Herco

Dustin Abbott has a fairly good review on this lens: by fairly good I mean 'un-biased' 😉

It might be the sound of the AF motor of the lens or aperture noise depending which lens you use. Esp. the older 1.4/1.2 lenses are not best suited for video as they are quite noisy. In that case better work with an external mic.

Hi jpickles, the 23/1.4 and the 56/1.2 will block a significant part of the OVF of the X-Pro2. It will be a little bit less when you use the optional square metal lenshood. The one for the 23/1.4 will also fit on the 56/1.2. The 14/2.8 is less obstructing the OVF esp. when you remove the lenshood. However, the framelines for the 14mm will be outside your OVF. Best switch to EVF for that lens. The 16mm will roughly be the max. for the OVF (representing the entire OVF view (no framelines displayed).

This is a known issue with multiple Fuji cameras. There are a few things you can do: - make sure you have the latest firmware as for some models Fuji partly fixed it (but not eliminated it); - don't use spot metering but use multi- or average metering; - be careful with zooming in/out as it can change the overall exposure; - set ISO to a fixed setting (manual ISO) and vary exposure using aperture or a variable ND filter.

To be honest there's quite some variation between the different Fuji models and even significant sample variation within copies of one model. The first good quality command dials were in my X-H1 which is -still today- by far the sturdiest X-camera of Fuji. This was improved in the GFX line, but going from the X-H1 to the X-T3 was for me a disappointment in build quality. I haven't had much experience with the X-T4 but I did notice quite some sample variations with different X-T3s and X-T4s when picking them up here in the store. My only Fuji X-camera nowadays is the X-Pro2 and that has (like the X-H1) a solid build quality (though the X-H1 had and still has quite some software issues). Though many people will claim otherwise (Fuji itself included) I however, noticed a distinct deterioration in build quality between the models build in Japan and those build in China. Not so much the manufacturing itself, but the quality of used components and increased sample variations. There are other brands who do this as well to reduce costs. Luckily some don't...

Hi Dybo, you can assign exp. compensation to the rear command dial. Please find the online owner manual here: FUJIFILM X-T4 Owner’s Manual (fujifilm-dsc.com) and look in the SETUP/Button-dial setting menu. As for the color science of Fujifilm, that is mostly linked to their excellent jpeg engine and film simulations for jpegs. When shooting raw the 'color science' is less obvious and for skin tones in fact a bit problematic. I'm a fashion/make-up portrait shooter and getting rid of the magenta/green color cast in skin tones (depending color temp) is actually a bit more work with Fuji raw files (my reference is Leica, Nikon and Hasselblad).

Many people seem to believe that XF lenses are full metal, but actually all are a mix of aluminium and engineered plastics. In itself there’s nothing wrong with that, as for some purposes plastics actually are a better choice. However, it seems that with Fuji there’s quite a bit sample variation. At least much more than I experienced with some other brands (I use Hasselblad and Nikon professionally and Fujifilm and Leica for personal work. Before Nikon I was a long-time Canon shooter). Of the 16 Fujifilm lenses I own or have owned, 4 of them showed defects shortly after purchase. Ranging from misaligned mounts to loose aperture rings. With all of the 16 lenses each aperture ring, zoom ring or focus ring feels different and has a different sound. Even with two copies of the same lens. That leads me to believe that Fuji uses less strict tolerances at final QA production tests. Fuji is not alone here. In fact some other manufacturers do the same. Too high rejection rates after production leads to higher costs (that’s partly why Leica lenses are so expensive - almost 3 out of 10 get rejected at end-stage testing due to very small tolerances). It doesn’t mean that these lenses will fall apart, it’s just that e.g. the level of play in each focus ring may feel a bit different from other copies. In my experience the sample variation of XF lenses is greater than that of GF lenses, which makes sense in terms of price and purpose of the lens. The 16-55 is considered one of the finest XF lenses (a red badge zoom) designed for professional usage. Nevertheless, when I compare it to my Nikkor Z 24-70/2.8 it is nowhere near in terms of build quality (and IQ as well by the way). There’s tolerance in each of the rings and even a tiny bit rotational tolerance in the mount (on a X-H1 which has the strongest mount of all X-bodies) and the zoom ring makes the sound of plastic on metal. Yet, the 16-55 has never let me down and costs half the price of the Nikkor full frame lens. I recommend to go to a camera store and try a brand new 16-55. If that feels miles better than your copy, you may have a good reason to return it. But don’t be surprised if the seller claims that ‘it has always been like that’. He/she is probably right...

This lens (16-80) is mostly bought as a convenient choice. It covers a wide range at a decent price and performance. However, in terms of resulotion and contrast it’s quite a bit behind the 18-55 and the 16-55. It’s more towards the 18-135. You might want it for convenience, but not for the highest image quality. It has good center sharpness (which almost every modern day lens accomplishes) but for decent edge/corner sharpness you need to stop down to f8 and after f11 diffraction starts to kick-in. So you actually have a small operating bandwidth to work with when high IQ is needed. For general snapshots it’s a fine lens though.

https://fujifilm-dsc.com/en/manual/x-t4/shortcuts/function_buttons/index.html#assigning_roles

Up and down movement in the EC-dial is certainly not normal. There is a certain amount of 'flex' when you press alternating on either side of the dial, but that should be no more than barely visible. The movement you describe indicates a defect to the sealing and securing mechanism of the dial. This will certainly impact also the weather resistance of the body.

