Just like the Leica Q3 43, Phase One announced a new 150MP XC camera with a longer built-in Rodenstock 40mm f/4 lens (the XC camera used to come only with a 23mm lens):
The post Phase One announced a new 150MP XC40 camera with a 40mm f/4 built-in lens appeared first on Photo Rumors.
Ulanzi announced two new products:
Ulanzi A30 tiny mic (additional information):
Ulanzi stream deck D200 (additional information):
The post Ulanzi announced two new products appeared first on Photo Rumors.
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| Images: Ilford, Godox, Osprey |
Happy weekend, everyone! It's been a busy few days here at DPReview: we published our full review of the Leica Q3 43 and have another review heading your way next week. As a result, this roundup will be a touch shorter than usual, but fear not; we've still collected some interesting accessories and great deals for you.
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We found the Panasonic S5II to be a great all-rounder camera when we tested it earlier this year. Now it and the S5IIX, a model with some additional video features, are currently $300 off MSRP. At $1,700 and $1,900, respectively, it's a great entryway into the L-mount ecosystem and a good choice for someone looking to enter the world of full-frame.
S5II:
S5IIX:
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The Nikon Z7 II is a slightly higher-end full-frame camera sporting a 45MP sensor. Despite its age, it should still provide a solid experience for shooting landscapes, portraits and even the occasional video. It's currently $700 off its MSRP.
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| Image: Datacolor |
Datacolor recently announced new versions of its Spyder color calibrators, which are meant to help make sure your computer monitors are as color-accurate as possible. Both the Spyder and SpyderPro now use a USB-C cable – though a USB-A adapter is included – and support a wide variety of display types, such as OLED, mini-LED and Apple's 'Liquid Retina XDR.'
They also include access to a beta feature that Datacolor calls 'Device Preview,' which simulates how your images will look when displayed on a specific phone or tablet, such as the Pixel 8 Pro or iPad Pro with nanotexture OLED.
The regular Spyder can calibrate displays that go up to 750 nits of brightness, while the SpyderPro can handle displays that put out up to 2,000 nits. The Pro also has other features that the cheaper model doesn't, such as support for more profiles, calibrating video as well as images, Rec. 709 & Rec. 2020 calibration targets and more.
Buy Now:
Spyder
$170 at Amazon $170 at B&HSypderPro
$270 at Amazon $270 at B&H |
| Image: Ilford |
This week, Ilford announced that two of its most popular films, the ISO 400 HP5 Plus and ISO 125 FP4 Plus, are getting some limited-edition packaging to celebrate the company's 145th anniversary. The new boxes are styled after the ones HP3 and FP3 came in throughout the 1950s and 1960s – though those didn't have the logos for social media sites like Instagram, X and TikTok imprinted on them like the modern ones do.
The film inside the box is the same stuff that most black and white film photographers are used to; the limited edition packaging is available for rolls of both 35mm and 120 film. According to Ilford, the retro boxes 'will be available over the coming weeks' while supplies last.
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| Image: Osprey |
Osprey, a company whose pack-making credentials are well-established in the outdoor community, has released a few accessories that may interest photographers hitting the trail. The company now makes two sizes of camera cubes, which are meant to fit into its hiking or travel packs and which add a padded, divided space to keep your gear organized and protected. The company says the small cube, which costs $75, should fit into most packs larger than 18L, while the medium cube, $95, is made for 28L and up packs.
The company also now sells a chest pack, which provides easy access to your gear even when you're on the move. Finally, there's the PhotoLid, which is made to replace a pack's top pocket, commonly known as a 'brain.' Like the cubes, the PhotoLid has extra padding and dividers to keep your gear safe while riding atop your pack. It can also convert to a lumbar pack if you decide to bag a summit and want to leave your main pack at the junction.
| Osprey Photolid | Osprey Chest Rig |
|---|---|
| $113 at Amazon | $84 at Amazon |
| Small Camera Cube | Medium Camera Cube |
| $61 at Amazon | $77 at Amazon |
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| Image: Godox |
Godox has announced the iM30, a fully manual, compact, on-camera flash that promises near-universal compatibility via its single-pin hotshoe mount. The flash unit has seven adjustable power levels, and Godox says it can get around 230 flashes out of two AAA batteries.
Build-wise, it's a very basic flash; it has no bounce or swivel adjustments, and its recycle time is around 3.6 seconds. Also, with a guide number of 15m at ISO 100, it's far from the most powerful on-camera flash out there. However, it's hard to complain, given that it weighs just 78g (2.75oz) and will cost around $35 when it goes on sale next month.
$35 at B&HClick to see last week's accessory roundup
The latest ultra-slim, feather-light Samyang Remaster Slim lens for Sony E-mount is now available for sale at WEX Photo and Park Cameras in the UK. The new lens will soon be available also in the rest of Europe and North America.
The Samyang Remaster Slim is the world’s first optical exchange autofocus ultra-slim lens that allows you to swap only the optical elements (optical system) inside the lens instead of replacing the entire lens. Here are the lens sресіfісаtіоnѕ:
The lens kit Includes:
Introducing Samyang's Remaster Slim—the ultimate lens for photographers who want versatility without the bulk. Inspired by classic point-and-shoot cameras, this compact lens offers the flexibility of three focal lengths—21mm F3.5, 28mm F3.5, and 32mm F2.8—all in one lightweight system.
With its modular design and magnetic bayonet mount, switching focal lengths is fast and easy. Weighing just 2.35 oz and only 19.5mm thick, it’s small enough to fit in your pocket, making it perfect for capturing moments on the go.
