The Leica Q3 Monochrom is a black-and-white only version of the company's 61MP full-frame fixed 28mm lens camera.

Key specifications

• 61MP BSI CMOS sensor with no color filter
• Reduced res JPEGs or Raws at 36MP or 18MP
• 28mm F1.7 lens
• 5.76M dot OLED EVF with 0.79x magnification
• 3" tilt touchscreen LCD with 1.84 million dots
• 8K video capture in UHD or DCI ratios up to 30p (H.265)
• Apple ProRes 422HQ support for 1080p video capture up to 60p
• AI-assisted perspective control mode
• IP52-rated dust and water resistant
• Wi-Fi and Bluetooth

The Leica Q3 Monochrom will be available from today at a recommended price of $7790.

Index:

• What is it
• How it compares
• Body and handling
• Initial assessment
• Sample gallery
• Specifications
• Press release

What is it?

The Q3 Monochrom is an updated version of the Q2 Monochrom based, as the name implies, on the newer Q3 camera. This means it has the same lens as the Q2 but with the excellent 61MP BSI CMOS sensor and Maestro IV processor from the newer camera, bringing features such as perspective correction.

However, unlike the color Q3, it does not gain phase-detection AF, instead relying on contrast detection (presumably the version of Panasonic's Depth-from-Defocus) system that Leica used for some years.

New interface

The Q3 Mono also gains the updated interface from the SL3 cameras, which separates stills and video features into red and yellow-accented displays, switched between by swiping left and right on the settings display screen.

Leica says that, in addition to the reworked display logic, every single icon on the camera has been redesigned. The updated interface will be available for Leica Q3 and Leica Q3 43 users via a free firmware update, shortly.

Content credentials

The Q3 Monochrom also joins the list of Leica cameras that can embed CAI Content Credentials in its images. Leica's implementation relies on specific hardware, so this feature will not be extended to existing Q3 and Q3 43 owners.

Why B&W?

From a technical perspective, there are a couple of benefits to using a camera with no color filter array, assuming you're not interested in capturing color. The first is that, because you're not demosaicing to interpolate the missing colors at each pixel location, you aren't softening your output.

A monochrome camera makes you think in terms of light and shade, rather than color. If anything, this shot would have be overwhelming and confused in color, and probably more objectionably noisy.

The absence of a filter sapping around a stop of light also means the Q3 Mono should prove a stop less noisy and have a stop's improved tonal quality at every ISO (with the caveat that the standard Q3's base ISO is a stop lower, so in good light, it'll catch up, if you can give it enough light). On top of this, many people find noise less distracting if it's rendered as the wrong brightness, rather than the wrong color, so the perceived advantage is likely to be even more than a stop, in low light.

There's no safety net on a mono camera

However, along with these benefits comes an increased exposure challenge. The ability to recover the highlights comes primarily from the fact that a camera with a CFA's color channels don't all clip at the same point, so there's often enough further information about brightness being captured above what appears to be the clipping point, in the Raws. This lets you reconstruct and approximate the detail in the highlights, well beyond the point that you can capture accurate color. There's no such safety net on a mono camera: if an area is clipped, then there's no way for processing software to tell what's 'just' clipped from what's spectacularly clipped: it's just unrecoverably white.

The temptation is to err on the side of underexposure and cut into that one-stop advantage.

How it compares:

When Leica launched the original Q2 Monochrom back in 2019, there was no direct competition, as Leica was the only major brand making black and white cameras. Since then, Ricoh has joined the fray with its Pentax K-3 III Monochrome and the forthcoming GR IV Monochrome. The GR IV makes an interesting comparison to the Leica. It uses a smaller sensor and has a slower lens, so it's not going to compete for peak image quality, but it's a lot smaller and, we have to assume, a lot less expensive. We've included the details we know so far and those we can infer from the specs of the color GR IV.

In many respects, the Leica Q3 remains peerless; it's a substantial upgrade over the Q2, primarily by dint of a much better sensor. We can't know exactly how much better the image quality of the Q3 Monochrome will be than that of the as-yet-unreleased Ricoh GR IV Monochrome but given the fact that the Ricoh is being built around a sensor that uses the same pixels on a chip with 42% of the light-capturing area, we can make an estimate with pretty high precision. We can also get a very good idea of the impact of the slower maximum aperture.

As is so often the case with Leica products, if you want what the Q3 Mono offers, then this is pretty much the only option available.

Body and handling

The camera's primary exposure settings are controlled via a dedicated aperture ring around the front of the lens and a shutter speed dial on the top plate. There's also a command dial on the camera's rear right shoulder that lets you adjust exposure compensation or ISO, or fine-tune the shutter speed.

The body is an exact match for the Q3, with the same solid-feeling build and IP52 environmental sealing rating. The only difference is the word Monochrom embossed in the top plate and the complete absence of color on the body.

