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Posts Tagged ‘Leica’

These LEGO Leica M cameras are tiny, blocky versions of iconic rangefinders

18 Dec

Over the years, Leica has partnered with LEGO multiple times to create brick-made versions of its popular rangefinder cameras. Now, a new set is available, a pair of LEGO Leica M camera sets.

The LEGO Leica M cameras come in a black and brown variety. Like their respective real-life counterparts, the cameras feature all of the important details you’d expect from a Leica rangefinder: a clear viewfinder, various dials, a shutter, a rear display and even camera strap mounts.

All that’s missing is the iconic red dot. But a red permanent marker would get the job done. Alternatively, these could be the LEGO equivalent of Leica’s P-series cameras, which forgo the iconic red dot for a more subtle approach.

The cameras are currently listed on the Leica Store Miami website. Both sets retail for $ 45 USD. The Black/Gray version is available for pre-order while the Brown/Gray version is available for purchase.

Articles: Digital Photography Review (dpreview.com)

 
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Voigtlander introduces a pair of retro wide lenses for Leica M mount

28 Nov

Lens manufacturer Voigtlander has announced a pair of new lenses in what it calls its Vintage Line. The Color-Skopar 21mm F3.5 and Ultron 35mm F2 Aspherical are both designed for M mount cameras, including Voigtlander’s Bessa models as well as Leica’s M rangefinders.

The lenses are styled to conjure up the feel of the 1950s, according to the manufacturer. While the exteriors are retro, the optical construction aims to be a match match modern digital sensors as well as for film. Voigtlander says it has used ‘practical’ maximum apertures rather than going too wide so that it could keep the lenses small and the quality high. The aperture range is ‘practical’ because, according to Voigtlander, it is more difficult to focus with a shallow depth of field with a rangefinder when faced with moving subjects, and these lenses are intended to be used stopped down for zone focusing when responding to fluid situations.

The barrels and moving parts are made of metal and the focusing mechanism is claimed to be well greased for smooth movements. The Color-Skopar 21mm uses nine elements in eight groups, while the Ultron 35mm has eight elements in five groups – and both have a ten-bladed iris.

Below is a gallery of sample images from the Color-Skopar 21mm F3.5:

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Below is a gallery of sample images from the Ultron 35mm F2:

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The lenses will be available in January priced ¥95,000 and ¥90,000 (approx. $ 840 and $ 800). For more information see the Voitlander pages of the Cosina website.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Leica, Sigma and Panasonic talk L-mount Alliance

26 Nov

Autumn 2018 saw the launch of two new full-frame systems and one full-frame alliance. A month or so after Canon and Nikon launched their RF and Z mount systems respectively, Leica, Sigma and Panasonic announced that they would be partnering to develop new cameras and lenses around a shared standard: the L-mount.

The so-called L mount alliance was announced at the Photokina tradeshow in Cologne, Germany. We were there, and the following interview is an edited transcript of a group interview conducted with Stephen Schultz and Dr. Andreas Kaufmann of Leica, Junichiro Kitagawa of Panasonic, and Kazuto Yamaki of Sigma. The following interview contains questions from various members of the photo press, and has been edited for clarity and flow.

Since the announcement of the alliance, have you been approached by any other companies interested in licensing the L mount?

Leica: Not yet. But it’s only been a short time since we made the announcement. Leica has been collaborating with Panasonic since 2001, and three years ago we met with Yamaki-san [of Sigma], and since then we’ve been [developing our partnership].

How will you make this work? Three different companies, three different backgrounds…

Leica: We are going to have regular meetings in order to keep the standard up to date, and to ensure that all products work smoothly and seamlessly with each other. We share a long history of collaboration with Panasonic, and we have had very close connections on a development level for many years. This is not new for us.

Sigma: Since the beginning of Four Thirds we’ve been working with Panasonic on the development of the Four Thirds and Micro Four Thirds systems.

‘Collaboration is necessary to make sure that all three companies are making products at the same level’ – Leica

Is there a timeline mapped out for future product development within the L mount standard?