Don’t be fooled by its size. Inside, the Remaster Slim houses advanced optical construction with 7 elements in 6 groups, including PMo, ED, and HR glass, ensuring sharpness and clarity. With 7 aperture blades, it delivers creative control in any scenario. The STM motor provides fast autofocus, while the AF/MF switch offers precision when needed, making this lens a professional performer for both full-frame and APS-C cameras.
Samyang announced “Remaster Slim”: the world’s first optical exchange autofocus ultra-slim lens
The post The new Samyang Remaster Slim lens is now available for sale in the UK appeared first on Photo Rumors.
Here's a quick update on the previously reported Viltrox AF 135mm f/1.8 full-frame lens: it is currently being tested and is expected to be officially released before the end of the year (2024) with a price tag of under $1000 - that's impressive considering that the 135mm f/1.8 lenses from Japanese manufacturers are usually over $2k:
The 135mm LAB lens will be first released for Sony E-mouth and later for Nikon Z-mount. Here are a few more pictures of the upcoming Viltrox AF 135mm f/1.8 LAB full-frame lens:
The first video review of the lens is already out:
Viltrox lenses are sold at Adorama, Amazon, B&H, and the Viltrox online store where you can get 8% off with coupon code NIKONRUMORS.
The post The Viltrox AF 135mm f/1.8 LAB lens is currently being tested, expected to be released before the end of the year for under $1,000 appeared first on Photo Rumors.
The previously reported 7Artisans 85mm f/1.8 full-frame autofocus lens or Nikon Z-mount is now officially announced and available for sale for $299:
7Artisans AF 85mm f/1.8 Z mount lens main features:
7Artisans announced a new 85mm f/1.8 full-frame autofocus lens for Sony E-mount
Via NikonRumors
The post The 7Artisans 85mm f/1.8 full-frame autofocus lens is now also available for Nikon Z-mount appeared first on Photo Rumors.
Related posts:
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| Elizabeth Viggiano Image by Joe Tornatzky |
Like many working photographers, Liz Viggiano's career trajectory has been anything but linear. After studying photography at the Massachusetts school of Art and Design, Viggiano moved west, to Los Angeles, with a kernel of aspiration but no clear goal.
"I had this idea of photographing a certain subculture, but I didn't really know what that was," she recalls. "I was making all sorts of work and then finally some friends of mine invited me to a comedy show."
The rest, as they say, is history. Viggiano has since carved out a niche for herself documenting the previously under-documented, behind-the-scenes moments at stand-up comedy clubs.
We spent a day chasing Viggiano from the streets of West Hollywood to the greenroom at The Comedy Store to learn about her vision, approach, and gear.
Because Viggiano shoots mostly in black and white, she spends much of her time behind the lens of her Leica Q2 Monochrom.
"There's something very limiting about black and white, in a good way, where I become a different photographer," she says. "I'm paying attention to very specific things – like highlights, mid-tones, shadows – or a specific gesture, a specific emotion. I'm not disregarding color, I just love black and white."
During our time with Viggiano, she shot on her trusted 28mm Leica Summulix 1:1.7 but also experimented with a Leica 50mm Noctilux F1 acquired through MPB, the leading platform for buying, selling, and trading camera equipment. For photographers like Viggiano who are constantly pushing their craft in new and inspiring directions, MPB makes the process of up-leveling photography gear more accessible, affordable, and worry-free thanks to an industry-leading inspection process and six-month warranty.
Sample gallery by Liz Viggiano
This is sponsored content, created in partnership with MPB. What does this mean?
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| Image: Phase One |
Phase One has announced the XC 40, a new edition of its 'travel-friendly' XC camera that was previously only sold with a 23mm lens. Like the XC 23 – which used to just be called the XC – the XC 40 is available with the company's IQ4 digital back, which includes a 150MP 53.4mm x 40mm medium format sensor.
That gives the 40mm Rodenstock lens a 26mm full-frame equivalent focal length, which is a fair bit tighter than the 15mm equiv. lens found on the XC23. And while the 23mm had a maximum aperture of F5.6 (F3.6 equiv.), the 40mm one opens up to F4 (F2.6 equiv.), providing 1EV more light.
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The complete XC 40 package. Image: Phase One |
Both XC models include features like automatic metering, WiFi, a touchscreen interface, and USB-C. Of course, the main draw is the sheer image quality that you can get in what Phase One describes as a "straight-forward, travel-friendly and compact design." The company hasn't released specifications for the XC 40 specifically, but the 23mm variant weighed 1820g (4.0 lbs); it seems unlikely the version with the new version will be substantially different.
Phase One also now sells the XC 23 and XC 40 camera 'bodies' separately, meaning that anyone who bought the original camera won't have to buy an entirely new IQ4 digital back to get the 40mm focal length. Each body costs $20,290, while the complete XC kit costs $62,490.
The new Fujifilm X-M5 camera is expected to be announced in October. Here are the rumored specifications:
The Fujifilm X-M5 camera is already registered in Indonesia for certification under model number FF240002. The filing also shows that the X-M5 will be manufactured in China (via dclife):
New Fujifilm FF240002 camera registered online (and other Fuji news)
The next Fujifilm X-M5 camera will come with a film simulation dial
Via FujiAddict
The post The rumored Fujifilm X-M5 camera is already registered overseas, expected to be announced in October appeared first on Photo Rumors.
Aperty - the new AI-powered photo editing app for professional portrait photographers by Skylum is now available. You can get a lifetime license until September 30th; after that, the lifetime option will no longer be available. Here are the app’s key features:
Skylum announced a new photo editing app for professional portrait photographers
The post Skylum Aperty now available (AI-powered photo editing app for professional portrait photographers) appeared first on Photo Rumors.
