Fujifilm’s new X-Series flagship is a quality performer, providing a quantifiable step-up from its predecessor through its in-body image stabilisation and higher-capacity battery.
The quieter, more robust focal plane shutter and improved AF algorithm are also significant advantages over the previous model, while the improvements to the camera’s ergonomics makes the new camera more comfortable to use.
The X-T4 is targeted mainly at professional photographers engaged in photojournalism and event photography, but it will also appeal to serious enthusiasts who require a nice balance of stills and video capabilities.
Announced on 26 February 2020, Fujifilm’s flagship cropped-sensor camera, the X-T4, arrived on the market in challenging times with large parts of the camera-buying world entering lockdown due to the COVID19 pandemic. Under normal conditions, the X-T4 would have attracted considerable attention for its combination of features and price tag. At just under AU$3000 for the body alone, it’s one of the most expensive APS-C cameras available, although it’s one of the most proficient models for shooting both still pictures and video clips.
Angled view of the Fujifilm X-T4, silver version, with the XF 16-80mm f/1.4 WR OIS lens attached. (Source: Fujifilm.)
Like other models in the X-T series, the X-T4 is offered in all-black and silver/black colours. The review camera was an all-black model and we tested it with the Fujinon XF 35mm f/1.4 R lens, which is reviewed separately. We also took a number of test shots with the XF 14mm f/2.8-4.8 R lens, which was also supplied.
Who’s it For?
As the flagship model in Fujifilm’s cropped-sensor X-Series, the X-T4 is targeted mainly at professional photographers engaged in photojournalism and event photography. But it will also appeal to serious enthusiasts who require a nice balance of stills and video capabilities.
The traditional rangefinder styling of the camera and wealth of external controls looks impressive to clients and Fujifilm offers a wide range of lenses to cover almost any shooting situation. Although it uses the same 26.1-megapixel X-Trans sensor and X-Processor 4 processor as its predecessor, the X-T4 has some worthwhile improvements that could motivate upgraders.
The X-T4 is the first model in the series to introduce a five-axis in-body image stabilisation (IBIS) mechanism that offers up to 6.5 stops of image stabilisation. It uses gyro sensors that can detect camera shakes eight times more accurately than before, and a shock-absorbing structure that can effectively controls minor vibrations when the shutter button is pressed.
Another noteworthy ‘first’ is the change from a tilting monitor screen to a new vari-angle monitor, which has a resolution of 1,620,000 dots, a slight increase on the 1,040,000-dot resolution provided by the X-T3.
A newly-developed focal plane shutter enables burst-shooting at 15 fps while also keeping its shutter release time lag to just 0.035 seconds. Rated for 300,000 actuations, the shutter is also twice as durable as the previous model and approximately 30% quieter. With the electronic shutter, the camera can achieve blackout-free burst shooting at 30 fps.
Autofocusing has also been improved with an ‘evolved’ algorithm that claims to be able to lock onto subjects in 0.02 seconds. The tracking success rate of the AF system has been doubled compared to the X-T3 and face and eye detection have been dramatically improved.
Raw file shooters can now choose between uncompressed, reversible lossless compression and non-reversible compressed options. Highlight and shadow tones from -2 to +4 can now be adjusted by 1/2EV steps, allowing for finer tonality.
The 14-bit RAF.RAW files can be converted into TIFF format in the camera and saved as minimally-compressed 16-bit files. Converted files can be output with 8-bit and 16-bit depth instead of as in the lossy JPEG format, with 16-bit TIFFs being roughly three times the size of a losslessly compressed raw file.
The Film Simulation function, which reproduces colours and tonal expressions of photographic film, has been extended with the new ETERNA Bleach Bypass mode, adding richness with its high-contrast and low-saturation. In addition, the Color Chrome Effect Blue filter introduced in the X100V joins the options provided in the X-T4.
White- and ambience-priority options have been added to the auto white balance menu. The interval timer function also gains exposure smoothing to prevent unwanted jumps in exposure when ambient lighting changes during a recording, ported across from the GFX 100.