As with the Q3, the camera is environmentally sealed to the point of earning an IP52 rating. This isn't especially strenuous but means that there should be limited dust ingress, to a degree that shouldn't interfere with operation and that it can withstand water droplets falling on the camera at up to 15 degree angles from vertical. This isn't much, but the fact that it's been designed and built to repeatably withstand such a test is more of a commitment than you get from most cameras.

The Q3 Monochrom has a 5.76M dot viewfinder and a tilt up/down rear touchscreen. Just next to the viewfinder is a diopter adjuster, which you pops out when you press it. Here it's shown in its extended position.

The handling is fairly straightforward with a dedicated aperture ring and shutter speed dial, each of which has an auto position. There's also a customizable command dial on the top rear corner, which has a function button at its center. This gives direct access to the camera's principle exposure parameters, fairly easily.

There's a thumb rest on the camera's focus ring that has a tiny button on its edge, which engages and disengages manual focus mode. The lens is focus-by-wire but has a linear response and a distance scale, so it gives a very good impression of a physically connected focus ring. Set behind this is a ring that shunts the lens between its standard focus range (0.3m – Infinity) and the camera's Macro range (0.17m – 0.3m).

A ring next to the camera's body lets you shift the lens into its Macro range.

Press the menu button and you get a settings display that you can touch to change any of the camera's core settings. Swipe left and the display switches to a yellow-accented version that shows the video settings. Hit Menu again and you enter the short, well-organized camera menu. It's not dramatically different to the version in the existing Q3 and Q3 43 but it's that bit cleaner and neater. We'd definitely advise users of those cameras to update their firmware when this version of the UI becomes available.

Battery

The base of the battery forms the bottom of the camera, rather than sitting behind a door. The sliver lever to its left releases the first of two catches to eject the battery.

The camera's battery embeds into its baseplate and is released with a large silver lever. Once you've pushed the lever, you have to then push the battery in a little to release a second catch within the body.

The BP-SCL6 battery is a relatively large 16Wh unit from which the camera delivers a battery life of 350 shots per charge. These numbers always significantly understate the amount of shots most people will actually get, and a rating of 350 shots per charge is pretty solid for a day's committed shooting. It can be recharged over the USB slot on the camera's slide.

Initial assessment

A compact camera with a prime lens is something of a niche proposition. Add to that Leica's premium pricing, and that niche becomes smaller still. Take the color filter away, and its appeal narrows to the point that you wonder whether the company already knows the photographers and collectors who'll buy one by name.

I like shooting with prime lens cameras, but tend more towards normal lenses than wide angles. So the prospect of shooting a wide-angle camera with added restrictions was daunting, to say the least. In practice, I found the challenge fascinating.

Autumn has well and truly molded Seattle to its fleeting fashion, leaves red and golden, glistening in low, stark sunshine between the rain and wind storms that will sweep us on into winter, all too soon. In those breaks in the cloud, some of the color is spectacular, and of no interest whatsoever to a monochrome camera.

At I first I wandered through this scene, constantly frustrated that the Q3 Mono couldn't see any of the things I saw to capture. But, just as the restriction of a single focal length makes you see the world through its specific lens, so the inability to capture color forced me to focus instead on light and shade.

The downside of the camera embedding Content Credentials is you might inadvertently credit your photos to the previous user of the camera.

Of course, it didn't suddenly make me an expert black and white photographer in the handful of days during which I had the camera and the sky wasn't just overcast, but it was enough to make me recognize what the Q3 Monochrom is for.

There are a couple of technical benefits to the lack of a color filter (sharper images and better quality when you're light-limited), but for me, the strongest case for the Q3 Mono is the creative restriction. And, just as I argued a camera with a fixed prime is not the same thing as an ILC with a prime lens on it, I'll argue vehemently that a mono camera isn't the same as switching your existing camera to black and white mode, even if you put the technical benefits to one side. There's a difference between seeing a colorful autumnal scene and knowing in the back of your mind that you could just shoot it in color, and knowing that you have to move on, because your camera is literally incapable of capturing it.

As ever, Leica's pricing seems to defy rational analysis (that's arguably partly by intent), so it's senseless to ask whether the Q3 Mono is 'worth it.' No, of course it's not. Unless, for you, it is. For the rest of us, it's quite exciting to know that the smaller, much more affordable Ricoh GR IV Monochrome is on its way. It won't come close to the Leica in terms of image quality or, perhaps, desirability, but it'll let more of us explore the fascinating restrictions of black and white digital.

Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Photo: Mitchell Clark

Peak Design has announced that its Pro line of tripods is now available for sale, following a Kickstarter campaign in June, which raised around $4.6 million. The tripods build upon the company's well-regarded Travel Tripod, but are made to hold more gear and to be more capable for videographers.

There are three models: the Pro Lite, Pro and Pro Tall. with maximum heights of 162.5cm (64.0"), 168.4cm (66.3") and 197.4cm (77.7"), respectively. The two larger models can carry payloads of up to 18.1kg (40lb), while the Lite model can hold 15.9kg (35lb).

