Fujifilm X-T4 Mirrorless Camera Body Only

Putting Photography First, X-T5 uses 40 megapixels in a stripped-back, stills-focused form factor, creative potential is broader than ever. When it comes to image quality, Fujifilm’s signature analogue filmic look is retained, with an astounding level of added detail. Should more ever be needed, simply engage Pixel Shift Multi-Shot mode for 160-megapixel images.

The back-illuminated sensor is joined by X-Processor 5, combining to enable a host of exceptional features. A previously extended ISO 125 is now native, while shutter speeds extend to 1/180,000 sec. Even in the brightest conditions, fast apertures remain in play.

In more dimly lit settings, or for rapid handheld photography, seven-stops of IBIS are sure to mean fewer missed frames. Despite the five-axis stabilising structure, X-T5’s size and weight remain conveniently low. In fact, it’s smaller than its predecessor and weighs just 557g. Tactile, external controls and programmable buttons are present, as ever – joined by a 3.69 million dot EVF and 1.84 million dot, three-way tilting LCD. It’s even ruggedly weather sealed.

Creation is supported further by cutting-edge deep learning technology. Automatic white balance has seen a significant boost in accuracy – as has autofocus performance. A wide range of subjects, including faces, animals and vehicles, can be detected and tracked without disruption. In AF-S mode, high-frequency targets are easier to lock onto than ever.

While some post-production work is a crucial part of any advanced image maker’s process, a streamlined workflow is never amiss. Advanced X-T5 features, like Smooth Skin Effect, complete essential post steps in-camera. There are also 19 Film Simulation modes to choose from, including Nostalgic Neg., for gorgeous JPEGs – though HEIF image format is also available, for 10-bit quality in a 30% smaller file.

Despite being stills focus, X-T5’s video capabilities are nothing less than professional. Hybrid or dedicated video creatives can rely upon 6.2K 30P internal recording, in 4:2:2 10-bit colour. When less is more, try oversampled 4K HQ footage. There’s also a new F-Log2 with 13+ stops of dynamic range and 12-bit Apple ProRes RAW external recording.