Build and Ergonomics
Aside from the vari-angle monitor, the basic body design has changed little since the X-T3, although there’s been a bit of button shifting on the top and rear panels. The EVF housing on the front panel of the X-T4 has a slightly lower profile and the ring surrounding the lens mount is enlarged. The embedded LED, which is used as an AF-assist lamp, self-timer indicator and tally lamp, has been moved a couple of millimetres upwards but, otherwise is largely unchanged.
Front views of the X-T4 (left) and X-T3 (right). (Source: Fujifilm.)
On the top panel, the Fn button on the X-T3 moves in front of the exposure compensation dial and is no longer labelled. Not visible on the top views below but obvious from the back views is the replacement of the metering mode dial below the shutter speed dial on the X-T3 with a simple Still/Movie switch on the X-T4.
Top views of the X-T4 (top) and X-T3 (below). (Source: Fujifilm.)
Button shuffling on the rear panel has seen the Quick menu button (Q) on the X-T4 replace the AF-L button while the AE-L button moves down to where the Q button was on the X-T3. The AE-L button on the X-T3 becomes the AF On button on the X-T4. The EVF eye cup on the X-T4 is larger and more securely attached and the rear control dial stick out a bit further making it easier to find by touch.
Rear view of the X-T4 . (Source: Fujifilm.)
The dual SD card slots are now arranged vertically, instead of overlapping a little, which makes them easier to access. In addition, the cover to the card compartment is detachable, enabling it to be removed when access is required to the card slots when, for example, the camera is mounted in a video rig.
On the opposite side panel and forward of the monitor hinge are two rubber-capped compartments. The upper one contains the microphone and remote release connectors, while the lower has the HDMI and USB-C ports. There’s no connector for attaching headphones to the camera.
In line with standard practices, the battery compartment is located within the grip moulding and accessed via a door in the base panel. Unlike previous models, the X-T4 uses a new NP-W235 battery pack, which is larger and has a higher capacity than the batteries used in previous models. It’s CIPA rated at approximately 500 shots/charge, but using the Economy mode will extend this to approximately 600 frames.
The battery is charged in the camera via a supplied USB-C cable, a process that initially should take roughly three hours. For those who like to carry spare batteries and charge them separately, an optional BC-W235 dual-battery charger is available for approximately AU$130. Spare batteries are priced at roughly AU$140 each and the VG-XT4 vertical battery grip is available for around AU$500.
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-T3, X-Pro3 and X100V cameras. Like those cameras, the X-T4 provides a native ISO range between ISO 160 and ISO 12,800, with extensions to ISO 80, 100 and 125 at the low end and ISO 25600 and ISO 51200 above. Selecting individual ISO settings is as difficult as it is on the X100V; you have to set the ISO dial to the ‘C’ (Custom) position and then program the front control dial to adjust ISO settings.
Image resolutions and file sizes are unchanged from the X-T3 and covered in our review of that camera. Continuous shooting speeds are also the same as those provided by the X-T3 and the same restrictions apply, although the maximum frame rate with the mechanical shutter has been increased from 11 fps in the X-T3 to 15 fps in the X-T4.
While the larger battery and in-built image stabilisation (IBIS) give users of the X-T4 who shoot video significant advantages over the X-T3, the actual recording capabilities haven’t changed substantially. In some respects it’s also more capable than the video-orientated X-H1, where its IBIS system provides a full f-stop more shake correction.
Like the X-H1, the X-T4 supports MOV/H.264 LPCM format is also available but with restrictions on frame rates for DCI 4K recording and the use of F-Log HLG recording when SD HLG or HDMI HLG are selected. But it also offers the new MOV/H.265 (HEVC) LPCM format, which supports higher data compression with no visible loss of image quality. The web-friendly MP4/H.264 AAC video codec is also available.
