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These are the three winners (and their photos) of the inaugural Leica Women Foto Project Award

25 Oct

Winning photographs of the inaugural Leica Women Foto Project Award

Editor’s note: Do note that some images in this slideshow will be considered not safe for work (NSFW), as a few images depict nudity. Proceed at your own discretion if in a sensitive work environment.

Earlier this year, Leica Camera launched the Leica Women Foto Project to facilitate diversity and inclusion in photography. This past week, they announced the three winners of the inaugural Leica Women Foto Project Award. Selected from a pool of 600 submissions across the U.S., photographers Debi Cornwall, Yana Paskova, and Eva Woolridge were chosen by a panel of five industry-leading judges. Each winner received $ 10,000 and a Leica Q2 camera to pursue a personal project that tells a story through the female viewpoint.

‘The Leica Women Foto Project is a keystone program for Leica Camera USA as we expand opportunities to amplify visual stories told through the lenses of underrepresented perspectives. The overwhelming response of hundreds of USA-based submissions in just our first year alone is indicative of the ongoing need for platforms that invite conversations that provoke new ways of seeing,’ says Kiran Karnani, Director of Marketing for Leica Camera North America. ‘We welcome Debi, Yana, and Eva to the Leica family of storytellers and we look forward to the continued evolution of their impactful stories.’

Debi Cornwall

Debi Cornwall was chosen for her series Necessary Fictions which explores the role of American military intervention in a mysterious country called ‘Atropia.’ Cornwall travelled to ten military training centers across the U.S., constructed to resemble Iraqi and Afghan villages, to stage the photos in her series. By documenting these mock villages, battle scenarios, and ‘cultural role-players,’ used to train military personnel, Cornwall’s aim was to invite critical inquiry among viewers about a society in which war has become the rule rather than the exception.

Yana Paskova

Bulgarian-born, Brooklyn-bred photojournalist and writer Yana Paskova created her winning series, Where Women Rule, based on her experience as a political asylum immigrant. Her aim with this project was to bridge humans’ understanding of each other. She describes the series as ‘a visual and sociological look at what happens when cultural norms of gender are amended or removed — via the all-female societies across the world, where women gather for shelter or in matriarchy — leaving us with new notions of femininity and masculinity, human bonds, family, and the fluid boundaries of identity.’

Eva Woolridge

Eva Woolridge, a self-proclaimed African-American and Chinese-American queer woman, brought her personal struggles with fertility to life in her project The Size of a Grapefruit. The series is an artistic representation of the traumatic experiences that ensued following her diagnosis of a dermoid cyst, which was the size of a grapefruit, and the resulting removal of her right ovary. Woolridge feels the removal could have been prevented had medical professionals been more proactive during early consultations. She hopes to shed more light on racial bias against black women seeking medical treatment, worldwide, by continuing the series with her prize money.

All three women will showcase photographs from their respective winning series in a joint exhibit at Leica Gallery Boston starting March 5th through April 26th, 2020. Visitors will be able to view the journey of their personal projects.

Fawzia and Nabil H.

Winner: Fawzia and Nabil H., by Debi Cornwall, from the Necessary Fictions series

About this photo/series: These are Iraqi role players photographed at the Marine Corps Air Ground Combat Center in Twentynine Palms, California. Describing the series, Cornwall states ‘In Necessary Fictions, I photograph the mysterious country of ‘Atropia.’ Though fictional, Atropia actually exists: mock Afghan and Iraqi villages have been constructed on military bases across the United States to host immersive, realistic military training exercises for troops preparing to deploy. On ten such sites around the country, I document mock villages, battle scenarios, and ‘cultural role-players,’ civilian Afghans and Iraqis, many who have fled war only to recreate it, in costume, in the service of the U.S. military.’

Insurgent

Winner: Insurgent, by Debi Cornwall, from the Necessary Fictions series

About this photo/series: In Cornwall’s own words: ‘In a mobile studio I set up on site, I also make portraits with soldiers. They pose in front of a camouflage backdrop, appearing mortally wounded.’

