The Fujifilm X-T4 sports class-leading autofocus, a 26MP APS-C sensor, stellar image processing, 4K video, and a stabilized image sensor. Outside of full-frame models, you won't find a better camera.
Amazon UK
£1399
PROS
Pro-grade, dust- and splash-protected body
Excellent EVF
Articulating LCD
15fps mechanical shutter
Improved battery
Excellent in-camera film looks and Raw processing
Stabilized image sensor
4K at 60fps
CONS
Some might not like flip-out screen
Omits standard headphone jack (though a dongle is included)
Smallest tracking focus area not that small
The Fujifilm X-T4 ($1,699.95, body only) is getting a lot of buzz from enthusiast and pro photographers alike, and with good reason: It's the first X-T camera to feature in-body image stabilization (IBIS). In addition to that headline feature, it offers improved battery life, autofocus, continuous shooting performance, and handling versus the previous-generation X-T3. It's a class-leading product, and the best smaller-than-full-frame sensor camera you can get. In addition to earning our Editors' Choice award, it's also worthy of a full five-star rating.
Editors' Note: Some images and video in this story were captured with a pre-production camera.
A Bigger X-T3
The X-T4 has a bigger battery than the X-T3 and adds stabilization to the image sensor, so it's understandably a little bit bigger, but not by much. The X-T4 is a smidge taller and the grip is a little deeper, but its 3.7-by-5.3-by-2.5 inch (HWD) frame is still more compact than you get with a similarly outfitted SLR, like the Nikon D500 (4.5 by 5.8 by 3.2 inches, 1.9 pounds).
The camera is also a little bit heavier than the 1.2-pound X-T3, coming in at 1.3 pounds when loaded with a battery and memory card. The body itself is magnesium alloy, with a leatherette wrap and extensive sealing to protect from dust and splashes. Many, but not all, of Fujifilm's lenses are similarly protected.
I haven't had the opportunity to use the X-T4 in heavy precipitation, but had absolutely no hesitation to put the camera under the kitchen faucet for a test. It passed with flying colors, continuing to rattle off shots in the simulated rainstorm. A sealed lens is a requirement if you want to take advantage of the weather protection.
The X-T4 is sold in all black, which we received for evaluation, as well as a silver body with black leatherette. There are two kit options, one with the XF 18-55mm for $2,099, and another with the weather-protected XF 16-80mm for $2,199. I've been using the camera with the XF 16-80mm and find the pair to be a delight—I absolutely recommend it if you're shopping for a standard zoom with the camera.
An in-body flash is omitted, which isn't surprising. The X-T series has never had one, and the feature has disappeared from cameras targeted at enthusiasts and professionals. If you want the convenience of a small flash, Fujifilm sells the camera-powered EF-X8 for just $39, and there are more powerful strobes available for more money, though they require their own batteries.
A True Hybrid for Stills and Video
The addition of IBIS and a flip-out screen make the X-T4 a more appealing choice for handheld video use than the X-T3, which omits both. Previously, that role was filled by the X-H1, a 2018 model that is no longer in production. Fujifilm confirmed that an X-H2 is under development in an interview with DPReview's Barney Britton, but it's anyone's guess as to when it will arrive.
XF 100-400mm, 158.8mm, f/4.8, 1/125-second, ISO 2000
The X-T4 doesn't have the X-H1's very deep handgrip or top information display, but it pushes the concept of a hybrid stills-video camera further. Its sensor is a generation newer, so it can push 60 frames per second at 4K and up to 240 frames at 1080p, and it wisely lets you dial in different settings for each medium, flipping between the two with a single toggle switch.
The flip-out screen adds some appeal as a vlogging camera. It's easy enough to point the lens in your direction, turn on Face Detection focus, and record walk-and-talk videos. I used the in-camera mic for a quick test of the feature, but influencers will no doubt want to add an external microphone for better audio quality.
The IBIS keeps footage steady, and there's an additional digital stabilization effect available to improve things further. It comes at the cost of some coverage, introducing a 1.1x crop. Because of this, you may want to reach for a wide lens, like the XF 10-24mm F4, if you want your walk-and-talks to show more of the world around you.