Tamron announced a new 90mm f/2.8 Di III MACRO VXD macro lens (model F072) for Nikon Z and Sony E mount:
Screenshot
The post New Tamron 90mm f/2.8 Di III MACRO VXD macro lens model F072 announced (for Z/E mount) appeared first on Photo Rumors.
The previously rumored Leica Q3 camera with a 43mm f/2 APO lens is now officially announced:
Via LeicaRumors
The post Leica announced a new Q3 camera with a fixed 43mm f/2 APO lens appeared first on Photo Rumors.
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The Leica Q3 43 is a variant of the company's full-frame prime lens compact, with a 43mm F2 lens mounted in front of a 60MP BSI CMOS sensor.
In almost every other respect, it's a match for the original, 28mm Q3. The longer lens, grey leatherette coating and a number engraved into the hotshoe are the things that set the two apart.
The Leica Q3 43 will be available from today at a recommended price of $6895, nearly $900 (15%) more than the existing Q3 was at launch, though that price has risen by $300 in the meantime. An optional accessory grip, giving a more pronounced hand-hold and adding Arca-compatible flanges for tripod mounting, will cost $250.
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In terms of what's new, the answer is a paradoxical middle ground between: 'very little' and 'everything.'
The only major feature change present in the Q3 43 is the focal length of its lens and, consequently, the equivalent focal lengths of its crop modes. It's a completely new design comprising 11 lenses in 8 groups, including 7 aspherics [per a design patented by Panasonic]. It wears Leica's 'APO' branding, indicating an apochromatic design that should optimize sharpness and minimize longitudinal chromatic aberration.
The focal length may sound unusual, to those more used to 28, 35 or 50mm options, but there's a logic to the use of 43mm. 43mm is the length of the diagonal of a full-frame sensor, which means a 43mm lens is neither slightly wide-angle, as a 35mm would be, nor slightly telephoto, as a 50mm is.
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The result is a camera that's more flexible than a fixed 50mm would be, and more distinct from the existing 28mm Q3 than a 35mm would be. As someone who frequently uses the 35mm focal length, I found myself missing the slightly wide view I'd become familiar with, but quickly settled into the perfect normal view of the world the 43 gave me.
Anyone who's used Panasonic's 20mm F1.7 on Micro Four Thirds, Nikon's 40mm F2 on Z-mount, a 28mm lens on APS-C or Pentax's 43mm F1.9 Limited will instantly be at home. I'm not going to make claims that it matches the human field of view, because we don't see a single field of view all at the same time, with the same acuity across the scene (our eyes don't work like cameras), but it does intuitively feel like it captures 'the world in front of me.'
You don't really need to use the camera to know whether the Q3 or Q3 43 is right for you, as it's simple a question of whether you prefer to capture a wide view including a lot of the scene, or if you want to be able to be a bit more selective. It's really that simple.
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| Rotate the ring nearest the camera (on the right of this image) and a new distance scale slides forward from the barrel of the lens, showing the close focus range of the lens. |
As with the previous Q cameras, the 43mm lens has been designed with a close-up option. This is engaged by turning the ring nearest the camera to the 'Macro' position. As you do so, a distance scale for closer focusing pushes forward, replacing the standard scale and indicating the closer focus range.
In its standard setting the distance scale indicates the range from 0.6m (23.6") to infinity. Switching to the Macro position shortens this minimum focus distance down to 0.27m (10.6"), now maxing out at 0.6m.
The Q3 makes the most of its high-resolution sensor, offering 60, 75, 90 120 and 150mm equivalent crops of its sensor of approximately 31, 21, 14, 8, and 5MP, respectively. Of course, cropping in not only reduces the available resolution but also uses an increasingly small region of the sensor, with the expected reduction in image quality and low light performance as a consequence. The pixel-level IQ will look the same, but when blown up or viewed at a common size, the smaller sensor images will look worse. By 150mm equiv, you're well into compact camera territory, so it's probably worth only using in good light.
| Crop factor | Pixel Count (MP) | Approx sensor dimensions | |
|---|---|---|---|
| 43mm | 1.0x | 60.3 | 36 x 24mm |
| 60mm equiv. | 1.4x | 30.8 | 26 x 17mm |
| 75mm equiv. | 1.7x | 20.9 | 21 x 14mm |
| 90mm equiv. | 2.1x | 13.9 | 17 x 12mm |
| 120mm equiv | 2.8x | 7.8 | 13 x 9mm |
| 150mm equiv. | 3.5x | 5.0 | 10.3 x 6.9 |
If you don't find yourself needing 60MP files all the time, the Q3 43 can also output or 36 or 18MP files from its full sensor. These are downsampled from the original capture, so should be more detailed than actually using a 36 or 18MP camera. You can select the output size for JPEGs and Raw independently, so can opt for small JPEGs and full-sized Raws or, lower-res Raws with full-sized JPEGs, if you can come up with a rationale for doing so.
In addition to the 'Film Style' color modes that come pre-installed on the camera, the Q3 43 lets you download up to six 'Leica Looks' via the Leica Fotos app. The distinction is that you can adjust settings such as contrast, saturation and sharpening for Film Styles, whereas Leica Looks are fixed, uneditable presets.
The latest version of the Fotos app adds a Leica Chrome option, bringing the choice of Leica Looks to seven. This can be installed on either of the Q3 cameras or the SL3. Unlike the SL3, though, you can't edit the quick settings page, so you can't put Leica Looks into that menu, if you use them rather than the Film Styles.