For this body of work, Cornwall explored ‘how fiction and reality blur within the post-9/11 fantasy-industrial complex.’ Reflecting on her experience after visiting mock war sets on 10 different U.S. military bases, she says that ‘despite the constant military conflicts since September 11, war has receded in the American consciousness. War has become white noise, the almost-invisible backdrop of our roiling sociopolitical moment, even as our civic life has become increasingly militarized at home. Meanwhile, entire industries have emerged to support the forever wars, both real and imagined.’

Dara Lam Village

Winner: Dara Lam Village, by Debi Cornwall, from the Necessary Fictions series

About this photo/series: ‘My goal is to examine how fictions are deployed and embraced, and to invite critical inquiry among military and civilian viewers alike about a society in which war has become the rule rather than the exception.’ This image was captured in Joint Readiness Training Center (JRTC) in Ft. Polk, Louisiana.

Smoke Bomb

Winner: Smoke Bomb, by Debi Cornwall, from the Necessary Fictions series

About this photo/series: A smoke bomb is detonated in a mock exercise meant to train military recruits by replicating real-life combat scenarios on one of the 10 U.S. bases that Cornwall documented.

Widows of Varanasi

Winner: Widows of Varanasi #4, by Yana Paskova, from the Where Women Rule series

About this photo/series: In Paskova’s own words: ‘Where do women rule and where are they a commodity? How do women develop in a near absence of men or patriarchy? My project aims to be a visual and sociological look at what happens when cultural norms of gender are amended or removed — via the all-female societies across the world, where women gather for shelter or in matriarchy — leading us to new notions of femininity and masculinity, human bonds, family and the fluid boundaries of identity.’

Widows of Varanasi

Winner: Widows of Varanasi #10, by Yana Paskova, from the Where Women Rule series

About this photo/series: ‘Not in recent history have communities where women seek shelter, independence or support, been more relevant to our cultural climate and growth.’

Widows of Varanasi

Winner: Widows of Varanasi #7, by Yana Paskova, from the Where Women Rule series

About this photo/series: ‘I aim to discover the intersect of these women’s stories as individuals and as a collective amidst arresting visual landscapes, with special attention to perseverance in the face of rejection and confidence in shedding convention.’

Widows of Varanasi

Winner: Widows of Varanasi #9, by Yana Paskova, from the Where Women Rule series

About this photo/series: ‘My intent for this project’s findings is that they serve as an immersive experience not just for consumers of visual culture, but also as a research and educational tool — hopefully starting with the youngest minds, where developing the concept of equality matters most.’

Widows of Varanasi

Winner: Widows of Varanasi #9, by Yana Paskova, from the Where Women Rule series

About this photo/series: ‘Ultimately, I’d like to build connections between humans that overcome the limiting societal constructs of gender and geography.’

Inspection

Winner: Inspection, by Eva Woolridge, from The Size of a Grapefruit series

About this photo: In Woolridge’s own words, ‘this image represents my need to take initiative and research ovarian cysts following the surgery. My male surgeon didn’t give me information on how one ovary would affect my hormones, whether or not I could have kids, or why it even developed. I was left to process and research on my own.’

Denial

Winner: Denial, by Eva Woolridge, from The Size of a Grapefruit series

About this photo: In her own words, ‘this represents my denial in experiencing pain in my lower abdominal by putting it off as bad cramps, food positioning, and bloating, without listening to my body’s red flags. Black women are often dismissed by medical professionals when they address a reproductive concern. I had experienced signs of an ovarian cyst about two weeks before my emergency surgery, however was unfamiliar of them prior, and stayed quiet to not make a fuss.’