Hands-On Control
Photographers invested in Fujifilm are familiar with the dial-forward approach the company takes to its control surfaces. The X-T4 doesn't stray, with dials on top to set ISO, continuous drive, shutter speed, and EV. The shutter and ISO dials can be locked, each with a button that engages or disengages with a click.
XF 16-80mm, 20.2mm, f/4, 1/125-second, ISO 400
There are plenty of other buttons too, and most can be customized—the only exceptions are Display/Back, Delete, Menu/OK, and Play. One customizable button is on front and a second is on the top plate. On the rear, each d-pad button can have its own function, and you can change what the AF ON, Q, and AEL buttons do. If you need more, the touch screen supports custom functions for swipes in any cardinal direction.
There's no Record button for video. Instead, the camera has a dedicated Movie mode, accessible via the Still/Movie switch, nested under the shutter dial. The shutter release is used to start and stop recording in Movie mode, and snap a photo in Still mode. The release has a thread, so you can add a soft release button or trigger it with a cable. It's an old-school feature, but a welcome one.
XF 16-80mm, 16mm, f/4, 1/20-second, ISO 800
The default button functions are useful—you get ready access to white balance, film simulation modes, face detection settings, and other useful items. I did do a little customization, adding a hot key to switch between 4K and slow-motion video recording, and moving some things around in the on-screen Q menu.
You can look at the Q screen as an extension of the physical controls. It can house up to 16 functions (though you can show less if you want), with split functions for Still and Movie modes.
XF 16-80mm, 16mm, f/4, 1/100-second, ISO 12800
I loaded mine up with options to take full advantage of the camera's excellent array of film looks. Most are named after famous analog emulsions, including the punchy Velvia, soft Astia, and standard Provia looks. I relied heavily on Classic Negative, new to the X-T series but seen earlier this year in the X-Pro3 and X100V.
There is one entirely new option with the X-T4, the cinematic Eterna with a Bleach Bypass effect. It punches up contrast and mutes colors. It's not as everyday an option as Classic Chrome or Classic Negative, though.
XF 16-80mm, 16mm, f/4, 1/50-second, ISO 160 (Eterna Bleach Bypass)
If you work in Raw format, you can remake any shot with any film look you want. Processing isn't limited to just that, though—you can adjust noise reduction, white balance, add a color tone to black-and-white images, apply a grain effect, and more…it's not quite Lightroom in your camera, but it lets you take full advantage of Fujifilm's excellent processing when you're not near your computer. Adobe has included some camera-matching color profiles in its desktop software, though it's not quite the same as what the in-camera tools deliver.
Vari-Angle Display
The X-T4 drops the X-T3's dual-hinge screen, one that tilts up and down and swings to face right, but doesn't point forward. It's gone with the standard vari-angle design, with hinges at the left side. Because of this, you'll need to swing the screen to the side to frame shots from a low or high angle. It can create some difficulty getting lines perfectly plum and parallel, but an on-screen framing grid is available to assist you.
The screen is of excellent quality. It packs 1.6 million dots into a 3-inch frame. It offers touch input, adjustable brightness, and excellent viewing angles. It's joined by an eye-level electronic viewfinder, among the best you'll find in any camera.
The EVF refreshes quickly, and uses OLED so there's no color tearing during pans, and contrast is punchy. It has plenty of resolution, 3.69 million dots, a large 0.75x magnification rating, and a locking wheel to set the diopter to match your vision.
XF 16-80mm, 37.6mm, f/5.6, ISO 320
Viewfinder quality can be downgraded to maximize battery life in Economy mode, and the view is just a little fuzzier than in the default, Normal power setting. The camera also offers a Boost mode that cuts into battery life, but gives you the option to increase the viewfinder's resolution (for fine focus and macro work) or refresh rate (for action photography). A third Boost mode, for photography in dim light, reduces the display contrast so you can better see details in shadows.
