Viltrox will announce their first L-mount lens(es) on February 5th. I have been reporting for a while that the first two Viltrox lenses for L-mount are rumored to be:
In part one of my series about photographing Mongolia in winter, I wrote about my experience shooting the Khongor Sand Dunes and Lake Khuvsgul. This time, I'd like to take you to another north-Mongolian destination, and to the east of this vast country.
After I was done shooting in Lake Khuvsgul, I took a long 4X4 drive further north-east, across some harsh terrain and interesting, frozen landscapes. We made a short stop to drone over the mountains and valleys of the Khoridol Saridag range.
After long hours, we finally arrived in our next major destination: Jargant River. This river is unique in that its waters come from an underground spring, and so parts of it do not freeze even when it's -40ºC (-40ºF) outside. The temperature difference between the river and the air causes water to rise as droplets, which stick and coat the trees and totally cakes them in white ice. These foggy conditions are great because it emphasizes the sun penetrating between the trees, creating beautiful light rays that work really nicely with the other compositional components around.
The fog here serves both as a compositional element and as a medium through which the trees' shadows show.
Here, the fog serves the separation between compositional elements: the closer tree is perfectly visible, whereas the background trees are shrouded in fog, helping the viewer's brain understand that they are at different distances, thus creating depth. The light rays penetrating between the trees add a lot to the image, do you agree?
Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 100 | 1/320 sec | F11
A nice example of sun rays shining between the trees.
Canon EOS R5 Mark II | Canon RF 24-105mm F4 L IS USM | ISO 200 | 1/250 sec | F8
A top-down image showing the icy coating of the trees. Note that this is definitely not snow, but water droplets that stuck to the trees.
DJI Mavic 3 Classic | 1/30 sec | ISO 100 | F5.6
Jargant River is especially winding, which is useful for creating nice compositions. The fog above it adds another layer of interest.
DJI Mavic 3 Classic, 1/100 sec, f/6.3, ISO 100
The fog from the river had spread across the planes, allowing me to create a dreamier scene in which only the higher-elevation elements are clearly visible.
DJI Mavic 3 Classic | ISO 100 | 1/100 sec | F6.3
Photos: Erez Marom
There are a few nice locations in the Jargant Valley area. If you're there, it's worth your while to take a drive to the Singing Springs (known locally as Duut Spring), another location where liquid water is visible even at a bone-chilling -40ºC or even -50ºC (-40º to -58ºF). The moisture carried in the air coats not only trees, but low bushes and different kinds of plants that look somewhat weird dressed in white.
An aerial shot of the Singing Spring. At -37ºC (-35ºF), liquid water is still visible and usable as a compositional element. Note that the slanted, closer, more visible tree is located in the gap between the left- and right-side trees, to avoid overlap. In general, since the colors are quite homogeneous in this image, separation and depth become more important: apart from the slanted tree's location, I also used the background fog to separate the trees from the mountains. In turn, the warm sunrise tones separate the mountains from the clouds. These planes of separation contribute to the overall feeling of depth in the image, which is critical, especially in winter imagery.
After returning from northern Mongolia, I took a very long drive toward the far east region of Mongolia: the Steppe, where I spent several days shooting wildlife. My main goal was to get interesting shots of one of the cutest and grumpiest creatures on Earth: the Pallas's cat. This bundle of joy isn't much bigger than a house cat, but its super-dense fur, round pupils and less-than-friendly attitude give it a very special kind of charm.
What it lacks in size, it makes up for in ferocity and in cuteness!
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2000 sec | F6.3 Photo: Erez Marom
I teamed up with an organization dedicated to the preservation of this beautiful species and stayed in a ger camp, from where we would head out twice daily to try to find the wildlife. The mornings were usually devoid of cats, as they primarily roam in the afternoon, so we dedicated them to other wildlife. I got some nice images of owls, which show the snowy, rocky environment.