Empowered

Winner: Empowered, by Eva Woolridge, from The Size of a Grapefruit series

About this photo: ‘This image represents the growth, confidence and power I gained after this cycle of healing was complete. Exactly a year later, I had used photography to spotlight a quiet issue plaguing other people with ovaries. The golden metallic grapefruit slice represents the one sliver of an ovary I have left, that shines bright with beauty and strength.’

Empty

Winner: Empty, by Eva Woolridge, from The Size of a Grapefruit series

About this photo: ‘This represents the weight this surgical trauma had left me. Once my ovary was removed, I went through severe depression, isolation, and confusion from the betrayal of my body. My personality dimmed, I was forced to process and learn of this condition alone.’

Reflection

Winner: Reflection, by Eva Woolridge, from The Size of a Grapefruit series

About this photo: ‘As an advocate for reproductive health, during my two months of healing, I had to ask myself who I was now with one ovary. Was I less of a woman? Could I be a mother in the future? How many other women experienced this trauma? Were they given preventative resources and information to avoid, or were they caught off guard too? And my biggest question is how can I heal from this while spreading awareness to others?’

Articles: Digital Photography Review (dpreview.com)

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Thoughts and Field Test: Leica X-U Underwater Camera

14 Oct

The post Thoughts and Field Test: Leica X-U Underwater Camera appeared first on Digital Photography School. It was authored by Suzi Pratt.

When it comes to waterproof cameras, you’re likely to think of GoPro or a similar action camera first. But what if you wanted a waterproof camera with full manual control? There aren’t many options on the market unless you’re willing to splurge for an underwater housing for a DSLR or mirrorless camera. But there’s a less-known option made by the venerable camera brand, Leica. In 2016, Leica introduced the Leica X-U – a rugged, waterproof compact camera. It didn’t seem to get much fanfare as it was completely unbeknownst to me until I browsed Borrowlenses.com in search of a camera for my upcoming whitewater rafting trip.

So how did it perform? Read on to find out!

Leica XU underwater camera

Technical specs

The Leica X-U is considered a point and shoot camera. It has a 16.2 megapixel APS-C CMOS sensor and a fixed Summilux 23mm f/1.7 lens (equivalent to about 35mm in 35mm format). The camera can shoot both RAW and JPG photos and record full HD video (1080p).

Some dials allow you to take full manual control of the camera and set the ISO, shutter speed, and aperture. You can even manually focus the lens.

Taking into consideration all of these specs, this is essentially a pro-level camera that has the added benefit of being dustproof, shatterproof, waterproof (up to 15 meters for 60 minutes), and shockproof (from heights of up to 1.22 meters). It has a pro-grade camera price tag retailing at $ 2,999 USD.

Look and feel

There’s no escaping the fact that the Leica X-U is a chunky camera, especially when compared to other waterproof point-and-shoots on the market. It weighs in at 1.32 lbs and doesn’t float or come with a floating strap. Thus, you’ll want to make sure it is always strapped tight to you, or find a floating strap for it.

The camera exterior, made of anti-slip rubber, feels good in the hands. In front is a manual focus fixed lens with a built-in flash on top. There’s also a hot shoe on top of the camera for adding a larger flash or extra accessories.

Leica also includes a rubber lens cap with a small strap, but it fits very loosely and is prone to falling off. I recommend looping the lens cap strap to the camera for extra security.

Leica XU underwater camera

Ease of use

This was my first time using a Leica camera. Up until this point, all I knew about Leicas was that 1) they were expensive, 2) they’re very solid in construction, and 3) their user interface is relatively simple and straightforward. All of these assumptions are true in the Leica X-U, but it is the third point that I appreciated the most.

The bulk of the camera’s controls are in the top two knobs and the lens’ focus ring. If you’ve used a film camera or Fujifilm mirrorless camera, you’ll feel right at home. Any other camera settings are controlled using buttons on the rear end of the camera, where there is also a large, brightly-lit LCD screen. Buttons were decently responsive, and the LCD was fast and accurate.