Power and Connectivity
High-speed autofocus and 4K video come at a cost—a need for power. Fujifilm has stuck with the same basic battery for its upper-end X cameras for what seems like forever, but makes a welcome change here. The new cell is rated for 600 shots per charge, a 50 percent improvement over the X-T3.
You can top off at any time via USB-C, which is how you'll charge the camera if you don't buy an accessory. Thankfully, Fujifilm is offering a very practical dual battery charger as an add-on for around $70. An extra NP-W235 battery is also $70, so take that into account when budgeting.
A vertical shooting grip is on sale too, for $330. It holds two batteries, supplementing one in camera, to nearly triple shooting time between charges. It also adds vertical shooting controls, increasing appeal to photographers who prefer a larger camera, not just those who want to go longer without changing batteries. The grip also offers a 3.5mm headphone jack, absent from the camera itself.
XF 100-400mm, 176.7mm, f/4.8, 1/125-second, ISO 5000
Dual memory card slots support the fastest UHS-II SDXC media. In addition to USB-C, there are micro HDMI, 2.5mm remote, and 3.5mm microphone ports on the left side. If you still use sync cables for flashes, be happy to know the PC Sync port is still there too, on the front. If you want to use headphones to monitor audio without adding the grip, you can do so with a USB-C pair or the included dongle for 3.5mm earphones.
XF 16-80mm, 16mm, f/22, 1/125-second, ISO 1250
Bluetooth is included, but not for wireless audio. Instead it's used to pair with your smartphone, working along with Wi-Fi to transfer photos to your phone, or to use it as a remote control, complete with a live feed from the lens. I paired the camera with my iPhone in seconds. If you'd like, the phone app can also keep the X-T4's clock set, and can add location data to images based on your phone's GPS.
Superior Autofocus and Tracking
Fujifilm and Sony spar back and forth for bragging rights over who has the best autofocus system. Having used several cameras from both, we think it's a dead heat. The X-T4 uses the same basic focus system as the X-T3, with some tweaks that Fujifilm promises will improve performance.
XF 16-80mm, 80mm, f/4, 1/50-second, ISO 12800
Focus didn't let me down in the field. The camera locks on consistently, identifies and tracks moving subjects, and offers face and eye detection. It's for people only, though—Fujifilm hasn't added support for pet eye detection, one area where Sony has an edge.
There are three basic focus modes. You get a flexible spot with seven levels of size adjustment. It's moved about the screen using the rear eight-way joystick, or by tapping the rear screen. Focus points extend almost to the edge of the sensor, one of the big advantages mirrorless cameras enjoy over SLRs.
XF 16-80mm, 18.4mm, f/5.6, 1/1,250-second, ISO 320
If you like the idea of a flexible spot, but want a bigger target to move around, there is a zone option with three levels of size adjustment. The camera chooses the focus point it thinks is best from an area inside the active zone.
And there's a wide area. In AF-S, the camera relies on its own devices to pick a focus target, but will typically prioritize an object that's closer to the lens. You can turn on face detection here, with or without eye detection, and the camera will jump to human subjects. Eye detection is a big thing for portrait photographers, especially those working with lenses with very shallow depth of field, like the XF 56mm F1.2 and XF 90mm F2.
XF 100-400mm, 400mm, f/5.6, 1/125-second, ISO 3200
In AF-C, the wide area becomes a tracking mode. It adds a flexible spot to the mix, which you'll want to use to identify your subject. Its size isn't customizable, though, and I struggled a bit to lock on to small songbirds hiding among bare tree branches. I'd love to see Fujifilm add a smaller tracking acquisition area via firmware.
Once a target is acquired, though, the focus system is very good at sticking with it, even when other, similar subjects are in view. It's the focus mode you'll want to employ when using the X-T4 to photograph sports. Portrait photographers will also enjoy some freedom working with models, as eye detection coupled with continuous focus gives both photographer and subject freedom of motion.