The X-T4 supports 60p/50p recording at 4K resolution, while the X-H1 only manages 30p/25p. Users recording 4K footage can choose between the professional DCI (4096 x 2160 pixel) resolution at frame rates up to 30 fps or the consumer-level 3840 x 2160 pixels with frame rates up to 60 fps (NTSC) or 50 fps (PAL) and with bitrates of 200 Mbps or 100 Mbps.
Movies shot with the MOV/H.264 LPCM or MP4/H,264 AAC formats are recorded to the memory card in 8-bit 4:2:0 depth but can be output to HDMI at 10-bit 4:2:2 depth, whereas the X-H1 is limited to 8-bit. The X-T4 includes a new F-Log View Assist function that will display a corrected (desaturated) preview when recording or playing back F-Log footage. ALL-Intra compression is available in addition to the regular Long GOP setting and allows high-speed movies (up to 240 fps) to be recorded at Full HD resolution for slow-motion playback. Recording time limits for movies are unchanged, with a maximum of 20 minutes per clip at high frame rates or 30 minutes per clip at rates of 30 fps or less.
The Stills/Movie switch below the shutter speed dial gives the X-T4 a big advantage over the X-H1. A separate Q. Menu is provided for video, along with separate My Menu programming capabilities. The touchscreen interface has been renamed ‘Movie Optimised Control’ but in essence it provides the same functions but enables the camera’s dial controls, to be used while recording movies. The X-T4 also gains a new view assist mode that applies a BT709 gamma curve to the live view screen to simulate exposures when shooting Log footage.
The IBIS enables 4K recordings to be stabilised at full-frame width for frame rates up to 30 fps or with a 1.18x frame crop at higher frame rates. In contrast, 4K movies shot with the X-H1 are cropped by 1.17x, which is similar to the cropping used for 4K 60p/50p movies recorded with the X-T4.
The camera menu enables users to combine the in-camera stabilisation with the OIS in lenses. Adding digital stabilisation in-camera increases stability at the expense of an additional 10% frame crop. A new IS mode Boost function, which can be assigned to a function button, allows the stabilisation to be adjusted while a recording is in progress and is handy when shooting with the camera hand-held.
Neither the X-T4 nor the X-H1 comes with a headphone port for monitoring audio recordings, But the X-T4 comes with a USB adaptor that enables headphones to be attached to the camera (although it’s a slightly clumsy arrangement). X-H1 owners, in contrast, have to invest in the battery grip if they want to use headphones with the camera.
Like the X-T3, movie recording is initiated and stopped by pressing the camera’s shutter button and an indicator and remaining time are displayed while recordings are in progress. As well as the front LED, the rear panel indicator light embedded in the thumb rest can serve as a tally lamp to show recoding is happening.
Playback, Software and Accessories
In the main, all three areas are much the same as in the X-T3, although the X-T4 has its own battery grip because of its larger, higher-capacity batteries. As usual, the software must be downloaded from the product’s support page on Fujifilm’s website.
Capture One Express for Fujifilm is available as a free download and provides a better raw file converter than either the Silkypix-based application or Fujifilm X RAW STUDIO for converting raw files into editable formats. It comes with customised camera profiles for each supported camera – but is limited to Fujifilm products.
Plug-ins are available for using the camera in tethered mode with Adobe’s Photoshop Lightroom. Existing users of Adobe Camera Raw or Capture One will find the X-T4 supported but it’s not supported in Affinity Photo or DxO Photolab.
Imatest showed the camera came close to the expected resolution for JPEGs but well above expectations for RAF.RAW files. The graph below shows the comparison across the review camera’s ISO range between JPEG and uncompressed RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
High ISO performance was similar to the results we obtained with the X-T3 camera we tested. However, this time, instead of leaving the camera with its default settings, we switched the Long Exposure Noise Reduction off.
Long exposures at settings up to ISO 6400 were clean and noise-free but there was a slight increase in noise at ISO 12800. Shots taken at the two extended high ISO settings (ISO 25600 and ISO 51200) retained their colours and sharpness but showed obvious granularity.