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It's a mode perhaps better suited to the original Q3's wide-angle lens, but the intelligent perspective correction mode does a good job of delivering an straightened image, out-of-camera. Click here to see an un-corrected version. Leica Q3 43 | F7.1 | 1/500 sec | ISO 100 |
The Q3 43 has Leica's perspective correction function. When switched on, this analyses the scene, looking for converging lines it thinks should be parallel, then calculates the necessary corrections based on this. The corrections are only applied to the JPEG image but the uncorrected Raw can be saved alongside. The JPEG is scaled back up to whatever resolution you're currently operating the camera at.
There are no other prime-lens compacts offering a 43mm (or equiv) field of view. The most obvious peer is the Ricoh GR IIIx, which has a 40mm equivalent prime lens built in. Its 24MP APS-C sensor can't match the image quality and resolution of the Leica but also allows it to be much, much smaller and less expensive. The Ricoh's lens is a stop slower in absolute terms, before you consider the impact on depth-of-field and whole-image light capture of its smaller sensor.
Fujifilm's X100 VI has a wider, 35mm equiv lens – though we found it much easier to adapt to the 43mm field of view from 35mm equiv than we do switching back and forth between 35 and 28mm – and the cameras themselves are fairly different. The Fujifilm offers an interesting optical/electronic hybrid viewfinder and an APS-C sensor, whereas the Leica is full-frame and uses a conventional EVF.
| Leica Q3 43 | Leica Q3 | Ricoh GR IIIx | Fujifilm X100V | |
|---|---|---|---|---|
| MSRP (body) | $6895 | $5995 | $999 | $1599 |
| Sensor | 60 MP full-frame (Bayer) | 60MP full-frame (Bayer) | 24MP APS-C (Bayer) | 40MP APS-C (X-Trans) |
| Lens | 43mm F2.0 | 28mm F1.7 | 40mm equiv. F2.8 | 35mm equiv. F2.0 |
| Built-in ND filter | No (accepts 49mm filters) | No (accepts 49mm filters) | 2.0 EV | 4.0 EV |
| ISO range | 50-100,000 | 50-100,000 | 100-102400 | 100-51200 |
| Viewfinder type | 5.76M dot OLED electronic | 5.76M dot OLED electronic | Optical (optional) | 3.69M-dot OLED electronic / optical hybrid |
| LCD | 3" tilting 1.84M dots |
3" tilting 1.84M dots |
3" fixed 1.037M dots |
3" tilting 1.62M dots |
| Touch-screen | Yes | Yes | Yes | Yes |
| Included flash | No | No | No | Built-in |
| Weather-sealing | Yes (IP52) | Yes (IP52) | No | Yes* |
| Max. burst | 15 fps (12-bit AF-S) 7fps (14-bit AF-C) |
15 fps (12-bit AF-S) 7fps (14-bit AF-C) |
4 fps | 13 fps (elec. shutter) 6 fps (mech shutter) |
| Max. shutter, mech / electronic | 1/2000 / 1/16000 | 1/2000 / 1/16000 | 1/4000 | 1/4000 / 1/180,000 |
| Video | 8K/30p, 4K/60p, 1080/120p | 8K/30p, 4K/60p, 1080/120p | 1080/60p | 6.2K/30p, 4K/60p 1080/120p |
| Battery life (CIPA) | 350 shots | 350 shots | 200 shots | 310 shots (EVF) |
| Weight | 772 g | 743 g | 262 g | 521g |
Sony's long out-of-production RX1 series would also be a meaningful comparison, thanks to its similarly-sized sensor and 35mm F2 lens, but sadly it's a line that appears to have been abandoned.
As with most fixed-lens cameras, all four are built around in-lens 'leaf' shutters. These can't reach the 1/8000 sec exposures often offered by high-end focal-plane curtain shutters but can sync with flashes all the way across their mechanical shutter speed ranges.
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The Q3 43's body is essentially identical to that of the Q3, which itself was a relatively gentle refresh of the design of the Q2. The principle difference being that the 43 version comes in a grey leatherette finish, and has the numbers 43 both on its lens and milled into its hotshoe.
It's a design that takes its styling cues from Leica's history, particularly with the rounded edges to the body, without directly mimicking the company's flagship M rangefinder series. But, while there's little risk of it being mistaken for an M, the overall design and use of typography is unmistakably Leica, even if you were to cover up the red dot logo on the front.
The controls are pretty minimal, with a dedicated shutter speed dial and aperture ring, both of which have 'A' positions, to pass their control over to the camera. Other than this, there's a command dial on the rear shoulder that contains a customizable button at its center. It's a system that helps focus all your attention on the fundamental settings of photography.
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The command dial, in its default Auto setting, takes on a different role, depending on your exposure mode.
| Shutter speed dial | Aperture ring setting | Exposure mode | Command dial function (Auto) |
|---|---|---|---|
| A | F-no | Aperture priority | Exposure Comp. |
| Time value | A | Shutter priority | 1/3EV shutter adj |
| A | A | Flexible Program | F-no |
| Time value | F-no | Manual Exposure | 1/3EV shutter adj |
There are two more custom buttons along the top rear edge of the camera with the option to customize the central button of the four-way controller, which is primarily used for navigating the menus and positioning the AF point. Any of these buttons can be customized by holding them down. You can narrow-down the list of parameters available to be assigned to the buttons (on a per-button basis), so if you want to switch their function regularly, you can get straight to the options you want to select from.
There's a focus tab on the lower right of the lens that includes a small button. This button needs to be pressed to move the focus ring out of the 'Auto' position, to engage manual focus.