XF 16-80mm, 16mm, f/4, 1/125-second, ISO 6400
You can select any of these focus modes via the Q menu. While I prefer to stick with one—typically tracking given its effectiveness—Fujifilm offers a setting, All, that incorporates, well, all of them. Here you'll click the rear joystick (it's also a button) and cycle through the various areas of interest, from smallest to largest, using the rear dial.
If I have a complaint about how the X-T4's autofocus system handles, it's that the engineers have stuck with a physical toggle to change between AF-S, AF-C, and Manual focus modes. It's at the front corner of the camera and is one of those things that always seems to be in the wrong position when I take the X-T4 out of the bag.
XF 16-80mm, 147.9mm, f/4.7, 1/125-second, ISO 4000
Aside from that quibble, the X-T4's focus capabilities are among the best you'll find, locking onto targets reliably and quickly. The camera offers 20fps full-resolution Raw capture using the electronic shutter, and up to 30fps in a cropped mode with 16MP resolution, matching the X-T3's burst rate.
The mechanical shutter has been improved. The X-T4's shutter is quieter and can fire off shots at up to 15fps, even when tracking a moving target. It's a little faster than the X-T3 (11fps), and is useful for photographing action illuminated by digital signage and other flickering artificial light sources—both can introduce a light banding effect with an electronic shutter.
XF 100-400mm, 189.7mm, f/5, 1/50-second, ISO 12800
The buffer is pretty good too, even when using the 15fps mechanical shutter. The camera manages about 35 uncompressed Raw files, 42 lossless compressed Raw, or 200 JPGs at a time before slowing down. When paired with a 300MBps Sony Tough memory card, the buffer clears in less than ten seconds.
Class-Leading Imaging
The X-T4's image quality is really a known quantity. Its 26.2MP BSI X-Trans image sensor is the same one used by the X-T3 and X-Pro3. The real differentiating factor is the IBIS system. It makes it possible to snap shots at longer exposure times without the aid of a tripod. I found handheld half-second exposures to be quite manageable, and went as long as a second when I had a surface to brace myself against.
XF 16-80mm, 16mm, f/8, 1-second, ISO 320
The sensor's lowest standard sensitivity is ISO 160 and it can be set as high as ISO 12800 in standard mode. Extended settings are available, with a low option at ISO 80, and high settings up to ISO 51200. The former comes at the cost of some dynamic range, so I'd reach for a neutral density filter to cut incoming light for uncompromised imaging. Detail suffers and noise increases at higher ones.
Image quality when shooting JPGs is strong through ISO 3200. With default noise reduction applied, there's some loss of fine detail at ISO 6400 and 12800, but you can dial back noise reduction if you want more detail, though with it comes some image noise.
XF 16-80mm, 16mm, f/6.4, 1/2-second, ISO 320
You'll see more loss of detail at ISO 25600; it gives way to blur when going all the way to ISO 51200. Of course, you may prefer a grainier look to begin with, and if that's the case, you can apply the effect to images with an in-camera setting.
Raw capture is available too, and results are among the best in the APS-C sensor class. Detail is strong, even when pushing the camera to ISO 25600. The ISO 51200 setting suffers; you'll want to think about a full-frame sensor camera to net better results at such extreme settings.
XF 16-80mm, 80mm, f/4, 1/125-second, ISO 640
The files are very malleable too, with loads of ability to push shadows, curb highlights, and adjust color. In-camera Raw processing is available, and the camera can be set to capture images at uncompressed, compressed, or losslessly compressed quality.
Stabilized 4K
You'll be hard-pressed to find a better APS-C camera for video than the X-T4. It takes the strong tool kit from the X-T3, stabilizes the image sensor, and introduces some new features, including additional film simulations and 240fps capture at 1080p quality for slow motion.
It supports 4K at both the 16:9 UHD and 17:9 DCI aspects, both at all standard frame rates up to 60fps. The compression bit-rate varies based on format, but can be set as high as 400Mbps for 4K at up to 30fps, and 200Mbps at higher frame rates. If you opt for HEVC, you'll enjoy 10-bit quality with 4:2:0 sampling when recording to an SD card. If you prefer H.264, it's available too, but does cut the file quality to 8-bit 4:2:0.