Compared to the Travel Tripod, the Pro tripod's biggest upgrade is the ball head. While it's not as compact, it has an automatic locking mechanism, as well as a secondary lock to keep you from accidentally ejecting your camera. It also has a fluid mechanism for getting smooth, steady pans.

The Pro Tripod with the Tilt Mod. Photo: Mitchell Clark

There are also several accessories for the Pro Tripods, but the most interesting is the Tilt Mod. Like its name implies, it adds a fluid tilting mechanism; combine it with the tripod, and you get something close to the tilt/pan models videographers generally choose.

As with many of Peak Design's products, none of this comes cheap. The Pro Lite costs $799, with the Pro and Pro Tall going for $899 and $999. The Tilt Mod costs $149 on top of that. The company says it's offering 5% off on the tripods and their accessories until December 1st as part of its Black Friday sale (though the discounts on its other products are more substantial).

If you want to read more about the Pro Tripods, you can check out the article we wrote when they were initially announced.

Pro Lite

Pro

Pro Tall

SmallRig Black Friday deals are now live with up to 30% off discounts on selected gear, running from November 20th until December 1st:

• Amazon
• SmallRig website

Here are some of the discounted items:

More early Black Friday deals can be found here:

BLACK FRIDAY

The post Now live: SmallRig Black Friday deals appeared first on Photo Rumors.

The Topaz Black Friday deals are here – from November 19th to December 3rd, you can save on Topaz Studio and all single apps:

For new customers:

• 43% off Topaz Studio and Topaz Studio Pro (from $399 → $229)
• 15% off all single apps

For existing customers:

• If you already own Topaz Studio: 43% off Studio Pro (from $799 → $455)
• If you have 1+ active licenses or all apps have expired: upgrade to Studio or Studio Pro for 43% off
• 15% off all single apps

Use this link when purchasing to get the discounts.

More early Black Friday deals can be found here:

BLACK FRIDAY

The post Topaz Labs Black Friday deals started appeared first on Photo Rumors.

Venus Optics will announce two new Laowa lenses on November 24:

• Laowa 17mm f/4 FFII TS/S C-Dreamer
• Laowa 35mm f/2.8 FFII TS/S C-Dreamer Macro 0.5X

Updated list of latest/upcoming/rumored Chinese lenses

The post Venus Optics will announce two new Laowa lenses on November 24th: 17mm f/4 FFII TS/S C-Dreamer & 35mm f/2.8 FFII TS/S C-Dreamer Macro 0.5X appeared first on Photo Rumors.

Here is what else is new:

The TTartisan AF 23mm f/1.8 APS-C lens for Nikon Z-mount is now available for order at B&H Photo

AkaraLabs released new “Slim Skin” cases for the Nikon Zf and Zfc cameras

The 3 Legged Thing Zadie QD L-Bracket for Nikon Z6 III is now back in stock (black+copper)

New: Komaru Art Deco Centenary Limited Edition soft release button

The Leica M EV1 camera will be officially released in the US in the next few days

Subscribe to Rock n Roll Straps and Bags & shop Black Friday prices

Sony a7C R, a7C II, ZV-E10M2, and ZV-E1 Firmware Updates Released

Tamron 17-28mm f/2.8 Di III RXD FE Discontinued Abroad and On Sale In The US

PDR: Canon PowerShot V1 vs Fujifilm X100VI vs Leica Q3 vs Sony RX1R Mark II vs Canon RX10 Mark IV

PDR: Hasselblad X2D II 100C vs Fujifilm GFX100II

The post What else is new? appeared first on Photo Rumors.

Here are the first leaked pictures and specifications of the Leica Q3 Monochrom camera that will be officially announced tomorrow, leaked online:

Update – the pictures are actually of the Leica Q2 Monochrom and were used as a placeholder.

• Price: $7,790
• 60 MP monochrome sensor with Triple Resolution Technology (60MP, 36MP, 18MP)
• Summilux 28 f/1.7 ASPH. prime lens with macro mode
• 8K video
• Tilting touch display
• Leica FOTOS App support
• 5.76 megapixel OLED viewfinder
• Content Credentials
• New accessories
• Package includes: BP-SCL 6 Battery, USB-C cable, lens hood, lens cap, hot shoe cover, carrying strap, and a booklet

Leica is rumored to announce a new Leica Q3 Monochrom camera on Thursday

Via LeicaRumors

The post This is the upcoming Leica Q3 Monochrom camera appeared first on Photo Rumors.

The previously rumored Viltrox AF 85mm f/1.4 Pro full-frame lens for Nikon Z-mount has been officially announced. The lens already exists for Sony E-mount. Pre-orders are now open at:

• US: B&H Photo
• International: Viltrox store

Here is the classification of he different Viltrox product lines:

• Viltrox LAB: high-specification lens, small screen, control ring, VCM motor
• Viltrox PRO: high-specification lens with an aperture ring, VCM motor
• Viltrox EVO: stepless aperture ring and STM motor
• Viltrox AIR: lightweight, no additional controls, with STM motor

Additional information can be found here:

Viltrox AF 85mm f/1.4 Pro full-frame lens for Nikon Z-mount officially announced

The post Announced: Viltrox AF 85mm f/1.4 Pro full-frame lens for Nikon Z-mount appeared first on Photo Rumors.