Sigma: We have agreed to work on products using the same platform, but regarding products from each of the three companies, we’re working independently. We’re not exchanging [that kind of] information. Each company is working on its own roadmap. We have our own strategy and our own customers, so we’re just trying to bring high quality products to the market at the right price.

Leica: It’s a little bit like Android, the mobile standard. We make our own [separate] products but we use the same standard. Collaboration is necessary to make sure that all three companies are making products at the same level, for the [shared] standard. And that’s it.

We work in an alliance at a high level, but Leica is the licensor of the L mount standard. We developed the L mount brand: it’s a Leica brand, and Sigma and Panasonic are licensees. But in our daily work, we are all part of this alliance.

Panasonic: Each companies has its own responsibilities and its own obligations. To [preserve] the standard is really important.

‘Technically the L mount is a very good standard. A wide lens mount diameter and a short flange back – there are no technical drawbacks’ – Sigma

What made the L mount the preferred choice of mount for Sigma and Panasonic?

Sigma: Technically the L mount is a very good standard. A wide lens mount diameter and a short flange back: there are no technical drawbacks. At the beginning we were planning to develop our own full frame mirrorless system, but we concluded eventually that it was more beneficial to our customers to enter a partnership. The customer can use a wider variety of cameras and lenses.

Panasonic: Panasonic’s customer coverage [at present] is maybe more high-level amateurs, not professionals. The new [customer segment] of videographers appreciates what we’ve introduced for movie making, but still there are customer segments that we cannot reach. So the L mount gives us a chance to challenge in these top-end segments. I hope that the L mount gives us a chance to complete our lineup, [by] supporting our current Micro Four Thirds business.

The GH5S is a video-focused Micro Four Thirds camera which has been received by a constituent of video professionals, but Panasonic does not offer a full-frame rival to Sony’s a7S-series. Could the company fill this gap with a future L-mount camera?

How much room for future growth is built into the L mount standard?

Leica: Regarding functionality, we think that the standard will cover everything that we can anticipate, at the moment. We think that the standard is sufficient [for the foreseeable future]. The mount was developed very thoroughly in order to have enough space to make the biggest and fastest lenses for full frame, while also being as compact as possible to make attractive APS-C cameras as well. We think this is a big benefit of the L mount.

The flange back distance could be shorter, but if someone wants to make a professional L mount video camera for example, its better to have a little more room, for filters [built into the camera body] and so on. With 20mm, that’s fine. If you go closer, it becomes very difficult.

Do Sigma and Panasonic see the L mount as an APS-C mount as well? Are you planning on developing APS-C lenses for L?

Sigma: Yes, we have a plan to develop APS-C lenses for L mount, but the main focus is full-frame.

Panasonic: No. We will only develop [L mount products] for full-frame sensors.

The forthcoming Panasonic Lumix DC-S1/R are advanced mirrorless interchangeable lens cameras, built around the full-frame L mount standard. The S1R (pictured) will be Panasonic’s high-resolution stills flagship when it’s released next spring.

Do you see the Panasonic Lumix DC S1 and S1R as companion cameras to the Leica SL or as competitive cameras?

Leica: They’re an addition to the market, and they’re also competition. We’re three independent companies. From our point of view, [the S1/R] will bring customers into the L mount system. A Leica price-point will always be a Leica price point. That has to do with how we do things, and how we develop products. So if someone wants to [shoot with] a different body, but using Leica lenses, we’re OK with that.

Is any money changing hands, or are you just bound by a common agreement?

Leica: We cannot comment on that, but think of it as a very friendly agreement.

As licensor, does Leica maintain any kind of design approval over lens designs from Sigma and Panasonic for the L mount?

Leica: We host all of the information relating to the L mount standard, but there is no more exchange than that. Regarding products that we may [all, separately] be developing, it’s actually not allowed [due to anti-trust legislation]. Leica does not have design approval.