External recording is also an option. The micro HDMI port pushes out 10-bit footage at a higher 4:2:2 sampling rate, but you'll have to buy an external recorder like the Atomos Ninja V to take advantage. The extra data gives you more leeway, not dissimilar to the difference between JPG and Raw capture for stills. We would have preferred to see a mini HDMI or full HDMI port, both of which have proven to be more durable than the tiny micro HDMI interface, especially for use with an external recorder.
XF 100-400mm, 400mm, f/5.6, 1/125-second, ISO 3200
You can apply any of the in-camera film looks to video, though you lose the grain and color chrome effect options. If you use HEVC you can also record HDR video, using the HLG format, to a card or external recorder.
There is also a flat profile, F-Log, with lower contrast and saturation, offering leeway to grade manually, or apply a Look Up Table (LUT) for quicker grading. The X-T4 adds an in-camera preview LUT, so you can record flat footage, but preview a graded scene on your screen.
XF 16-80mm, 16mm, f/16, 1-second, ISO 160
It also carries over the Silent Movie Control feature introduced in the X-H1. It moves exposure settings away from dials to an on-screen interface, navigable via touch or rear controls. It lets you change exposure settings without introducing clicks to your soundtrack, and also adds support for shutter speeds that are common to cinematography, like 1/48-second for 24fps recording.
Standard 1080p (Full HD) capture is available at up to 60fps with all of the same profile options as in 4K. Slow motion is also available at 1080p, but you need to switch the camera to a High Speed Recording mode to access it. You'll have access to various playback speeds (up to 60fps) and capture rates (up to 240fps) for varying levels of slowed time. When opting for the slowest playback, 23.98fps, and fastest 240fps capture rate, you see a 10x slow-motion effect.
You'll need some light, as a minimum 1/240-second shutter is required when shooting at 240fps, and there's certainly a drop in resolution when compared with the 120fps mode. Still, it's a stunning effect, and it's available in-camera, with all of the same color grading and film looks as with standard speed recording.
Slow motion does introduce a crop, about 1.29x. The camera has the ability to shoot any video, including regular 4K, with the same crop applied, useful if you're trying to frame up the same shot for both standard speed and slow-motion capture.
XF 16-80mm, 16mm, f/16, 1/20-second, ISO 400
Even with all these positives, the X-T4 isn't absolutely perfect. It omits proxy recording, so you can't create low-quality clips, useful to reduce stress on CPUs when editing footage. Sony puts them in its a6600, a model that competes directly with the X-T4.
Also missing is a standard headphone jack—you can use a dongle to connect a 3.5mm pair, or just use USB-C headphones, or add the vertical grip, which includes a headphone jack. Still, I'd have rather seen it than a wired remote port, as it'd be simple enough for Fujfiilm to release a USB or Bluetooth remote rather than rely on the 2.5mm connection.
XF 16-80mm, 16mm, f/4, 1/80-second, ISO 12800
The IBIS system works very well, but there are some issues that simply happen with sensor-based stabilization. The one you're likely to notice is occasional wobbling or warping, typically after some erratic camera movement—whether it be a stumble, bump, or sudden judder. It's not exclusive to the X-T4—we saw the same thing when rolling stabilized footage with the Sony a6600, also with IBIS.
With the X-T4, it does help to know the right stabilization setting to use for different types of shots. Stick with the standard or digitally assisted mode when you plan on moving the camera, and only turn on its Boost mode for static shots where you want a tripod-like effect. Thankfully, all stabilization settings are easily adjustable using the Silent Movie Control interface.
The APS-C to Get
With the X-T4, Fujifilm has put all of the puzzle pieces together. The camera has the tried-and true X-T form factor that system owners adore, with a new battery that lasts longer between charges, some new film looks and processing options, and, of course, there are all the benefits that come with a stabilized image sensor.