Photo: onuma Inthapong / E+ via Getty Images

Buying used camera equipment can be a great way to save money while still expanding your creative toolkit. After all, used cameras and lenses are typically much less expensive than their new counterparts. It can be intimidating to shop for used gear, though, as there are certainly risks involved. However, by taking some precautions and educating yourself, you can make wise online purchases to better protect yourself.

Online purchases

For most of us, online sources are the primary (if not only) option for buying used gear. Shopping used online certainly adds a layer of convenience, but it can make vetting the piece of equipment more challenging and comes with its own set of risks. To help protect yourself, there are several things to look out for when shopping for used camera gear online.

First and foremost, while there are countless platforms for buying used gear out there, not all are created equal. Some offer more protection for the buyer than others, which is especially important if you're paying for an expensive piece of equipment like a camera or lens. You don't want your order to arrive only to discover that the camera isn't in working order or otherwise not as advertised, with no option to get your money back.

Whenever possible, it's best to order from reputable sites.

Whenever possible, it's best to order from reputable sites that offer some form of buyer protection. MPB, for example, offers a 6-month warranty for equipment purchased through its site, along with a 14-day return policy. KEH offers a 180-day warranty covering defects and a 21-day return policy. These types of sites also photograph the actual piece of gear you are buying, instead of using generic stock imagery.

eBay also offers some protection through its Money Back Guarantee policy. It outlines that buyers can get their money back if an item didn't arrive, is faulty or damaged, or doesn't match the listing. Sites that offer such policies give you a layer of protection in case something isn't right after your purchase.

Buying peer-to-peer

DPReview has a forum for buying and selling gear.

There are times when buying from dedicated reseller websites isn't an option, though. Marketplaces like Facebook Marketplace and Craigslist can still offer worthy purchases. Additionally, DPReview’s For Sale and Wanted forum provides space for individuals to list used equipment. While these sites can offer good deals, it’s crucial to remember that transactions are not covered by specific buyer protection or warranties. As a result, it's essential to thoroughly vet the listing to avoid potential scams.

Start by researching the typical price of the item you are considering. If the price on a particular listing is far below that, it may be a sign that it's too good to be true and there's something nefarious at play.

Depending on the site, you may also be able to research the seller by checking their profile or selling history. If their account lacks a profile picture or history, it could be a fake or spam account, and it's best to move on. Opt for sellers who have a proven track record and good feedback. It's also a red flag if the seller wants communication to happen somewhere other than the platform where the listing is. If they want you to reach out to WhatsApp or some other way, proceed with caution (if at all).

Opt for sellers who have a proven track record and good feedback.

When possible, ask for additional images or videos, especially for high-ticket items. That can help verify that they have the product in hand, and it isn't just a fake listing. It's also smart to ask clarifying questions if any part of the listing is vague, such as simply stating a camera is in "good shape."

There are also some general payment aspects to consider. If the seller asks for a deposit before you receive the item, that's generally not a good sign, and you should keep looking. Avoid any seller that requests payment through wire transfer, gift cards or 'friends and family' payment options, as those don't offer recourse for recovery should something not work out. Whenever possible, pay with a credit card, which allows you to dispute the charge, or something like PayPal, which offers some purchase protection.

Finally, trust your gut. If the seller seems pushy, evasive to certain questions, or something just feels off, your best bet is to keep looking elsewhere.

Visual inspections

Always perform a thorough visual inspection, even if it's after you order something. Photo: NickyLloyd / iStock / Getty Images Plus via Getty Images

Getting to assess a used piece of gear in person is always ideal. That way, you can visually inspect the item and see for yourself what its condition is, rather than relying on photos and descriptions. Even if you purchased something online, giving it a thorough inspection as soon as it arrives is best. You want to catch any inconsistencies or potential issues as soon as possible, as otherwise you may not have any recourse should something be amiss.

Whether you're buying a camera or lens, it's smart to bring either a compatible body or lens that you already own (or can borrow) so that you can do some testing. You'll also want to have a memory card with you, and some way to view those files on the spot. It's worth asking the seller about the history of the item, and if they have any receipts, have had it serviced and what accessories come with it. Always take your time and feel free to walk away if anything seems off.

How to inspect cameras

This type of damage is obvious, but don't forget to look through the viewfinder for more subtle issues when buying a used camera. Photo: Boy_Anupong / Moment via Getty Images

If you are able to have some hands-on time with the item, start with a general once-over to check for scratches, dents and other signs of abuse. Make sure that all port doors close, latches catch where they should and so on. Some dents and scratches are fine, but others could seriously impact the functionality or be a sign that something else is broken beneath the surface.