‘This alliance is like marriage. The previous arrangement [with Olympus] was more like we were just living together’ – Panasonic

One thing that we saw happen in the Micro Four Thirds market it is that over time there was a divergence between Panasonic and Olympus technologies. Will this alliance avoid that kind of issue?

Leica: We plan to have regular committees to define the standard, and to get common agreements about changes and updates to the technology, in order to avoid that situation.

Panasonic: The difference, maybe, is that this alliance is like marriage. The previous arrangement [with Olympus] was more like we were just living together. So the obligation [now] is a little more high-level.

Are the L mount partners working on a unified solution for service?

Panasonic: At the very least we have to exchange all of the necessary information, in advance. And if a situation arises in future [where a customer requires service to L mount products of two brands] we need to find a way of responding. For example if [in future] a customer brings a Panasonic camera to one of our service centers with a Leica lens, we need to work out how to deal with things like that.

‘When it comes to products, there’s a distinct firewall between the three companies’ – Sigma

Leica: Let’s see what the future may bring. Leica has a unique business model, and maybe we can add some [insight] based on our experiences, but it hasn’t been discussed yet. But by creating a shared technical platform, that’s a great step in this industry. Because normally this industry works more like several little ‘boxes’ [of separate technologies].

Panasonic: In 2020, on the 24th of July the Tokyo Olympic Games will open. And there we will see many professionals and advanced amateur photographers, and I hope that we will see many L mount products [being used]. So we will need to provide service facilities for professional photographers from all over the world. We’re starting now to think about how we will do that.

The Leica SL is still going strong, several years after announcement. Even in its dotage however, it is still priced out of reach for most photographers. The addition of cameras from Panasonic and Leica should make the L mount standard more accessible.

Are you each developing your own sensors, separately from one another?

Leica: From the point of view of the alliance, again, we’re completely different companies. This will continue and we’re not going to disclose where we get components from, and I suspect that Panasonic and Sigma won’t either.

Sigma: When it comes to products, there’s a distinct firewall between the three companies but we work together as a technical committee just to maintain compatibility between products.

Leica: The standard needs to provide for seamless compatibility between products from all three manufacturers. For Leica, our business model is very different [to other manufacturers]. We own most of our distribution, and also retail. It’s a different concept. Here, [with the L mount alliance] we’re talking about a technical platform.

Sigma is one of many third party lens manufacturers. What made Sigma your choice of partner?

Leica: It’s a great company. And it’s family owned. That means that certain decisions can be reached in a very effective way.

Editors’ note: Barnaby Britton

The L-mount isn’t a new system, but the addition of two new manufacturers to the standard is potentially very significant. Leica’s L-mount cameras have been good products for the most part, but as Dr Kaufmann said, ‘a Leica price-point will always be a Leica price-point’. And as such, cameras like the Leica SL and TL/CL are completely ignored by the vast majority of the camera-buying public, who don’t understand why they cost so much. While entirely understandable, this is a shame, if only because many of Leica’s L-mount lenses are so good.

It seems unlikely that Panasonic’s upcoming Lumix S1 and S1R will be cheap, but it’s a safe bet that in terms of price per line of spec, they’ll be a hell of a lot more reasonably priced than anything Leica will come out with in the near future. It’s anyone’s guess what Canon and Nikon will do next with their new RF and Z mounts, but for now it looks like the S1R could be the most ‘pro’ of all the new crop of full-frame mirrorless cameras when it becomes available next spring. It could, in fact end up being one of the most compelling options in the entire full-frame space.

I bet that Panasonic is itching to knock Sony off its perch as king of full-frame mirrorless video

The lower-resolution Lumix S1 looks set to be more of an all-rounder, which we’re expecting to offer a very compelling video feature set. And speaking of video, Stephan Schultz’s passing comment about a hypothetical ‘professional L mount video camera’ is intriguing. I doubt whether Leica would ever attempt such a thing (although you never know, with Leica) but I bet that Panasonic is itching to fill the troublesome hole in its product lineup between cameras like the GH5/S and cinema-focused offerings like the Varicam – and knock Sony off its perch as king of full-frame mirrorless video in the process.

