
Available for: Canon EF, Nikon F
Construction: 17 elements in 11 groups Image stabilisation: 4-stop Vibration Compensation Minimum focusing distance: 1.5m Weather-sealing: Yes Weight: 1,120g
A budget alternative for those who don’t want to pay the premium for Canon or Nikon’s own 100-400mm lenses, this Tamron optic ticks a huge number of boxes for a lens of its price. As well as including features like four-stop Vibration Compensation and a minimum focusing distance, it’s also sealed against dust and moisture.
Autofocus performance is quick and accurate thanks to the USD (Ultrasonic Silent Drive) and Dual MPU (Micro-Processing Unit) control system, while three LD (Low Dispersion) lens elements help to reduce aberration and distortion. The lens also sports an eBAND coating to reduce unwanted reflections, for clean and crisp images.
Despite its budget price, this is a seriously impressive lens, and any Canon or Nikon user looking to save some cash should definitely consider it.
Sigma 100-400mm f5-6.3 DG OS HSM Contemporary
Sigma 100-400mm f5-6.3 DG OS HSM Contemporary
Available for: Canon EF, Nikon F, Sigma
Construction: 21 elements in 15 groups Image stabilisation: Optical stabiliser Minimum focusing distance: 0.16m Weather-sealing: No Weight: 1,160g
Another budget-friendly lens that’s definitely worth considering for Canon and Nikon users, the Sigma 100-400mm f5-6.3 DG OS HSM Contemporary Lens is designed around providing the user with as much shooting flexibility as possible. This means that as well as that generous focal range, you also get a choice between a twist or push-pull zooming action, an algorithm-based optical stabiliser, and an impressively short minimum focusing distance of just 160cm, which puts close-up shooting in play. And with a maximum magnification ratio of 1:3.8, this lens is very much capable of macro imagery.
The Hypersonic Motor provides quick and quiet autofocus,and the incorporation of four Special Low Dispersion (SLD) elements reduces colour fringing and chromatic aberrations for a final image that’s clear, sharp and full of contrast.
The value for money you get with the Sigma 100-400mm f5-6.3 DG OS HSM Contemporary is truly fantastic, and makes it pound-for-pound one of the most enticing 100-400mm lenses around.
Sigma 100-400mm f/5-6.3 DG DN OS
Sigma 100-400mm f5-6.3 Contemporary DG DN OS
Available for: Sony E, L-mount
Construction: 22 elements in 16 groups Image stabilisation: Optical stabiliser Minimum focusing distance: 1.12m Weather-sealing: Yes Weight: 1,135g
This lightweight 100-400mm lens is basically the rough equivalent of Sigma’s other Contemporary lens, but this one for mirrorless shooting. It comes in Sony E and L-mount fits, and is much lighter than a typical lens of its type, weighing in at just 1,135g. Despite its impressively budget price, the lens packs in plenty of upscale features: there’s the stepping motor autofocus system that’s fast and practically silent, there’s the electronically coupled manual focus ring, there’s the choice between push-pull or twist-action zoom.
We could go on. And we will – the Sigma 100-400mm f/5-6.3 DG DN OS also sports an optical stabiliser that’ll give you about four stops of compensation, and an impressive optical construction that ensures the lens punches well above its weight in terms of image quality.
This is an excellent telephoto zoom, and at a bargain price to boot.
The Fujifilm X-T4 is a compact mirrorless camera body with a 26.1 megapixel, APS-C sensor. New materials and new technology are employed to make the X-T4 an amazing camera with in body image stabilisation and longer battery life.
Fujifilm state that the X-T4 is the pinnacle of the X series. The 26.1 megapixel APS-C sensor will reproduce excellent details while maintaining high continuous shooting speeds and high definition 4K video recording. The Fujifilm X-T4 has launched at £1,549 in black or silver. See it for yourself in our showroom on Friday. For more information or to place an order call the sales team on 0207 582 3294 or email us at sales@fixationuk.com
New developments in detail:
New developments have been made to the: Shutter unit, AF Algorithm, image stabilisation (new to the X-T series), film simulation modes, camera battery.
IBIS – In Body Image Stabilisation
Highly anticipated, an IBIS system has been on the Fujifilm photographers’ wish list for a long time. The Fujifilm X-H1 had the first version of the technology for Fujifilm, but it required a larger chassis. The X-T4 is the first X-T series body to feature the technology and the newly designed sensor stabilisation is 8x more sensitive, 30% smaller and 20% lighter than the unit found in the X-H1.
The world’s fastest shutter
The new shutter in the Fujifilm X-T4 can shoot up to 15 frames per second, faster at the time of writing, than any other mirrorless APS-C or larger-sensor mirrorless camera. In normal use, when shooting with live-view, the fastest speed is 8 frames per second. The shutter’s shock-absorbing structure has been re-designed to aid the IBIS system’s stabilisation. The new shutter is 30% quieter than the X-T3, and it is more durable. The X-T4 shutter is rated up to 300,000 actuations.
AF Algorithm
Tracking AF has been dramatically enhanced with double the AF tracking success rate of the X-T3. The Face / Eye AF performance has also been improved in the X-T4. This enhanced tracking makes focussing and shooting portraits easier than ever before.