A little owl perching on the snowy ground. Note how I did my best to show the animal in its environment in a compositionally-appealing way: there is a foreground subject (the owl), another small rock on the left to counterbalance it, and a clear (even if out of focus) background subject comprised of distinct elements with proper separation between them.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/400 sec | F8
The nice thing about this image is the similarity in colors between the owl and the rocks. Both are brown with white blotches: in the owl, it's the feathers. In the rocks, it's the patches of snow.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM + Extender RF 1.4x | ISO 400 | 1/640 sec | F10
Photos: Erez Marom
The owls were nice, but naturally, my main focus was the Pallas' cat. The cat shooting was very much unlike any wildlife photography I'd ever done. First of all, the cats can be hard to find. We sometimes had to send a tracker to locate one of them, which, considering the vastness of the area, was an astounding feat. Once found, however, the Pallas' cat is a surprisingly easy animal to get close to and shoot. Contrary to more easily-agitated species, their natural behavior is such that they disguise themselves as rocks and stay perfectly still unless you get really close to them.
In this image, I used the color similarity between the grass and the cat's eyes to enhance interest.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 400 | 1/2500 sec | F7.1
A very grumpy blob assuming the shape of a rock.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 800 | 1/1600 sec | F7.1
Cats will be cats.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 200 | 1/3200 sec | F5.6
Photos: Erez Marom
As stationary as they often are, once the cats decide to go, they bolt. This gives the photographer a chance to get some action shots. It's a hard mission, since you don't know exactly when the cat will run or in which direction, but here are my best attempts.
When the Pallas' cat is sitting down, it's possible to get relatively close to it. Morally speaking, as long as you do it in a responsible manner and understand when you're too close, there's no harm in that. This last shot shows exactly such an event: I was still at a comfortable distance, but the cat made sure I knew I'd gotten on its nerves, and so I backed up and went away.
This threatening gesture meant it was time to go.
Canon EOS R5 Mark II | Canon RF 100-500mm F4.5-7.1 L IS USM | ISO 1600 | 1/8000 sec | F5 Photo: Erez Marom
I hope you've enjoyed my images from frozen Mongolia. If you are well-equipped for winter photography and mentally able to handle extreme cold, I can highly recommend it as a unique photographic experience.
Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.
Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.
Extracting a subject from its background is often a tedious, mechanical chore, especially when dealing with fine edges like hair, cluttered backgrounds, or scenes where the foreground and background share similar colors.
Aiarty Image Matting aims to simplify this process using AI, turning what used to be time-consuming manual work into a much faster and more streamlined step in a photographer’s editing workflow.
What Is Aiarty Image Matting?
Aiarty Image Matting is an AI-powered image background remover that automatically separates subjects from their backgrounds with high accuracy, while also making it easy to replace the background with a solid color or a custom image when needed.
It features four dedicated AI models that adapt to different image types and subject characteristics, allowing it to handle a wide range of photographic scenarios. The software works fully offline, processes images quickly, and combines automatic background removal with simple manual tools for fine adjustments when needed.
New Year Exclusive Offer: Get Aiarty Image Matting with lowest-ever price
For photographers who regularly deal with background removal or subject isolation, Aiarty Image Matting is also currently more affordable than usual.
As part of its New Year promotion, Aiarty is offering 43% OFF the Aiarty Image Matting Lifetime License. This one-time purchase gives you full access to the software and all future updates with no subscription required.
Licensed for use on 3 Windows or Mac computers
Unlimited access to all features and lifetime updates, with no ongoing costs
30-day money-back guarantee.
Exclusive time-limited discount: At checkout, enter the coupon code NYSPECIAL to enjoy additional $5 off on top of the discounted price. That’s the lowest price you can ever find. The coupon will expire on January 31.
Key Features That Matter for Photographers
Multiple AI Models Tailored to Different Subjects
Unlike basic background removal tools that rely on a single algorithm, Aiarty Image Matting uses multiple AI models optimized for different types of subjects. This allows photographers to select a model that best matches the content of the image rather than forcing every scene through the same processing logic.
In practical terms, some models are better suited for subjects with clean, well-defined edges such as products or vehicles, while others perform more reliably with semi-transparent materials, fine hair, or soft transitions. This flexibility helps produce more consistent results across portrait, product, and commercial photography without constant trial and error.
The overall workflow remains simple: import an image, choose the appropriate AI model, start the matting process, and export the result.
High-Precision Edge Detection for Fine Details
Edge quality is where most background removal tools struggle, and it is also where photographers notice problems immediately. Aiarty Image Matting places strong emphasis on preserving fine details around complex edges, including hair, fur, and overlapping elements.
Example of automatic background removal processed by Aiarty Image Matting
Even in situations where the subject blends into a busy background or shares similar colors, the extracted results tend to maintain natural transitions rather than overly hard or artificial outlines. This is particularly valuable for portrait, fashion, and pet photography, where realistic edges are essential for believable composites.