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The Q3 43 has the most recent version of the interface Leica has been evolving for the past few years. As on the Q3 and SL3, pressing the menu button brings up a quick settings screen showing the exposure settings at the top and an array of other camera settings below. This display is touch-sensitive and swiping left brings up a similar quick settings menu but for video settings, taking you into video mode.
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Pressing the Menu button again takes you to Page 1 of the menu proper, and pressing it again starts to toggle through the menu tabs. As with the D-Lux8 this raises the odd prospect of pressing left to jump one page to the left but having to press Menu to do the opposite (pressing right on the four-way controller adjusts the current setting or enters a sub-menu). It's a little quirk that doesn't take too long to adjust to, especially as there aren't many reasons to visit the main menu.
The Q3 43's interface resembles that of the original Q3 so doesn't yet include the updates made for the SL3, such as red color-coding for stills and yellow for video, or the ability to customize the quick settings menu. Instead you can save your prefered menu options in a 'Favorites' tab that appears as the first page of the main menus.
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The Q3 43 has the same 5.76M dot (1600 x 1200px) viewfinder as the existing Q3 model and the same 1.8M dot (560 x 640px) touchscreen that can be tilted up and down.
On the side of the camera is a small rubber door, behind which you'll find a Micro HDMI port and a USB-C socket. Video footage can be output over the HDMI port but precisely what resolution and codec is used depends on whether you're shooting L-Log, HLG or standard DR footage and whether you're simultaneously recording internally.
The USB port is a 3.1 Gen 2 interface, meaning it can transfer data at up to 10Gb/s. This can be used for tethering to the Leica Fotos app, if you use an iPhone.
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The Q3 43 uses the same battery as the wide-angle Q3, the 16Wh BP-SCL6. The battery life is rated at 350 shots per charge, using the CIPA methodology, which we find can regularly mean getting twice this figure. 350 is a very decent rating for a camera you're likely to want to shoot with over the course of a few days.
The camera can be charged over its USB-C port, even while the camera is being operated. There's also the option at add wireless charging. If you add an optional handgrip, the camera gains the ability to charge using standard Qi wireless chargers.
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 to see the effect of different lighting conditions.
Because the Leica Q3 43 has so few direct peers and we've not always been able to get hold of production-spec Leicas for long enough to shoot our test scene, it's a little difficult to know what to compare it to. So we're primarily going to see how it looks alongside the Sony a7R V, with which it shares a sensor.
The detail levels are fractionally lower than with the Sony 85mm F1.4 GM lens, especially in the far corners, but very good for a fixed-lens camera. Noise levels, if anything, appear lower, despite Sony appearing to apply some sort of processing/noise reduction.
The Leica's JPEG engine isn't pulling out quite as much detail as the Sony, despite what appears to be quite heavy sharpening, that's causing a little bit of over-shoot at high-contrast edges. Leica's Standard color response is also quite unusual, with very magenta pinks and slightly dark yellows. The light pink patch is very neutral, which typically gives accurate, rather than attractive caucasian skin tones.
The default noise reduction aggressively supressed chroma noise but leaves unusually high levels of luminance noise. This approach both protects detail and gives the impression of detail, but means the images have a very high noise level. There's an argument that this luminance speckling is analogous to film grain, but it takes some getting used to.
We also found the Q3 43's Auto white balance could err on the neutral or even cool side. While, theoretically, you might expect auto white balance to try to cancel-out any tint the lighting might have, in practice most people prefer it to leave a little warmth to the scene. The above photo, shot using daylight entering from windows behind the camera, is the one that prompted me to stop using Auto white balance, as JPEGs were appearing very clinical.
ISO Invariance | Exposure Latitude
Our test scene isn't supposed to be a lens test, but it's shot from a reasonable distance, so for this focal length, it doesn't do a bad job. The lens is very, very sharp, all the way up to its widest F2.0 setting. There's a tiny drop-off in corner sharpness and some hint of vignetting, but these are only noticeable by comparison with stopped-down shots. Given we're looking at pixel level at a 60MP image, it's fair to say the lens is excellent.
These images were processed using Capture One, which enables us to use the manufacturer's distortion correction profile but disengage correction of lateral chromatic aberrations and vignetting. The Q3 43's lens is designed with geometric distortion corrected mathematically, so that other aberrations can be corrected optically without either increasing the size and complexity of the lens or adding to those aberrations through attempts to correct distortion.
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| Leica applies its 'Summicron' branding to the Q3 43's lens and both our test scene and real-world shooting suggest it's essentially free from chromatic aberration. |
We don't see any sense in assessing the performance of a lens with some of its elements removed: we're only interested in the quality of the final image. And if the corners look this good after correction, we don't believe it's relevant whether that was achieved through glass or mathematics, especially if it allows the lens to be this comparatively small.
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| The Q3 43's lens has a small focus tab, much like Leica's M-mount lenses. There's a small release button on the upper lip, which needs to be pressed to release the focus ring from the AF position into the manual focus range. |
The Q3 43 has a series of AF modes: a basic AF spot, an AF field that can be shifted and scaled, multi-field or a large zone. There are also Eye/Face/Body detection and Eye/Face/Body + Animal detection modes that select a subject in the scene. You can then press the four-way controller to select between recognized subjects.
Autofocus on the Q3 43 is very quiet and reasonably speedy. We didn't subject it to our standard autofocus test because we simply don't believe that it usefully represents the sorts of autofocus challenge a camera with a 43mm lens will be subjected to. There was at least one rushed shot where the camera claimed to be in focus but wasn't, but for the vast majority of our usage, it proved very quick for a fixed prime compact.
