In summary
Like its predecessor, the X-E4’s rangefinder-like body is made mainly from magnesium alloy with aluminium dials. The smallest X-series model to date and weighing only 364 grams (442 grams with the kit lens), it has been designed primarily as a take-anywhere camera for photo enthusiasts and social media vloggers.
JPEG shooters will probably enjoy the 18 film simulations available in the X-E4, which reproduce the appearance of films and processes from the analogue era. These adjustments can also be applied to raw files when they are processed in the camera.
Vloggers will likely be impressed by the X-E4’s video capabilities. Like the X-T4, it oversamples 6K footage to record C4K (new to the X-E4) or UHD 4K footage 25p (for PAL format) with 4:2:0 8-bit video to internal media, or 4:2:2 10-bit video to an external recorder via its HDMI port. Log support is available as F-Log for professional vloggers who like to edit their footage before putting it out.
The camera lacks built-in sensor-shift stabilisation. If you want that feature you can find it in the X-S10, which has similar features otherwise but a larger SLR-like body.
Full review
Fujifilm’s X-E4 mirrorless camera, which was announced in late January, combines the best features of the latest X Series models. Like its predecessor the X-E3, it is equipped with an APS-C sized X-Trans BSI-CMOS 4 sensor with an effective resolution of 26.1 megapixels and features the latest X-Processor 4 quad core processor. Its fast hybrid autofocusing system has phase detection AF points across almost the entire sensor area. Focus acquisition is claimed to be as fast as 0.02 second and the camera includes an advanced AF-tracking algorithm plus the latest Face and Eye detection technology.
Angled view of the Fujifilm X-E4 camera (black version) with the XF27mm f/2.8R WR kit lens. (Source: Fujifilm.)
Also like the X-E3, the X-E4 is offered in all-black and silver and black versions. We received the all-black version, which was supplied with the XF27mm f/2.8R WR kit lens which we reviewed back in December 2013. The X-E4 is also available as a body-only camera.
Who’s it For?
Like its predecessor, the X-E4’s rangefinder-like body is made mainly from magnesium alloy with aluminium dials. The smallest X-series model to date and weighing only 364 grams (442 grams with the kit lens), it has been designed primarily as a take-anywhere camera for photo enthusiasts and social media vloggers.
JPEG shooters will probably enjoy the 18 film simulations available in the X-E4, which reproduce the appearance of films and processes from the analogue era. These adjustments can also be applied to raw files when they are processed in the camera.
Vloggers will likely be impressed by the X-E4’s video capabilities. Like the X-T4, it oversamples 6K footage to record C4K (new to the X-E4) or UHD 4K footage 25p (for PAL format) with 4:2:0 8-bit video to internal media, or 4:2:2 10-bit video to an external recorder via its HDMI port. Log support is available as F-Log for professional vloggers who like to edit their footage before putting it out.
Unfortunately, the camera lacks built-in sensor-shift stabilisation. If you want that feature you can find it in the X-S10, which has similar features otherwise but a larger SLR-like body. The table below compares key features of the X-E4 with its predecessor, the X-E3, and the SLR-styled X-S10 (which we haven’t reviewed).