Example of automatic background removal processed by Aiarty Image Matting
The goal here is not just isolation, but extraction that remains visually convincing when placed into a new scene.
Automatic Extraction with Practical Manual Control
Aiarty Image Matting is designed to work automatically first, minimizing the need for manual masking. In many cases, a clean subject extraction can be achieved with a single click, making it suitable for repetitive or time-sensitive workflows.
When adjustments are needed, the software includes a small set of intuitive mask refinement tools that allow photographers to correct problem areas or fine-tune transparency. These tools are optional and focused, helping refine results without turning the process into a full manual selection job.
This balance keeps the workflow fast while still giving users enough control to handle challenging images.
Fully Offline Processing for Speed and Privacy
All processing in Aiarty Image Matting is performed locally, without uploading images to the cloud. For photographers working with client material, this offline approach offers both privacy and reliability.
Local processing also avoids delays caused by internet connections and makes it easier to work consistently with large images. This is especially useful in professional environments where stability and file control matter as much as speed.
Flexible Background Replacement for Practical Use Cases
Once a subject is extracted, Aiarty Image Matting allows it to be placed against a solid color or a custom background. This is particularly useful for product photography, catalogs, marketing visuals, and social media content where clean and consistent backgrounds are required.
Batch Processing for High-Volume Projects
For workflows involving large numbers of images, Aiarty Image Matting supports batch processing, allowing multiple photos to be handled in a single session. This can significantly reduce post-production time for e-commerce shoots, content libraries, or repeated background replacement tasks.
A Useful Extra: Built-In AI Enhancement
In addition to background removal, Aiarty Image Matting also includes a basic AI enhancement option that supports up to 2× image upscaling. While not a replacement for dedicated enhancement tools, it can be useful for preparing extracted subjects for different output sizes or platforms.
Final Thoughts: A Smarter, More Seamless Cutout Tool for Photographers
Background removal no longer has to be a slow, tedious process. Aiarty Image Matting combines AI-powered automatic extraction with optional manual refinement, making it a fast and reliable tool for photographers.
Right now, all PhotoRumors readers can save up to 43% on Aiarty Image Matting Lifetime License, which includes free updates forever and installation on up to three computers. Remember to enter the coupon code NYSPECIAL at checkout for an extra $5 off. Again, there are no subscriptions and no hidden fees. This limited-time deal ends January 31.
The photo John Abernathy took, showing his point of view as he was being surrounded by ICE officers, right before he threw his camera to another photographer. Photo: John Abernathy | Instagram: @john_abernathy_
By now, you've probably seen the viral photo of John Abernathy, an independent photographer, throwing his Leica M10-R to another photographer after being pinned to the ground by officers of the US Immigration and Customs Enforcement (ICE) agency. It's from a striking sequence of images taken by freelance photographer Pierre Lavie, which show Abernathy being tackled, locking eyes with Lavie – then a stranger – and tossing his camera and phone to him in an attempt to keep them from being confiscated.
We caught up with both photographers to get the story behind the photos they took that day, see how they've dealt with suddenly having their work presented on a global stage, and talk about how this incident, and others like it, have affected how they cover protests and other similar events.
If you haven't seen the photos or aren't familiar with the backstory, this is what happened: Abernathy and Lavie were photographing a protest against ICE around the Whipple Federal Building in Minneapolis, MN. Both photographers say that, throughout the event, police forces would gather to press into the crowd. Abernathy says that, while photographing protesters and counter-protesters, he lost his situational awareness for a moment as he was trying to simultaneously live-stream with his phone and take photos. That's when he was tackled from behind and wrestled to the ground by several ICE officers, who then pepper-sprayed him.
Lavie, who was shooting nearby, saw this happening and turned to photograph it. That's when the now-famous moment was captured. Abernathy, concerned that the police might delete photos from his camera, locked eyes with Lavie and tossed his Leica M10-R and phone to the other photographer.
"It was instinctual at that moment"
"It was instinctual at that moment," Abernathy says, adding that he believes an ICE agent was trying to grab his phone out of his hand. "I didn't know what would happen to me after that, so in a split second I decided: 'I gotta throw it.'" Lavie, who was crouching down to photograph what was happening, says it was all very quick. "It's not more than a handful of seconds that he went from being tackled to being on the ground, tossing his camera and his phone, and then being pulled back in and detained."