Do you shoot perhaps RAW+JPEG and import both raw files and jpegs in LR? That way, it will show the same image twice in LR.

This is one of the more common error messages with Fujifilm cameras. It happens across the range, so buying an X-T4 doesn't rule out the error. In most of the cases it comes down to two issues: (a) card read/write issues - also when switching on, the camera tries to read the cards or (b) unable to detect the lens (sometimes combined with f0 message on screen). Possible remedies: use only Fuji recommended cards. Fuji cameras are extremely susceptible to cards. I never lost images due to card issues until I started to work with Fuji. It happened a couple of times already. As for the lens, try to demount/mount the lens again. As for the repair service: did Fuji USA repair the camera or Adorama themselves (or their partner)? I use Fujifilm Professional Service (FPS) here in Europe and have noticed that their quality differs greatly per country. I've been told that FPS USA is rather good and almost on the same level as those PS-ses from Canon, Nikon and Sony. I assume your camera is still under warranty and Adorama should solve the issue regardless of which repair service they use. Seek publicity also on Adoramas user review board.

Correct

With the 23mm you shouldn't have an issue with framelines. The OVF of the X-Pro3 is indeed a bit bigger and brighter. The EVF is quite a bit better than that of the X-Pro2.

That could be, but I've also heard from a sales rep that the borders of the X-Pro3 OVF is actually the frameline for 16mm. That makes me think that it's used for whatever is most convenient in the discussion. Either way, it is a step back from what the field of view was for the X-Pro2 OVF.

You're quite right. I too keep hold of my X-Pro2 and returned the X-Pro3 after I tried it for personal work for a week. I don't miss the D-pad (I use the joystick), but I do wish the X-Pro3 had the LCD of the X100V. One point of correction: the EVF does work with all focal lengths. It's just the OVF that is restricted (even compared to the X-Pro2). Actually, Fuji launched the 18mm f1.4 recently and they used the X-Pro3 as the launch model for it. However, the X-Pro3 in OVF-mode doesn't even have framelines for the 18mm. Such a miss for a street photography camera...

It's in Fuji's brochure on the X-H1. You can download one from their site. Unfortunately Fuji is really slow to publish new brochures, so the ones from the X-T3 and the X-H1 are the last cameras there in the X-system.

In Fuji's own specs they claim a shutter interval of 0,17sec and a shutter lag of 0,045sec. The switch on speed is 0,4sec.

Depends on which GFX body you use the lens. Only the 100-versions have hybrid Contrast and Phase Detect AF. The 50-versions only have Contrast Detect AF.

Depends a bit...is the lens attached to the camera and does the sound come from the lens? If so, it could indeed be the OIS from the lens -provided it is a stabilised lens- or you've set Pre-AF to ON in the AF menu. In that case it's the AF motor you hear. You might want to switch off Pre-AF since it drains the camera battery.

That very much looks like it. Before you return it, check the firmware versions of both lens and camera first. Sometimes this sort of stuff is listed under "several bugs fixed".

Of course handling and grip size of a camera is very personal, but my 2 cents is that when used to a D800, you'll find the X-T4 (and other X-Ts) less comfortable to handle. These are quite different cameras too. The D800 is a professional workhorse camera designed to be handled in extensive long photo shoots. The X-T4 is much more a consumer-grade camera with a keen eye for style. The great looks come a bit at the expense of handling. I've worked with X-T and X-H cameras professionally for a while, but always had to use a grip extender to make them comfortable for long work. In fact the X-H1 came closest to a comfortable hand position. The main issue for the AF-ON button is that it is too far up and left positioned. When you have the camera at eye-level and your finger on the shutter release button, you have to stretch your thumb and regrip a bit to reach for the AF-ON button. A grip-extender here helps a bit because it provides more grip for your ring finger and pinky, which allows you to loosen the grip with your thumb and middle finger and shift them up a bit. An alternative is to assign AF-ON to the push function of the rear dial. The downside is that you easily turn the dial when pushing it and may perhaps change another setting that way.

Nowadays I only use my X-Pro2 with a few lenses for personal work. I really love that camera. It sits right next to the Q2 in my bag. For professional work after 6 years Fujifilm, I moved to Nikon Z. Next to that I continue to use the H6D in studio and on site. I’ve tried the GFX (both 50 and 100) for a while but still prefer the Hassy.

Compared to the separate lenses, the Q2 is certainly a good deal in Leica's world. Without turning this into a Leica forum, I can confirm that the current digital Leica's still have amazing colors. I was a bit disappointed with the M8, but since the Q, the SL and the M10 they've found their consistency back. What's particularly striking is how easy the raw files are in post. As for the Q2 Monochrome, I've never seen such beautiful and high quality B&W images from a consumer camera.

Can't argue with math... ;-). But the difference is made by the volatile exchange rate which we don't have. On top of that, when you walk into a Leica store here in Switzerland or Germany, you're not paying the MSRP anyway. My Q2 Monochrome was less than EUR 5k.