The auto white balance setting produced neutral colour rendition under fluorescent lighting, although the warm colour casts from incandescent and warm-toned LED lighting were not totally eliminated. Better correction, particularly with LED lighting was achieved when the AWB White Priority setting was used as it came close to eliminating any colour cast.
The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was slight. There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go. On location, the camera handled mixed lighting situations well and manual adjustment was rarely needed.
Video quality was, arguably, the best we’ve seen from a Fujifilm camera, regardless of which recording mode was selected. Recorded footage was as smooth as you’d expect from a camera with built-in stabilisation and even in very contrasty lighting, the camera managed to capture details in both highlights and shadows, providing good potential for post-capture editing when the Log recording format was not used.
We found the AF system worked very well most of the time when the camera was in movie mode and focus peaking and zebra striping made it easy to keep focus and exposure levels under control. Fewer AF modes are available in Movie mode but the speed and sensitivity of the system is adjustable and face detection is available to optimise subject tracking.
Soundtracks recorded through the on-board microphones were as clear as those we recorded with the X-T3 and they had similar stereo ‘presence’, which is a credit to the on-board microphones. Even better results should be possible with an external microphone when higher standards are required.
Our timing tests were carried out with a 32GB Lexar Professional 2000x SDHC UHS-II memory card in one card slot (assigned to JPEGs) and a 64GB Lexar Professional 2000x SDXC UHS-II card in the other. Both cards have speed ratings of 300MB/s.
The review camera powered up in just under half a second and shut down almost instantly. We measured an average capture lag of 0.08 second, which was eliminated with pre-focusing. Shot-to shot times averaged 0.4 seconds.
Single-shot cycle times were difficult to measure because they are so brief, regardless of which shutter was used. However, we estimate that on average, it took approximately 1.5 seconds to process each JPEG file, 1.8 seconds for each RAF.RAW file and 2.0 seconds for each RAW+JPEG pair.
Using the electronic shutter with the high-speed continuous shooting mode, the review camera recorded 64 1.256x cropped JPEG images in 3.2 seconds before the first sign of hesitation. This works out at 20 frames/second. It took 12.6 seconds to process this burst.
When raw file capture was selected with the electronic shutter, the buffer capacity was reduced to 33 uncompressed frames, which were captured in 1.4 seconds. This is slightly faster than the the claimed 20 fps frame rate for full-frame recording but the processing time extended to 26.6 seconds.
With the mechanical shutter selected in the high-speed continuous shooting mode, the review camera recorded 74 full-resolution JPEG images in 6.7 seconds without showing signs of slowing. This works out at approximately 11 frames/second, which is close to the specifications. Processing this burst took 14.3 seconds.
Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 33 frames, which were recorded in two seconds, a frame rate of roughly 10.6 fps. Combining compressed raw frames with high-resolution JPEGs reduced the buffer capacity to 40 frames, which were recorded in 3.8 seconds, a frame rate of just over 16.5 fps. Processing was completed in 26 seconds.
Note: The camera’s performance is governed by the speeds of the cards it uses. Slower cards will have slower clearing times and may also limit length of bursts in continuous mode. ISO sensitivity and noise reduction settings can also influence processing times and burst mode performance.
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Image sensor: 23.5 x 15.6 mm X-TRANS CMOS 4 sensor with primary colour filter; 26.1 megapixels effective
Image processor: X-Processor 4
A/D processing: 14-bit
Lens mount: Fujifilm X mount
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (Exif Ver. 2.3), RAF.RAW, RAW+JPEG; Movies: MOV (MPEG-4 AVC/H.264, HEVC/H.265, Audio: Linear PCM / Stereo sound 24bit / 48KHz sampling); MP4 (MPEG-4 AVC/H.264, Audio: AAC); All Intra/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 2080; 1:1 aspect: 4160 x 4160, 2944 x 2944, 2080 x 2080; Movies: DCI 4K (4096 x 2160) at 50p/25p/24p, 400Mbps/200Mbps/100Mbps; 4K (3840 x 2160) at 50p/25p/24p, 400Mbps/200Mbps/100Mbps; Full HD (2048 x 2080) at 50p/25p/24p, 200/100/50Mbps; Full HD (1920 x 1080) at 50p/25p/24p, 200/100/50Mbps; High speed rec. (1920 x 1080) at 200p/200Mbps up to approx. 3min.100p/200Mbps up to approx. 6 min.