However, one issue we did encounter is that the Q3 43's detection modes don't let you specify an AF point to pre-select a subject. This is disappointing, and we found we had to turn face detection off when trying to shoot candid photos including multiple people: the camera would constantly jump from one subject to another, and find and lose people's faces faster than it was possible to select them.
It's been a while since we encountered a subject recognition system that doesn't work in conjunction with a selected AF point and we found it made autofocus operation slower and more fiddly, at least in some circumstances.
This was our only real gripe about the AF, though. Generally, it's swift and confident enough that you can rely on it without having to think too much.
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The Q3 43 has pretty ambitious video specifications, including up to 8K/30 capture and ProRes 422HQ footage at up to 1080/60. The camera can record video for up to 29 minutes. Leica says it'll be possible to connect external mics via the USB socket, with options becoming available in October.
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To access video capture you press the menu button then swipe left on the screen, revealing the video settings menu. You can then choose from a range of resolutions and codecs.
| File type | Frame rates | Codec | Bit-depth / Chroma | Bitrate | |
|---|---|---|---|---|---|
| DCI 8K |
MOV | 29.97, 25, 24, 23.98 | H.265 | 10-bit 4:2:0 | 300Mbps |
| UHD 8K |
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| MP4 | |||||
| DCI 4K | MOV | 59.94, 50, 48, 47.95 | H.264 | 10-bit 4:2:2 | 600Mbps |
| 29.97, 25, 24, 23.98 | 400Mbps | ||||
| UHD 4K | 59.94, 50, 48, 47.95 | 600Mbps | |||
| 29.97, 25, 24, 23.98 | 400Mbps | ||||
| MP4 | 59.94, 50 | H.265 | 10-bit 4:2:0 | 100Mbps | |
| 29.97, 25, 23.98 | H.264 | 8-bit 4:2:0 | 100Mbps |
There are also FullHD / 1080 options at up to 120p either played back at capture speed or as slow-mo. Shooting up to FullHD/60 can be done using the ProRes 422HQ codec.
The level of detail capture in 8K is very high. UHD footage is essentially the same as DCI footage but with the edges cropped off, both in 8K and 4K modes. 4K footage up to 30p is derived from the same sensor readout as the 8K modes, and shows levels of detail comparable with the Canon EOS R5 II's oversampled 'HQ' modes.
Framerates above 30p are sub-sampled (with the halved rolling shutter rate suggesting 50% line skipping). These modes are not just less detailed but exhibit prominent moiré.
Unfortunately, while detail capture is high, the rolling shutter rates are pretty significant. Most modes show over 30ms of rolling shutter, which will make them very prone to warped and distorted motion if things move quickly across the camera or if you pan.
| Rolling shutter rate | |
|---|---|
| 8K or 4K footage up to 29.97p | 31.3ms (1/32 sec) |
| 4K footage at 47.95p upwards | 15.5ms (1/64 sec) |
Rolling shutter can also interact awkwardly with attempts at stabilization, as the movement to correct shake can both counter and exaggerate the distortion caused by the slow readout, leading to the so-called 'Jello' effect. We don't see video as a particularly critical feature on a camera with a fixed 43mm lens and no means of monitoring audio, but the results are a little disappointing given how promising the specs look on paper.
By Richard Butler
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| Pros | Cons |
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The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range if you don't see the world through the angle of view offered by the existing 28mm Q cameras.
Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The camera's controls are also nicely focused on the fundamentals of photography, which is refreshing after the feature and icon overload that much of the industry has sleepwalked into.
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| The thread on the front of the lens has been cut so that the screw-in hood lines up exactly when fully tightened. It feels indicative of the attention to detail that's gone into the camera. |
The camera had a couple of quirks that felt relevant to the way it might be used. While its autofocus was swift and responsive, the autofocus interface feels a generation or so behind the competition. Its face detection mode ignoring your chosen AF point can make it almost impossible to keep the camera focusing on your preferred subject, especially when shooting candids.
The Q3 43's Auto white balance mode can also be rather painfully literal: neutralizing any color cast in the scene and seemingly erring on the side of a rather cool rendition. This is no problem if you're shooting Raw but a little off-putting. Most modern cameras recognize that there are times you want to preserve some of the ambience in a scene, or at least keep the colors on the flattering side of neutral. The rather hands-off approach to luminance noise also takes some getting used to.
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The Leica Q3 43 didn't magically make me a better photographer in the weeks I was shooting with it. But it did feel, as the best camera do, like something that would encourage me to keep practicing and support me as I went. Leica Q3 43 | F2.0 | 1/60 sec | ISO 160 |
Overall, though, it's an impressive photographic tool that has the build quality and attention to detail to leave no doubt that this is a distinctly premium product. That's not going to convince everyone that it's worth the asking price, of course, but that's the nature of luxury goods: the exclusivity is part of the package. But, in a way that's not always been true of Leica's digital cameras, this does feel like a first-rate camera just as much as it's a desirable object.
Personally, I found myself uncomfortable knowing I had something costing so many thousands of dollars slung over my shoulder (admittedly made still more acute by doing it at a time when it was both valuable and secret). And its size, even with a relatively compact lens, meant I couldn't really pocket or conceal it.
Considerations of price and how you feel about the cultural meaning of such a product are deeply personal, and not something anyone is likely to be swayed on. But as a camera, it's very, very good. If you want a camera that's a Leica in every sense, but don't want to commit the rest of your life to a quest for ever more unobtainable M-mount lenses, it's just about everything you might hope for.