Lavie admits he briefly hesitated before going for the camera and phone. "In my head, I was like, 'Do I grab this? Do I not? If I do, am I gonna get pulled into this thing?" But then he told himself, "Okay, screw it. I'm doing it."
After Abernathy was released, he says he looked around for his camera, asking someone with a bullhorn to ask if anyone had seen it, but nobody had. "After they let me go, I was in an absolute panic to know where my camera was," he says. "I was like, fuck, maybe I made the wrong decision. I shouldn't have done that, why did I do that?" Eventually, though, he and a friend were able to track his phone, letting him meet up with Lavie and retrieve his camera and the images on it, some of which he's posted to Instagram.
One of the last photos Abernathy took before he was tackled. Photo: John Abernathy | Instagram: @john_abernathy_
"When I finally got back to the images that I shot during the protest, there are some very aggressive shots of agents coming down on protesters," Abernathy says. "So in hindsight, throwing my camera was the right thing to do, for multiple reasons. One, bringing attention to this entire issue we're having. And two, the images show the aggression that they're coming down on for no apparent reason."
The photos Abernathy took while being detained, and the photos Lavie took during the event, have received a lot of attention both in national outlets and on several social media platforms, something neither photographer expected.
"I'm actually getting chills right now," Abernathy says when asked whether he was surprised at people's reactions. "I did not obviously expect literally any of this attention. If it wasn't for Pierre's photo, I literally don't think any of it would have happened. There were a lot of other photographers there, and they got some good shots as well, but his shot is literally epic. It shows so much. It's more than a photo of me. It shows the struggle against this... unidentified ominous power."
"It's resonating with everybody for a reason"
Lavie calls the response "surreal" and says he's thankful, flattered and humbled by the outpouring of support. "It's resonating with everybody for a reason. And I don't think it's a good reason. As much as I would love it to be some miraculous picture of a butterfly or something like that, unfortunately, this is the situation, and that's where we are right now. Hopefully it's gonna work its way through the system in a healthy way."
Abernathy also understands why the photos have resonated so much. "I'm most grateful that it's become a focal point to bring attention to not only this area but what's happening in the whole United States," he says. "It speaks to freedom of the press. A lot of people are picking up on that for obvious reasons, but it speaks way beyond my personal experience. It's freedom of the press, and it's individual people trying to struggle against that massive power. Both his shot and my last shot show only legs in power positions. And they're dominating, and there's weapons, and it really represents a lot more."
"it is always shocking"
The incident is just part of a recent wave of police and ICE officers tackling, pepper-spraying and arresting photographers and journalists as the agency gains an unprecedented level of power, budget and legal immunity. "I've seen it quite a few times now, unfortunately. But it is always shocking," says Lavie. "It's a fine line that journalists of all types walk out there to make sure that they can be there and not be involved, and yet still do their job to record."
It's a job both men plan to continue doing, though Abernathy says he'll make sure to have more personal protective equipment the next time he covers a protest, including vapor-tight goggles. He also says he's considering getting a ballistic helmet and bulletproof vest, both things Lavie tells me he already wears when covering similar events.
When we spoke, Abernathy said he was still recovering from the incident, with some serious bruising from the pepper spray balls and being thrown to the ground, and occasional shivers. But despite knowing that he'll need to take more precautions in the future, he still sees the need for photographers like him to document these kinds of events. "I think that's more important than probably most people realize," he says. "The amount of things that are going on – I don't know what's going on in other parts of the country except for what's been in the news, and I don't even see all of that. I know that people are seeing bad things, but they're not seeing all of it; they're not seeing the volume of it and the random moments."
Abernathy was out shooting a protest a few days afterwards, with the same camera he threw.
The event has reminded both photographers of the importance of community. Abernathy says he's received messages from all over the world expressing horror at what's happening in the US, and gratitude for those documenting it. He also spoke about how other protests he's covered in Minnesota were moments of bonding for the community, citing how, at the end of a protest over the death of Renee Good, a Somali woman and her husband showed up to feed protesters and give them tea. Lavie spoke of the camaraderie he's seen between photographers and advised people looking to document events like this to be friendly and ask questions to folks who look like they've been doing it a long time.