That hole, between consumer video and professional cine cameras, is where we expect to see a lot of growth over the next few years since it represents the growing emerging production market. Given Panasonic’s history in video, this fertile ‘middle market’ seems to represent an obvious opportunity for the company.

More products means more competition, which is almost always good for consumers

Sigma meanwhile, although best known as a lens manufacturer, has been quietly developing a range of quirky, high-quality cameras for years. The move away from its SA mount might prove painful for a small number of loyal Merillites, but I suspect it will prove to be a very smart move in the long run. More products means more competition, which is almost always good for consumers. Arguably, friendly competition – where manufacturers compete for the same customers with rival but cross-compatible products – is even better, assuming it’s sustainable for the manufacturers involved.

One of the questions raised in the group interview session was whether the three companies in the L mount alliance will work to avoid the kind of technological divergence which we saw emerge over time between Panasonic and Olympus’s rival Micro Four Thirds systems. Mr Kitagawa of Panasonic replied with an unusually candid metaphor about cohabitation versus marriage. The new alliance, it seems, is more serious than his company’s previous partnership with Olympus. I hope it works out.

Articles: Digital Photography Review (dpreview.com)

 
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Leica announces the D-Lux 7, a 17MP camera with 4K video and a 24-75mm equiv. F1.7-2.8 lens

20 Nov

Leica has announced the D-Lux 7, the latest iteration of its compact camera that’s effectively a Panasonic Lumix DC-LX100 II wrapped up in a prettier frame just in time for the holiday season.

The D-Lux 7 uses a 17 megapixel Four Thirds MOS sensor, a decent bump up from the 10.1 megapixel sensor used inside its predecessor, the D-Lux 6. The D-Lux 7 captures up to 7 fps in burst, features a maximum sensitivity of ISO 25,600 and features a 4K photo capture mode and ‘post focus’ mode, the latter of which enables focus adjustments in post-production with compatible programs. On the video front, the D-Lux 7 captures 4K30p footage at 100Mb/s in the MP4 format.

The optically stabilized lens has also changed from a 24-90mm equivalent F1.4-2.3 lens inside the five-year-old D-Lux 6 to a new 24-75mm equivalent F1.7-2.8 Vario-Summilux lens. In addition to the physical aperture ring, the top of the lens features a dedicated physical switch for swapping between shooting ratios, including: 3:2, 16:9, 1:1 and 4:3. On the side of the lens is a matching switch for selecting the different focusing modes.

The electronic viewfinder has a 2.76M dot display and the rear screen uses a 3″ 1.24M dot LCD touchscreen display. The camera relies on Leica’s 1025 mAh BP-DC15 lithium-ion batteries and can be charged through an outlet, computer or a USB battery pack via the onboard Micro USB port.

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Built-in Bluetooth and Wi-Fi work together to provide iOS and Android connectivity using Leica’s FOTOS app. In addition to sharing images on-the-go, the FOTOS app also enables remote control of the D-Lux 7 and live view display. Leica also includes a CF D Flash Unit with the camera.

The Leica D-Lux 7 retails for $ 1,195 and is available for pre-order on Adorama and B&H. Leica has a video introduction for the D-Lux 7, but it can only be played on Vimeo.

Articles: Digital Photography Review (dpreview.com)

 
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The Leica Q-P is a stealthy, subdued version of the Leica Q that’s missing the iconic red dot

07 Nov

Leica has announced its latest camera, the Leica Q-P. Deemed “an artful statement of understatement,” the Leica Q-P is essentially the Leica Q camera wrapped inside a more discreet, subdued frame.

Much like the Leica M10-P, a higher-priced and more toned down version of the M10, the Leica Q-P drops the iconic red dot in exchange for a classic Leica script engraving on the top plate of the camera and finishes off the stealthy look with a matte-black paint finish.

The Leica Q-P has a redesigned shutter release that Leica says provides “a more positive tactile feedback” and comes with a new brown leather carrying strap and an additional spare battery.