Aspect ratios: 3:2, 16:9, 1:1
Image Stabilisation: Image sensor shift mechanism with 5-axis compensation; max. 6.5 stops
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal Plane Shutter (30-1/8000 second plus Bulb to 60 minutes mechanical shutter; 30 to 1/32000 second electronic shutter); Movies – FHD: 1/8000 sec. – ¼ sec.; DCI4K/4K: 1/8000 sec. – 1/24 sec. (depends on the frame rate)
Exposure Compensation: +/-5 EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: +/- 2, 3, 5, 7 or 9 frames in increments of 1./3EV up to +/-3EV steps
Other bracketing options: Film simulation bracketing (any 3 types of film simulation selectable), Dynamic Range Bracketing (100%, 200%, 400%), ISO sensitivity Bracketing (+/-1/3 EV, +/-2/3EV, +/-1EV), White Balance Bracketing (+/-1, +/-2, +/-3), Focus Bracketing (Auto, Manual.)
Self-timer: 2 or 10 seconds delay
Interval timer: Yes (Setting: Interval, Number of shots, Starting time)
Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF), 425 points (full sensor coverage for phase detection); sensitive to -3EV contrast detection, -6EV phase detection (XF35mmF1.4 lens)
AF points & selection: Single point (selectable frame size – 13 x 9 or 25 x 17), Zone (3×3, 5×5, 7×7 from 91 areas on 13×9 grid) and Wide/Tracking AF: (up to 18 areas) available
Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF)
Exposure metering: TTL 256-zone metering with Multi, Spot, Average and Centre-weighted metering patterns
Shooting modes: P (Program AE), A (Aperture Priority AE), S (Shutter Speed Priority AE), M (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, ETERNA BLEACH BYPASS), Monochromatic Colour
Other adjustments: Clarity (+/- 5 steps), HDR (AUTO, 200%, 400%, 800%, 800% +), Grain effect (Roughness: STRONG, WEAK, OFF Size: LARGE, SMALL), Colour Chrome effect & Colour Chrome blue (STRONG, WEAK, OFF), dynamic Range (AUTO, 100%, 200%, 400%)
Advanced filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple), Grain Effect, Colour Chrome Effect
Special video modes: Hybrid log gamma, Simultaneous film simulation / F-Log simultaneous output
Dynamic Range setting: Auto, 100%, 200%, 400% (ISO restricted to 320 or more for DR200%, 640 or more for DR400%)
Colour space options: sRGB and Adobe RGB
ISO range: Auto (ISO 160-12800 ), 3 programmable modes, adjustable in 1/3 or 1 EV steps; extension to ISO 80 and ISO 51200 available
White balance: Automatic Scene recognition (with white/ambience priority selection), Fine, Shade, Incandescent, Fluorescent (x3), Underwater, Custom 1-3, Colour temperature setting (2500K~10000K); Blue/Amber, Magenta/Green bias adjustments
Flash: Hot shoe for Dedicated TTL flash compatible flashguns
Flash modes: 1st / 2nd Curtain, Auto FP (HSS), TTL Flash (Auto / Standard / Slow Sync.) / Manual / Commander / Off (When EF-X8 is set)
Flash exposure adjustment: +/- 3EV in 1/3 EV steps
Sequence shooting: Max.30 fps with electronic shutter in 1.25x crop mode and blackout-free EVF, 20 fps with electronic shutter and full sensor readout, 15 fps with mechanical shutter
Buffer capacity: Max. 500 Large/Fine JPEGs (full frame, 10 fps), 48 lossless compressed RAW files, 39 uncompressed RAW files