| X-E4 | X-E3 | X-S10 | |
| Effective resolution | 26.1 megapixels | 24.3 megapixels | 26.1 megapixels |
| Dimensions | 121.3x 72.9 x 32.7 mm | 121.3x 73.9 x 42.7 mm | 126.0 x 85.1 x 65.4 mm |
| Weight | 364 grams | 337 grams | 465 grams |
| IBIS | No | No | Yes 5-axis |
| Processor | X-Processor 4 | X-Processor Pro | X-Processor 4 |
| Max. image size | 6240 x 4160 pixels, 14-bit raw files | 6000 x 4000 pixels, 12 or 14-bit raw files | 6240 x 4160 pixels, 14-bit raw files |
| Max. frame rate | 30 fps with electronic shutter & 1.25x crop (20 fps with no crop); 8 fps with mechanical shutter | 14 fps with electronic shutter; 8 fps with mechanical shutter | 30 fps with electronic shutter & 1.25x crop (20 fps with no crop); 8 fps with mechanical shutter |
| Buffer capacity | 29 frames JPEG, 17 frames RAF.RAW | 35 frames JPEG, 22 frames RAF.RAW | 29 frames JPEG, 17 frames RAF.RAW |
| Shutter speeds | 15 min-1/4000 sec. mechanical shutter / to 1/32000 sec. electronic shutter | 30-1/4000 sec. mechanical shutter / to 1/32000 sec. electronic shutter | 15 min-1/4000 sec. mechanical shutter / to 1/32000 sec. electronic shutter |
| Focus system | Hybrid AF phase detect/contrast detect | ||
| AF points | 425 | 325 | 425 |
| Native ISO range | ISO 160–12800 | ISO 200-12800 | ISO 160–12800 |
| ISO extensions | ISO 80, 100, 125, 25600 and 51200 for stills; ISO 25600 for movies | ISO 100, 125, 160; ISO 25600 and 51200 | ISO 80, 100, 125, 25600 and 51200 for stills; ISO 25600 for movies |
| Max. internal video | DCI 4K (4096 x 2160) / UHD 4K (3840 x 2160) at 25p | UHD 4K (3840 x 2160) at 25p | DCI 4K (4096 x 2160) / UHD 4K (3840 x 2160) at 25p |
| External video | 4K 10-bit 4:2:2 output via HDMI | n.a. | 4K 10-bit 4:2:2 output via HDMI |
| Film Simulation modes | 18 | 15 | 18 |
| EVF | 2,360,000-dot OLED, 0.62x, 17.5mm eyepoint, -4 to +2 dpt | 2,360,000-dot OLED, 0.62x, 17.5mm eyepoint, -4 to +2 dpt | 2,360,000-dot OLED, 0.74x, 20mm eyepoint, -4 to +4 dpt |
| Monitor | Tilting, 3-inch, 1,620,000-dot touch screen | Fixed 3-inch, 1,040,000-dot touch screen | Fully articulated 3.2-inch, 1,840,000-dot touch screen |
| Media slot(s) | 1x SD, UHS-I | 1x SD, UHS-I | 1x SD, UHS-I |
| Battery / CIPA rating | NP-W126S / 460 shots/charge | NP-W126S / 350 shots/charge | NP-W126S / 325 shots/charge |
What’s New?
The X-E4 uses the same 26.1-megapixel X-Trans BSI-CMOS 4 sensor and X-Processor 4 image processor as the flagship X-T4 camera and the X-S10, which was announced in October 2020. This gives it a small increase in resolution over the X-E3 and extends the native ISO base down from 200 in the X-E3 to 160. ISO extensions are the same as the X-T4, with ISO 80, 100 and 125 at the low end and ISO 25600 and ISO 51200 above.
The faster processor allows the X-E4 to match the continuous shooting performance of the X-T4, with a top speed of 30 fps with a 1.25x frame crop or full frame at 20 fps when the electronic shutter is used. The electronic shutter also extends shutter speeds to 1/32,000 second, thereby giving users more scope for shooting with wide apertures in bright conditions when they want a shallow depth of field. Unfortunately, fast data processing is hampered by lack of compatibility with UHS-II cards so you’ll need the fastest UHS-1 cards to get the most performance from the camera.
The X-E4’s AF system has been updated to a similar level to the X-T4’s and now has phase-detection coverage extending nearly to the edges of the frame. It uses the same algorithms, which claim the ability to lock onto subjects in 0.02 seconds and includes the improved tracking interface and performance we first saw on the X-T4. Face and Eye detection technology can track subjects in light levels down to -7.0EV.
This illustration shows the monitor flipped up for selfie shooting or recording vlogs for social media. (Source: Fujifilm.)
Unlike the X-E3, the X-E4 is not supplied with a flash. However, it has aq hot-shoe for external flashguns and its USB port can be used for connecting headphones via the supplied adapter (a new addition not provided with the X-E3, which had no headphone connector).
Both cameras use the same NP-W126S rechangeable battery but the X-E4’s power management has been tweaked to power up to 460 shots/charge with the LCD monitor (430 shots/charge with the EVF), compared with 350 shots/charge for the X-E3.