After an exterior inspection, take a look at the sensor (and mirror in the case of SLRs and DSLRs). Inspect carefully for any scratches or damage. If possible, take a photo of a plain background (a white wall, blue sky, etc.) at a small aperture and inspect for any dust spots or sensor defects. While sensors can be cleaned of dust and certain types of smudges, there could be more significant damage going on that's not fixable.

There could be more significant damage going on that's not fixable.

It's also important to check the battery, battery compartment and all other electronic ports for any corrosion, residue, or damaged contacts. Press all the buttons, dials and switches to check for responsiveness, and to make sure they don't stick. Examine the viewfinder and rear display for potential dead pixels, lines and other issues, and if it's a flip-out display, make sure it moves as expected.

Checking the shutter is also crucial. Fire the shutter at various speeds and listen carefully for any unusual sounds or potential timing issues. This is also a good time to check that the autofocus works as expected. Finally, if possible, check the number of shutter actuations. Lower counts are better.

How to inspect lenses

Photo: Luen Wantisud / iStock / Getty Images Plus via Getty Images

Like cameras, you should first check the lens you're looking at for obvious scratches and dents. That includes checking the lens mount to verify it's free from corrosion and dents, and examining the front filter thread for dents or cross-threading.

Shining a flashlight through the lens can help you identify if there are any signs of scratches, chips, haze, fungus or dirt inside the lens. Small amounts of dust aren't a deal breaker, but if you spot signs of fungus, that signals deeper issues.

If possible, change the aperture (either via an aperture ring on the lens or with a camera) to make sure it moves smoothly. Rotate the zoom (when applicable) and focus rings to ensure those also move smoothly without any odd grinding or catches. If you are able to connect the lens to a compatible camera, check that the autofocus works. It's also important to verify that any switches or buttons on the lens body perform as they should.

Final thoughts on buying used gear

No matter how or where you are buying used camera gear, it's always worthwhile to check what accessories come with it. Dedicated resellers typically list them, but for more general marketplaces, you may need to ask specifically. The more complete picture you can get of the condition and what comes with the gear, the better.

Buying used is typically a great opportunity to save some money while building out your kit. There are certainly risks, but by shopping smart and doing your research ahead of time, you can prevent getting caught in a bad situation.

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Image: Viltrox

Viltrox has announced that its Pro series portrait lens is now available for Nikon Z mount. The AF 85mm F1.4 Pro, which was initially released for full-frame Sony E mount earlier this year, offers a classic portrait focal length, a fast aperture, and pro-level features at a budget-friendly price.

The Z mount version of the Viltrox 85mm F1.4 Pro uses the same design as the Sony E mount model. The optical formula consists of 15 elements in 11 groups, with 3 ED, 9 HR and 1 UA elements to improve sharpness and manage aberrations. Viltrox promises pro-grade image quality from the lens, with excellent sharpness and accurate colors even in tricky lighting conditions. The lens features an 11-blade diaphragm, which Viltrox says results in "creamy bokeh."

Image: Viltrox

Viltrox built the 85mm F1.4 Pro with its Dual HyperVCM autofocus system. It promises fast, silent and precise autofocus that's compatible with face and eye detection and subject tracking. The lens can focus as close as 0.79m (2.6').

Despite its budget-friendly price, the Viltrox lens offers numerous higher-end features. That includes metal construction with a dust and splash-resistant design to protect the lens from inclement conditions. It also features a customizable Fn button, an AF/MF switch, an aperture ring and a switch to click and declick the aperture.

Like the E mount version, it uses a 77mm filter thread and features a USB-C port for firmware updates. The Z mount model is slightly heavier than the E mount counterpart, coming in at 835 grams (29.5 ounces).

The Viltrox AF 85mm F1.4 Pro for Nikon Z is available for purchase for $598.

Buy now:

On Thursday (November 20th), Leica will announce the rumored Leica Q3 Monochrom camera with a 28mm lens, together with new accessories.

Here is an updated list/recap of expected/rumored Leica cameras and lenses (see all previous reports here):

• The Leica M EV1 camera will be officially released in the US in the next few days
• Leica Q3 Monochrom in November
• Leica M12 (rumored for 2026)
• Leica mirrorless medium format camera (2026?)
• Leica M-mount lens rumors:
  • Leica Noctilux M 35mm f/1.2 lens in January 2026
  • Leica APO-Summicron M 50mm f/2 with close focusing
  • New 35mm + 50mm Safari/Reporter green lenses for M-mount
• Leica L-mount lens rumors:
  • Leica SL APO 135mm
  • Leica SL 85mm f/1.4 (probably based on Sigma design)
  • Leica 105mm
  • Leica SL 18-50mm
  • Leica SL APO-Summicron-SL 24mm f/2 ASPH
  • Leica SL 28-105mm or 24-105mm f/4

Update: the new Leica Q3 Monochrom camera will be released in the US this Thursday, new accessories expected

Coming next: Leica Q3 Monochrom and Leica SL3 Reporter cameras *UPDATED*

Join the new Leica M EV1 Facebook Group 

Join the new Leica M12 Facebook Group

The post Leica is rumored to announce a new Leica Q3 Monochrom camera on Thursday appeared first on Photo Rumors.