Aside from the aforementioned changes, the Leica Q-P remains unchanged from the Leica Q camera inside and out. It has the same Summilux 28mm F1.7 ASPH lens in front of the 24.2MP full-frame CMOS sensor and a Leica Maestro II image processor to crunch all of the data.

Likewise, it keeps the same 3.68MP electronic viewfinder, 3″ 1.04 million dot touchscreen LCD display on the rear of the camera, and built-in Wi-Fi for compatibility with Leica’s FOTOS smartphone app.

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The Leica Q-P is listed on B&H as available for pre-order and is retailing for $ 4,995.

Articles: Digital Photography Review (dpreview.com)

 
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The thing that impresses me most about Leica? Its innovation

01 Nov
Ok, so maybe there’s still room for innovation when it comes to memory card access.

It might sound odd to discuss the innovations of a company whose best-known product is anachronistic to the point that you have to take the baseplate off to change the film memory card, but I’m serious.

I know I’m supposed to be impressed by the company’s history, its (rather outdated) use as a press camera and the stellar reputation of its lenses. But I’m not, especially*.

I love that Leica doesn’t just have crazy ideas, but that it turns them into workable, purchasable products.

It’s not that the lenses aren’t great. It’s just that I’m not terribly impressed a company’s ability to make single focal length, manual focus lenses good when money’s essentially no object and you can individually correct every one if you have to. My experience of working as an engineering journalist always reminds me that it’s many times harder to produce a kit zoom that has to offer decent performance at multiple focal lengths, offers fast autofocus for both stills and video, includes image stabilization and can be made with a degree of consistency for something like $ 35.

But while I’m not that fussed about all that ‘red dot’ business, I love that Leica doesn’t just have crazy ideas, but that it turns them into workable, purchasable products. Even if they’re not necessarily the most affordable ones.

Take an ‘e’ (off the word Monochrome)

The Bayer color filter array is amazing. It lets spectrally-indifferent sensors perceive color and does so with a good level of resolution and fairly few downsides. Except that it steals around a stop of light.

I love the idea of a mono-only second camera. But perhaps not one that costs more than my (admittedly ludicrous) road bike.

So why not make a mono-only camera? None of the softness and noise that comes from demosaicing, and better, cleaner image capture because you’re not letting a series of color filters absorb half your light. That’s a great idea, why doesn’t someone do that?

Well, Leica has, with the Monochrom series of cameras. They do exactly what you’d hope: produce super-detailed mono images.

Of course, given that you have only one ‘color’ channel, it becomes more important than ever to avoid clipping, so I wish there was monochrome camera that didn’t meter by looking at the light reflected off the stripes painted on its shutter blades. Also, since it would need to be a second camera for me, I’d prefer it to cost less than a small car. But I have to applaud Leica for doing it, rather than just thinking about it.

What’s the opposite of Iconoclasticism?

Again, who would have thought it’d be Leica: a camera brand that added a faux winder lever onto its latest camera, that would design one of the most innovative user interfaces of the past decade?

Love it or hate it, the icon-led touchscreen interface of the Leica T series is one of the few genuine attempts we’ve seen to completely re-think how you should interact with a camera and its settings. Interestingly, the person I’ve met who dislikes it most is also one of the few I know who owns a digital Leica rangefinder (though that could be because the first iteration had some interesting quirks). Personally, though, I thought the design struck a good balance between command dials that controlled the primary exposure parameters while letting you tap and swipe the settings, just as you might on a smartphone. Certainly an ambitious thing for a ‘traditional’ camera company to do.

Settings? There’s an app for that

On the subject of smartphones, it’s long been suggested that they might provide a solution to the uncontrolled menu sprawl that’s overwhelming even the best-designed modern UI. Connecting cameras to smartphones over Bluetooth and Wi-Fi is becomes ever more easy and ever more commonplace, just as the complexity of menu options becomes unbearable, so why not pass-off responsibility for settings to the phone?

Handing off responsibilities for camera settings to a smartphone app makes great sense. I’m not sure the same is true of taking away the rear screen or adding a faux-winder ‘thumb rest.’