Build and Ergonomics
The rangefinder-like body styling of the X-E series cameras is reminiscent of classic film cameras. Fujifilm says the new camera has been designed to be as flat as possible so it can fit more easily into pockets. This means that, unlike the X-E3, there’s no grip moulding on the front or rear of the camera body, as shown in the illustration below.
Front views of the Fujifilm X-E4 (top) and X-E3 (below). (Source: Fujifilm.)
The flat front and rear panels are covered with a textured leather-like cladding provide to reduce finger slippage. But it provides minimal security so we’d caution against using this camera without fitting the supplied neck strap.
The focus mode selector on the front of the X-E3 has been removed. Focus modes must be selected through the camera’s menu in the new camera, with single point, zone, all and wide modes available in AF-S mode and wide replaced by tracking in AF-C mode. Rotating the front dial cycles through the various settings.
Views of the top panel of the Fujifilm X-E4 (top) and X-E3 (below). (Source: Fujifilm.)
Views of the top panels of the X-E4 and X-E3, shown above, confirm the lack of a grip moulding on the newer camera. Otherwise there’s little difference between the two cameras except for minor cosmetic adjustments and the shifting of the Q (quick menu) button to the top panel on the X-E4. The Fn button in front of the exposure compensation also loses its Fn label on the new camera.
Back views of the Fujifilm X-E4 (top) and X-E3 (below). (Source: Fujifilm.)
The main changes to the rear panel have involved button shuffling and the removal of the rear control dial. The eight-way joystick control still sits above the Menu/OK and Display/Back buttons but the playback button has been shifted to above the monitor screen, replacing the Drive/Delete button on the X-E3.
Removal of the thumb rest on the X-E4 means there’s no place for the AF-L and Q buttons located there on the X-E3 and explains the shift of the Q button to the top panel. The AF-Lock button has been integrated into the AE-Lock function, while the Drive/Delete button replaces the View Mode button, which has been eliminated from the new camera.
The 0.39-inch 2,360K-dot OLED EVF is unchanged and still positioned in the top left hand corner of the rear panel. Not the best position in our opinion but in line with the rangefinder styling. Other largely unchanged features are the interface ports, although the Micro-B USB 2.0 port has been replaced by a USB-C port, which is used for charging the battery. A tiny embedded LED in the top right hand corner of the rear panel indicates charge status.
The battery and single SD card slot are in the usual place behind a lift-up cover on the base plate. A metal-lined tripod socket is located just beside it roughly 20 mm off the optical axis of the lens. Unlike the X-E3, the X-E4 is not supplied with a separate battery charger; instead the battery is charged via the supplied USB 2 cable.
Sensor and Image Processing
The back-illuminated 26.1-megapixel X-Trans CMOS 4 sensor and X-Processor 4 image processor are the same as those used in the X-T4. Consequently, the X-E4 offers the same sensitivity range as X-T4 with a native ISO range between ISO 160 and ISO 12,800, plus extensions to ISO 80, 100 and 125 at the low end and ISO 25600 and ISO 51200 above.
Image resolutions and file sizes are covered in our review of the X-T3. Continuous shooting speeds depend upon which shutter is used, with a top speed of 30 fps with the electronic shutter, which applies a 1.25x frame crop, and 8 fps with the mechanical shutter. A frame rate of 20 fps with full-frame recording is available with the electronic shutter but the mechanical shutter remains limited to 8 fps.
Video
The tilting touch-screen LCD monitor can be flipped out and upward through 180 degrees for shooting selfies and vlog-style videos. The X-E4 adds the ability to record movies with a 17:9 aspect ratio, capturing DCI 4K (4096 x 2160) footage at 30/25p and 200Mbps, whereas the X-E3 was limited to UHD 4K (3840 x 2160) at 100Mbps.
Similarly, 17:9 video can also be recorded in Full HD (2048 x 1080 pixels) resolution in the new camera, increasing its versatility. The HD recording mode provided in the X-E3 is no longer supported. Interframe noise reduction is available for the 4K recordings.
High-speed video footage can be recorded at 100 or 200 fps (PAL format) at Full HD resolution, another feature missing in the X-E3. The resulting movies are recorded without audio and compressed to under 200Mbps. The X-E4 also comes with 18 Film Simulation modes, where the previous model had only 15.