ETERNA bleach bypass
This new film simulation mode emulates an alternative colour film processing technique. The result is low saturation and high contrast images straight from the camera. The technique it is based on skips a bleaching stage in traditional colour film processing which would removes the silver (black and white) particles in the film adding more grain. Fujifilm digital cameras feature a wide range of film simulation options.
Battery Life
The FujiFilm X-T4 uses a new battery, the NP-W235 has 1.5x the capacity of the NP-W126s, which powered the X-T3. In Fujifilm tests the new battery will power the X-T4 for 500 frames per charge. The optional VG-XT4 battery-grip holds two additional batteries. This can increase the battery live to 1,700 frames.
For more information, to request a quote or to place an order call the sales team on 0207 582 3294 or email us at sales@fixationuk.com
Thinking of starting a YouTube channel, or sharing videos of your exploits on Facebook, Instagram or another social media platform? Then you’ll want to pick up one of the best cameras for vloggers.
When you’re looking for a great camera for vlogging, there are a number of different factors you have to consider. It’s a given that you need the camera to be able to capture high-quality video, in at least Full HD if not 4K, but there are other things too.
A good vlogging camera should have an external microphone socket so that you can produce top-quality sound for your videos (most cameras’ on-board mics simply won’t cut it for anything but the most amateurish productions). It needs a decent LCD screen for monitoring, should have solid battery life, and ideally shouldn’t be too large and bulky, as you’ll be taking it with you to shoot on location.
People buy vlogging gear for all different reasons – maybe you’re planning to start a YouTube channel, maybe you want to offer your clients an additional service, or maybe you just fancy mucking about with some behind-the-scenes videos of your shoots.
Previously in our vlogging cameras series we looked at a fantastic option – the Nikon D7500. Now we’ve got another recommendation to share with as one of the best choices for vloggers, this time a mirrorless camera. Today’s recommendation is the Fujifilm XT-2 with the VPBC-XT2 battery grip.
Read on as we discuss why in more detail.
Why the Fujifilm X-T2 is perfect for vloggers
Those of you who keep up with your camera news might be thinking this a slightly odd choice, given that Fujifilm has since released the X-T3 and X-T30. However, the X-T2 is still a fantastic camera in its own right, and all the subsequent releases mean it’s only going to get more affordable.
The video quality of the X-T2 is more than enough for vlogging. It was the first Fujifilm X-series camera to show that Fuji was really taking video seriously – that’s why it shoots 4K UHD (3840 x 2160) video at a bit rate of 100Mbps, all of which represents a considerable jump from the X-T1. Its footage looks simply fantastic, rendering beautifully thanks to the 24.3MP X-Trans CMOS sensor, and the 3-inch rear display with 1.04million dots makes monitoring your shots a matter of ease. The X-T2 also has a 3.5mm microphone port, meaning it’s easy to attach a shotgun microphone to bump up your sound quality and really improve your footage.
As mentioned earlier, we’re specifically recommending the X-T2 with the optional VPBC-XT2 battery grip. This accessory transforms the camera from a decent vlogging camera into an exceptional one, and if you’re serious about vlogging with the X-T2 we’d go so far as to say it’s essential.
This is for two reasons: #1 the VPBC-XT2 battery grip contains an external headphone socket for monitoring your audio. And #2, the grip extends the X-T2’s maximum 4K recording time from 10 minutes to 29 minutes. Either of those by themselves would be enough to make the battery grip a worthy purchase – put them together and they make it essential.
There are plenty more features we can list on the X-T2 – it has an HDMI output, audio volume live monitoring and dual card slots compatible with UHS-II – but the other thing perhaps most worth flagging up is that it is stylishly and ergonomically designed to be easy to use (with dial-led controls) and to look good too. Lightweight and rugged, the X-T2 is a camera that’ll keep up with you no matter where your vlogging adventures take you.
An ideal vlogging setup with the Fujifilm X-T2
We’ve put together a recommended vlogging setup for getting started with the Fujifilm X-T2. While we encourage experimentation and finding a setup that works for you, here is our selection of accessories you can use to make your shoots run a little more smoothly:
– Get a decent wide lens with a large maximum aperture. This will allow you to gather plenty of light and create shallow depth of field, as well as ensuring that the image you produce is of top quality. Something like the Fujifilm XF 35mm f2 R WR Fujinon Lens is a good choice, providing an equivalent focal length of about 50mm.
– Add the VPBC-XT2 battery grip (pictured above) to make your shoot last longer.
– A good microphone that can take advantage of the X-T2’s 3.5mm mic socket. We recommend the RØDE VideoMic GO, a portable and powerful microphone that’ll easily fit in your kit bag.
– Get multiple UHS-II memory cards. The X-T2 has two powerful card slots – use them! Get a couple of SanDisk Extreme PRO UHS-II cards in your preferred size (we’d recommend going as high as your budget allows).
– A tripod that’s geared for video. Stable but lightweight, with a head that enables smooth movement. The Manfrotto 500 Video System is a good choice.
– A pair of monitoring headphones for keeping an eye (an ear?) on your sound. You can’t go wrong with a pair of Roland RH-5 headphones.
– A video light. This doesn’t have to be expensive, but is useful to have in a pinch. Something light the Rotolight NEO II is ideal.
That’s all for the Fujifilm X-T2! We’ll see you for the next instalment of our vlogging kit series.
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