The one thing I wish Leica included is a touchscreen LCD. Menus are laid out simply, and it was easy to adjust settings. A rechargeable battery powers the camera, and it easily lasted a full day of shooting.

Leica XU underwater camera

Performance in the field

I extensively researched this camera before renting it for my rafting trip. Unfortunately, most of the camera reviews swayed toward the negative. Many claim the Leica X-U’s autofocus is too slow, and its overall features fall behind when compared to what modern cameras (and smartphones) can achieve.

When shooting with this camera, I brushed off those negative reviews. Shooting with this camera was an absolute joy. I loved the ability to shoot in manual without having to worry about water splashes. And it is very easy to go from shooting still photos to video since the video record button is right next to the shutter.

Leica-X-U-underwater-camera

Best of all was the ability to shoot photos of the night stars, which was my main reason for wanting this camera. My rafting trip frowned upon bringing non-waterproof cameras, so I didn’t want to risk bringing my expensive mirrorless cameras.

However, we would be spending the night in the pitch-black forests of Southern Oregon with stars shining bright every night, and I wanted the ability to snap photos of them.

With its fast aperture and the ability to shoot in manual focus, the Leica X-U had the capability of pulling off star photography, and it did so pretty well.

Leica XU Underwater Camera

At the end of each day, I reviewed the photos and videos on the camera and marveled at what I was able to capture. Those negative reviews seemed completely wrong – that is until I reviewed everything on my computer.

Image and video quality

It’s a classic mistake to review media content on a tiny device screen and think that everything is working well. The real quality test is to review them on a big screen. Doing this showed that those reviewers were 100% right.

The Leica X-U’s image quality is quite good when shooting a static or slow-moving object. However, the camera absolutely blew the autofocus when shooting anything in movement.

This is an odd shortcoming for a camera that seems built for action, but it happened on a very consistent basis.

For fast-paced scenarios, the autofocus simply wasn’t fast enough, leading to many unfocused shots like this.

Leica XU Underwater Camera

The video quality was downright atrocious, and I’m ashamed that I put so much trust in this camera when shooting videos. My Samsung Galaxy S10, in its waterproof case, took far better video.

So…should you use this camera?

Handling this camera was an absolute joy, but I can’t commend its photo or video quality.

If you’re seeking a waterproof camera with manual controls, this camera might work for you, but it depends on what you’re shooting. In fast-paced action scenarios, this camera’s autofocus performance won’t keep up. But if you’re shooting static landscapes or astrophotography, this camera will likely meet your needs.

For videography, don’t even bother.

Leica XU Underwater Camera

The post Thoughts and Field Test: Leica X-U Underwater Camera appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Yuneec announces Typhoon H3 drone, co-engineered with Leica

27 Sep

Chinese drone manufacturer Yuneec announced the latest release in its Typhoon series, as well as a strategic partnership with Leica Camera AG. The H3 is the first resulting product from the collaborative efforts of the two companies. It is especially aimed at aerial photographers and cinematographers. The Yuneec Typhoon H3’s most noteworthy new feature is an ION L1 Pro camera that was co-engineered with Leica.

The ION L1 Pro camera features a 20MP, 1″ CMOS sensor. It can capture 4K/60p video at a maximum bitrate of 100 Mbps on a stabilized 3-axis gimbal that offers up an unrestricted 360° view for panoramic shots. Imaging modes optimized and calibrated by Leica (Auto White Balance, color reproduction, sharpening, and de-noising) promise top-notch vibrancy, contrast, and resolution.

Developed in accordance with Leica specifications, the camera offers a range of options including automatic exposure bracketing and semi-automatic through wide dynamic range. 10-bit Y-Log and DNG profiles offer optimal conditions for professional post-production workflows on programs including Adobe Lightroom and Photoshop. Lossless digital zoom (specs unknown at the moment) and short JPEG intervals for seamless hyperlapse creation are also included.