The X-E4 offers two movie formats: MOV /H.264 with Linear PCM stereo audio and 24-bit / 48KHz sampling for the highest picture and sound quality and MP4 / H.264 with AAC audio for movies that will be uploaded to the internet. Movies recorded internally to the memory card are in 8-bit 4:2:0 quality but the camera can also output 10-bit 4:2:2 video to an external recorder via the HDMI port.
F-Log recording is available with sensitivity restricted to between ISO 640 and 12800. Digital image stabilisation is available in movie mode as long as a stabilised lens is fitted to the camera, but the lens stabilisation will take priority over the in-camera IS. The user manual cautions that vibration and/or noise can be noticeable as the IS takes effect.
The X-E4 also provides a focus peaking display plus zebra striping to gauge exposure levels along with a movie optimised control that concentrates movie adjustment settings on the command dials and touch-screen controls to minimise interference from camera noises. The embedded LEDs on the front and rear panels can be used as tally lights to indicate a movie is being recorded.
Sound level adjustments are provided in the movie menus for both the internal and an external microphone as well as for a connected headphone. The X-E4 also includes a wind filter and low-cut filter for reducing low frequency noises during movie recordings. Time-coding is also available.
Playback and Software
Like most manufacturers, Fujifilm doesn’t supply bundled software with the camera, instead providing links to downloads for the software and advanced user manual. The very basic MyFinePix Studio remains in the bundle, along with Raw File Converter EX 3.0, which is still based on Silkypix technology.
However, Fujifilm has introduced a new raw file converter, Fujifilm X RAW Studio, which uses the image processor in the camera so it’s able to retain the essential qualities of the images (as they would appear in JPEGs but with a higher bit depth). Converted files can be saved as JPEGs or TIFF files.
Other new additions include Fujifilm X Acquire, which lets users save images directly to a computer via a USB cable, and Fujifilm X Webcam, which is self-explanatory. The remaining applications aren’t compatible with the company’s entry-level cameras
RAF.RAW files from the X-E4 can be opened in Adobe Camera Raw, our preferred raw file converter. This was the application we used for converting raw files in our tests.
Performance
Our Imatest tests showed the review camera with the Fujinon XF 27mm f/2.8 R WR lens to be a good partnership. Resolution came close to meeting expectations for the camera’s 24-megapixel sensor with JPEG files around the centre of the frame and comfortably exceeded expectations with RAF.RAW files that were converted into 16-bit TIFF format with Adobe Camera Raw, our preferred raw file converter.
In both formats, there was some fall-off in resolution towards the periphery of the frame, although it was relatively minor. Resolution also remained relatively high across the camera’s ISO range, as shown in the graph below.
Low light performance was slightly better than the X-E3’s with little in the way of noise up to ISO 12800, where the first signs of noise were just detectable. There was a slight deterioration in sharpness at the two highest settings with shots taken at ISO 51200 showing visible softness. Colour accuracy and saturation levels remained constant throughout the camera’s sensitivity range.
White balance performance was similar to the results we obtained from the X-T4, which we had expected. As in that camera, the addition of ambience and white priority modes to the existing auto setting provided more scope for getting natural-looking colours under warm-toned lighting, such as incandescent and warm-toned LED lights.
The auto setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast from incandescent lighting, although the ambience and white priority settings handled warm-toned LED lighting better than they did with incandescent lighting, where they failed to remove the orange cast.
There are no presets for flash or LED lighting but the tungsten and various fluorescent pre-sets slightly over-corrected the respective colour casts, one of them introducing a purple bias for the former and a greenish cast for the daylight fluorescent setting. Manual measurement produced neutral colour rendition with the three types of lighting we tested and there are plenty of in-camera adjustments for tweaking colours on-the-fly.
Autofocusing performance was as fast and accurate as we found with the X-E3, even in very low light levels and with low-contrast subjects. We found no instances of hesitation or focus hunting when shooting stills or recording movies.
The X-E4’s performance in movie mode was better than the X-E3’s and the new camera was better at maintaining stable exposure levels in changing lighting, thanks at least in part to improvements to the auto dynamic range setting. The AF system was able to keep track of moving subjects and pick up new subjects as they entered the frame. We encountered no glitches in the footage we recorded and audio quality was generally good, given the small size of the camera’s microphones.