The Meike Black Friday Deals have already started:

• Meike savings at B&H Photo
• Meike savings on Amazon (see also this list)
• Check also the official Meike website

The post Meike Black Friday Deals appeared first on Photo Rumors.

National Geographic Pictures of the Year 2025

National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.

The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.

"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."

You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.

Great white

Photographer: Brian Skerry

Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.

Transformation

Photographer: Anand Varma

Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.

King Mwene Chivueka VI

Photographer: Jasper Doest

Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.

Nuclear fusion

Photographer: Paolo Verzone

Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.

Day to Night

Photographer: Stephen Wilkes

Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.

National Geographic Pictures of the Year 2025

National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.

The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.

"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."

You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.

Great white

Photographer: Brian Skerry

Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.

Transformation

Photographer: Anand Varma

Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.

King Mwene Chivueka VI

Photographer: Jasper Doest

Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.

Nuclear fusion

Photographer: Paolo Verzone

Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.

Day to Night

Photographer: Stephen Wilkes

Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.

The previously reported DJI Osmo Action 6 camera is now officially announced:

• Pre-orders: B&H Photo | WEX Photo | Foto Erhardt
• New: SmallRig cage kits for DJI Osmo Action 6
• Additional information

• All-New 1/1.1-inch square sensor
• Cold-Resistant & 4-hour battery life
• OsmoAudio direct microphone connection
• 50GB built-in storage
• Variable aperture f2.0-f4.0
• 20m waterproof

The post DJI Osmo Action 6 camera announced appeared first on Photo Rumors.

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The post DxO Black Friday deals started today (exclusive coupon code included for an extra 15% off) appeared first on Photo Rumors.

Canon announced the EOS R6 III, its latest-generation enthusiast full frame camera, earlier this month, but to some, the news of what the company was doing with the previous generation was even more exciting. It's keeping the EOS R6 II in the lineup indefinitely – not just selling through remaining stock – but cutting the list price from $2499 to $2299.

For potential buyers, it raises the question of whether to go with the still extremely capable EOS R6 II or to spend the extra $500 to get the newer model with all its additional features and resolution. In this article, we'll go through the differences between the two models so you can decide which one is right for you or whether you should upgrade from one to the other.

Sensor

The EOS R6 III's sensor is a new, higher-resolution model.

The EOS R6 III uses a new 33MP FSI sensor, which provides around 16% more linear resolution than the 24MP model found in its predecessor. Despite having more pixels to read out, both cameras have very similar readout speeds, so you're not giving up rolling shutter performance in e-shutter mode to get that extra detail. It is worth noting, however, that both cameras drop into 12-bit mode when reading out from their electronic shutter, meaning the images will have less dynamic range and noisier deep shadows than if they were taken with the mechanical shutter. Importantly, this is something their competitors with faster readout speeds don't have to do.

The company is also promising slightly better stabilization, rated at 8.5EV versus 8EV for the EOS R6 II. However, the EOS R6 III's expanded ISO setting tops out at 102,400, a stop below its predecessor's maximum of 204,800 (not that we've found such high settings to produce particularly usable images).

Autofocus

At a glance, the two cameras' autofocus systems are very similar; they support human, animal and vehicle detection, and have an 'auto' setting that will make the camera highlight any detected subjects in the scene.

However, Canon says it's updated the algorithms for the EOS R6 III, re-using the ones from the higher-end EOS R5 II and R1. We'll have to do more testing to see how much of a difference that makes in the real world, but the company says the system should be even more reliable. While we found the EOS R6 II's system to be capable for most situations, we would occasionally run into issues with it, particularly while recording video.

Also new on the EOS R6 III is Canon's 'Register People Priority' feature, which lets you take a picture of someone, then tell the camera to prioritize them when running subject recognition. This could be useful for group events or sports, where you want to make sure the camera doesn't jump to other recognized faces when it should be sticking to, say, the bride at a wedding. The system supports up to 10 faces, and lets you rank them in order of priority.

The EOS R6 III also has a few new focus selection modes that will always have subject detection and tracking turned off, letting you switch between area modes without losing your subject recognition settings when you switch back. It also gains the ability to assign a preset focus distance to a custom button to a preset focus distance, letting you press it to instantly focus the lens on a specific point.

Connectivity and storage

The EOS R6 III has received a few updates to its ports and card slots. It now features a full-size HDMI connector, rather than the rather fragile micro one, and replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one.

While both cameras support the UVC protocol, allowing them to be used as webcams without additional drivers or software, the EOS R6 II could only do so at 1080p, while the newer model can stream up to 4K60p to your computer. While this will likely be overkill for standard video calls, it could be a big upgrade for streamers.