Wenyan Jiang, Founder & Chairwoman of Yuneec, said the following regarding the new Typhoon H3 drone:

‘The Typhoon H3 with ION L1 Pro camera merges art and technology, craft and modernity in a unique manner and, in doing so, takes our aerial photography to dizzy new heights. This symbiosis makes it possible to take unique aerial photographs from unlimited angles that are so breathtaking, they not only reflect the creativity of each and every photographer and filmmaker, but also constantly push them to achieve more. In the partnership between Yuneec and Leica, the focus is on the photographer and their artistic vision. This manifests itself in our first jointly developed product, which will soon be released as a perfectly matched tool that meets the highest quality standards.’

The standard H3 kit includes the PX4-based ST16S flight controller and two batteries that can power the drone for up to 25 minutes of flight time. A 7″ touchscreen is built into the remote and displays the live camera image in 720p (HD). Image transmission distance extends to almost one mile. A second pilot can be added with the Team Mode function and the purchase of an additional ST16S remote control.

Four intelligent flight modes are included for professional-grade cinematography. The Follow Me/Watch Me mode follows a designated subject, Curve Cable Cam allows you to plot coordinates beforehand for the drone to follow while the camera remains independently controllable, Orbit Me flies around a target in a circular motion, and Journey ascends along a linear path then automatically returns for a flawless shot.

Yuneec has continually emphasized the fact that all data is transmitted strictly between the drone, its camera, and controller. There isn’t a cloud system in place, ensuring privacy. While the Typhoon H3 doesn’t contain any rear-facing obstacle avoidance sensors, it comes with a redundant control signal, a Return Home function, and an adjustable virtual fence that ensures it won’t fly beyond a specified radius. The hexacopter has a failsafe 5-rotor mode that automatically activates if one fails. This ensures that the drone remains in the air and doesn’t crash.

A release date has not been announced. Pre-ordering is currently not available and official specs haven’t been published yet as of this writing. Though not confirmed, it is expected to retail for around $ 2,200.

Articles: Digital Photography Review (dpreview.com)

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Confirmed: Leica, Nikon and Olympus won’t be attending Photokina 2020

19 Sep

In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attention the 2020 trade show.

The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:

‘The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry’s leading trade fair – and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow – with a positive effect on the demand for pictures.’

Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’

It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:

‘”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.’

The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.

Articles: Digital Photography Review (dpreview.com)

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Viltrox APS-C lenses for Fujifilm, Sony and Leica detailed ahead of launch

23 Aug

Chinese camera gear brand Viltrox is planning to release three autofocus lenses for Fujifilm X-mount, Sony E-mount, and Leica M-mount, according to FujiRumors, which initially spied the upcoming products back in May.

In a new report published this week, FujiRumors detailed the alleged specs for the three lenses, product images for which it found published on Viltrox’s official profile on Chinese social media website Sina Weibo. Below are images of the lenses and a breakdown of the specifications based on the charts provided by Viltrox:

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Viltrox 23mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
10 Groups, 11 elements
Filter size: 52mm
Weight: 250g (8.8oz)

Viltrox 33mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
9 Groups, 10 elements
Filter size: 52mm
Weight: 270g (9.5oz)

Viltrox 56mm F1.4:

Aperture range: 1.4 – 16
Aperture blades: 9
9 Groups, 10 elements
Filter size: 52mm
Weight: 290g (10.2oz)

It’s unclear when the new lenses will launch. The initial report in May claimed on behalf of a source that the new models may launch in October, but the latest report points toward ‘around November’ as the official release time frame. Prices haven’t been revealed at this time. These three lenses will join Viltrox’s previously launched 85mm F1.8 autofocus APS-C lens.

Articles: Digital Photography Review (dpreview.com)

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Leica announces APO-Summicron-SL 50mm F2 L-mount lens

16 Aug

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Leica has announced its APO-Summicron-SL 50mm F2 lens, which is designed for the L-mount system. The lens is smaller, lighter and, as you’d expect, cheaper than Leica’s F1.4 variant.