And, if looked at from a certain angle, that’s what Leica’s M10-D does. I’m not necessarily convinced that it made sense to keep going and take the entire LCD screen away but pushing set-and-forget settings off to a smartphone app I could get behind. An app can offer a nicer interface with better guides and instructions, meaning the on-camera interface can be stripped back to focus on the main shooting parameters. But perhaps leave me a screen, eh, Leica?

You can’t be serious?

I don’t want flippant tone to completely undermine my sincerity. I genuinely am more impressed with Leica’s innovative thinking than the specifics of its products. I’d love to see some of them more widely adopted. Like having a 36 x 24mm image capture area, that might take off.

* Full marks to every comment or blog post concluding that I don’t ‘get’ Leica. To be clear, I love shooting with its rangefinders. They deliver a unique shooting experience that every keen photographer should strive to have. Even if I wouldn’t necessarily recommend spending the cost of a hatchback (or a nice road bike) on one. [Return to text]

Articles: Digital Photography Review (dpreview.com)

 
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Leica M10-D sample gallery

27 Oct

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The Leica M10-D is an M-10 with no rear screen. From an image quality standpoint there’s no difference between the two, but we thought it’d be fun to shoot and process a series of images with the ‘D’ anyway.

See our Leica M10-D gallery

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The Leica M10-D is a Wi-Fi-powered rangefinder with no LCD

27 Oct

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The Leica M10-D is a rangefinder camera that provides a film-like shooting experience. It has no LCD, just two buttons and is set up almost entirely using the company’s FOTOS app.

The M10-D is the spiritual successor to the older M-D, but has much in common with the M10-P when it comes to both design and technology. In place of the M10-P’s LCD is a large dial, the inner ring of which adjusts exposure compensation while the outer switches between off, on (shooting mode) and on (Wi-Fi enabled). The camera features what looks like an old-style film advance lever, but in this case it’s merely a thumb rest. Like the M10-P there’s no red dot on the front plate, though it’s hard to miss the trademark white Leica script on the top.

Inside, the M10-D uses the same 24MP full-frame CMOS sensor and Maestro II processor as the M10 and M10-P, and saves images as DNG or JPEG. The camera has 2GB of built-in memory as well as an SD card slot hidden under the removable bottom plate. The M10-D supports Leica’s Visoflex electronic viewfinder, and automatically switches to live view mode when the finder is attached.

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What makes the M10-D different than other Leica rangefinders is its dependence on the company’s FOTOS app, which is available for iOS and Android. While you can adjust exposure compensation, ISO, aperture and shutter speed using the dials on the camera, for everything else, you use the app. The most obvious uses for the app are live view and image transfer (which includes DNG), and this is also where you’ll access less commonly-required settings. Pairing your camera and smartphone is impressively straightforward, and the one-time action merely requires scanning a QR code printed under the M10D’s bottom plate.

The Leica M10-D goes on sale today for $ 7995. The Visoflex EVF is priced at $ 575.

Images shot on the M10-D by photographer Tomas van Houtryve

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Press Release

Leica Camera Debuts the Leica M10-D

The Camera with a Digital Heart and an Analog Soul

October 24, 2018 – Leica Camera transports the analog experience into the world of digital photography with the introduction of the Leica M10-D. The Leica M10-D combines the benefits of a digital M camera with an unprecedented approach to rediscovering the magic of an analog photographic experience, now augmented with mobile connectivity.

The ultimate experiential camera, the Leica M10-D is inspired by the discreet M10-P. In addition to incorporating the M10-P’s signature near-silent mechanical shutter and classic script logo branding on the top plate, the Leica M10-D’s monitor screen has been purposefully omitted from the camera body, freeing photographers from all distractions and allowing them to always focus on capturing the moment, rather than the camera itself. In lieu of the screen on the back of the camera is a new control ring for switching the camera on and off, with a dedicated hardware setting for activating Wi-Fi – a key piece to modernizing the analog-inspired workflow of the M10-D. Within the rear control ring is a mechanical dial for exposure compensation adjustments, a first for digital M models, harkening back to the ISO film sensitivity dial seen on classic analog M-Cameras.