Finally, there's the camera. While Abernathy initially thought his Leica had come away unscathed, besides a few new scratches, he said he later discovered that its rangefinder patch had stopped working, forcing him to focus based on his finger's position on the focusing ring (a task made slightly easier by the fact that he shoots at F11 on a 28mm lens). When we spoke, it was working again, but he was unsure whether the critical focus had shifted. He also says his phone survived the ordeal, despite having been stomped on.
Still, that didn't stop him from going out and shooting another protest with it, which Lavie was also at. "I'm glad John wasn't hurt badly," Lavie says. "He was out that following Saturday taking pictures again. I saw him walk by me. I was like, 'Oh, dude, you're out here.'"
With 800 Ws of output, the AD800Pro delivers decisive main-light performance that overcomes bright sunlight. It yields up to 300 full-power flashes per charge and a fast recycle time of 0.01–1.5 s, keeping pace with demanding on-location shoots.
Precision Power Control
Power is adjustable across a 10-stop range (1/512–1/1) with 0.1-stop increments, enabling extremely fine exposure control. This level of precision makes the AD800Pro ideal for product and still-life work, layered multi-light setups, and any situation that demands subtle highlight and shadow placement.
Advanced Pro Modes
The AD800Pro includes pro-grade modes — Freeze, Stable Color-Temperature, HSS, Multi, and more — so photographers can reliably handle fast-action, product and color-critical work.
Freeze Mode: Ultra-short flash duration down to 1/35,710 s (t0.1) for razor-sharp captures of splashes, jumps and other fast motion.
Stable Color-Temperature Mode: Minimizes color drift as power changes (typical drift ≤ 100 K), ensuring consistent color across the output range.
Supports HSS (up to 1/8000s), Multi flash, and first- and second-curtain sync—covering everything from bright outdoor portraits to motion trails and creative strobe effects.
Triggering Versatility
Built around Godox’s 2.4 GHz X wireless system, the AD800Pro delivers robust, long-range wireless control — including one-tap pairing with X3Pro/X3 and full compatibility with other X-series transmitters. It also supports wired sync via a 3.5 mm PC jack and external 433 MHz receivers via USB-C, giving photographers multiple reliable triggering options for on-location and remote shoots.
Flexible Power Solutions
To keep you shooting without compromise, the AD800Pro supports multiple power options. The optional AC26 adapter enables direct AC operation for continuous power, while the optional UC-46 fast charger reduces battery charging time to about 1.5 hours.
Creative Accessory Ecosystem
Native Bowens Mount — Compatible with a wide range of light-shaping tools (softboxes, beauty dishes, grids, snoots, etc.), giving photographers instant access to an extensive professional modifier system.
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We're back with the first episode of the DPReview team discussions show of the new year, and just in time. The first few weeks of the year have been relatively busy, with Ricoh bringing out a new variant of the GR IV, this time with a completely monochrome sensor, and Fujifilm bringing video to its Instax line.
The team got together to discuss these cameras and the community's reactions to them. Be sure to let us know what you think in the comments below, and over on our forums.
Sony is rumored to announce a new 180MP medium format sensor that will most likely be used in future Fujifilm GFX cameras. It is not clear when this new sensor will be officially released, and the rumor could, of course, be wrong, as many other Sony rumors are. Here is a recap:
Status: Development is confirmed by multiple sources.
Potential Capabilities: The sensor might be a partially stacked, allowing for faster readout speeds and better performance, potentially bringing A7V-like technology to the medium-format realm.
Impact on Resolution: This sensor nearly triples the resolution of the current 61MP full-frame flagship (A7R V) and significantly upgrades the existing 100MP medium-format sensors.
Implications for Gear: This development may trigger a new “resolution war,” likely to be featured in future high-end, high-resolution cameras for studio, landscape, and/or advertising photography.
Technical Considerations: With a pixel pitch around 2.83 um, diffraction may become a factor, requiring specialized lenses to fully utilize the 180MP resolution.
There is another new watch for photographers: the custom-made Casio M-Edition, inspired by Leica M cameras, is sold exclusively by PPPcameras. Here are the details:
FujiAddict reports that at least three Chinese manufacturers are working on autofocus medium format lenses for the Fujifilm GFX mount. One of the lenses will most likely be the Venus Optics Laowa 200mm f/2 (the second manufacturer could be Viltrox):
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Photo: Mitchell Clark
We recently got the opportunity to get a Leica M11-P (which is, at its heart, the same as the M11, M11-D and M EV1) in front of our studio scene. While we've attempted to shoot the scene with the standard M11 before, we weren't able to get hold of an optimal lens to do so. Leica has this time been able to lend us the APO-Summicron-M 90mm f/2 ASPH, which has given us a much better representation of the camera's performance.
Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.
Image Comparison
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With its base ISO of 64, the Leica M11-P's processed Raws start out cleaner than most (though not all) of its full-frame, color-filter-bearing competitors and are roughly similar to the noise levels we see from cameras like the Nikon Z7 II, which also has a sub-100 base ISO. Unsurprisingly, it captures lots of detail, on par with what we expect from other cameras using Sony's 61MP sensor. At mid and high ISOs, its Raws are on par with other modern full-frame cameras.
The M11-P's JPEG engine produces pleasing colors, but isn't quite as successful at revealing the full extent of the detail captured by the Raws, even at base ISO. This becomes more evident at higher ISOs, with the camera doing a decent, but not class-leading, job of retaining details despite its noise reduction. That noise reduction also doesn't appear to be as sophisticated as what Canon, Nikon and Sony are using, leaving more chroma and luma noise in the JPEG.
We noticed the effects of shutter shock in images shot with lower speeds using the mechanical shutter, and have used electronic shutter shots for some of the samples to provide the sharpest results possible. While it's a characteristic worth being aware of when shooting with a tripod, for shooting handheld, your ability to focus the camera and hold it steady, combined with its unstabilized sensor, would more likely be the limiting factor on sharpness.
In terms of dynamic range, the M11-P performs as well as we'd expect given the excellent results we often see from this sensor, giving you plenty of latitude to pull shadows up in post or to shoot to preserve highlights.
The M11-P is capable of excellent image quality under studio conditions, even if, realistically, that's not where the camera and its rangefinder focusing mechanism are most at home. Still, it's good to know that whatever you're trying to accomplish with it, the sensor is more than able to deliver the image quality you need.
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Sample gallery
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Product photos: Richard Butler
Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.
Key specifications
26MP BSI CMOS sensor with no color filter array
On-sensor phase detection
ISO 160-409,600
In-lens shutter allows flash sync to 1/4000th sec
E-shutter allows use of F2.8 at up to 1/16,000 sec
Built-in red filter, giving punchier blues.
53GB of internal memory
250 shot-per-charge battery rating
UHS-I Micro SD memory card slot
The GR IV Monochrome will sell for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.
As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.
You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.
You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.
However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.
The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture even in good light
To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.
Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would mean that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any impact of those phase-detection pixels. We've not seen any negative impact from this in our preliminary shooting, even when trying to induce flare to highlight any issues.
The company also says that the sensor is not the same one used in the K-3 III, though it wasn't specific about how the two differ.
Red Filter
Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.
The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).
Body and handling
As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for one with such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped.
The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.
The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).
Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all modern cameras, it will sensibly fit in a pocket.
Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.
Ricoh was kind enough to lend us a pre-production GR IV Monochrome, to let us get a feel for the handling, but we were asked not to make measurements or publish images from it, as it's not necessarily representative of final production performance.
But, even in the limited time we've spent with the camera, its appeal shines through: it forces on you that same way of looking at light and shade that Leica's monochrome cameras bring. And I maintain that using a camera that can only capture black and white is a completely different experience to using a normal camera in mono mode. Knowing that you can't switch, no matter how appealing the colors are in your scene means you solely focus on light, shadow and contrast.
The inclusion of a built-in, switchable red filter is a brilliant idea, letting you add that punch to your images at the touch of a button, without having to add a filter ring adapter or carry filters round with you. I'm sure there'll be people who would have preferred a different color, but red seems like a sensible option since they had to choose one. And the option to engage electronic shutter, so that you can still shoot wide-open in bright conditions feels like a reasonable work-around.
Even more so than the standard GR IV, the Monochrome version is going to be a niche proposition. Some people will immediately know they want one, while I suspect a great many people will be baffled at the idea that a regular GR IV in mono mode wouldn't be similar enough. And cheaper.
The price of adopting a decidedly niche camera is that there are fewer people to share the development costs with. The Ricoh is just over a quarter of the price of the other dedicated mono compact on the market – though the Leica Q3 mono has a sensor more than twice the size and a maximum aperture that's over a stop brighter, so can capture more than four times as much light – but there's still something inherently counter-intuitive about having to spend more, for less.
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