The 50mm F2 has twelve elements; three are aspherical and eight use an anomalous partial dispersion (APD) design to reduce chromatic aberration. Dual stepping motors can move the focus elements from their minimum focus distance to infinity in 250ms, according to Leica. The minimum focus distance is 0.35m (13.8″), with a 0.2x maximum magnification.

The lens is sealed against dust and moisture, and an ‘Aquadura’ coating prevents water from collecting on the front element.

The APO-Summicron-SL 50mm F2 lens is now available for $ 4495.

Official sample photos

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Press Release:

The Leica APO-Summicron-SL 50 mm f/2 ASPH. Brings Ultimate Image Quality and Versatility to the SL Lens Portfolio

The newest, all-purpose Leica lens and next milestone for the 50 mm focal length

August 15, 2019 – Leica Camera sets an even higher benchmark for the Summicron-SL family with another top-flight lens: the Leica APO-Summicron-SL 50 mm f/2 ASPH. Often seen as the standard focal length for full frame cameras, this new 50 mm promises a level of performance high enough to demand a spot in the gear bag of any photographer looking to take advantage of the L-Mount system. Whether the task at hand is travel photography, studio work, architecture, landscape, portrait or documentary photography, the Leica APO-Summicron-SL 50 mm f/2 ASPH. is the new go-to L-Mount lens, delivering results that satisfy even the most discerning photographer.

The new APO-Summicron-SL 50 mm f/2 ASPH. consists of twelve expertly designed lens elements – three of which have aspherical surfaces for correcting optical aberrations – arranged in 10 groups, to achieve ultimate image quality. This lens allows photographers to seamlessly capture natural skin tones, smooth bokeh, outstanding contrast and consistent sharpness from corner-to-corner of its distortion-free images. The APO-Summicron-SL 50 mm f/2 ASPH. keeps chromatic aberrations in check by utilizing apochromatic corrections, where it earns its “APO” designation. This ensures that all colors of the light spectrum are accurately passed through the lens and fall on the same focused point on the camera’s sensor, so the photographer can know that they will get maximum detail in all situations without optical artifacts like distracting green or purple color fringing. To accomplish this, nearly all elements used in the construction of the lens are made from specially formulated, high-quality glass types for the highest possible light transmission. The end result marks an advancement in imaging performance with the venerable “Leica look” and signature rendering.

The thoughtful construction of all Summicron-SL lenses pays special attention to the prevention of stray light and reflections. The optical and mechanical design coupled with high-quality lens coatings serve to maintain the exceptional quality expected from a Leica lens. With their effective weather sealing against dust, moisture, and water spray, combined with an Aquadura coating of the exposed lens surfaces preventing water from beading, the Summicron-SL lenses can be confidently used in most extreme weather conditions.

The autofocus drive of all Summicron-SL lenses employs powerful and robust stepping motors with DSD® (Dual Syncro Drive™). The entire focus range of the lens – from close-up to infinity – can be fully traveled in just about 250 milliseconds to ensure spot-on focus that keeps up with moving subjects. Summicron-SL lenses also take an innovative approach to manual focusing technology, featuring a totally new focus ring construction. With this new method, a ring magnet with alternating polarization is embedded in the manual focusing ring along with a sensor that monitors the status of the magnetic field. The magnetic field changes its polarity when the ring is turned, and the sensor transmits the pinpoint details of user input that drives the focus. This intricate process happens near-instantaneously at the simple turn of the focus ring, enabling even faster and more precise manual focusing with a nicely dampened and weighted feel. The photographer can quickly access the finest manual focus micro-adjustments when they need it, right at the reach of their fingertips

Thanks to the L-Mount standard, the new APO-Summicron-SL 50 mm f/2 ASPH. is also fully compatible with cameras manufactured by partners of the L-Mount Alliance who use the lens mount developed by Leica. The APO-Summicron-SL 50 mm f/2 ASPH. is on sale now at Leica Stores, Boutiques and Dealers for $ 4,495.00.Leica has announced its APO-Summicron-SL 50mm F2 lens, which is designed for the L-mount system. The lens is smaller, lighter and, as you’d expect, cheaper than Leica’s F1.4 variant.