In keeping with the mechanical spirit, all essential exposure settings on the Leica M10-D are made with mechanical controls. To further enhance the analog look and experience of this camera, the Leica M10-D features an integrated fold-out thumb rest, reminiscent of a classic film advance lever, which aids in the ergonomics and handling of the camera – especially when shooting one-handed. The optional Visoflex electronic viewfinder can also be used with the Leica M10-D to bridge the gap between analog and digital experiences by way of live view capture, and for easier use of wide-angle and telephoto lenses. When paired with the camera’s improved rangefinder and larger field of view, an innovation from the Leica M10, the Leica M10-D and Visoflex allow photographers to truly see the bigger picture from any angle.

With the soul of an analog camera at its core, the M10-D combines perfectly with the brand new Leica FOTOS app to transcend a solely classic shooting style and provide many of the features and functions offered by a modern, high-performance digital camera. By quickly switching the camera to the on position with Wi-Fi, the M10-D can seamlessly connect to an iOS or Android device, making it the perfect hybrid of analog feel and digital connectivity. The Leica FOTOS app allows easy use of the camera when on the go by enabling streamlined portable viewing, sharing of images and the selection of core camera settings. The app can also provide exposure settings and can be used as a remote viewfinder and camera shutter in live view mode. All personalized settings made from the app are saved and stored in the camera, enabling photographers to configure and custom tailor the Leica M10-D to meet their specific needs. The Leica FOTOS app can also be used to transfer pictures to iOS and Android devices for sharing in social media channels and saving to a personal photostream. With the Leica M10-D and the Leica FOTOS app, photographers can choose how analog or how digital they want their photographic experience to be, ensuring they find the perfect balance for their everyday journey in photography.

The Leica M10-D will be on sale beginning today at Leica Stores, Boutiques and Dealers for $ 7,995. The Leica FOTOS App will also be available as a free download from the Google Play Store™ and the Apple App Store™ on the same date.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: hands-on with the Leica S3

12 Oct

Hands-on: Leica S3 medium format camera

With all the excitement surrounding full-frame system announcements at Photokina recently, it’s easy to forget the new arrivals in the medium format digital arena. While Fujifilm announced the GFX 50R – the second medium format digital camera in the GFX line – Leica unveiled the S3, an update to the Leica S2 launched in 2008.

A full spec sheet has yet to be released, but we do know the S3 will launch in Spring 2019 and have a 64MP sensor, 3 fps burst rate and 4K video capture using the full width of the sensor. And if its predecessor’s pricing is an indication, it will likely cost somewhere in the vicinity of $ 20k.

Despite the lack of specification details, we did get our hands on an early working version of the camera. Here’s how it handled.

Hands-on: Leica S3 medium format camera

The first thing I noticed when picking up the S3 is that for a medium format digital camera, it really isn’t that large. In fact it feels similar in hand to a Nikon D5 or Canon EOS 1DX II – I had to remind myself it has a larger sensor than both.

It is also quite pleasant to hold. The shutter release is located on the front of the camera and is easy to access. An indentation below the shutter release provides a comfortable place for your other fingers, and also makes the camera feel secure in hand.

As you might expect for a five-figure-camera, the S3 handles like it’s built to last – the magnesium alloy body feels like it could be used to drive a spike into the earth. The rubber material covering much of the exterior is thick and grippy, giving the whole camera a rugged quality.

Hands-on: Leica S3 medium format camera

The second thing I noticed about the S3 is the big beautiful optical finder, among the loveliest I can ever recall looking through. For reference, the S2’s finder has .86x magnification and the S3’s is likely similar.

The back of the camera looks essentially identical to the original Leica S2 as well as the more recent Leica SL. The four buttons surrounding the 3″ LCD are programmable. There’s also a programmable button on the front of the camera near the mount.