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Leica Q3 43 Category: Enthusiast Large Sensor Compact Camera |
Build quality Ergonomics & handling Features Metering & focus accuracy Image quality (raw) Image quality (jpeg) Low light / high ISO performance Viewfinder / screen rating Optics Performance Movie / video mode Connectivity Value | PoorExcellent | ||||
Conclusion The Leica Q3 43 provides a 'normal' alternative to the company's wide-angle fixed lens, full-frame compact. Its image quality is superb, thanks to an excellent lens, and its user interface is pleasantly photography focused. Its video modes and autofocus interface don't live up to these immensely high standards, but neither gets in the way of the camera's core mission. | |||||
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The Leica Q3 43 doesn't really have any direct peers. The closest parallel is Ricoh's GR IIIx, which is a much, much more compact camera but also one with a lens that's a stop slower in absolute terms, even before you factor-in the effect of it having a much smaller sensor. The only fixed-lens camera that will give you the same image quality and photo-centric shooting experience as the Q3 43 is the existing wide-angle Q3. And the significant difference between a wide-angle and a perfect normal angle-of-view should make it obvious which makes sense to you.
The Q3 43 offers image quality and shooting experience to live up to the brand story that Leica has built around itself. You can fit a good lens to any number of mass-market full-frame mirrorless cameras can get something like the image quality, but you won't get such an elegantly simple shooting experience (or such a small package). If the Leica brand and all it represents (including cost/exclusivity) doesn't resonate with you, then that's the more pragmatic route to take. But if it does, then nothing else will come close to working as a substitute.
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| Photo: Richard Butler |
Canon has released a new firmware update for the EOS R5 II, and says it's currently working on removing a limitation that shows up when using the new camera with an older LP-E6NH battery.
Firmware version 1.0.1, which should soon be available on Canon's site, is mostly about bug fixes and improvements. According to Canon, the update will:
The company also told DPReview that it'll release a firmware update 'later this year' to let the EOS R5 II record 23.98/24p video, even with an older LP-E6NH battery installed. There will still be limitations when using the LP-E6NH battery instead of the LP-E6P that comes with the camera; according to Canon's manual, using the older battery will disable:
While the 24p frame rates aren't officially included on the no-go list, Petapixel has reported that people weren't able to use them with the LP-E6NH battery installed and confirmed the omission with its own tests.
Canon says it hasn't finalized when the update enabling 24p will be available, but we'll be sure to update you as soon as it's available.
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| Image: Tamron |
Tamron has announced the 90mm F2.8 Di III Macro VXD, a full frame lens for Sony E mount and Nikon Z mount, the latest in a long line of affordable 90mm Macros from the company.
As the name implies, the lens is focused on capturing 1:1 reproductions at relatively close distances, though it can also be used for portraiture and as a medium-distance telephoto. The company also pitches it as a good option for APS-C shooters, as it will have a 135mm equivalent focal length on those systems.
The lens comprises 15 elements – all of which are spherical – in 12 groups, including four special glass low-dispersion elements. Tamron also says it has a 'moisture-resistant construction' and a Fluorine coating on the front element, which should provide some resistance to oil and dust.
According to Tamron, the lens features the company's first 12-blade circular aperture to ensure "the bokeh remains perfectly circular when the aperture is wide open." Also new is its lens hood; the company says it includes a 'sliding window' that lets you easily adjust filters without having to remove the hood. The lens' filter thread is 67mm.
The 90mm F2.8 Di III Macro VXD is 127mm (5") long and weighs 630g (22.2oz) for the Sony model. The Nikon model weighs 10g (0.4oz) more. Both feature a focus set button as well as a focus limiter switch.
The lens fills a gap in the Z-mount system, as there weren't previously any 90mm autofocus-capable macro lenses for full-frame cameras. Nikon makes a 105mm model, and Venus Optics has a manual focus 90mm F2.8.
The 90mm F2.8 Di III Macro VXD will be available starting October 24th for $699.
Press Release:
The compact, innovative, high-performance design leverages its renowned 45-year heritage
September 26, 2024, Commack, NY – TAMRON announces the launch of its new 90mm F/2.8 Di III MACRO VXD (Model F072), a mid-telephoto 1:1 macro lens, compatible with Sony E-mount and Nikon Z mount full-frame mirrorless cameras, on October 24, 2024 at $699 USD / $949 CAD.
Celebrating 45 years of TAMRON 90mm macro lenses: The next generation
In 1979, TAMRON introduced its first 90mm macro lens, the SP 90mm F/2.5 (Model 52B), revolutionizing the concept of macro lenses. Known for its stunning bokeh and superb image quality, this lens was initially used mainly for academic purposes, but it soon became popular for various types of photography, including outdoor field work and portraiture. Affectionately nicknamed "Tamukyu," a portmanteau of two Japanese words, it garnered high praise from close-up aficionados, nature photographers and portrait enthusiasts alike.
TAMRON continued to innovate in response to evolving photographic needs, releasing subsequent models such as the SP AF90mm F/2.8 Di MACRO 1:1 (Model 272E) and SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F004). In 2016, TAMRON launched the SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F017), an evolution of the Model F004. The digital-compatible coating technology, combined with its soft, natural bokeh and sharp rendering, continues to be favored by many photographers today.
Now, in celebration of the 45th anniversary of the first generation, TAMRON is releasing a highly anticipated mirrorless version of this iconic lens. This latest iteration combines the traditional, beloved brilliant performance with cutting-edge technology, continuing TAMRON's macro lens legacy. We invite you to explore the new possibilities offered by TAMRON's latest 90mm macro lens.