XF 100-400mm, 100mm, f/4.5, 1/1,000-second, ISO 500
Sony might have a slight edge when it comes to subject tracking, but where we are disappointed with the ergonomics in its premium a6600, Fujifilm gets just about everything right with the handling and feel here.
The build is sturdy enough for pro use, with extensive weather sealing, dual card slots, and the speedy response you expect from a top-tier APS-C camera. Image quality is another plus—it's as good as you'll get without moving up to a full-frame model, and Fuji's film emulations are absolutely lovely, with enough variety to cover a wide range of looks.
XF 16-80mm, 16mm, f/4, 1/2-second, ISO 160
While Canon and Nikon offer competing APS-C mirrorless cameras, Fujifilm's real competition in the space is Sony. If there's a compelling draw toward the Sony side of the fence, it's the promise of an upgrade path to full-frame photography. The a6600 uses the same lens mount and accessories as cameras with sensors twice as big, like the a7 III and high-resolution a7R IV, but Fujifilm's X system is purely APS-C.
If you're happy with the APS-C sensor format, know that Fujifilm's system is very strong. There are loads of native lenses available, many with robust weather protection, typically at competitive prices. There are some gaps, notably in the extreme telephoto range.
XF 16-80mm, 63mm, f/14, 1/90-second, ISO 500
Another Fujifilm camera, the now-discontinued X-H1, was the most recent premium APS-C model to earn our Editors' Choice recommendation, largely due to its ergonomics, image quality, and in-body stabilization system. The X-T4 now takes the title, as well as out highest possible rating, and is the camera to beat in this class.
Senior digital camera analyst for the PCMag consumer electronics reviews team, Jim Fisher is a graduate of the Rensselaer Polytechnic Institute, where he concentrated on documentary video production. Jim's interest in photography really took off when he borrowed his father's Hasselblad 500C and light meter in 2007.
He honed his writing skills at retailer B&H Photo, where he wrote thousands upon thousands of product descriptions, blog posts, and reviews. Since then he's shot with hundreds of camera models, ranging from pocket point-and-shoots to medium format digital cameras. And he's reviewed almost all of them. When he's not testing cameras and gear for PCMag, he's likely out and about shooting with …
XF 16-80mm, 20.2mm, f/4, 1/125-second, ISO 400
XF 16-80mm, 16mm, f/4, 1/20-second, ISO 800
XF 16-80mm, 16mm, f/4, 1/100-second, ISO 12800
XF 16-80mm, 16mm, f/4, 1/50-second, ISO 160 (Eterna Bleach Bypass)
XF 16-80mm, 37.6mm, f/5.6, ISO 320
XF 100-400mm, 176.7mm, f/4.8, 1/125-second, ISO 5000
XF 16-80mm, 16mm, f/22, 1/125-second, ISO 1250
XF 16-80mm, 80mm, f/4, 1/50-second, ISO 12800
XF 16-80mm, 18.4mm, f/5.6, 1/1,250-second, ISO 320
XF 100-400mm, 400mm, f/5.6, 1/125-second, ISO 3200
XF 16-80mm, 16mm, f/4, 1/125-second, ISO 6400
XF 16-80mm, 147.9mm, f/4.7, 1/125-second, ISO 4000
XF 100-400mm, 189.7mm, f/5, 1/50-second, ISO 12800
XF 16-80mm, 16mm, f/8, 1-second, ISO 320
XF 16-80mm, 16mm, f/6.4, 1/2-second, ISO 320
XF 16-80mm, 80mm, f/4, 1/125-second, ISO 640
XF 100-400mm, 400mm, f/5.6, 1/125-second, ISO 3200
XF 16-80mm, 16mm, f/16, 1-second, ISO 160
XF 16-80mm, 16mm, f/16, 1/20-second, ISO 400
XF 16-80mm, 16mm, f/4, 1/80-second, ISO 12800
XF 100-400mm, 100mm, f/4.5, 1/1,000-second, ISO 500
XF 16-80mm, 16mm, f/4, 1/2-second, ISO 160
XF 16-80mm, 63mm, f/14, 1/90-second, ISO 500