Like the S2, the S3 has two different shutters which can be engaged via a three-way controller on the back of the camera: ‘FPS’ stands for focal plane shutter and ‘CS’ stands for center shutter or leaf shutter (available with compatible lenses). I tried both and the leaf shutter is a good bit quieter.

Hands-on: Leica S3 medium format camera

Operationally, the camera felt fast. It was quick to start up and load menus. I also found the idea of dual top plate info LCDs to be kind of cool and definitely unique.

I didn’t get to shoot much with the S3 but I did get to spend a little bit of time focusing around the room with my eye to the finder. Overall, despite being a non-final product, AF acquisition speeds felt surprisingly quick. On the other hand, using the 5-way AF joystick to actually move points felt a tad sluggish.

Hands-on: Leica S3 medium format camera

I mentioned that the S3 will be able to do 4K video with full-sensor readout. To further expand video capabilities the S3 offers audio in/out and HDMI as well as LEMO style ports for USB and remote trigger/flash connectivity. All these connection points have thick rubber covers to protect them from the elements and grime.

Hands-on: Leica S3 medium format camera

Overall, the Leica S3 feels like a utilitarian tool, built for working professionals. It may have the price tag of an expensive museum piece, but it does not handle like one.

Of course, this is a camera that will most likely be purchased by agencies, studios and perhaps some very high-end pros – not every day shooters – making the high price tag seem less cringe-worthy. More importantly, my brief time with the Leica S3 has raised the bar for just how much I can lust over a new digital camera. Nice work, Leica.

Articles: Digital Photography Review (dpreview.com)

 
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Over $200K in Leica gear stolen from Scottish camera store Ffordes

02 Oct
Image of the Leica cabinets the equipment was stolen from, provided by Ffordes

Ffordes, a camera store in northern Scotland, was the target of what’s believed to be a professional burglary that’s left the store more than $ 200,000 in missing Leica equipment.

On Wednesday, September 26th, the alarm at Ffordes went off. Both the police and a member of the Fforde team alerted management, who quickly arrived on scene. Upon arriving at the shop, it was clear there had been a break-in. One of the front windows had been broken into and a secondary protection window was also removed. Once inside, it was discovered just how much was stolen.

‘From the CCTV footage, the thieves were very well prepared, not just for removing the safety window units but timing,’ said Fforde manager Alister Bowie, in an email to DPReview. ‘They were in and out in under 10 minutes. They went directly to the cabinets with the most expensive equipment inside [passing two other cabinets], broke the doors down and started filling the bags that they had taken in with them. [They were] all suited up and covered [but some] made mistakes and Police are looking over this at the moment. Out of the 12 shelves they only took from 9 of them — the most expensive items and the easiest to sell — they knew what they were looking for.’

Not only was the burglary quick, it was also meticulously planned. According to Bowie, the burglars had been scoping out the location for week and even went so far as to dismantle the street lights and flood lights outside the building. The vehicle believed to be used as a spotter and getaway car was parked 250 yards down the road. Ffordes says authorities are currently combing through both internal and external security footage in an attempt to find out more information.

Bowie says Ffordes has already submitted all of the information it has to the appropriate authorities and will soon release more details, pictures and videos of the burglary in hopes of catching the perpetrators.

Leica Germany has been notified and currently has all of the items re-registered as stolen. Leica dealers around the globe have also been notified and will be keeping en eye out for the stolen gear.

Ffordes has also started a massive social media campaign in an effort to track down the missing gear. Ffordes ‘honestly believes the equipment would be shipped abroad within 12 hours of it being stolen,’ but still has hope the gear will be recovered. Below is a full list of equipment that was taken, complete with serial numbers for verification.

If there’s a shred of good news in this, it’s that the gear was insured. Bowie says the insurance company is currently working on its own investigation and is expected to settle, albeit for far less than what Ffordes paid for the equipment.

If you have any information about the burglary or come across gear on the list, Ffordes asks that you connect with them via email or phone using information found on its contact page.

Articles: Digital Photography Review (dpreview.com)

 
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