Like the X-E3 the X-E4 includes settings for adjusting the recording level the internal mics as well as for an external microphone. Without a compatible external microphone we were unable to fully test this function.
We carried out our timing tests with a 64GB Panasonic SDXC UHS-1 U3 card which has a maximum write speed of 90 MB/second and is fast enough to support 4K movie recording. The review camera took 0.5 seconds to power-up and shut down. We measured an average capture lag of 0.15 seconds, which was eliminated with pre-focusing.
Shot-to-shot times averaged 0.75 seconds. Going by the indicator light on the rear panel, it took 0.7 seconds on average to process each JPEG file and 1.2 seconds for each uncompressed RAF.RAW file, between 0.8 and 0.9 seconds for each compressed raw file and 1.4 seconds for each RAW+JPEG pair.
Using the continuous high-speed shooting mode with the electronic shutter, the review camera recorded 93 high-resolution JPEGs in 10.3 seconds without slowing, which is very close to 10 frames/second and significantly slower than the claimed maximum frame rate. It took just over 12 seconds to process this burst.
With the mechanical shutter, the camera recorded 96 high-resolution JPEGs in 11.2 seconds before the first pause, which is roughly 8.6 frames/second and better than the specified frame rate. It took 12.7 seconds to process this burst.
Still using the mechanical shutter, the camera recorded 17 uncompressed raw files in two seconds before pausing, which was also slightly faster than eight frames/second. Processing time for this burst was 13.6 seconds.
Conclusion
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SPECS
Image sensor: 23.5 x 15.6 mm X-Trans CMOS 4 sensor with 26.1 megapixels effective, primary colour filter
Image processor: X-Processor 4
Lens mount: Fujifilm X mount
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.32), 14-bit RAF.RAW, RAW+JPEG; Movies: MOV /H.264, Audio: LPCM / Stereo sound 24bit / 48KHz sampling, MP4 / H.264, Audio: AAC; Long-GOP compression
Image Sizes: Stills: 3:2 aspect – 6240 x 4160, 4416 x 2944, 3120 x 2080; 16:9 aspect – 6240 x 3512, 4416 x 2488, 3120 x 1760; 1:1 aspect – 4160 x 4160, 2944 x 2944, 2080 x 2080; Panorama: 9600 x 2160, 9600 x 1440, 6400 x 2160, 6400 x 1440; Movies: DCI 4K (4096 x 2160) and UHD 4K(3840 x 2160) at 25p, FHD (2048 x 1080 and 1920 x 1080) at 50p, 25p; High-speed FHD 1920 x 1080 at 200p/100p
Aspect ratios: 3:2, 16:9, 1:1
Image Stabilisation: Lens based
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal plane shutter with mechanical & electronic modes; (15 minutes to 1/4000 seconds in S/M mode plus Bulb up to 60 minutes; Electronic shutter max. 1/32,000 second); Movies – 1/24 to 1/400 second
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: 2, 3, 5, 7 or 9 frames in 1/3EV steps up to +/-3EV range
Other bracketing options: Film Simulation, Dynamic Range, ISO, White Balance, Focus
Multiple exposures: Yes, max. 9 frames with additive, average, bright or dark processing
Self-timer: 2 or 10 seconds delay
Interval recording: Yes, for time-lapse
Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
AF selection: Single point AF: EVF / LCD: 13×9 / 25×17 (Changeable size of AF frame); Zone AF: 3×3 / 5×5 / 7×7 from 117 areas on 13×9 grid; Wide/Tracking AF: (up to 18 area); AF-S: Wide / AF-C: Tracking; Face & eye detection available
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: 256-zone TTL metering with Multi, Centre-weighted, Average and Spot metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure
Film Simulation modes: 18 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg.Hi, PRO Neg.Std, Black & White, Black & White+Ye Filter, Black & White+R Filter, Black & White+G Filter, Sepia, ACROS, ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema, Classic Neg, Classic Neg., ETERNA BLEACH BYPASS) Monochromatic Colour
Filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
In-camera processing: Dynamic range (AUTO / 100％ / 200％ / 400％), HDR mode, Grain Effect, Colour Chrome effect, Colour Chrome Blue
Colour space options: sRGB and Adobe RGB
ISO range: Auto (x3), ISO 160-12800 with extensions to ISO 80, 100, 125, 25600 and 51200 for stills; ISO 25600 for movies
White balance: AWB (Ambience/White priority), Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light, Underwater, Custom (x 3), Colour temperature setting (2500-10000K)
Flash: Hot-shoe for external flashgun
Flash modes: 1st/2nd curtain sync, AUTO FP(HSS) (excl. EF-X8)
Sequence shooting: Max. 30 shots/sec. with electronic shutter and 1.25x crop
Buffer capacity: Max. 29 Large/Fine JPEGs, 17 RAW files
Storage Media: SD, SDHC, SDXC cards (UHS-I compatible)
Viewfinder: 0.39 inch colour OLED EVF with 2,360,000 dots; 100% FOV, 17.5mm eyepoint,0.62x magnification, -4 to +2 dpt adjustment
LCD monitor: Tilting 3.0 inch, 3:2 aspect ratio touch screen colour LCD monitor with approx. 1,620,000 dots, 100% FOV coverage
Interface terminals: USB Type-C (USB3.2 Gen1x1), HDMI Micro connector (Type D), ø3.5mm, stereo mini connector (for Microphone and Remote Release), Hot shoe
Wi-Fi function: Built-in IEEE802.11b/g/n (standard wireless protocol) Wi-Fi; Bluetooth v4.2 (Bluetooth Low Energy)
Power supply: NP-W126S rechargeable Li-ion battery; CIPA rated for approx.460 shots/charge with stills, 45 mins/charge with 4K movies, 75 mins/charge with FHD movies
Dimensions (wxhxd): 121.3 x 72.9 x 32.7 mm (excluding protrusions)
Weight: Approx.364 grams with battery and card
Distributor: Fujifilm Australia; 1800 226 355
TESTS
Based on JPEG images captured with the XF27mm f/2.8 R WR kit lens.
Based on RAF.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All images captured with the XF27mm f/2.8 R WR kit lens.
Auto white balance with incandescent lighting; ambience priority.
Auto white balance with incandescent lighting; white priority.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting; ambience priority.
Auto white balance with warm-toned LED lighting; white priority.
60-second exposure at ISO 80, f/2.8.
30-second exposure at ISO 160, f/2.8.
15-second exposure at ISO 800, f/4.5.
6.5-second exposure at ISO 3200, f/5.6.
6.5-second exposure at ISO 6400, f/7.1.
3-second exposure at ISO 12800, f/7.1.
2-second exposure at ISO 25600, f/9.
1-second exposure at ISO 51200, f/9.
Close-up at f/2.8 with evenly-lit background;
Close-up at f/5.6 with moderate side lighting;
Close-up at f/2.8 with moderate side lighting;
Contre-jour lighting: ISO 320, 1/800 second at f/8.
1/600 second exposure at ISO 160, f/8.
1/8 second exposure at ISO 800, f/8.
1/50 second exposure at ISO 200, f/11.
1/100 second exposure at ISO 51200, f/11.
1/100 second exposure at ISO 1250, f/7.1.
1/350 second exposure at ISO 160, f/8.
1/100 second exposure at ISO 160, f/5.6.
1/50 second exposure at ISO 400, f/16.
1/160 second exposure at ISO 160, f/4.
1/60 second exposure at ISO 320, f/5.
1/100 second exposure at ISO 1250, f/8.
1/400 second exposure at ISO 160, f/2.8.
1/1000 second exposure at ISO 160, f/7.1.
1/900 second exposure at ISO 320, f/7.1.
Still frame from 4K (3840 x 2160pixels) video clip recorded at 25 fps.
Still frame from C4K (4096 x 2160pixels) video clip recorded at 25 fps.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 50 fps.
Still frame from 17:9 Full HD (2048 x 1080 pixels) video clip recorded at 50 fps.
Still frame from Full HD video clip recorded at 25 fps.
Rating
RRP: AU$1399, US$ 849.95 (body only); AU$1799, US $1049.95 (with XF27mm f/2.8R WR kit lens)
- Build: 8.9
- Features: 8.7
- Ease of use: 8.9
- Autofocusing: 8.9
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 8.9
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