Finally, the EOS R6 III's USB-C port now supports 10Gbps speeds, while the EOS R6 II's topped out at 5Gbps.

Burst rates and pre-capture

As with autofocus, both cameras are very similar on first blush; they support burst rates of up to 40fps in e-shutter mode, and around half a second of pre-burst capture. However, the EOS R6 II required a special workflow for the latter, making you switch into a 'Raw Burst' mode that didn't record JPEGs and required special processing before you could bring the files into standard programs like Lightroom or Capture One.

The EOS R6 III does away with Raw Burst mode.

The EOS R6 III does away with this, making the pre-capture option a standard menu option that doesn't come with any of those caveats. Like with its predecessor, though, you can only access it in the "H+" drive mode, meaning you can't have pre-capture when shooting at slower burst rates.

Software

While the two cameras' operating systems are very similar to one another, the EOS R6 III's menus have some big quality-of-life improvements. Setting a custom white balance, for example, no longer requires taking a still image of your desired middle gray and then going into the menus to select it; you can simply do it from the Q menu.

The EOS R6 III's video menu is much more friendly.

The video modes are also much easier to navigate. The EOS R6 II would give you a list of every possible combination of resolution, frame rate, and compression type. The EOS R6 III, however, lets you set those parameters independently.

Video

The EOS R6 II was no slouch when it came to video, but the III adds features like open gate, internal Raw and full-width 4K/120.

Video is where most people will probably notice the big differences between the EOS R6 III and its predecessor. While the EOS R6 II was no slouch – it offered full-width 4K/60 – Canon's latest model borrows a lot of inspiration from advancements that other companies have added to their enthusiast cameras, such as the adoption of an open-gate recording mode, internal Raw recording and waveform monitoring.

The new sensor's extra resolution also affords greater than 4K recording modes. While the EOS R6 II's 4K modes were oversampled from 6K capture, the EOS R6 III gains the ability to actually record in 7K in its DCI Raw and open-gate modes. It also gains a full-width 4K/120 mode, though it almost certainly makes use of sub-sampling or line skipping to achieve those speeds.

Other video improvements include the addition of a front-facing tally lamp to the EOS R6 III, C-Log 2 and the ability to bake in a custom LUT to your footage, so you don't have to spend time grading it in post. The shooting display has also been improved, letting you punch-in to check focus while recording, and retain your spirit levels, which disappear when you start rolling on the EOS R6 II.

Body and battery

The video record and M-Fn buttons on the EOS R6 III (left) now have secondary functions activated in playback mode. The mode dial also replaces the 'Hybrid Auto' setting that captures video alongside stills with a 'Slow and Fast' mode for recording over- or under-cranked video.

The two cameras have identical dimensions and feel essentially the same to hold, despite the EOS R6 III being slightly heavier on paper. The control layouts are largely unchanged*, though Canon's latest camera has a few new default functions assigned to buttons, such as the "Rate" control on the top left of the back plate; in the shooting mode, it now brings up the "Color" menu.

The EOS R6 III ships with Canon's latest LP-E6P battery. It can be used with the LP-E6NH used by its predecessor, though some features will be unavailable, such as network and smartphone connectivity. Despite both batteries having a rated 16Wh capacity, the R6 III is rated to get noticeably fewer shots per charge than its predecessor. We're told the camera's processor has been updated, despite having the same Digic X branding, which may account for some of that discrepancy.

* - Impossibly nerdy detail: the stills/video switch no longer has an embossed circle surrounding the center ridge. This didn't affect what it was like to use in the slightest.

Summary

Overall, the EOS R6 III represents a relatively sizable step up from its predecessor when it comes to shooting video, with the changes on the stills side being welcome, but more iterative. We find it hard to complain about extra resolution, but think most current EOS R6 II owners would have a hard time justifying the upgrade, unless they had serious video ambitions.

Canon EOS R6 II

The decision line for new buyers falls along similar lines. If you mostly shoot stills and don't need the top-tier of autofocus for shooting sports and action or slightly higher resolution, it'll likely make more sense to pick up the EOS R6 II and an extra lens, rather than an EOS R6 III. If you shoot a lot of video – especially for social media – or think you'll be pushing the camera to its absolute limits, it may be worth considering spending the extra on the EOS R6 III.

Canon EOS R6 III

We'd also recommend checking out our comparisons between the EOS R6 III and the higher-end EOS R5 II, as well as our article comparing it to competitors from other brands.

Image: DJI

Hot on the heels of launching an entry-level drone and smartphone gimbal, DJI has announced yet another new product: the Osmo Action 6. The company's latest action camera promises to up the ante with a larger, custom-designed square sensor and a feature that most other action cameras can't match.

The DJI Osmo Action 6 gains a variable aperture lens, which is a standout in this field. It also features a wider maximum aperture of F2.0 (compared to the typical F2.8), which should improve low-light performance. It can also be adjusted to F4.0 for a deeper depth of field, though DJI didn't specify what increments are available.