1. High optical performance and image reproduction: the legacy grows
TAMRON’s 90mm lenses have long been celebrated for their high resolution and beautiful bokeh. The new 90mm F2.8 MACRO lens, designed for mirrorless cameras, reinforces this legacy via a rigorous optical simulation process. This lens offers unparalleled resolution performance from the center to the edges, and delivers soft, blurred bokeh and a three-dimensional effect that highlights the subject. The optical construction features 15 elements in 12 groups, including four special glass LD (Low Dispersion) lens elements that effectively suppress the tendency of light ray divergence and provide excellent correction for both spherical and chromatic aberration. The BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating significantly minimizes ghosting and flare, ensuring that even in backlit conditions, the finest details of the subject are captured with clarity and precision. This exceptional optical performance enables photographers to explore unique photographic expressions in many photographic genres, including macro, portrait, tabletop, long-distance photography, and various other types.
Additionally, you can also enjoy the outstanding macro performance of this lens and beautiful images with APS-C format cameras. The equivalent focal length is approximately 135mm while the minimum aperture remains F2.8.
2. Outstanding flat-field performance
TAMRON's new 90mm F2.8 MACRO is highly corrected for superior flat-field resolution that will be best for subjects such as documents, currency, artwork and product packaging. This quality is especially important when shooting close-up images where depth of field is too shallow to neutralize the loss of sharpness that could otherwise occur at the extreme edges of a flat subject. Because it's highly corrected, this lens provides edge to edge sharpness, uniform illumination across the frame and minimal distortion.
3. TAMRON's first 12-blade circular aperture for stunning circular bokeh and starburst effects
The 90mm F2.8 MACRO introduces TAMRON’s first 12-blade circular aperture, setting a new standard for beautiful circular bokeh expression. Especially in the macro range, with a maximum magnification in between 1:1 to 1:4, this specialized diaphragm ensures that the bokeh remains perfectly circular when the aperture is wide open. The lens also suppresses vignetting in the four corners of the image. Composed entirely of spherical elements, the new 90mm F2.8 MACRO allows you to enjoy exquisite circular bokeh.
In addition, the 12-blade design produces 12 rays for exquisite starburst effects when the aperture is stopped down, making it ideal for capturing dramatic images of scenes that include point-sources of light, such as birthday cake candles and evening cityscapes.
4. Compact size, just 5” (126.5mm) in length
The 90mm F2.8 MACRO is a medium telephoto macro lens with a maximum aperture of F2.8 and a length of 5” (126.5mm). With a maximum diameter of only 79.2mm, the lens fits comfortably in the palm of the hand and is easy to hold, making it compact enough to go out with this macro lens everywhere. It's also light in weight at 22.2oz (630g), making it more pleasant to carry for long periods of time.
5. New hood design with sliding window for easy filter rotation
The 90mm F2.8 MACRO is supplied with a new structural lens hood that has a sliding window designed for easy filter operation. Filters such as PL, ND, and cross screen filters require rotation to adjust their effects, often requiring the removal of the hood. To solve this inconvenience, the new design allows photographers to easily rotate the filter through the sliding window. This enables seamless adjustment without disrupting the shooting flow, ensuring precise control over shooting conditions and maintaining the rhythm of normal camera operation.
6. Proprietary software tool TAMRON Lens UtilityTM for lens function customization and firmware updates
7. High-speed and high-precision AF with superb subject tracking performance
8. High convenience and operability
9. Protective features (Moisture-Resistant Construction and Fluorine Coating)
| Principal specifications | |
|---|---|
| Lens type | Prime lens |
| Max Format size | 35mm FF |
| Focal length | 90 mm |
| Lens mount | Nikon Z, Sony E |
| Aperture | |
| Maximum aperture | F2.8 |
| Minimum aperture | F16 |
| Aperture ring | No |
| Number of diaphragm blades | 12 |
| Aperture notes | Circular diaphragm |
| Optics | |
| Elements | 15 |
| Groups | 12 |
| Special elements / coatings | Four special glass LD (Low Dispersion) elements, Broad-Band Anti-Reflection Generation 2 coating |
| Focus | |
| Minimum focus | 0.23 m (9.06″) |
| Autofocus | Yes |
| Motor type | Linear Motor |
| Distance scale | No |
| DoF scale | No |
| Focus distance limiter | 0.7m |
| Physical | |
| Weight | 640 g (1.41 lb) |
| Diameter | 79 mm (3.12″) |
| Length | 129 mm (5.06″) |
| Sealing | Yes |
| Colour | Black |
| Filter thread | 67 mm |
| Hood supplied | Yes |
| Tripod collar | No |
Jeff Bridges is developing a new Widelux-copy panoramic film camera that will be called WideluxX. The wideluxx.com website is already up and running. The new camera is expected to be released next year (2025). The original Widelux camera can be found on eBay. Additional information on this project is available here:
The post Jeff Bridges is developing a new Widelux(X) panoramic film camera appeared first on Photo Rumors.
More Leica Q3 43mm f/2 APO camera leaks appeared online before the official announcement tomorrow:
Via LeicaRumors
The post More Leica Q3 43mm f/2 APO camera leaks before the official announcement tomorrow appeared first on Photo Rumors.
The previously reported TTArtisan 75mm f/1.5 "Swirly Bokeh" lens is now officially announced. The lens comes with an M42-mount but can be mounted on any modern camera with an adapter (not compatible with Nikon F-mount). The lens is designed for full-frame, but the actual image field is larger than full-frame and can almost cover medium format. The price is $269. The new lens is now in stock at:
The post TTArtisan 75mm f/1.5 “Swirly Bokeh” lens officially announced appeared first on Photo Rumors.
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