As one would expect from Leica, the lens is sealed against dust and moisture, and an ‘Aquadura’ coating prevents water from collecting on the front element.

The APO-Summicron-SL 50mm F2 lens is now available for $ 4495.

Articles: Digital Photography Review (dpreview.com)

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7artisans announces pricing, availability for its 75mm F1.25 Leica M-mount lens

13 Aug

7artisans has officially listed its 75mm F1.25 for Leica M-mount camera systems as available for pre-order across the United States, Canada and Europe.

The manual lens, which can be adapter for other full-frame mirrorless camera systems, is constructed of seven elements in six groups and features a 13-blade aperture diaphragm.

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Its minimum focusing distance is 80cm (2.62ft) and its aperture range is F1.25 thought F16. The lens measures (diameter x length) 69.5 x 72.6mm (2.7 x 2.9in) and weighs 608g (1.34lbs).

Below are a gallery of (non-high-res) sample images provided by 7artisans:

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The lens is currently available to pre-order for $ 449 at Adorama and B&H.

Articles: Digital Photography Review (dpreview.com)

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Top 5 Best Leica Digital Cameras

02 Jul

The digital era is here and photography has taken many strides into the future of artificial intelligence, thanks to camera lenses that beat human imagination. That is not all. There are many different brands to choose from such as Nikon, Canon, Sony, Olympus among others. But, does it mean everything you are going to buy should be automated and have Continue Reading

The post Top 5 Best Leica Digital Cameras appeared first on Photodoto.

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Leica launches the M-E (Typ 240), a more budget-friendly M-system rangefinder

25 Jun

Leica has introduced a new M-E model designed to give users access to the M system at a lower price than would usually be required to buy one of its rangefinders. The M-E (Typ 240) replaces the M-E (Typ 220) first introduced in 2017 and delivers several upgraded features.

The new model offers a 24MP CMOS sensor, presumably the one from the 2012 Leica M (Typ 240). So, while it matches the resolution of the top end M10-P, it has an ISO range limited to the same 200-6400 as the older camera.

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The buffer for drive shooting and clearing images to the memory card is also increased to 2GB, allowing three frames per second, and this new model can shoot video—but only in 1080p FHD. A special grey anthracite paint coats the body of the camera, the rear display is a 3-inch 920k-dot screen and Leica claims the M-E (Typ 240) is dust and spray proof. The viewfinder has a 0.68x magnification.

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Details are still a bit thin on the ground as Leica hasn’t released any further technical specifications yet, but retailers are advertising the M-E (Typ 240) for £3500 / $ 3995 body only. The camera is set to be available at the end of July 2019.

For more information see the Leica website.

Manufacturer information:

Leica M-E (Typ 240)

Welcome to the M Family!

The moment in which you decide to purchase a Leica M changes your view of the world. And making the choice has never been easier: become the proud owner of the new Leica M-E, benefit from its exceptionally favourable retail price, and use this opportunity to join the family of M photographers.

The new Leica M-E continues the unique tradition of rangefinder photography. A stringent paring down to the most essential camera functions ensures a streamlined and intuitive operation. Compact, quiet and characteristically discreet, the new Leica M-E allows photographers to blend into their surroundings, establish a direct connection with their subject, and capture each scene with absolute authenticity and brilliant image quality.

Available End of July 2019!

The Leica Rangefinder System Seeing the Bigger Picture
Leica’s unique M-System – whose name is based on the German term ‘Messsucher’, meaning rangefinder — has been making history for 65 years. The ‘Messsucher’ presents a bigger picture – a broader view of your subject – and opens up a whole new world of creative freedom: this enables the photographer to anticipate the way in which a composition might develop — and press the shutter at the decisive moment.