In Auto mode, the camera offers various aperture range options, allowing for some additional creative control without requiring manual adjustments. For example, the Starburst mode promises to turn lights into starbursts by using a smaller aperture.

The Osmo Action 6 is compatible with DJI's Macro Lens and FOV Boost Lens. Image: DJI

How much of a difference the F2.0 to F4.0 aperture range actually makes for achieving different looks remains to be seen, but it's interesting that the company is adding the option at all. Action cameras are typically only used for capturing broad views while recording action, but this inclusion shows that DJI is attempting to make the format more widely applicable, allowing creators to stick to one camera for more types of content.

The other notable change on the Osmo Action 6 is the sensor. DJI built the Osmo Action 6 around a custom square Type 1/1.1 (98mm²) sensor – a step up from the Osmo Action 5 Pro's 4:3 Type 1/1.3 (75mm²) sensor – with 2.4 μm "fusion large pixels." DJI hasn't clarified what exactly that means, but it wouldn't surprise us if it turns out the camera is binning pixels from a quad-bayer design in some of its modes. The larger sensor should also improve low-light performance, a traditionally weak area for action cameras and their small sensors. DJI says that the new sensor offers 13.5 stops of dynamic range.

Image: DJI

The square sensor format, which we recently saw in the selfie camera of Apple's latest iPhone, gives the camera more room for electronic image stabilization and unlocks the ability to adjust aspect ratio in post more easily. The Osmo Action 6 enables this through its new 4K Custom mode, which allows users to crop to various aspect ratios fit for different social media platforms. You can also use DJI's 10-bit D-Log M mode for even more flexibility in post.

In terms of video resolution, the Osmo Action 6 tops out at 4K 120fps in a 4:3 ratio. It's also capable of 4K 60 fps in 'SuperNight' mode, DJI's setting to maximize performance and quality in low-light situations. DJI also says the camera can "generate" 32x Super Slow Motion, just as the Osmo Action 5 Pro can. To do so, DJI says its software interpolates frames recorded at 1080p 240fps, essentially digitally generating extra frames to produce the equivalent of 960 fps when played back at 1080p 30fps.

The Osmo Action 6 is compatible with DJI's extensive list of accessories, including the ND filter set. Image: DJI

The Osmo Action 6 also offers the standard features typically found on DJI's action cameras, including its RockSteady stabilization modes and Horizon Balancing modes. It also supports six built-in film tones, a Portrait Mode that optimizes exposure on the subject for better skin tones and Subject Centering and Tracking to keep the subject in the center of the frame.

The new action camera offers an IP68 rating and is waterproof to 20 meters without a case and 60 meters with the waterproof case. An integrated pressure gauge also records dive data. DJI promises four hours of battery life and the ability to charge to 80% in 22 minutes. It offers 50GB of on-board storage.

The Osmo Action 6 is available beginning today for £329/€379. Once again, US customers are missing out, as the camera isn't officially available in the US.

Owners of cameras like the X-H2S will be getting a more flexible way to use the company's famed Film Simulations.

Fujifilm has made several of its well-regarded Film Simulation color modes available as standardized LUT (Look Up Table) files. While they were released as part of the release of the Eterna 55, the company's new cinema camera, they can also be applied to footage from many recent Fujifilm cameras that can shoot F-Log2.

Those cameras have long been able to apply film simulations to video at the time of recording, but doing so was a commitment; once they were baked in, they were part of the footage forever. (Which could be especially noticeable with the less subtle ones like the black and white Acros or super-saturated Velvia.) This meant you had to choose between getting the aesthetic or flexibility. With the LUTs, though, you can apply the Film Simulation looks to video shot using F-Log2 in post, letting you experiment with which one works best and giving you more latitude to tweak the looks if you choose.

The LUTs only work with footage shot in the newer F-Log2 profile, which is available on most of the cameras released since the introduction of the X-H2, even including lower-end models like the X-T30 III and X-M5.

Fujifilm has previously provided a LUT that grades F-Log2 to look like its video-focused Eterna film simulation. Until now it's been possible to shoot in the subtle 'cinematic' Eterna profile and then match-up footage shot in circumstances where Log shooting was necessary, now you can do the same thing for a much wider range of film simulations.

• Acros
• Astia
• Classic Chrome
• Classic Neg.
• Eterna Bleach Bypass
• Pro. Neg.
• Provia
• Reala Ace
• Velvia

The LUTs are also available for footage taken using the company's wider gamut F-Log2C mode, available on higher-end cameras.

Fujifilm isn't the only company that has brought LUTs to its consumer cameras thanks to work done by its cinema arm. Last year, Nikon released three LUTs designed to be comparable with ones created for its Red cinema cameras.

Stay tuned for some sample footage graded using the newly released LUTs. They're available for free on Fujifilm's website.