Storage Media: Dual slots for SD, SDHC, SDXC cards (compatible with UHS-I and UHS-II standards)
Viewfinder: 0.5 inch OLED Colour EVF with approx. 3,690,000 dots, 100% FOV coverage, approx. 23mm eyepoint, 0.75x magnification, Dioptre adjustment: -4 to +2m-1 (lockable), Built-in eye sensor
LCD monitor: 3-way tilting 3.0 inch touch screen, 3:2 aspect ratio TFT LCD with approx. 1,040,000 dots
Interface terminals: USB C terminal (USB3.2 Gen1); HDMI micro connector (Type D), 3.5 mm stereo mini connectors for microphone, 2.5 mm Remote Release Connector, hot shoe, synchronised terminal
Wi-Fi function: IEEE 802.11b/g/n Wi-Fi, WEP / WPA / WPA2 mixed mode; Bluetooth 4.2
Power supply: NP-W235 rechargeable Li-ion Battery Pack; CIPA rated for approx. 600 shots/charge (Economy Mode), approx. 500 frames (Normal Mode)
Dimensions (wxhxd): Approx. 134.6 x 92.8 x 63.8 mm (excluding protrusions)
Weight: 526 grams body only; 607 grams with battery & card
Distributor: Fujifilm Australia; 1800 226 355
Based on JPEG files taken with the Fujinon XF 35mm f/1.4 R lens.
Based on uncompressed RAF.RAW files taken simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.
All shots taken with Fujinon XF 35mm f/1.4 R lens unless specified.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
30-second exposure at ISO 80, f/2.0.
15-second exposure at ISO 160, f/2.0.
12-second exposure at ISO 1600, f/5.6.
6-second exposure at ISO 6400, f/8.
6-second exposure at ISO 12800, f/11.
3.1-second exposure at ISO 25600, f/11.
1.6-second exposure at ISO 51200, f/11.
XF 14mm f/2.8-4.8 R lens, 16:9 aspect ratio; ISO 80, 1/80 second at f/11.
ISO 80, 1/220 second at f/10.
ISO 80, 1/200 second at f/10.
ISO 80,1/200 second at f/5.
ISO 200, 1/600 second at f/9.
3:2 aspect ratio, ISO 160, 1/60 second at f/11.
16:9 aspect ratio, ISO 160, 1/60 second at f/11.
1:1 aspect ratio, ISO 160, 1/60 second at f/11.
ISO 160, 1/85 second at f/11.
ISO 160, 1/950 second at f/5.6.
ISO 160, 1/1000 second at f/5.6.
ISO 160, 1/550 second at f/4.5.
ISO 2000, 1/52 second at f/8.
ISO 8000, 1/52 second at f/8.
ISO 1000, 1/20 second at f/11.
ISO 3200, 1/30 second at f/9.
DR 400%, ISO 400, 1/60 second at f/8.
ISO 640, 1/50 second at f/5.6.
ISO 160, 1/60 second at f/11
Still frame from 4K 17:9 video clip (4096 x 2160 pixels) recorded at 25p, 400Mbps, Long GOP compression.
Still frame from 4K 17:9 video clip (4096 x 2160 pixels) recorded at 25p, 200Mbps, All-I compression.
Still frame from 4K 16:9 video clip (3840 x 2160 pixels) recorded at 50p, 200Mbps, Long GOP compression.
Still frame from Full HD 17:9 video clip (2048 x 1080 pixels) recorded at 50p/200Mbps, Long GOP compression.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 50p/200Mbps, ALL-I compression.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 25p/200Mbps, ALL-I compression.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in high-speed mode at 240 fps.
Additional image samples can be found with our review of the XF 35mm f/1.4 R lens.
RRP: AU$2999; US$1699.95
- Build: 9.1
- Ease of use: 8.8
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0