Consequently, Leica M cameras are particularly suited to street and reportage photography. In addition, the rangefinder allows for a fast and precise focus, even in challenging lighting conditions.

The Iconic M Design

Visual and Tactile Perfection
The Leica M-E (Typ 240) is distinguished by a timelessly elegant aesthetic and high-end construction; each model is handcrafted in Germany. The compact camera body is dust and spray water resistant, while the genuine leather trim offers both a sophisticated appearance and a safer grip on the camera. Top and base plate are finished in an anthracite grey paint which has been developed especially for the M-E.

As with all Leica M models, owners of the new M-E benefit from the comprehensive system compatibility that distinguishes the Leica M series: thanks to the M bayonet mount, the M-E is compatible with nearly every M lens ever produced — and so represents a particularly sustainable investment.

24-Megapixel CMOS Sensor

Image Quality without Compromise
The new Leica M-E ranks among the most compact full-frame camera systems in the world. Its 24MP CMOS sensor offers a high light sensitivity of up to ISO 6400 – facilitating outstanding image results even in low-light situations. Its 2GB buffer memory ensures that the Leica M-E is always ready to shoot, even when capturing a rapid succession of frames – so you can rest assured that you will never miss out on the decisive moment.

Integrated Video Function

Leica Look in Full-HD
Thanks to its exceedingly high resolution and light sensitivity, the Leica M-E delivers photographs imbued with the classic ‘Leica look’, characterized by a unique bokeh rendition. Owners of the new Leica M-E are also able to apply this distinctive quality to their moving images: the Leica M-E features a 1080p, full-HD movie mode — allowing you to capture stunning videos using a dedicated recording button, adding yet another dimension to your creative pursuits.

Articles: Digital Photography Review (dpreview.com)

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Leica will cut 100 jobs HQ, add 40 ‘digital experts’ to push its computational imaging forward

22 Jun

German business newspaper Handelsblatt is reporting [translated to English] that, as part of a restructuring process, Leica will eliminate up to 100 jobs at the company’s headquarters and add up to 40 new ‘digital experts’ to push forward its smartphone and computational photography technology.

According to Handelsblatt, Leica’s restructuring is due to ‘profound changes in the market.’ Leica CEO, Matthias Harsch, is quoted as saying ‘We are facing the second digital revolution in the camera business,’ an obvious nod to the market’s movement away from dedicated cameras to smartphone cameras.

Leica CEO Matthias Harsch

In addition to the recent controversy surrounding the ‘Tank Man’ advertisement that caused an uproar last month, Handelsblatt also notes Leica’s partnership with Chinese smartphone manufacturer Huawei as a potential cause of worry at Leica. Huawei, who has partnered with Leica to put its camera technology in Huawei devices, is reported by Reuters to have lost its licensing of Google’s Android operating system as a part of restrictions put in place by the U.S. government amidst security concerns of Huawei devices.

Despite the uncertainty of Huawei’s future, Harsch sounds confident the partnership will remain beneficial and further states the significant role smartphone photography will play in Leica’s business going forward, saying:

‘The camera function with smartphones is a core business of our future […] After all, thanks to their smartphones, people have never photographed as much as they do today.’

An illustration of the Leica triple-camera system inside Huawei’s P30 smartphone.

Harsch also specifically notes the growing role of artificial intelligence and computational photography in digital images. Leica has been working alongside Huawei for the past four years, developing both the hardware and—arguably more importantly—the software used for mobile image capture and processing. He says ‘These experiences [developing smartphone cameras technology] can be used for the further development of our classic cameras.’

Evidence of Leica’s interest in becoming a leader in computational photography is backed by the news that it will be hiring up to 40 experts in the field, investing a ‘double-digit million amount,’ according to Handelsblatt.

Articles: Digital Photography Review (dpreview.com)

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